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Awards Insider Exclusive
Ann Dowd Does It From the Heart
A decade after launching her own Oscar campaign, and in the midst of a late-career breakthrough, Ann Dowd may finally soon earn her first nomination. She knows what it took to get here.
By David Canfield
Photo Illustration by Vanity Fair; Photo by Tina Turnbow.
Ann Dowd had a secret to share. It happened near the end of 2019, in Sun Valley, Idaho, at a moment of unexpected personal confession. She'd joined writer-director Fran Kranz and costars Martha Plimpton, Reed Birney, and Jason Isaacs for rehearsals on their film Mass, which follows two sets of parents gathering years after a school shooting irrevocably changed their lives. Kranz wanted to bring the group together by having everyone share stories—reveal their most naked, vulnerable selves. "Without me having to do anything, Ann started opening up to us and broke the ice, and shared herself so fully," Kranz says now. "It changed us, the five of us. She just changed us."
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There are two things, I've learned, that Ann Dowd does incredibly well. The first is talk; the second, as is more rarely the case, is listen. She makes this clear as we ease into our conversation, tucked inside the lobby of a Downtown L.A. hotel on the eve of the Emmys. One question in, the 65-year-old Dowd holds back tears, reflecting not just on the making of Mass, but on feelings of parenthood and loss and guilt and fear in her own life. She shows her heart. Then she tells me a secret—one I won't print in this story—that gets at the core of how deep Mass and her character, Linda, lived inside of her, and on a larger scale, of what acting ultimately means to her. It's all a function of Dowd's singular capacity for empathy—for opening herself up before taking in the words and experiences of others, whether a costar, a director, a fictional grieving mother, or in today's case, a journalist.
"She is a very open, empathetic person, and that is her super power," says Craig Zobel, who directed Dowd to critical acclaim in the 2012 indie Compliance. "Mass is the type of film that allows you to see one of my favorite parts of her acting, which is how good she is at listening—how giving a scene partner she is."
You could also say that Mass is the type of film that Dowd has long deserved. Not because she's lacked for great roles of late—since her mid-career breakout in Compliance, she's been an Emmy-winning force on The Handmaid's Tale and a scene-stealer in everything from The Leftovers to Hereditary—but because it's a true cinematic showcase of her gifts, arriving at a time when enough of us are finally aware of them. The campaign for Dowd's first Oscar nomination is revving up for a movie that finds her merely sitting, going back and forth between talking and listening, for virtually the entire running time. She has words and she has silences to tell her story, and little else. Just as she'd like it. No wonder this might be the one.
Courtesy of Bleecker Street.
For a woman nearing four decades in the business, Dowd only recently realized the kind of actor she wanted to be. Originally on the pre-med track, she left it as a young student for what she really loved, and went into acting with the studious commitment of a doctor. "You didn't go home on vacation; you stayed and studied and studied," she says of her pre-med life. "I approached [acting] the same way: 'Know this character, read the text, then I will know her. If it takes suffering, then you bet I will, and I'm going to study and study and I'm going to know those lines.' It was all push. That's misery." When she got her first series-regular role in 1997's short-lived Nothing Sacred, and after she gave birth to the second of her three children, Emily, Dowd was living in Los Angeles and lost "a ton" of weight: "I was thin as a rail, and I couldn't get a role to save my life."
She learned, over time, to let some of that pressure go—to not carry her characters' pain, but rather let them in organically. "For the character, you have to be careful where you pick from," she says. "I don't believe you have to suffer." Each role shows her something new about being a person in the world: "An actor comes to know a character…. It's that conversation: Tell me about you and I'll tell you about me and we'll go slowly. I've been doing it long enough to know when I am pushing or trying to take control."
For much of her screen career in the '90s and 2000s, she'd found steady work in meaty projects—as Tom Hanks's sister in Philadelphia, Busy Philipps's mother in Freaks and Geeks—but had to grind, as most character actors do, without much notoriety (or money). Then came a tiny movie called Compliance. Working with a budget just over $250,000, Zobel cast Dowd as a fast-food restaurant manager named Sandra in the audition room, right after she read for the part. She was paid $100 per day over a 16-day shoot, for a tricky role at the center of a queasy story, in which a man posing as a police officer accuses one of Sandra's employees of stealing. He convinces Sandra to hold the employee for questioning, violate her rights, and gradually descend deeper into moral darkness. It's a character burning with a quiet, imposing intensity, the kind that Dowd has come to claim as a signature—developed out of years of working on her craft, but one that few outside of some theater circles had been aware of.
"We would sometimes shoot these big long speeches eight to 12 times…because she was so open to direction," says Zobel, Emmy-nominated for helming this year's Mare of Easttown. "A lot of the performance in the film was built from a combination of her different, versatile takes on the situation."
Raves for Dowd erupted out of a Sundance premiere; critics called for an Oscar nomination to follow. But this was a small movie without the cash for a campaign; distributor Magnolia Pictures declined to even send screeners to guilds or the Academy. Dowd and her husband, Lawrence Arancio, spent $13,000—financed between credit cards and loans from friends—to get the film into voters' hands themselves: a true DIY campaign. Dowd wound up winning the National Board of Review's best-supporting-actress prize, a key precursor, and was nominated for an Independent Spirit Award.
"The thought of doing that campaign at first felt foolish—I mean, not arrogant, you know, but hey, I was raised Catholic," Dowd says now. But she believed in the work and knew awards attention would be significant for her career. "I was so proud of her for doing that," Zobel says. "There was so clearly a feeling that she deserved it."
Dowd remembers showing up at the 2013 National Board of Review Awards, preparing to make a speech at an intimate affair and instead finding herself being feted at one of Oscars season's biggest, glitziest kickoff events. "This won't work," she'd flatly told her director and publicist at the event. They convinced her to stay, that she belonged. "I had no attachment to winning, because I didn't think I ever would," Dowd says. "It was like a party. It was going to Disneyland."
Dowd did not receive an Oscar nomination, but her trajectory in Hollywood clearly changed following Compliance, even if the film didn't crack $1 million at the box office. Says Zobel, "She walked away from that with everyone knowing she was a force to reckon with."
Compliance's Sandra was only the start of Dowd's brilliantly antiheroic creations. She plays them with a menace bone-deep in its realism, and grounded in a peculiar, off-kilter humanity. For her most infamous villain, The Handmaid's Tale's Aunt Lydia, people regularly ask Dowd how she gets into such a nasty headspace. Years of work on exactly that sort of practice explain her skill there. "At first, I wouldn't want to tell the truth about it, which is, 'I can't get there fast enough,'" she says with a gleeful smile. "We don't carry the consequences home."
When she won the 2017 Emmy for drama-supporting-actress, Dowd noticed a kind of shift. It'd been a few years since Compliance and things were, for lack of a better word, happening. The Leftovers brought her a new level of critical attention; Handmaid's got her onto the biggest stage in TV. "I started to get attached to the winning," she says. "I realized, wait a minute, hon. Let's go back a little bit here. Let's keep the focus on the work. Don't do it." She confronted bubbling feelings of envy. And she still fights them. (The Emmys were the next day, remember?) "Let go of the attachment," she reminds herself mid-conversation. "Joy is in the work."
Such attention is, of course, the occasion for this interview—for what may come of her harrowing performance in Mass. Her work in the film both represents everything she has learned and brought to her acting, and challenges those skills and strategies as never before.
In Linda, she embodies a woman living in profound grief, and also some degree of terror. She had a hard time with it. "I can't even talk about it," Dowd says through sniffles. Her eyes wander around the hotel. "When will I ever remember Kleenex?"
Kranz, a veteran actor of stage (The Death of a Salesman on Broadway) and screen (Dollhouse) making his directorial debut on Mass, offers an outsider's perspective on Dowd's experience. "She's not a method actor, but there's something else going on," he says. "I don't know if it's Ann possessing Linda or Linda possessing Ann, but there is this open channel between her and the character that flows so freely. It is something to see. Because of who this character was, it was often overwhelming and almost concerning to be around. I'd have my sound mixer look at me and say, 'Should we record?' It almost felt wrong: You saw this woman weeping inconsolably. Honestly, I've never seen anything quite like it."
Sure enough, Dowd tells me, "The thing that really, really stunned me about this experience was how much [Linda] took possession of me, rather than me of her." Dowd made sounds during filming that she'd never made in her whole life. She was "knocked out" during the shoot, a feeling that still comes back. "It's like, What the fuck is going on?" Dowd says with a teary laugh. "It happens when I start to talk about it."
Linda has a wrenching monologue to close the film, one that puts her uniquely complex standing in the drama into sharp context. The scene needed to be shot before anything else, however, since the rest of the cast's scenes were set in a single room and time was tight. Barely a day into production, Dowd filmed take after devastating take. "Linda is asking us and these characters and the audience, really, to comprehend the incomprehensible," Kranz says of the monologue. "What Ann was putting herself through—witnessing it, it was really stunning and remarkable."
The script kept Dowd centered, as did a "generosity" in Linda that she'd never before experienced through a character: "She just let me know, 'You've got it,'" Dowd says. There was joy and laughter on the Mass set as well; industry veterans who didn't really know each other bonded tightly. Dowd recreates for me a prank that Reed Birney, who stars as her ex-husband, would play on her. Such intimacy helped inform the raw feeling they summoned for the camera.
This all comes back to that first rehearsal, to the trust they established, to Dowd's confession to the group—which, today, she has decided to keep private. "I'll never forget it," she says of that moment of sharing. "The need to speak to these people that I never met—why would I do that?" She mentions age and experience as possible answers, and she's right in a way—she's grown, after all—yet one senses she does this every time she's onscreen too, for everyone watching and listening. For more people she doesn't know. Here's someone who's learned how to tell and accept the hard truth, in art and in life, like there's no difference. Maybe there isn't. Dowd's work in Mass is plenty convincing, at least: She talks, and you'll believe.
Mass premiered at the 2021 Sundance Film Festival and will be released in select theaters in October 8. The movie will also screen at the BFI London Film Festival next month. This feature is part of Awards Insider's exclusive fall-festival coverage, featuring first looks and in-depth interviews with some of this coming season's biggest contenders.
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David Canfield is a Hollywood staff writer for Vanity Fair. He covers awards including the Oscars and Emmys.


