text:
Like a Virgin is Madonna's second studio album. It became her first number one album reaching the top of the charts in Germany, Italy, Netherlands, New Zealand, Spain and the United Kingdom. Worldwide it has sold 21 million copies, becoming one of the best-selling albums of all time.
2. Recording
4. Promotion
5. Legacy
6. Track Listing
7. UK Release and Chart Performance
8. UK Collectables and Variations
When she started work on her second album, Madonna felt that her first album had succeeded in introducing her "street-smart dance queen" persona, and she wanted to solidify and build upon that concept. According to her:
"My work, my dedication—the stubbornness for getting 'Madonna' released—had paid off. Now it was time to solidify my future."
For that often-difficult follow up album, Madonna wanted stronger material in order to progress out of the dance niche and into the mainstream. As she commented:
"Like a Virgin is a much harder album, much more aggressive than the first record. The songs on that were pretty weak. On this one I've chosen all the songs and I want them to be all hits—no fillers. That's why I've done outside songs as well as six of my own... I wanted every song to be strong."
Madonna attempted to become one of the primary record producers, feeling the need to control the various aspects of her music. She believed that depending on a particular producer for her album was not something that suited her. Referring to problems with the production of her first album, when due to certain differences of opinion between herself and producer Reggie Lucas, Lucas had left the project half-way through, Madonna observed:
"I learnt my lesson while creating my debut album, and the way Lucas left me in the water with the project, you can't trust men."
However, Warner Bros. Records was not ready to give her the artistic freedom that she wanted. In J. Randy Taraborrelli's biography of Madonna, she commented,
"Warner Bros. Records is a hierarchy of old men and it's a chauvinist environment to be working in because I'm treated like this sexy little girl. I had to prove them wrong, which meant not only proving myself to my fans but to my record company as well. That is something that happens when you're a girl. It wouldn't happen to Prince or Michael Jackson. I had to do everything on my own and it was hard trying to convince people that I was worth a record deal. After that, I had the same problem trying to convince the record company that I had more to offer than a one-shot singer. I had to win this fight."
Ultimately, Nile Rodgers was chosen by Madonna as the producer of the album, with the approval of the Warner Brothers executives. Madonna chose Rodgers mostly because of his work as a member of the seventies band Chic, and his most recent production work with David Bowie on his 1983 album 'Let's Dance'. She commented:
"When I was making the record, I was just so thrilled and happy to be working with Nile Rodgers. I idolized Nile because of the whole Chic thing. I couldn't believe that the record company gave me the money so that I could work with him."
For his part, Rodgers recalled that he had first seen Madonna perform at a small club in New York in 1983. In an interview with Time magazine, Rodgers explained:
"I went to the club to see another woman sing, but when I got there Madonna was onstage. I loved her stage presence and then we met right after that. I kept thinking to myself, 'Damn, is she a star', but she wasn't at that time. I always wanted to work with her and Like a Virgin seemed like a perfect opportunity."
Rodgers recalled that Madonna was a real hard worker and incredibly tenacious. He commented:
"I am always amazed by Madonna's incredible judgement when it comes to making pop records. I've never seen anyone do it better, and that's the truth. When we did that album, it was the perfect union, and I knew it from the first day in the studio. The thing between us, man, it was sexual, it was passionate, it was creativity... it was pop."
The album was recorded at Power Station Studio in New York at a quick pace. Rodgers enlisted the help of his former Chic band mates Edwards, who was the bassist, and Tony Thompson, who played drums. Jason Corsaro, the record's audio engineer, persuaded Rodgers to use digital recording, a new technique at the time which Corsaro believed was going to be the future of recording. Madonna, although not required, was present every minute of the recording sessions and the mixing process, Corsaro commented:
"Nile was there most of the time, but she was there all of the time. She never left".
While learning the technical art of sound production in the studio, Madonna needed no instruction on the art of imagery and it was the striking and provocative imagery portrayed on the cover of 'Like A Virgin' that was as instrumental as the music itself in propelling Madonna into the super league.
Steven Meisel, who would become a regular collaborator, shot the cover sleeve and images. Madonna wanted the album title to make a provocative link between her own religious name—Madonna as the Roman Catholic title for Jesus' mother Mary—and the Christian concept of the virgin birth. At the same time, she deliberately set out to portray mixed messages – the sexualised image of the bride was not one of virtue, but of desire.
To ensure the point was not missed, a belt was added with the deceptively submissive wording "Boy Toy". It was guaranteed to cause condemnation and outrage. Exactly what Madonna intended. This was to be the first of many forays into what would become a Madonna mainstay – the art of controversy.
Madonna herself declared:
"I have always loved to play cat and mouse with the conventional stereotypes. My 'Like a Virgin' album cover is a classic example. People were thinking who was I pretending to be—the Virgin Mary or the whore? These were the two extreme images of women I had known vividly, and remembered from childhood, and I wanted to play with them. I wanted to see if I can merge them together, Virgin Mary and the whore as one and all. The photo was a statement of independence, if you wanna be a virgin, you are welcome. But if you wanna be a whore, it's your fucking right to be so."
Madonna debuted the single 'Like a Virgin' at the first MTV Video Music Awards on 14 September 1984, where she appeared on stage atop a giant wedding cake dressed in a wedding dress, adorned with the infamous "Boy Toy" belt buckle, and veil. The climax of her risqué performance found her humping and rolling around on the stage. The performance is noted as one of the iconic performance in MTV's history.
On 13 December 1984, Madonna performed 'Like a Virgin' in the UK on BBC 1's Top Of The Pops. She wore punky torn tights, a vivid pink wig, religious accessories and layered mesh tops. It was later voted as the second best Top of the Pops performance of all time (behind Duran Duran's performance of 'Rio').
This was to be the final promotional musical performance by Madonna in the UK during this decade. She would not perform live again until she returned to the UK during her subsequent world tours.
Like a Virgin has attained significance as a cultural artefact of the 80s. Madonna proved that she was not a one-hit wonder and was able to provide herself with a permanent footing in the music world. Her songs became a lightning rod for both criticism by conservatives and imitation by the younger female population, especially 'Material Girl' and 'Like a Virgin'. As Caroline Sullivan from The Guardian noted:
"A woman in control of her sex life and career was such a new idea that Madonna became the biggest thing to hit pop, and popular culture, in years. And she's stayed that way: her influence on the way women came to view sex, love and themselves was so great that some universities offered courses in Madonna studies. And she's also continued to make some of pop's most enduring singles."
At this time, a new word called 'Madonna wannabe' was introduced to describe the thousands of girls who tried to emulate Madonna's style. At one point, Macy's allotted an entire floor area for the sale of clothes styled according to Madonna's fashion. University professors, gender-studies experts and feminists earnestly started discussing her role as a post-modernist style and cultural icon.
According to author J. Randy Taraborrelli, "Every important artist has at least one album in his or her career whose critical and commercial success becomes the artist's magic moment; for Madonna, 'Like a Virgin' was just such a defining moment".
And just in case anyone was left in any doubt as to Madonna's sense of humour she dedicated the album to 'the virgins of the world'.