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BTec missing results: 'We've been forgotten about'
Image copyright Thalia Hazeldine
Four days have passed since BTec students across the UK were due to get their results.
But those four days have been an anxious wait for many students – because they've heard nothing about their grades.
Most received their qualification, according to the Association of Colleges, but exam board Pearson admits there has been a delay for some.
With university spaces filling up – and clearing opportunities dying down – students worry they won't make it to university.
Pearson didn't say when results will be available but is offering to speak to universities on behalf of affected students.
The UK's largest awarding body for qualifications including BTecs, A-levels and GCSEs says it is looking into the issue "urgently".
Some students who took Cambridge Technicals – vocational qualifications similar to BTecs but administered by the OCR exam board – are experiencing the same delays.
OCR apologised for "adding to the stress" of students and said it would confirm results "as soon as possible".
Image copyright Ellie Clarke
Image caption "I love caring for people so much"
That's no help to 18-year-old Ellie Clarke though.
She's spent the past two years completing her BTec in Health and Social Care – which included coursework, exams and 100 hours of voluntary work caring in the community.
Her "heart sank" when she went to see what grade her hard work had led to and the website showed nothing.
"As students, we're committed to completing our assignments on time, but our exam board couldn't even commit to getting our results in on time."
She's since struggled to sleep and feels helpless.
"I've cried a few times. I don't know what to do or who to contact because there's realistically nothing I can do."
'It's like we're not important'
Without her results, she says it's hard to access clearing.
"I have until next week to accept my accommodation, as the universities now need our results as a matter of urgency."
Ellie and her classmates "feel forgotten", she adds, like they're "not important".
But she is committed to caring for people, regardless of how the delay over results ends up.
"If this year doesn't go to plan, I'll carry on, get a nursing degree one day and treat those people that lowered my grades or didn't give me my grades – to show them how hard I worked."
Pearson said: "We understand the frustration this must have caused. We are working closely with the students and colleges involved to look into this urgently and provide any outstanding results as soon as we can."
It's asking affected students to direct message @BTECstudents or @Edexcelstudents on Twitter for help.
'There's nothing to celebrate'
Image copyright Faheem Khan
Image caption Faheem says his nerves have been building since Thursday
"On results day you know you're going to be nervous for what you get, but because we haven't had our results and it's going on for four days now, those nerves rack up. It's quite hard to deal with."
Faheem Khan is waiting anxiously to see whether he will be accepted into either Wolverhampton University or De Monfort University to study Pharmacy.
The 20-year-old says Pearson "needs to get itself together".
"If the roles were reversed and we were to give our results late we would be disqualified. It's not fair, we would be punished."
Faheem was hoping to go out for a meal with his friends after finding out their results but the plans are on hold because "there's nothing to celebrate".
"If I try and look at the positives, this results day is something to remember."
'I don't think I'm going to university'
Image copyright Thaila Hazeldine
Thaila Hazeldine wants to do a nursing degree after finishing her Level 3 Health and Social Care BTec. But now she doesn't think that's likely.
"Clearing places are filling up, I just don't think I'm going to university this year."
She hoped to have a place confirmed at Brighton University by now. The uni is holding a place for her until she finds out her results.
If Thaila misses the requirements though she had been hoping to get a spot at the University of Portsmouth. That chance is now gone – there are no spaces left.
"We've had little communication from Pearson. It's exhausting for us."
Thaila hasn't joined some of her friends at the pub to celebrate the end of two years' hard work. Instead she's been "constantly checking" her phone for updates.
The 18-year-old feels Pearson has put her and her classmates at a "huge" disadvantage and left them feeling "frustrated and forgotten about".
"I've worked so hard for the past two years – even when it was really difficult and I felt like quitting – because I knew by putting in the work I'd achieve great things. To have that taken away by Pearson is disheartening."
'The good places are running out'
Image copyright Badar Hussain
Image caption Badar says dealing with dyslexia during his BTec was his biggest challenge to getting good grades
"I've worked really hard as I sat my exams before lockdown," Badar Hussain tells Newsbeat.
He's achieved distinctions and merits throughout the year and says the delay in results could harm his university prospects.
"If I don't meet my offer, I can't go through clearing because I have no results to show and all the good places are running out."
It means the 18-year-old will have to re-do his course or take a gap year.
Badar says he's received no updates from his college or Pearson about his results, despite sending multiple emails.
"On the day, I was sent no information about what my results were or what to do for clearing. It's been four days and there has been no information about this or what to tell my universities."
He feels the system is "unfair" and BTec students like him are dismissed and not taken seriously.
Badar wants to study science further and become a doctor – but for now, "the future is unimaginable".
"Any help from the government with reserved university places would perhaps help."
Follow Newsbeat on Instagram, Facebook, Twitter and YouTube.
Listen to Newsbeat live at 12:45 and 17:45 weekdays – or listen back here.
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June 2, 2016 3:39PM ET
Emilia Clarke takes care of a quadriplegic — and falls in love — in this four-hankie tearjerker
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Emilia Clarke and Sam Claflin in 'Me Before You.'
Alex Bailey/Warner Bros. Pictures
In movie weepies, from last century's Love Story to the millennial likes of The Fault in Our Stars and anything by Nicholas Sparks, death is the ultimate aphrodisiac. Just get a load of Me Before You. I watched the film version of Jojo Moyes' 2012 bestseller surrounded by women who laughed through their tears and vice versa. The few dudes in attendance sat stoically, resigned to their fate or maybe holding back their feelings. Surprise: Me Before You isn't an unduly painful endurance test.
For that, thank the two captivating actors cast as the doomed lovers. Emilia Clarke is best known as the blond, dragon-taming Khaleesi on Game of Thrones. But here she plays brunette, plain-Jane Louisa "Lou" Clark, from a rowdy, working-class British family. Lou becomes the caretaker for blue-blood quadriplegic Will Traynor, played with winning charm by Sam Claflin of The Hunger Games franchise. Will is an impossibly handsome London financier who was paralyzed two years ago when a motorcycle accident ended a lifestyle that would have qualified him for the best season ever of The Bachelor. His wealthy family owns the British castle right over the hill from Lou's humble abode.
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Chatty, dimpled Lou, whose wardrobe of Minnie Mouse stripes and polka dots would send fashionistas into a shock coma, is improbably hired by Will's mum (Janet McTeer, restrained and remarkable) to distract her son from offing himself at an assisted-suicide clinic in Switzerland. Not since Julia Roberts tried to smile Campbell Scott back to life in 1991's dismal Dying Young has an actress had to grin like a maniacal cartoon character in the face of the Grim Reaper. Yet, Clarke pulls it off, exuding natural warmth and humor in a part constructed from artificial sweeteners.
OK, she could have twinkled less. But the actress is genuinely endearing, as is the admirably dry-eyed and acid-tongued Claflin. He teaches Lou about Mozart and subtitled movies and admits to a weakness for Michael Bay's Armageddon (he lost me there). Will thinks Lou's clothes are ridiculous but falls — as he must — for the real her. A few moments allow both actors to register strongly. I'm thinking of a scene in which Will whirls Lou around a dance floor in his wheelchair. Peering at her neckline, he says, "you wouldn't let me near those breasts if I wasn't in this chair." The two share a few PG-13 kisses as Lou tries to show Will the possibilities in choosing life. But the movie keeps averting its eyes when things get uncomfortable about the tangle of sex and frustration. Like the book by Moyes, who wrote the script, the film glosses over suffering with beauty. The messier duties of caring for Will are handled by male nurse Nathan (Stephen Peacocke), also a looker. Everyone is gorgeous and impossible not to love.
If I seem taken aback by what is really no more than typical Hollywood twaddle, it's because Me Before You is the feature film debut of Thea Sharrock, a leading light in the British theater and the last person you'd expect to go mucking around in paint-by-numbers tearjerking. A leading U.S. Disability Organization has criticized the film for implying that the millions of people with significant disabilities currently leading fulfilling, rich lives might be better off committing suicide. I don't think Me Before You does that. But it also doesn't grapple deeply enough with the core questions it raises, settling for telling a sob story that will go down easy at the box office. Still, you can't blame audiences too much for being seduced by two shining young stars in a movie romance that hits the spot, bitter and sweet.
In This Article: Emilia Clarke