6. (7.)
9. (10.)
Angel"
Love Don't Live Here Anymore
Shoo-Bee-Doo
Into The Groove*
Peter Brown, Robert Rans
Madonna, Bray
Tom Kelly, Billy Steinberg
Miles Gregory
Andrea LaRusso, Peggy Stanziale
All tracks produced by Nile Rogers except * produced by Madonna and Stephen Bray.
'Into The Groove' was added as track 6, the first track on the B-side, with subsequent tracks renumbered.
Five singles were released from the (reissued) album in the UK and further information on these can be accessed via the SINGLES tab or by clicking on the links below:
In the UK, 'Like a Virgin' was released on 24 November 1984. The album fluctuated on the chart for 44 weeks making it the longest climb to No. 1 by a solo female artist. It finally reached the pinnacle on 21 September 1985 after it was repackaged and reissued to include 'Into The Groove'.
It remained at the top for two weeks although not consecutively as another solo female artist – Kate Bush – muscled her way in-between with 'Hounds of Love'. To date 'Like A Virgin' has been present on the UK chart for 152 weeks.
As with Madonna's debut album, the original release of 'Like A Virgin' was not pressed in the UK. Once again, generic copies were shipped in from Germany with no UK catalogue number.
These original pressings are not particularly scarce as they were imported in large numbers. However, for the collector there are a variety of marketing stickers - the first batch came with only 'Like A Virgin', which was then replaced with an updated version to include 'Material Girl'. Intriguing there is also a miss-pressing of the original sticker which fails to mention of any single at all! With the catalogue number in the same place, but with slightly different wording, it was perhaps intended to be the second batch publicising the debut single but was pulled in favour of a sticker which also included 'Material Girl'. Evidently however, some of these 'blanks' were still applied to the album covers. There is also a slight label variation with an indent.
The rarest standard collectable LP is the Irish pressing which appears in its usual distinctive style but lacks an inner sleeve.
There are also three cassette versions. The standard cassette comes with a grey 'gema' label but they are housed within different inlay sleeves - one with and one without the yellow 'chrome' strip. There is also a very rare white plastic variation with the same gray label. It can only be assumed this was a scarce top up, perhaps halted due to the imminent reissue of the album with 'Into The Groove'.
The rarest standard issue is the very limited CD. As with Madonna's debut, it was pressed in Germany and comes in the distinctive yellow and purple artwork. It also comes with an inlay the rear of which features a distinctive floral print. Some of these also come with a WEA promo booklet showcasing the current releases of a selection of artists, including Madonna.
Finally, there are three promo items. The first is what would be shown to be the standard practice of issuing advance copies of the LP with a generic rectangular rear promo sticker - this would be found on all subsequent Madonna albums. The two other promo items are of more interest for their oddity. They are both cassettes, both are recorded on standard TDK commercially-available cassettes but have then been customised. The first has a custom WEA label on the cassette but has no cassette inlay sleeve. The cassette itself contains all the tracks from the album. The second cassette comes from 'The Tape Gallery' a security service issuing promotional cassettes. It has a custom label and a basic typed inlay sleeve. The cassette itself only contains thee tracks: 'Like A Virgin', 'Material Girl' and 'Angel' - all of which are the singles intended to be released in this order from the album. This track listing is pre-'Into the Groove' which was not included on the original album.
For releases and rarities relating to the reissue see 'Like A Virgin' - Reissue
LP - Standard Release (German Pressing)
LP - with first marketing sticker and indented label
LP - with second marketing sticker
LP - with mispresed 'blank' marketing sticker
LP - Irish Pressing
Cassette: Limited pressing in sleeve with no 'yellow' bar
Cassette: Standard issue in sleeve with 'yellow' bar
Cassette: Limited white plastic top-up
Compact Disc


Do we need a Content Rating System similar with Films for website?
Web content rating systems give viewers an idea of the suitability of a website for children or adults. Many countries have their own rating system and each country's rating process may differ due to local priorities. Websites are rated by either the organization that manages the system, the broadcaster or by the content producers themselves.
A rating is usually set for each individual webpages of a category. The rating can change as such it is impossible to state what kind of rating a website has, without stating when and where this rating applied.
New technologies using MetaData could potentially filter content meant for specific countries without the Great China Firewall. You can filter a tweet, a link, a video, music etc, every bit of information from the world wide web. You can also filter keywords, sentences, paragraphs or different languages.
LONDON (AFP) – The British government wants to expand its powers to monitor email exchanges and website visits, The Sunday Times newspaper reported.
Internet companies would be instructed to install hardware to allow the Government Communications Headquarters (GCHQ) – Britain's electronic 'listening' agency' – to go through 'on demand' every text message and email sent, websites accessed and phone calls made 'in real time, the broadsheet said.
The plans are expected to be unveiled next month.
The Home Office interior ministry said ministers were preparing to legislate 'as soon as parliamentary time allows' but said the data to be monitored would not include content.
Next Next post: Quantum computers is the Future?


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Highland Museums Visual Showcase
Wednesday 16 June
11.15am - 12.15pm
A series of interviews looking at Highland and Island Museums that showed great creativity and imagination in pivoting their work during the pandemic.
Participating Museums include:
- Highland Archive Service: Lorna Steele talks us through the Learn with Lorna series and other digital initiatives.
- Gairloch Museum: Dr Karen Buchanan and Eilidh Smith relive winning 'Art Fund_Museum of the Year' and all the challenges and opportunities winning this in a pandemic year offered them.
- West Highland Museum: Vanessa Martin and Dr Alan Miller, introduce their '100 Objects' project and touch on the other ways they connected with audiences throughout last year.
- Groam House Museum: Dr Jill Harden guides us through 'Groam at Home' looking at how they generated income, built a global audience and kept connected to volunteers.
- Stromness Museum: Katy Firth takes us on a virtual tour of Orkney with Roundme galleries and YouTube walking tours.
- Timespan: Jacquie Aitken chats about how focusing on their local community's needs got the organisation through the last year with particular focus on their youth programmes, plus how their planned exhibition for 2020 found a natural home online, setting a high bar for digital exhibitions.
Interviewed by Nicola Henderson, Heritage Specialist XpoNorth.
Jacquie Aitken
Digital Heritage Curator, Timespan
Jacquie Aitken is Digital Heritage Curator at Timespan and has a background in archaeology, museums and immersive technology and has a lifelong interest in researching Highland history, landscapes and communities and has worked in the regional and independent sectors for over twenty years. Her roles at Timespan include the digital curation of the museum and community co-production and over the last three years, she has led the development of new digital visitor experiences and virtual reconstruction models of the past, as part of the Connected Culture and Natural Heritage in the Northern Environment (CINE). As a supporter of community archaeology, Jacquie initiated the Brora Salt Pans Excavation Project and now leads the research group.
Dr Jill Harden
Historic Environment Adviser
Jill is a historic environment and museum specialist who volunteers with Groam House Museum in Rosemarkie, working on the collections, exhibitions and digitisation opportunities. She also trains and facilitates the work of other volunteers who work both in the museum and behind the scenes.
Lorna Steele
Community Engagement Officer, Highland Archive Service
Lorna Steele is the Community Engagement Officer for the Highland Archive Service, whose four archive centres contain historic documents, covering a third of Scotland's landmass and dating from the 1200s to the present day. Her role involves connecting a diverse range of audiences, from school pupils to prison inmates, with these fascinating documents."
Dr Karen Buchanan
Curator, Gairloch Museum
Karen Buchanan is Curator of Gairloch Museum, where she has worked since 2013. She oversaw the redevelopment of the museum and its move to a new building in 2019. This new heritage attraction has regenerated a key site in Gairloch village and was winner of Art Fund Museum of the Year 2020.
Curator, West Highland Museum
Vanessa Martin is the Curator of the West Highland Museum, an independent museum in the centre of Fort William. Vanessa has an MA in History from the University of Exeter and is currently studying towards an MLitt in Museum and Gallery Studies at the University of St. Andrews. When the pandemic started she had been focusing her studies on how museums should be adjusting to working in the digital age. Over lockdown she has worked with museum colleagues creating digital content to engage with audiences online while the museum was closed. She is currently working in partnership on a digital gallery with the University of St Andrews. This project showcases 100 star objects in the West Highland Museum's collection.
Katy Firth
Exhibition Assistant, Stromness Museum
Katy Firth works at Stromness Museum in Orkney as an Exhibition Assistant in the Collections Development Team. Katy also works as a freelance Heritage Engagement practitioner and volunteers as Branch Leader for Orkney Youth Archaeologists' Club. Her previous roles have included 'Park Ranger' and 'Field Archaeologist'. She enjoys experimenting with new audience engagement tools, and the restrictions of the past year have led Katy into developing three 360-degree virtual tours. In her spare time she enjoys snorkelling and playing underwater hockey.
Eilidh Smith
Front of House and Marketing, Gairloch Museum
Eilidh has been working with the Museum since it's Art Fund Museum of the Year Award announcement in 2020. Born and brought up in Gairloch, Eilidh's career has led her from journalism to education, through the environmental sector to the arts. Her previous roles include Communications Manager for RSPB Scotland, Marketing and Publicity Officer for Sandstone Press and Programme Manager for Moniack Mhor Creative Writing Centre.
Dr Alan Miller
Lecturer, St Andrews University / Director Smart History
Amongst other things Alan lectures in Digital promotion and preservation of heritage at St Andrews University and is a Director of Smart History Ltd.
He is interested in building the capacity of communities and museums to create live, mobile and immersive heritage experience. Alan works with Highlands and Islands Enterprise in developing Museums Without Walls and Museum from Home experiences.
The Open Virtual World Group at St Andrews is a multidisciplinary group bringing together multiple skills to create digital representations of Heritage. Drop by the Facebook or Web Page to see what's going on. Openvirtualworlds.org