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To-Do List: "Deficit Denial" Ends, Tram Service Resumes
By Samantha Henig
To know: "The era of deficit denial in Washington is over," according to Erskine Bowles, the Democratic co-chair of a bipartisan fiscal commission that is expected to vote by the end of the week on the latest plan to hold down the federal deficit. Service members prefer gay soldiers to fat ones. And the Roosevelt Island tram is back and better than ever in New York City.
To address net neutrality: Julius Genachowski, the chairman of the Federal Communications Commission, in a speech this morning. Genachowski's attempt to regulate Internet access by reclassifying broadband was thwarted in court this spring, but he is expected to announce a new tactic today.
To end at midnight: Unemployment benefits for nearly two million Americans, unless Congress changes its mind.
To get the WikiLeaks treatment? Bank of America, which is rumored to be the next organization exposed by secret documents released by Julian Assange. For now, Assange has his sights set on Secretary of State Hillary Clinton, whom he says should resign. He is also a target: In addition to being investigated in the U.S., Assange is now on Interpol's worldwide wanted list.
To buy: Bob Dylan's handwritten lyrics to "The Times They Are A-Changin' " or Lee Harvey Oswald's coffin, both of which go up for auction this month.
To watch: Videos of New Jersey Governor Chris Christie. Everyone else is. This video of him schooling a local teacher in manners has gotten more than seven hundred and seventy thousand hits, which means, the New York Times reports, that it "has been viewed more than all but six of the videos on the White House channel." In total, his YouTube channel has garnered two million hits, which is seven times the traffic of the YouTube channels of Governor Tim Pawlenty, Mitt Romney, and Governor Haley Barbour—three contenders for the Republican ticket in 2012—combined.
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Sony A7 light leak, round II of III - Results of direct-sun test suggest more testing needed…
5d mark iii d800e df em-1 fuji gh3 light leak nex-6 olympus panasonic sony the sky is not falling x-t1
by Dave Etchells
posted Monday, March 10, 2014 at 8:27 PM EDT
Sony A7, initial test
When we reported on the Sony A7 light leak issue Friday, we moved to get you information as soon as possible. Since our A7 was with Editor Mike Tomkins, a timezone ahead of us, he wasn't able to catch the sun in time for a test similar to our experiment with the D800E and 5D Mark III. Instead, he used a couple of high-intensity flashlights instead.
What we found then
We did a quick 'stress test' experiment, pitting the A7 against high-end full-frame DSLR competition from the Nikon D800E and the Canon 5D Mark III at the somewhat ludicrous settings of 30 seconds at ISO 25,600. Both cameras exhibited terrible light leaks until we used optical viewfinder covers/shutters (no surprise) and further, also taped over the lens caps and optical viewfinders
We took shots in direct sunlight with the DSLR competition and noticed some minor light leaks on 5D Mark III and more significant ones on the D800E. In contrast, the A7 had a very minor leak in the top-right of the frame under the high-intensity flashlights.
What we found today
We tested the A7 under the worst-case condition of full sunlight falling on the front of the camera, and found a whole lot more light leaking in than Mike's flashlight test gave any indication of. We also tested other cameras using the same unrealistic worst-case scenario 'stress test.'
Mirrorless competitors
The Olympus E-M1 and the Panasonic GH3 exhibited pitch black frames (save for the extreme noise) and absolutely no signs of light leak when paired with the Olympus 45mm f/1.8 lens. Notably, neither camera exhibited any leaks when we removed the tape over the lens cap. So in case you were wondering who makes the most lightfast lens caps, the data is in: The Olympus cap on their 45mm is a great one. Note: The GH3 max ISO is 12,800, so its results aren't directly comparable.
E-M1: 45mm, f/8, 30s, ISO 25,600 - with tape
E-M1: 45mm, f/8, 30s, ISO 25,600 - NO tape on mount
The Sony NEX-6 also had no evidence of light leaks, though the frame had a very slight color gradient.
NEX-6: 50mm, f/1.8, 30s, ISO 25,600
The Fuji X-T1 had a couple of odd green patterns. No idea what's going on here, and two successive shots under identical conditions were noticeably different; the one shown here was about twice as bright as the other.
Fuji X-T1:
Based on these results, we'll leave the E-M1, GH3 and NEX-6 out of any further testing. If they did this well with wildly unrealistic conditions, there's no sense in giving them a chance in more realistic tests. Subject to Mike's availability on a trip to Hong Kong, we'll continue to evaluate the X-T1. (He has the X-T1 along with him, lucky guy!)
DSLR competitors
As we mentioned previously, we subjected the D800E and 5D Mark III to our stress test. The results follow:
Nikon D800E, 30 seconds, ISO 25,600, sunlight. Sigma 70mm f/2.8 Macro
Canon 5D Mark III, 30 seconds, ISO 25,600, sunlight. Sigma 70mm f/2.8 Macro
The Nikon Df had a very faint leak, which we're confident wouldn't affect performance.
Nikon Df: ISO 25,600, 30s
The Pentax K-3 and K-5 were entirely lightfast.
Pentax K-3: ISO 25,600, 30s
An updated (daylight) Sony A7 stress test
As some of our more astute readers noted, 30 seconds at ISO 25,600 is an absurd exposure. Results at this level are helpful to eliminate the need for further testing, but less useful to determining the effects on real-world shooting.
Nevertheless, we can now update our results with a stress test of the A7 in sunlight. And they indicate there's a need for additional testing.
Sony A7, 30 seconds, ISO 25,600, sunlight. Sony 35mm f/2.8
That's obviously a lot worse than what we saw in the super-bright flashlight test, and is arguably worse than what we saw even from the D800E. Of course, we're still talking about an exposure that's equivalent to 128 minutes at ISO 100, something even the most rabid fans of daylight long-exposure photos are unlikely to undertake. In a third installment on this story, we'll look further at how the A7 and other cameras perform in more normal exposures (up to perhaps a few minutes at ISO 100.)
What's interesting is that, whereas light leaks for other cameras come from either the lens/flange interface or the optical viewfinder, the light leaks for the A7 appear to be associated with the orange styling detail between the camera body and the flange. Specifically, the lower left portion of the orange ring, at least on our sample. We know this because Mike Tomkins carefully applied black tape to various parts of the lens/flange/body assembly. While the vast bulk of the light leak in our sample came from the joint between the orange styling detail and the body, the image of that leak was rather different than what we've seen posted elsewhere on the Internet. Most examples we've seen online show a streak in the upper right corner as seen above, but not the other artifacts we observed. It turns out that the upper right-hand streak was what remained after Mike masked the orange detail/body gap, and went away only when he masked-off the joint between the flange and the lens itself.
An example from a real-world application
As we've said repeatedly, the exposures shown above are completely unreasonable ones, corresponding to conditions that we can't imagine any photographer shooting under. So what practical impact does the light leak have? It turns out there is at least one group of photographers out there, who actually are impacted by this. A devoted coterie of long-exposure fans routinely snap very long-exposure photos under daylight conditions.
IR reader Satoru Murata is one such longtime daylight long-exposure fan, using very long exposures to achieve motion blur effects in cloudscapes. Using 12-19 stops(!) of ND filtering, his is clearly a discipline at the outer edges of the exposure-to-ambient light curve, but there's little arguing with the beautiful shots he produces this way. He was nice enough to allow us to share one of them below, that shows how the A7R's light leak affects the kind of very long daylight exposures he does.
A beautiful long-exposure daylight shot from IR reader Satoru Murata,
showing the effect of the light leak, in the upper right corner
(Sony A7R, unknown lens, 76 seconds at ISO 50, copyright Satoru Murata, all rights reserved)
So it's clear that the A7/A7R light leak can impact the work of some photographers, and Satoru had no such problems with the Canon 5D Mark II he previously used. So if you're really into long-exposure daylight photography the way Satoru is, the A7/A7R leak could well be an issue for you: You'll need to resort to gaffer's tape or putting an elastic hair-band around the lens mount on your camera. For any normal exposure durations, though, we still don't see this being an issue. We'll try to look at a range of long exposures ourselves, both with the lens cap on, and hopefully in some "real world" shots as well, albeit not likely to be as gorgeous as Satoru's above. Ideally, we'll shoot a series of varying exposure durations with the real-world subject, but need to order-in some really high-value ND filters first.
The Sony A7 is in transit to IRHQ at the moment, so we haven't been able to follow up our stress test with tests at lower sensitivities. However, the following factors compel us to update our findings: the relative performance in daylight under the stress test as compared to all other competitors we've tested; other A7 photographers real-world photos; and the remarkable similarity of the shape and location of the light leaks.
For certain relatively specialized applications, the light leaks really are an issue. Folks who stack neutral density filters to take long exposures in bright sunlight may well see light leaks.
The issue is truly trivial to fix. A bit of gaffers tape (or, as others have suggested, a hair band) is all it takes. But we can understand folks who just dropped $2,000 on the A7, or even more on the A7R being less than enthused by that solution.
Given these facts, we're updating our previous statement based on our (still preliminary) research: For the vast majority of photographers this is still truly a non-issue, but photographers who intend to play with long exposure daylight photography should be aware of the likely need for the gaffers tape/hair band workaround.
We gave the Sony A7R our Camera of the Year award. We still completely stand by that award: it's an amazing tool for a wide range of photographers; it's undeniably an incredible leap forward for the industry; and it opens up a promising direction for mirrorless system cameras. Just keep the hairbands at the ready if you're doing long exposure daytime work, or intend to put the camera close to high-intensity strobes.
We'll be testing the cameras that exhibited light leaks in our stress test at lower sensitivities: the Nikon D800E, Canon 5D Mark III, the Fuji X-T1 and of course, the Sony A7.
We'll shoot with any cameras that still exhibit substantial light leaks under a broader range of real-world shooting situations.
We're also eagerly anticipating whatever Roger Cicala of Lensrentals.com can find out after dismantling the camera. (We've been in correspondence with Roger, suspect his hands are already itching to grab a screwdriver and take apart a few A7s and A7Rs :-)
Stay tuned in a few days for the next (and hopefully last) installation of our light-leak exploration.
Check out our final verdict on the Sony A7 light leaks.


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No third party involved in Dominique Worrall M20 death in Ashford
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BySam Williams
swilliams@thekmgroup.co.uk
Read all comments |
Published: 09:43, 19 July 2019
| Updated: 12:10, 19 July 2019
Serious crime detectives have found no evidence of third party involvement in the death of a mum on the M20.
"Beautiful and bubbly" Dominique Worrall, 32, was discovered on the London-bound stretch close to Junction 9 in Ashford last February.
Police arrested a 31-year-old man on suspicion of murder shortly afterwards, but officers now say they have found no evidence to suggest there was any third party involvement in the death.
Dominique Worrall died in February 2018
The man initially arrested has since been released without charge.
The latest development comes just days ahead of an inquest for Miss Worrall, which is due to take place at the Archbishop's Palace in Maidstone on Tuesday.
Det Ch Insp Richard Vickery, from the Kent and Essex Serious Crime Directorate, said: "We have carried out extensive inquiries following the death of 32-year-old Dominque Worrall after her body was found on the London-bound carriageway of the M20 motorway on Tuesday, February 20 2018.
Miss Worrall previously lived in Ashford before moving to Camber
"A 31-year-old man was arrested in connection with the incident.
"However officers found no evidence to suggest there was any third party involvement in Ms Worrall's death and he has since been released without charge.
"I want Ms Worrall's family and friends to be assured that our officers have dedicated hundreds of hours to what has been a very complex case in order to explore the circumstances around her death and, as with all investigations, we will explore any new information or evidence that comes to light."
Police closed the M20 for more than 20 hours following the discovery of Miss Worrall's body, who had been struck by several vehicles on the carriageway near the Canterbury Road A28 bridge.
Police on the M20 where Dominique Worrall's body was found (1023566)
The former waitress had lived in Gorse Mead in South Ashford for at least five years before moving to a caravan park in Camber Sands in East Sussex just before Christmas in 2017.
After her death, tributes poured in for the mum of two from friends and neighbours.
One neighbour from Gorse Mead said last year: "Dominique was always with her children, she was a beautiful person.
"When I first moved here, I clicked with her straight away.
"I really got on well with her and as she lived next door, we would often chat in the garden and we used to speak to each other across the fence.
The carriageway was closed for 20 hours while police investigated
"Dominique really was a great person I cannot say a bad word about her. She would get on with anyone."
Posting on Facebook, another friend said: "I'll miss your bubbly fun personality and I'm devastated I'll never hear your laugh again.
"God bless you."
A fundraising page was set up to pay for Miss Worrall's funeral, which was held in Rye in East Sussex last May.
An inquest looking into the circumstances surrounding her death will be held on Tuesday.
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These cheerful blooms thrive wherever they're planted. In the garden, on a wall, in a bedroom, in a bathroom, anywhere that calls for color and a smile. They're made of recycled wood and metal, hand-painted and one of a kind. Made in the USA. Set of 5, one of each. Yellow, 12"W x 1"D x 12"H; Lilac, 11"W x 1-1/2"D x 11"H; Oldora, 11"W x 1"D x 11"H; Sunflower, 11"W x 1-1/2"D x 11"H; Lilred, 9"W x 1"D x 9"H.


This page displays sold house prices for Viney Lane in Aylesbury.
Viney Lane in Aylesbury HP19 consists predominantly of terraced houses. Properties on Viney Lane typically have values around £250,000 - £350,000, with larger terraced houses and townhouses valued at around £350,000.
Map showing Viney Lane in Aylesbury.


text:
using System.IO;
using EventStore.Core.TransactionLog.Chunks;
using EventStore.Core.TransactionLog.Chunks.TFChunk;
using NUnit.Framework;

namespace EventStore.Core.Tests.TransactionLog
{
    [TestFixture]
    public class when_destroying_a_tfchunk_that_is_locked: SpecificationWithFile
    {
        private TFChunk _chunk;
        private TFChunkBulkReader _reader;

        [SetUp]
        public override void SetUp()
        {
            base.SetUp();
            _chunk = TFChunk.CreateNew(Filename, 1000, 0, 0, false);
            _reader = _chunk.AcquireReader();
            _chunk.MarkForDeletion();
        }

        [TearDown]
        public override void TearDown()
        {
            _reader.Release();
            _chunk.MarkForDeletion();
            _chunk.WaitForDestroy(2000);
            base.TearDown();
        }

        [Test]
        public void the_file_is_not_deleted()
        {
            Assert.IsTrue(File.Exists(Filename));
        }
    }
}

redpajama_set_name: RedPajamaGithub


text:
Eastern Daily Press > Sport > Norwich City FC
Jonny Howson impresses Paul Lambert on his Norwich City debut
Published: 11:15 PM March 4, 2012
Jonny Howson will have a big impact on Norwich's Premier League run-in, according to Paul Lambert.
The City chief sprung something of a minor selection surprise at Stoke with a full senior debut for the ex-Leeds midfielder following a three-month lay-off with a knee injury.
Howson was immediately promoted to the first team ranks after successfully coming through a full midweek reserve shift.
Lambert hinted on the eve of battle Howson was in his thoughts for one of the toughest assignments of the Premier League season, and the City chief had no hesitation in deciding to deploy the 23-year-old alongside former Elland Road team mate Bradley Johnson in a dual screening role at the Britannia Stadium.
'He did really fine cconsidering it was his first game for a few months,' said Lambert, after giving Howson a 75 minute run out before he made way for Aaron Wilbraham with the visitors striving to cancel out Matthew Etherington's late opener.
'Jonny will be a big player for us come the next weeks. I have great belief in him to go and do it, as I do with all the lads. You have got to see how fit he is and how he can fit into the side, but that game will stand him in good stead. It is not easy to leave out lads when you change a side, but that is what happens in football all over the world.'
Howson marked his debut with a yellow card for a mistimed lunge on Glenn Whelan during an opening period when Lambert's side more than matched Stoke's physical endeavour.
'You don't get that in this league most weeks. There isn't a right way or a wrong way to play football. It's anybody's prerogative to play how they want to play,' said Lambert. 'For my own team, I couldn't ask anymore.
'Maybe it wasn't until Stoke scored that we started to look threatening at the other end. I think when you get a goal against you then the lads know they need to go and do something to pick it up and get going.
'It wasn't through the lack of trying that we wanted to get a goal and a win up here. I just think there weren't many chances for both sides. John (Ruddy) had one save to make in the first half, other than that there wasn't much for either side.
'We changed it at half-time and brought Simeon (Jackson) on because we had to get up the pitch the way the game was going.'


2.) The Bible was once written in Latin and was a forbidden book-not any common people were allowed to read it. We are hugely indebted to the William Tyndale who was determined to translate the Bible to English so much so that he will "cause the boy that driveth the plow to know more of the Scriptures than thou dost" (referring to a clergyman at that time).
3.) The Ark of the Covenant is made of wood and gold. In the Bible, wood speaks of human nature while gold speaks of divine nature. The Ark of the Covenant symbolizes Lord Jesus Himself, who is fully human and fully God.
4.) The Law of Moses consists of three parts: the civil law, the ceremonial law and the moral law. The civil law (law about slavery, etc) only applies to ancient Israel. The ceremonial law (law of burnt offering, etc) is no longer applicable as it has been completely fulfilled by Lord Jesus Himself. The moral law (the Ten Commandments) still applies to us.
Today I helped out in shifting stuffs from Expo Hall 8 to SIS. I initially only planned to help out in SIS. However, an Attributes friend called me asking for some help in Expo too. I then immediately left lab earlier and rushed to Expo Hall 8. Whenever Attributes people call for help, it means there is something really urgent and important.
After mounting the bookstore stuffs to the truck and courier van, I headed down to SIS with 2 other Attributes friends with cab.
Finally, I unloaded stuffs there.
I was practically exhausted… Luckily at the end reinforcement arrived.
We shall makes sales this weekend!!!
Hmm, somehow I feel like posting about Naruto Shippuden Opening: Sign by Flow. I think it is a super good opening, depicting sad separation between Naruto and Jiraiya. For me personally, I could identify myself with some parts of the lyrics.
Do you remember the sky of tears?
But really, NTU has plenty trees, various plants and big garden. Hence, we live very close to insects.
I was in my boss' room, discussing a project. Suddenly a lab officer (LO) came.
LO: Jefri, you are very lucky. I brought this. A student baked for us.
A few moments ago, my boss called me to his office.
Dr. Y.: Jefri, you are very lucky.
Dr. Y.: It's very fattening.
Some people have baldness in the front part of their head. This maybe a good thing because it indicates that they are people who like to think things through. On the other hand, some people have baldness at the back part of their head. This also maybe a good thing because it indicates that they are highly intelligent people. However, it is definitely not a good sign for people to have baldness in the front and back part of their head. Why?
Answer (please highlight next sentence):These people like to think that they are highly intelligent people themselves.
Last Saturday I got two memorable quotes.
1.) Pastor Tan preached about staying faithful to God even in the midst of trial and suffering. In such situation, "it is ok to shout and cry, as long as you do it within the House of God," he mentioned.