redpajama_set_name: RedPajamaCommonCrawl


Throughout my life, I have always been involved with collecting in some fashion and longevity. As a child, I started like most children, collecting toys. I remember my parents buying Hot Wheels' cars for my birthday. At age 7, I visited Maine with my family and took an interest in coins when I walked by a coin shop. I took an interest in all sorts of old coins. Silver nickels, old pennies, all with a variety of dates and mint marks (these are letters that were placed on coins that represented the mints that made them, like "S" for San Francisco). It was during this time, I tried to take up stamps. But, that interest faded quickly as I grew more fascinated with coins.
Then, as time passed and I entered high school, my interest evolved from coins to paper money. Nothing was more beautiful than seeing large, colorful bills from the 1800s and early 1900s. Like coins, the older currency was more beautiful than the money we have today. I expanded into colonial American paper money. It was cool to see important colonists actually signed these early notes. This led me into the most exciting and challenging collecting field that has held my interest the longest.
Historical and Political Autographs and Documents. After 25 years of collecting, I still have a keen interest and a love for the hobby. No other field is packed with as much education, history and enjoyment. For example, if Abraham Lincoln is one of your heroes, you might pick up a letter or document signed by him as President.
Think for a second. You acquire a document or letter signed by a historical figure. Then you realize, this man not only touched this very piece of paper or vellum, but he also signed it. How cool is that? When I owned a 1862 Indian Cent, I would imagine IF Lincoln touched that coin. BUT, if he signed his name to a document, you know he DID touch it. Wow, sends chills up my spine!
Unlike other fields, which are expensive or available in abundance, historical and presidential autographs are unique in have a limited supply. No matter how much money you have, you may not always find the document you want. You would have to wait for it to hit the market. This is the excitement and challenge of the hobby. You may have to wait a long time for a collection or individual pieces to be on the market to find what you want.
Historical documents have also demonstrated price appreciation over the years. Of course, this is not the main reason to collect, but by trying to collect certain areas, like American Revolution or Famous Women, you are acquiring a store of value to enjoy. Hey, a built in investment. Autographs should be bought for their enjoyment, not for investment reasons.
When everyone is scrambling these to be "connected" to their friends or up to date on the latest rumors, it's good to be able to sit back, relax and read about that important person whose autograph you just acquired. Think about it.
What was going on his his/her mind when he wrote or signed that letter or document? Fascinating to ponder that thought.
Categories: Alexandria framing, art, Autograph collecting, Document Framing, Framing, Historical Autographs, Museum Framing, Uncategorized | Tags: Abraham Lincoln, antique maps, antique prints, autographs, autographs as gifts, framed autographs, George Washington, historical documents, Preservation Framing, Thomas Jefferson. Bookmark the permalink. Comments are closed, but you can leave a trackback: Trackback URL.


Despite my best intentions, with work commitments and other projects on the go, time has eluded me to write a weekly 'Pause for Thought' post. But, with the luxury of a long weekend, I've finally had time to slow down, gather my thoughts and reflect on some simple, happy moments from the past few weeks.
And the first thought that springs to mind is, well … spring. Isn't it so lovely that it's finally here ? At least I hope it's here and I haven't spoken too soon – you just never know with the weather these days ! Now, I can finally satisfy my urge to get gardening, go exploring on day trips here and there and generally revive the spirits after what seemed for me like a very long winter.
Lunch in a lovely old pub – the façade covered in beautiful camellias and pretty window boxes. If you live locally, I'd recommend popping in to Balloo House, the food is so good !
Walks along the beach with our beloved Boris. This little stretch of beach is on the edge of Belfast Lough just a mile or so from the city although you wouldn't think so from this picture. It's a dog walker's paradise and Boris wanted to say hello to every dog he met !
Alpine flowers in the garden…with no effort required from me at all, these plants just do their thing and come into flower after the daffodils and hellebores have faded. Such delicate little blossom and much welcome at this time of year.
A wander around Sketrick Island in Strangford Lough which you reach via a small causeway from the mainland. While hubby sat in the pub with a pint of Guinness, I went for a dander, coming across this pretty green cabin nestled amongst the trees and blackthorn blossom at the water's edge. I must admit, I'm slightly envious of whoever owns it….sigh !
Last, but by no means least, seed sowing. At Christmas I treated myself to a beautifully packaged bundle of seeds from Grace Alexander. And just yesterday on a sunny spring day, I started sowing the first lot – Crème Brulee Phlox. As always I live in hope that my efforts will reward me with beautiful flowers. It is, for sure, a lesson in hope and optimism. Please do check out her beautiful website and Instagram feed for botanical inspiration.
Well, that's my little round up of moments that have brought me joy these past few weeks. I always feel better after writing these posts, as the very act of writing and reflecting makes me appreciate more what is good in life.
What are you enjoying and appreciating at the moment ? Please feel free to share in the comments below.
I've just got back from a walk in the park, where we've been enjoying the blossom, (me) and exploring all those tantilising scent trails, (doggies). Spring keeps changing its mind; lulled us into a sense of false security last weekend. I rushed out to plant herbs and nasturtiums , only to have the temp drop drastically and the rain bucket down! Still a wee bit grey this morning, but I've a feeling better weather is on the way.
Do like the green cabin.
Pleasant moments – to be treasured! I agree especially with your comments on writing.
Watering my plants, seeing their new growth brings me great joy and gratitude for green in the cold months. I agree with your comments on writing and reflecting. Exploration keeps the soul happy. I cannot wait to see the Crème Brulee Phlox, they will be spectacular. Thank you for sharing the link, too.
Lovely photos! I've been enjoying the warmer days here in Texas, before the really hot ones begin.
Thank you. I cant imagine how hot it must get in Texas….safe to say we never reach those temperatures here. I'm not sure I could cope !!
Too many days at 100+ which certainly inhibits outdoor activity (at least for me!). The usually mild winters are quite nice, however.
I've been enjoying spring sunshine, planting vegetable seeds and admiring the flowers. Good luck with your flower seeds!


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$LOAD_PATH << File.join(File.dirname(__FILE__), '..', 'lib')
require 'hoiio-ruby'
require 'fakeweb'
require 'json'

FakeWeb.allow_net_connect = false

APP_ID='test'
ACCESS_TOKEN='test'
TEST_PHONE='+6511233123'
SUCCESS = "success_ok"
CLIENT = Hoiio::Client.new APP_ID, ACCESS_TOKEN

def check_status(response)
  response['status'].should == SUCCESS
end

def check_txn_ref(response)
  response['txn_ref'].should_not be_nil
end

def construct_fakeweb_uri(path)
  @base_uri = "https://secure.hoiio.com/open"
  @base_uri << path
end

redpajama_set_name: RedPajamaGithub


Calamansi Cove Villas is an exclusive boutique resort in Balapitiya, that provides guests with serenity and peace through a balance of tropical greenery and the unspoiled beauty of the Indian Ocean's white, sandy beaches. Serviced by our team of twenty-five English speaking staff, relax in one of our thirteen beach or garden villas each with their own private gardens and sun deck. Discrete and attentive service is our speciality.
Secluded villa gardens, indoor and outdoor showers and personal sundecks maintain the sanctity of personal privacy.
From scrumptious seafood to mighty meat dishes and seasonal vegetables, taste the exotic flavors of the island during your stay.
Thank you for the lovely stay, we hope to see you in the future.
An excellent weekend away at Calamansi. We were very well looked after by the Whole team. Room, pool, food and location were excellent, and we hope to return soon.
Enjoyed our stay. It was peaceful, and the staff was courteous and helpful. Hope to be back!
We had a wonderful stay at your lovely hotel. Enjoyed the peace and quiet, as well as the excellent service.
We had a great time - perfect location with a very helpful and attentive staff. Will be back.
Beautiful new hotel with excellent service. Dilshan was very attentive and makes delicious with a flourish. We had a very lovely stay.


text:
PayPal Melbourne Fashion Festival is owned by the Melbourne Fashion Festival, a not-for-profit organization that started in 1996. The organization showcases the profile of Australian designers locally and globally, whilst inspiring consumers and retailers of the Australian fashion industry. PayPal is its Principal Partner and currently owns the naming rights. It was previously known as the L'Oreal Melbourne Fashion Festival and Virgin Australia Melbourne Fashion Festival.