Students are able to experience many things on the UCLA campus, but as soon as the end of the quarter hits you can feel the tension in the air. It's just about time to crack open those textbooks and start memorizing those flash cards. We are currently on our eighth week of school going onto our ninth week and instead of staying on campus and studying, I decided to take a little vacation before finals and go home to the Bay Area.
UCLA just makes it too easy for us to leave campus. We have a FlyAway bus that only costs five dollars and it will take you all the way to LAX. How simple and easy is that? There are also bus routes that can take you to union station if you are looking to take the train. In no way am I promoting procrastination, but just know that there are ways to travel around and off of campus. I've got to get back to enjoying home. Go Bruins!
Previous Post Welcome to UCLA life!


text:
Artists give City color rush with Traffic Signal Cabinet project
The creativity of 10 local graphic artists has given the City of Goose Creek landscape a color rush.
Thirteen traffic signal cabinets around the City have been wrapped in the artwork and design of the artists, whose works were selected by the Goose Creek Cultural Arts Commission this fall.
The "Beauty and the Creek" Traffic Signal Cabinet Art Project was the first of its kind in Goose Creek. Dozens of artists submitted artwork for the contest. Artists received a $250 stipend paid by the City of Goose Creek upon the wraps' installation, which was completed earlier this month.
Congratulations to the artists whose designs were selected. They are: Tyler Hicks, Tina DiStefano, Pamela Corwin, Sue Selvey, Jessica Kesler, Emil Hristov, Trina Lyn, Michele Levani, Ty Davis and Michael Warren (pictured). Hristov and DiStefano each had multiple designs selected.
While there could be only 10 winners, the success of the project could mean more opportunities in the future. Learn more about the Goose Creek Cultural Arts Commission.


We were so excited/honoured/fortunate/shocked to guest edit Dote Weddings Volume 3!
Dote Weddings Volume 3 features four real weddings, stationery inspiration made by Canadian designers, marriage advice from the Dote community, a look at different types of veils, a new kind of boudoir, men's getting ready, a detailed planning guide and wedding Doteables.
Visit our shop, the dote shop or your local chapters/indigo for a copy.
Where do we even start! J+C's wedding included three large clearspan tents, harvest tables, gossamer table runners that we cut into personalized place settings, a custom invitation suite and the favours of our dreams. It also was one of the only bright and sunny days that week and for that, we were very thankful.
We were so excited to see it picked up by wedding sparrow - see the feature here.
Featured on Style Me Pretty, this styled shoot was Inspired by the historic venue (the Deane House was built in 1906!), and focused around creating timeless and beautiful elements that would withstand time and trend. Finding inspiration in the old adage 'less is more' the vendor team worked to create a simple yet intentional vision, focusing on small details that came together for a large romantic and ethereal punch. Although romance takes a center stage, pops of playfulness are brought in through an updated take on a wedding cake (tart anyone?) and small pops of bright peach and amber.


Le Mans 1959 – After contesting every Le Mans 24hr. since 1931 Aston Martin finally secured victory with the winning DBR1 of Shelby and Salvadori seen here in front of the 3rd. placed and GT class winning Ferrari 250 GT TdF Berlinetta of Blaton and Dernier.


Madeline shuffled into our bathroom this morning, her cheeks marked with creases from the imprints of her sheets, rubbing the sleep from her eyes with her fists. She squinted in the bright lights of the bathroom, and then her face lit up with a smile when she saw me standing there, putting on makeup. She moved in close, wrapped her arms around me, and squeezed tight.
She woke up rather quickly after that, and the words started pouring out.
This is what I was greeted with this morning, and I loved every frantic minute of it.
Shortly after my last post — in fact, less than a week after — I headed to Arizona for three days for a work meeting. I got home on a Saturday evening, and in less than 36 hours later, on the following Monday, I was back in the hospital for four 12-hour days on our cancer floor, caring for the inpatients and seeing patients newly diagnosed with cancer. Less than 24 hours after that, I headed to Atlanta for another work conference. And finally, after a 3 hour delay in the Atlanta airport, I got home last night, well after the kids were asleep.
I haven't seen my kids much since Thanksgiving, and it has seriously affected my mental well-being.
While in Atlanta these past several days, for the annual hematology conference I attend, I shared a room with my good friend and fellow oncologist, Julia. I'm pretty sure that I was a crappy roommate to have. During the down time between meetings — sessions on the diagnosis and treatment of various lymphomas, prognostic factors of chronic leukemias, and other such exciting topics — I lamented missing Madeline's first competitive swim meet this past Saturday. I worried over missing her ninth birthday on Sunday, a birthday Madeline had been looking forward to and talking about for what seems like months.
I was homesick, and I'm certain it showed.
But now I'm home finally. Finally.
And as I write, I sit on the sofa, my feet propped up on the coffee table, with Oliver pressed against my left side, snuggled in his red blanket, and Madeline, hair still wet from her shower, nestled up against my right side. A Tinkerbell DVD, one of my daughter's birthday presents, is playing on the television while I write this. And it feels as if I've been here this whole time. Exactly where I belong.
It's a good feeling, being here with them, snuggled on the sofa together.
The past couple of weeks have exhausted me, physically and emotionally. And tonight, here with my kids and my Sam, I know that I'm home.
And home is a very, very good place to be.
Banana bread has nothing to do with this story, except that it's cozy, like a warm hug from your children after too many nights away. Trust me on this.
A sweet spin on my super-moist banana bread, this version is more dessert than snack. Regardless, you won't regret making it. It's guaranteed to be a success, whenever you serve it.
Preheat oven to 350 degrees and place rack in the middle of oven. Butter a 9-by-5-inch loaf pan.
In a small bowl, whisk together the flour, cocoa powder, salt, and baking soda.
Use the back of a fork to mash the bananas in a large bowl. Add the melted butter, sugar, beaten egg, vanilla, and sour cream, and mix well. Add in the flour mixture and stir until well-incorporated. Stir in the chocolate chips. Scrape batter into the buttered loaf pan and bake for 55 to 60 minutes, or until a toothpick inserted in the center comes out clean.
Your bowl of creamy grits looks so warm and comforting. Glad you've had some time for yourself.
Very nice post. I would love a good bowl of shrimp and grits. . . plus, a good anatomy lesson.
Glad you had some great down time with the kids before your busy weeks kick in to high gear.
I've never had grits. I don't even think we can buy stone ground or any kind up here. My husband would love that shrimp!
Wow MJ – I am blown away by your blog!! I made this shrimp and grits recipe last night for company – it was so delicious! I'm making your bollognaise sauce right now – it's been on the stove for about 2 hours and is looking so yummy. I'll let you know how it turns out. Did I mention that I'm blown away?!
I love your Florida posts, it reminds me of home.
The shrimp and grits? Yum!


1940's drop-leaf kitchen table! Glass-topped end table! Bookcase! Antique metal bed! Gift baskets and dried flower arrangements for Mother's Day! Lots of top quality ladies clothing - all sizes! Unusual houseplants!!


The RG-80 Recessed Emergency Gimbal enables the designer to retain a clean look in the architectural environment while providing effective emergency lighting. The trim consists of a white thermoplastic gimbal ring with an integral test switch and AC indicator light. The gimbal ring can be adjusted to achieve optimum aiming of emergency light.


text:
sample biodata format in word file
Al green mend a broken heart
Posted on 08.08.2020 08.08.2020 by Fenridal
Watch the video for How Can You Mend a Broken Heart from Al Green's Let's Stay Together for free, and see the artwork, lyrics and similar artists. Al Green lyrics are property and copyright of their owners. "How Can You Mend A Broken Heart?" lyrics provided for educational purposes and personal use only. Nov 05, · The existing chart is all tab with no lyrics. This is chords only/5(20).
[Seventh track on Al Green's album Let's Stay Together. It is a cover of the Bee Please help me mend my broken heart and let me live again. How can you . "How Can You Mend a Broken Heart" is a song released by the Bee Gees in . Al Green recorded the song for his album Let's Stay Together, which also made the soundtrack to 's Good Will Hunting, 's The Virgin Suicides. song by Al Green: I can think of younger days when to live for my life Was everything a man could want to Somebody please help me mend my broken heart. I can think of younger days when living for my life. Was everything a man could want to do. I could never see tomorrow, but I was never told about the sorrow. Listen to How Can You Mend a Broken Heart by Al Green - Let's Stay Together. Deezer: free music streaming. Discover more than 53 million tracks, create your. How Can You Mend a Broken Heart Songtext von Al Green mit Lyrics, deutscher Übersetzung, Musik-Videos und Liedtexten kostenlos auf silverseacruises.org Letra HOW CAN YOU MEND A BROKEN HEART (y vídeo musical): I can think of younger days when living for my life / Was everything a man could want to do / I. View credits, reviews, tracks and shop for the CD release of How Can You Mend a Broken Heart on Discogs. | About "How Can You Mend A Broken Heart?" Seventh track on Al Green's album Let's Stay Together. It is a cover of the Bee Gees song of the same name. How can you mend my, please help me mend my broken heart I think I, I believe I, I got a feeling that I want to live and live and live Song Discussions is protected by U.S. Patent Watch the video for How Can You Mend a Broken Heart from Al Green's Let's Stay Together for free, and see the artwork, lyrics and similar artists. pressing of this superb collection, a perfect showcase of Al Green's finest cover versions. There aren't many artists who possess the special ability to rework a song so drastically that (even with a highly regarded original version in the frame) such a song immediately and forever becomes the property of the artist who reworked it/5(12). Al Green recorded this in for his album Let's Stay Together. His version was used in the movie Notting Hill. This was written during the same afternoon as The Bee Gees' previous American hit, "Lonely Days" in Barry Gibb's basement flat at Addison Road, Holland Park, London. Al Green - Pandora. If problems continue, try clearing browser cache and storage by clicking silverseacruises.org will cause a logout. Al Green lyrics are property and copyright of their owners. "How Can You Mend A Broken Heart?" lyrics provided for educational purposes and personal use only. Nov 05, · The existing chart is all tab with no lyrics. This is chords only/5(20). "How Can You Mend a Broken Heart" is a song released by the Bee Gees in It was written mainly by Barry and Robin Gibb and was the lead and first single on the group's album Trafalgar. It was their first US No. 1 single and also reached No. 1 in Cashbox magazine for two weeks.B-side: "Country Woman".] Al green mend a broken heart Mix - Al Green- How Can You Mend A Broken Heart YouTube; Teddy Pendergrass - It don't hurt now - Duration: hsp 17,, views. Rick James & Teeena Marie Fire & Desire - Duration. Lyrics to 'How Can You Mend A Broken Heart' by Al Green: And how can you mend a broken heart? How can you stop the rain falling down? Tell me how can you stop. pressing of this superb collection, a perfect showcase of Al Green's finest cover versions. There aren't many artists who possess the special ability to rework a song so drastically that (even with a highly regarded original version in the frame) such a song immediately and forever becomes the property of the artist who reworked it. "How Can You Mend a Broken Heart" is a song released by the Bee Gees in It was written mainly by Barry and Robin Gibb and was the lead and first single on the group's album Trafalgar. Watch the video for How Can You Mend a Broken Heart from Al Green's Let's Stay Together for free, and see the artwork, lyrics and similar artists. How Can You Mend A Broken Heart? Lyrics: I can think of younger days when living for my life / Was everything a man could want to do / I could never see tomorrow / But I was never told about the. The existing chart is all tab with no lyrics. This is chords only. Al Green - Pandora. If problems continue, try clearing browser cache and storage by clicking silverseacruises.org will cause a logout. How Can You Mend a Broken Heart - Bee Gee's tabbed by ear silverseacruises.orgd@silverseacruises.org / [Intro] / E Emaj7 / [Verse 1] / E Emaj7 I can think of younger days, when living for my life was F#m E eve. Lyrics to How Can You Mend a Broken Heart? by Al Green from the How Can You Mend a Broken Heart? album - including song video, artist biography, translations and more!. Check out How Can You Mend a Broken Heart by Al Green on Amazon Music. Stream ad-free or purchase CD's and MP3s now on silverseacruises.org Al Green - How Can You Mend a Broken Heart? Lyrics. I can think of younger days When living for my life was everything a man could want to do I could never see tomorrow I was never told about. Al Green - How Can You Mend a Broken Heart (Letra e música para ouvir) - I can think of younger days / When living for my life / Was everything / A man could want to do / I could never see tomorrow / I was never told about the. Song information for How Can You Mend a Broken Heart? - Al Green on AllMusic. Song information for How Can You Mend a Broken Heart? - Al Green on AllMusic. How Can You Mend A Broken Heart Chords by All Green Learn to play guitar by chord and tabs and use our crd diagrams, transpose the key and more.
Al Green- How Can You Mend a Broken Heart (Live on Soul!, 1972)
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Food Machinery Online is one of the UK's leading suppliers of used food processing, refrigeration and food packing machines. We are able to supply an entire range of both used and pre owned preparation, storage and food packing machines globally from our warehouse in Grimsby. Food Machinery Online is capable of delivering any piece of equipment globally to locations including Africa, Asia, Europe and America with packages ranging from a single case to entire food preparation and packaging assemblies via air, sea or land.
As we strive to stock such an expansive range of meat, fish, refrigeration, vegetable, preparation, cooking and food packing machines; space is often at a premium in our sizeable and tightly stocked warehouse. We often have to offer our customers the chance to take advantage of limited time special offers in order to sell equipment that must go, simply so that we can make room for additional incoming stock. All the equipment available on special offer is of the same fantastic quality as everything else available on our website but here at Food Machinery Online we would rather supply preparation, cooking and food packing machines and equipment to you where it can be used for its intended purpose than have it taking up valuable room in our warehouse.
If you have any queries or questions whatsoever about the particular details of Food Machinery Online transporting bakery equipment, handling apparatus or weighing and food packing machines to your location or any of the genuinely premium quality products we have available then please don't hesitate to get in touch whenever is most convenient for you and we guarantee a member of our honest, trust worthy, experienced and hard working customer care and service team will almost undoubtedly be able to help find the perfect solution for you.
Food Machinery Online have been trading in the food machinery procurement and supply business for many years now and during the course of trading everyone here has collated a thorough, in-depth and varied knowledge of all aspects of the food machinery supply business from bacon stackers to modern and high quality food packing machines. Regardless of whether you're looking to update one of your current pieces of equipment or want to buy an entire handling, weighing and packing set-up we are sure to have everything you require and if not we have the staff, knowledge base and trustworthy business contacts to be able to source one for you with the minimum of time and hassle.
If you cannot find the vital piece of equipment you're looking for, whether it's a simple replacement part for one of your food packing machines or an entire conveyor, staking and packing line then please feel free to get in touch via the details shown on our Contact page. Food Machinery Online may have just received stock of an ideal piece and not yet added it to our online showroom or, alternatively, we may very well be capable of sourcing the required equipment for you at no extra cost and supply it straight to you at a fair and honest price in the shortest time possible, with a minimum of fuss and as much customer care and support as is required.