The Festival has taken a stand on showcasing diversity on its runways, enforcing no animal fur on its runways and helping democratize traditional fashion events. This has been achieved by appealing to the general public. Its consumer-friendly operational model is very different from fashion weeks seen around the world. It's a 'see now buy now' model in terms of what is found on the Festival runways is uniquely accessible. Mostly, the designer clothing is all available in store or online.

More than just fashion, the Festival has developed into a consumer-focused festival that provides fashion runway shows, business-related seminars and workshops, entertainment, music performance, and activates various precincts across Melbourne that can be accessed by the general public.

It is part of the Victorian Major Events calendar of events and is helping to drive tourism to Melbourne often known as Australia's fashion capital. Over 15% of its public ticketing comes from outside of Victoria, the State of Australia where Melbourne is the Capital.

It is described as celebration of fashion, beauty, business and creative endeavour for everyone to enjoy. The Festival is generally held in mid-to-late March in Melbourne each year over the course of several days.

In 2023, the Melbourne Fashion Festival caused controversy after models wore material printed in Arabic spelling out "allah", the Arabic word for god. The garments were designed by label Not A Man's Dream, which was subsequently moved by festival organizers. The organizers also issued an apology for allowing the garments to be displayed and causing offence.

References

External links

Fashion events in Australia
Fashion festivals

redpajama_set_name: RedPajamaWikipedia


text:
Q: Method ends before $.getJson finishes running I have the follow code using jQUery's getjson methods
function Share(){
var title = 'Hello';
var description = 'hi description';
var url = "www.facebook.com"

$.getJSON("http://getTitle/1", function(data){
        title = data.Name;
});
callShare(title,description,url,imageUrl);
}

function callShare(title,description,url,imageUrl){
window.open(
        'http://www.facebook.com/sharer.php?s=100&p[title]='+title+'&p[summary]='+description+' &p[url]='+url+'&p[images][0]='+imageUrl+'','facebook-share-dialog',
        'width=626,height=436')}

However, it seems that the method finishes running and does the callShare function before the getJson method has finished running. Would require some help here. I understand that there might be duplicate question here and I apologize but I am not able to apply it here.
Thanks

A: $.getJSON("http://getTitle/1", function(data){
        title = data.Name;
        callShare(title,description,url,imageUrl);
});

Being an async function $.getJson() doesn't wait for the response and executes the next line.
If you want to do some things after the response has been received from the server put it in the success function. Like I have mentioned in the code.
if you also want to execute code on error or before sending the request. Use $.ajax() instead

A: Althoug the question has been answered by Parv but here are some explanation
First of all the correct way to call functions in such senarios
$.getJSON("http://getTitle/1", function(data){
     title = data.Name;
     callShare(title,description,url,imageUrl);
});

Now the question is why?
$.getJSON is an extension of $.ajax method i.e. Asynchronous, so the browsers expect of waiting for the request to complete by $.getJSON they move on to the next line of codes so that the user dont get stuck with lock browser waiting for a request to complete.
Now what is the solution in that case?
Such Asynchronous requests have a or couple of special methods called call backs, so all you need is to call such methods in those call backs that are required to be called after the successful failed or complete of the request, you will find more in the above link

A: $.getJSON is just a shorthand for $.ajax. As others pointed out, its an async call which will run in a separate thread(kind of) and rest of the code will keep on executing without worrying for the JSON result.
So you can add a success function which will be called when the async call succeeds. You can use $.ajax too.
$.ajax({
  dataType: "json",
  url: url,
  data: data,
  success: callShare(title,description,url,imageUrl),
  error: alert('error');
});