text:
Sandoz Inc. v. Amgen Inc.
No. C-13-2904 MMC (N.D. Cal. Nov. 12, 2013)
ReadReadAttorney AnalysesAnalyses3Citing BriefsBriefs1Citing CasesCiting Cases3
Sandoz Inc.v.Amgen Inc.
UNITED STATES DISTRICT COURT FOR THE NORTHERN DISTRICT OF CALIFORNIANov 12, 2013
No. C-13-2904 MMC
SANDOZ INC., Plaintiff, v. AMGEN INC., et al., Defendants.
MAXINE M. CHESNEY
ORDER GRANTING DEFENDANTS'
MOTION TO DISMISS; DISMISSING
COMPLAINT WITHOUT LEAVE TO
AMEND; VACATING HEARING
Before the Court is the "Motion by Defendants, Amgen Inc. ["Amgen"] and Hoffman-La Roche Inc. ["Roche"] to Dismiss for Lack of Subject-Matter Jurisdiction or, Alternatively, to Decline to Exercise Declaratory Judgment Jurisdiction," filed August 16, 2013. Plaintiff Sandoz Inc. ("Sandoz") has filed opposition, to which defendants have replied, and Sandoz, with leave of court, has filed a surreply. Having read and considered the papers filed in support of and in opposition to the motion, the Court deems the matter suitable for determination on the parties' respective written submissions, VACATES the hearing scheduled for November 15, 2013, and rules as follows.
The Food and Drug Administration ("FDA") has approved the use of "Enbrel," an Amgen product, to treat specified illnesses; Enbrel is a "human tumor necrosis factor (TNF) receptor" known as "etanercept." (See Compl. ¶ 14; Winters Decl., filed August 16, 2013, Ex. 22.) Amgen takes the position that etanercept is covered by U.S. Patent No. 8,063,182 ("the '182 patent") and U.S. Patent No. 8,163,522 ("the '522 patent"). (See Compl. ¶ 2; Winters Decl. Exs. 22, 26.) Roche is the owner of, and Amgen is the exclusive licensee under, the two subject patents. (See Compl. ¶¶ 21-22, 29-30.)
Sandoz alleges it is presently conducting clinical trials to test a "biologic drug containing etanercept" (see Compl. ¶ 3), and "intends to file an FDA application for licensure of its etanercept product as biosimilar to Enbrel" upon completion of the clinical trials (see Jankowsky Decl., filed September 19, 2013, ¶ 14).
A "biosimilar is a drug product designed to be similar to a previously approved biologic drug (a 'reference product') in its quality, safety, and efficacy." (See Roth Decl., filed September 19, 2013, ¶ 4); see also 42 U.S.C. § 262(i)(2) (defining "biosimilar" products).
In its complaint, Sandoz seeks declaratory relief, specifically, a declaration that its assertedly biosimilar product does not infringe any claim of either the '182 patent or the '522 patent and that the subject patents are invalid and unenforceable.
Defendants contend the instant action is premature for two separate but related reasons, and, consequently, is subject to dismissal. In particular, defendants argue, (1) a district court lacks statutory authority to consider a patent dispute involving a biosimilar product until after such time as an application for FDA approval of the biosimilar product has been filed, and (2) as a factual matter, a cognizable case or controversy does not presently exist. As set forth below, the Court agrees.
Sandoz's claims for declaratory relief are brought pursuant to 28 U.S.C. § 2201, under which a district court "may declare the rights and other legal relations of any interested party seeking such declaration" in a "case of actual controversy within its jurisdiction." See 28 U.S.C. § 2201(a). The district court's discretion to enter such declaratory judgment is, however, subject to certain limitations, and, as to "actions brought with respect to drug patents," the limitations set forth in "section 351 of the Public Health Service Act." See 28 U.S.C. § 2201(b).
Section 351 of the Public Health Service Act, 42 U.S.C. § 262, provides the FDA with authority to license biological products that are "biosimilar to a reference product," see 42 U.S.C. § 262(k), and sets specific limitations on the timing of any litigation arising from the filing of an application for such license. See 42 U.S.C. § 262(l); see also 28 U.S.C. § 2201(b). Specifically, with limited exceptions not applicable here, neither a reference product sponsor, such as Amgen, nor an applicant, such as Sandoz, may file a lawsuit unless and until they have engaged in a series of statutorily-mandated exchanges of information. See 42 U.S.C. §§ 262(l)(2)-(6).
A "reference product sponsor" is a "sponsor of the application for the reference product." See 42 U.S.C. § 262(l)(1)(A). In this instance, the "reference product sponsor" is Amgen, the entity that previously obtained a license for Enbrel.
Here, Sandoz does not contend, and cannot contend, it has complied with its obligations under §§ 262(l)(2)-(6), because, as it concedes in its complaint and opposition, it has not, to date, filed an application with the FDA. Rather, citing § 262(l)(8), Sandoz argues § 262 "provides [declaratory judgment] actions can be filed by either party upon the biosimilar manufacturer's notice of commercial marketing, which Sandoz has given here." (See Pl.'s Opp'n, filed September 19, 2013, at 24:9-10.) The Court, for several reasons, is not persuaded.
First, as set forth in the section on which Sandoz relies, a "notice of commercial marketing" is required to be given by the applicant to the reference product sponsor "not later than 180 days before the date of the first commercial marketing of the biological product licensed under [§ 262] subsection (k)." See 42 U.S.C. § 262(l)(8)(A). Here, Sandoz cannot, as a matter of law, have provided a "notice of commercial marketing" because, as discussed above, its etanercept product is not "licensed under subsection (k)." See id. Second, even after an applicant provides a "notice of commercial marketing," it cannot bring an action for declaratory relief until, at a minimum, it has complied with its obligations under § 262(l)(2)(A). See 42 U.S.C. §§ 262(l)(9); see also 28 U.S.C. § 2201(b).
Moreover, Sandoz has not, at this time, established a "real and immediate injury or threat of future injury that is caused by the defendants." See Prasco, LLC v. Medicis Pharmaceutical Corp., 537 F.3d 1329, 1338-39 (Fed. Cir. 2008) (setting forth requisite showing by declaratory relief plaintiff to establish "case or controversy"). Here, defendants state they have never advised Sandoz they intend to sue Sandoz, and are not in a position to consider the propriety of such action until after Sandoz has "prepared an [application] for approval to launch a product in the U.S." (see Mot. at 5:9-11, 6:1-3; see also id. at 18:8-11); no evidence to the contrary has been offered. Nor has Sandoz submitted evidence demonstrating defendants, by some means other than an express threat to sue, have subjected Sandoz to an "immediate" threat of injury. See Prasco, 537 F.3d at 1339 (holding patentee "can cause such an injury in a variety of ways"; providing examples). Although Sandoz points to public statements by Amgen that its patents cover etanercept, and that it defends the patents it owns (see, e.g., Compl. ¶¶ 51-60), such statements do not suffice to show an "imminent threat," see Prasco, 537 F.3d at 1339; see also id. at 1338 (holding "mere existence of a potentially adverse patent does not cause an injury nor create an imminent risk of an injury").
As noted, Amgen markets etanercept under the brand name "Enbrel."
Finally, Sandoz's allegation that it intends in the future to file an application with the FDA is insufficient to create a case or controversy. See Benitec Australia, Ltd. v. Nucleonics, Inc., 495 F.3d 1340, 1346 (Fed. Cir. 2007) (holding "fact that [declaratory judgment plaintiff] may file an [application for drug] in a few years does not provide the immediacy and reality required for a declaratory judgment"); Telectronics Pacing Systems, Inc. v. Ventritex, Inc., 982 F.2d 1520, 1527 (Fed. Cir. 1992) (affirming dismissal of declaratory judgment action brought by patentee where accused "device had only recently begun clinical trials, and was years away from potential FDA approval").
Accordingly, the instant action is subject to dismissal.
For the reasons stated, defendants' motion to dismiss is hereby GRANTED, and the complaint is hereby DISMISSED without prejudice and without leave to amend.
United States District Judge


September 8 at 9:00 am clues are released.
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6. Finish a total of 8 clues then post an individual/team picture stating you have completed the BnaFit Scavenger Hunt and email theMovement@bnafit.app with team member names and social media handles.
The root of our name comes from one of New Zealand's greatest explorers, and has been described as the Māori Marco Polo. He circumnavigated the North and South islands and also explored inland. Our location is the spot between a hair cut and a red hat.
Answer : rock steady (One of our juices) also written on our outside bench.
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Game day ready, you will hear the howl of the wolves from the cardiac pack. The interactive monument contains six wolves, each 5 to 6 feet tall and approximately two times life size, named Confidence, Passion, Spirit, Courage, Pride, and Strength, the qualities of NCSU athletes.
With female athletes as its designers, we create versatile and fashionable performance and lifestyle apparel for the fitness-minded woman who lives life on the go.


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Robert Cook teaches music theory with specializations in chromaticism, tonal analysis, and music and nature. The premise of his current research is that music is the exercise of acoustic agency in the environment. Recent work examines ecologies of voice and timbre in the music of George Crumb.
Cook's publications include "The Vocal Ecology of Crumb's Crickets," Journal of the Society for American Music 7, no. 2 (2013), and "Crumb's Apparition and Emerson's Compensation," Music Theory Spectrum 34, no. 2 (2012). He has also published on neo-Riemannian theory and analysis.
Before coming to UI, Cook taught at Washington University in St. Louis and spent three years as a writer and editor in educational publishing. He also taught at Lake Forest College, Roosevelt University, and the University of Chicago. He was educated at the University of Chicago and Northwestern University.


text:
Wyszomierz [vɨˈʂɔmjɛʂ] est un village polonais de la gmina de Bielany dans le powiat de Sokołów et dans la voïvodie de Mazovie, au centre-est de la Pologne.

Sa population est d'environ 100 habitants

Village dans la voïvodie de Mazovie
Powiat de Sokołów

redpajama_set_name: RedPajamaWikipedia


Comprehensive list of Corona, California physicians, doctors & medical clinics, centers and hospitals.
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A metagenomics approach to the intestinal microbiome structure and function in high fat diet-induced obesity mice fed with oolong tea polyphenols.
Antibacterial activity and mode of action of ferulic and gallic acids against pathogenic bacteria.
Mechanism of inhibition of tannic acid and related compounds on the growth of intestinal bacteria.
Modulating Effects of Dicaffeoylquinic Acids from Ilex kudingcha on Intestinal Microecology in Vitro.


"In today's competitive marketplace, your company needs to stand out from the crowd". How many times have you heard something along these lines? We bet many, many, many times. And we all know why companies need to differentiate themselves from competitors now more than ever, but how do they actually do this? With PR, of course.
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text:
SimpsonU.edu
Athletics.SimpsonU.edu
Statistics / Media
Support the Red Hawks
Nicki Feuerbach
Position: Outfield
Hometown: Anderson, CA
Previous School: West Valley High School
College: Nicole is entering her fourth year playing for Simpson. In 2010, she received First Team All-Cal Pac honors and was selected to the NCCAA National All-Tournament Team. in 2011, she She received First Team All-Cal Pac honors and was selected to the NCCAA National All-Tournament Team. She is a scholar athlete.
High School: Nicole played three years of varsity softball at West Valley High School. She also played volleyball. Her athletic honors include three-time All-League, All-Section, and All-Record Searchlight. She won best offensive player twice. She was selected for the 2008 North All-Star Team. She played one year of club softball for the North Valley Rapids. She was a three-time scholar athlete.
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Reason for coming to Simpson: (not submitted)
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text:
Re: line endings in LDRAW files (CRLF vs. LF vs. CR)
2012-04-14, 16:04 (This post was last modified: 2012-04-19, 17:14 by Roland Melkert.)
I just wanted to reply to http://forums.ldraw.org/showthread.php?tid=4401,4401
, but couldn't, so I am forced to post here.
I think that that voting is on a good way, but I think that the Mac users have been forgotten.
The currently suggested new text says
"it is recommended that applications understand CRLF and LF as line endings".
I think that that should be instead
"it is recommended that applications understand CRLF and LF and CR as line endings".
To the best of my knowledge, Macs haven't use CR as a line ending since OS X was released 11 years ago.
Additionally, there are no non-OSX compatible LDraw spec compliant programs.
That said, I may have missed the relevant discussion but why are we moving this into the spec at all? Isn't the restriction on official parts good enough? When I wrote the original draft for 1.0.0 I tried to leave the actual text file portion as open as possible. Not to mention that the end user isn't going to care about line endings if they create or edit an LDraw file in a non-LDraw text editor. If anything we should specify that any line ending is compliant and a LDraw compatible editor must be able to handle them.
> we should specify that any line ending is compliant and a LDraw compatible editor must be able to handle them
fully agreeing here
Roland Melkert
I was thinking the same thing, and because it's only a hint to new software authors I don't think it's fair to burden them with supporting something that's never been used in practice. They still can if they want to of course but as a base 'advise' I don't think it's necessary.
Tim Gould
What about LFCR? I don't want my Acorn being ignored
Steffen Wrote: I think that that voting is on a good way, but I think that the Mac users have been forgotten.
If I were at all concerned about this, I would have raised the issue. But I am not concerned in the least.
Mac OS 9-style line endings are an endangered species on the way to functional extinction. They are seldom encountered in any file nowadays; even less so in newly-created files. The only LDraw program which ever used CR line endings was BrickDraw3D, and that project never got far enough along in development to create a model with it. (I couldn't even get it to run recently when I was trying to provide a screenshot of it for a recent comment thread.)
Bricksmith will read CR files, but only to be polite just in case. Any other software author is free to do likewise. But creating a CR-ended LDraw file would be highly inadvisable.
Orion Pobursky Wrote: That said, I may have missed the relevant discussion but why are we moving this into the spec at all? Isn't the restriction on official parts good enough? When I wrote the original draft for 1.0.0 I tried to leave the actual text file portion as open as possible. Not to mention that the end user isn't going to care about line endings if they create or edit an LDraw file in a non-LDraw text editor. If anything we should specify that any line ending is compliant and a LDraw compatible editor must be able to handle them.
In an ideal world, I would agree with you. However, I don't think that's how the ecosystem developed.
I view the spec as a means of assisting prospective developers to read and create well-behaved LDraw files. Unfortunately, a discussion of line endings is necessary to that end. For example, an LDraw program which did not read CRLF files would be useless. And an LDraw program which did not write CRLF files might produce output incompatible with other LDraw programs. I think it's fair to say there's a community expectation of using CRLF, and thus I think it's reasonable to specify using it.
Point taken. Why not then specify (i.e. require) that a LDraw compliant program be able to read all line endings but write CRLF? That makes more sense to me and in the end is less restrictive on the end user.
That's pretty much what the current vote is about (minus the cr as result of being 'old')
No. The current vote only suggests the ability to read nom-CRLF line endings. I think it should be mandatory (minus legacy programs of course)
If you make support for all formats mandatory, you indirectly make writing of those formats valid. The current vote makes crlf the standard but suggests software to (as a fallback) also look out for linux format endings for legacy support.
You misunderstand me. I'm saying the all LDraw compatible programs should write CRLF but be required to be able to read any line ending. This will mean that any file with something other than CRLF will become CRLF when edited and saved in a LDraw program.
Orion Pobursky Wrote: You misunderstand me. I'm saying the all LDraw compatible programs should write CRLF but be required to be able to read any line ending. This will mean that any file with something other than CRLF will become CRLF when edited and saved in a LDraw program.
I think what Roland is saying is that if you define all line endings as valid LDraw code, it is illogical to then define only one of those line endings as a valid output format.
Of course, the reason nobody wants files created with something other than CRLF is that we're all afraid there are programs floating around out there which will only accept CRLF (and presumably those programs are getting minimal if any maintenance). It's for that reason I didn't want to make all formats mandatory—it sets a potentially unrealistic expectation.
I did understand, but imho dictating software (reading) behavior is not part of a standard. A standard should only describe the file format. Suggestions and 'tips' should only be present in a footnote like manner. It's up to the authors to decide how clever and fool proof they make the reading code in dealing with 'non standard' files (aka Quirks mode).
I don't know how the others think about this.
You make a good point. I withdraw my objection.
I fully agree with Roland.
Normally, I'd suggest to define a standard
"a LDRAW file may contain any line ending, be it CRLF or LF" or even
"a LDRAW file may contain any line ending, be it CRLF or LF or CR or LFCR"
But as our existing software, getting no maintenance anymore,
only tolerates CRLF, we should specify
"LDRAW files shall have CRLF as line endings".
This will allow the existing software to read them.
At the same time we should, independently from the file syntax specification,
recommend to tool authors to also tolerate other line endings when reading.
When writing, they always should output CRLF.
Greg Teft
As a coder, I thought I'd throw my two cents in.
It is reasonable to expect character- & byte- based parsers and tokenizers to use CRLF as a definitive record break per the long standing specification.
As I've been working on a Java API that will parse and write to the LDraw specs, I used core Stream readers that read a line at a time. I then 'trim' so that the line type is the first character, and there's no trailing white space.
When this runs in a Unix-style system, using just CR as a line-break, trimming also makes the LF's magically go away as they are considered white space.
When I write a file back out I explicitly use the CRLF by emitting the ASCII equivalents of those two characters (0x0D, 0x0A) instead of the various ways insert a line-break using the core API.
Modern applications should be able to parse either way, but in support of long-established standards, they should write the CRLF.
- Greg
"The only stupid question is the one that remains unasked"
Don Heyse
Speaking of stream readers, could it possibly be a problem with piping ldraw files between processes if the CRLF is omitted from the last line? The new wording seems to allow this. I'm pretty sure that if you have an ldraw processing program reading from stdin on a terminal (in canonical mode) and you paste the text of an ldraw file without the final CRLF, it won't read the last line until you press ENTER.
Same thing if you're reading ldraw data sent via TCP or UDP over the internet. The packets can fragment as they travel from source to destination. So you really have no idea if there are a few more characters needed to finish up your ldraw line stuck out there somewhere, until you get that CRLF.
Or maybe I'm just confused about what the new wording means.
First, I forgot to comment on the last newline discussion. Generally, I wouldn't recommend that files or output written by an application omit that last newline. especially as it's been in the file spec for so long. I was also surprised to see that the last lonely '0' has become discouraged. That was a great way to know the file was complete.
'readLine' operations expect that last newline, and STDIN is a different animal from a File Stream when it comes to really being done. I think shell and perl scripts will consider piped input complete when the first application exits regardless of receiving a final newline, but it's been a while since I coded for it. That also may be a feature of the shell, and not the language. A terminal or console usually won't write a line to the stream until the enter key is pressed. Character and byte operations are generally more flexible and can consume from a stream until it runs out. Although, I've also seen byte and char consumption coded to wait for the newline too before it considers a record or token complete, as it is typically a record delimiter in data file.
When I wrote a piped program in C long, long ago, I expected an EOF (Ctrl-D) or to indicate DONE! but the applications were coded to talk to each other, and networks weren't nearly as fast as they are now. With the advent of Java's Remote Method Invocation (RMI) and HTTP put/post, I've relied on those mechanisms to handle the communication between processes for quite some time now.
Can I ask what you're coding in? I can try a few different things and see how they behave. I can handle Java, most shells, perl, and I think I have an ANSI C/C++ compiler on Linux. I don't currently have .net on my PC.
I try to stick to coding with gcc since that's available for just about every sort of computer. But I haven't done any sort of ldraw coding in almost a year now. I might try to finish implementing the texture mapping extensions this summer though. That seems to be heating up.
I was just sorta wondering out loud about pipes and the possible impact of dropping the final CRLF because once upon a time I had a pipe capable version of ldglite working with immediate mode graphics. And there was also a piped version of lsynth.
No one is stopping you from adding a last new line or '0', it's just removed from the core spec. Also the official library guidelines could still demand it (don't know if it already does).
As for piping I unless you're piping from std in I don't think it (should) matter(s) if you send a final linebreak, like suggested above. And when using std in your still don't know if it's done or just a empty line so an additional 'eof' like character is still needed far as I know.


by Ken Pishna – MMAWeekly.com The fight card for UFC 122 in Oberhausen, Germany, continues to come together. MMAWeekly.com has learned from sources close to the bout that verbal agreements are in place to pit Nick Osipczak against Duane "Bang" Ludwig in a welterweight bout at the Konig Pilsener Arena.
British fighter Osipczak (5-2) is likely on his last leg on the Octagon. After starting strong coming off "The Ultimate Fighter: Team U.S.A. vs. Team U.K." with wins over Frank Lester and Matt Riddle, Osipczak has since dropped back-to-back decision losses to Rick Story and Greg Soto. He likely needs a win to remain on the roster.
Ludwig (19-11) is also on a two-fight skid, but under vastly different circumstances. He stepped up on short notice for a tough bout against lightweight contender Jim Miller less than a month after his last Ring of Fire appearance, and then faced Octagon newcomer Darren Elkins in March, losing the bout due to a severe injury.
Elkins shot a takedown on Ludwig, whose left leg was pinned awkwardly under his body. He suffered three breaks in his leg and ankle – including a spiral fracture – that required three screws inserted in his ankle.
After several months on crutches and having had at least one of the screws removed, he is currently training at Grudge Training Center in Denver.
A middleweight contenders showdown between Vitor Belfort and Yushin Okami is expected to headline UFC 122 on Nov. 13.