I use $.ajax because it gives more clarity over the things that are happening.

redpajama_set_name: RedPajamaStackExchange


text:
L'Oise fait partie de la région Hauts-de-France. Le département est situé à  au nord de Paris. Il est limitrophe des départements de la Somme, de l'Aisne, de Seine-et-Marne, du Val-d'Oise, de l'Eure et de la Seine-Maritime. Il est traversé par l'Oise et l'Aisne qui se jette dans l'Oise près de Compiègne. Il est composé de très nombreuses forêts, sur la rive gauche de l'Oise en particulier, comme les forêts de Compiègne, de Chantilly ou d'Ermenonville ainsi que de très nombreux étangs.

Composition culturelle
Ce département regroupe pour la plupart des territoires de l'ancienne province de Picardie, partagés entre la partie septentrionale de l'ancien gouvernement d'Île-de-France (anciens fiefs mouvants de la couronne de France : comté de Valois, comté de Clermont, Vexin français, villes de Compiègne et Senlis, l'évêché de Noyon et celui de Beauvais) avec la partie méridionale de l'ancien gouvernement de Picardie.

Géographiquement, le département peut se découper en plusieurs zones dont certaines constituent tout ou partie de régions naturelles :
 les plaines du plateau de la Somme dans le Nord,
 les forêts du Valois dans le Sud-Est,
 les buttes et le plateau du Vexin français dans le Sud-Ouest,
 le pays de Thelle et la partie orientale du pays de Bray dans l'Ouest,
 le pays du clermontois au centre.

L'influence de Paris est très forte dans le Sud du territoire et transforme villes et villages en zones dortoirs (Creil, Méru). Senlis, Chantilly puis Compiègne et la vallée de l'Oise (jusqu'à Noyon) conservent néanmoins une vivacité économique locale grâce au tourisme vert ou au tissu industriel. Le reste du département est plutôt constitué d'entités agricoles déconnectées de tout rayonnement urbain fort où Amiens semble être la contrepartie de Paris. C'est pourquoi on remarque une opposition Nord-Sud due à l'attraction entre ces villes. De même une dualité interne Est-Ouest s'exerce entre Compiègne et Beauvais, agglomérations de taille comparable et principaux foyers économiques. D'ailleurs sous la Révolution, ces deux villes s'échangeaient le rôle de préfecture.

Tracé des limites

Voici les coïncidences des limites de l'Oise qui peuvent être observées, notamment, par superposition de cartes :
 À l'ouest : la frontière avec l'Eure et la Seine-Maritime reprend celle entre les anciens gouvernements d'Île-de-France et de Normandie, marquée par la rivière de l'Epte.
 Au sud-ouest : à la frontière avec le Val-d'Oise, on trouve notamment la butte de Montmélian, qui constitue la limite entre le pays de France et le Valois, ainsi que les buttes de Rosne.
 Au sud-est : la frontière avec la Seine-et-Marne reprend celle entre les anciens gouvernements d'Île-de-France et de Champagne.

De manière moins naturelle :
 À l'est : les limites départementales de l'Aisne se sont formées à la suite de longues négociations entre Laon, Soissons et l'Assemblée nationale.

Notes et références


Stafford Direct Loans and PLUS loans are both financial aid loans made directly by the federal government. While the two have many features in common, they do have key differences that should be considered before you choose which is right for you.
Who is Responsible for Repayment?
With a Stafford loan, the loan is the student's name and is repaid by the student. A PLUS loan, however, is made to the parents of the student, and they are responsible for repayment.
When a student applies for a Stafford loan, he or she must fill out a FAFSA (Free Application for Federal Student Aid), which is available from the school. When applying for a PLUS loan, the student's parents will need to fill out an application and promissory note.
The U.S. Department of Education will let the parents know if they are eligible, while the student applying for a Stafford loan will be informed by their school of their eligibility. Parents applying for a PLUS loan must also pass a credit check.
The amount you will receive from a PLUS loan is equal to your yearly education costs minus the amount of any other financial aid the you receiving. The amount of a Stafford loan will depend on your school costs, whether you are a graduate or undergraduate student, whether you are dependent or independent, and other factors.
The funds from both type of loan must be used for educational expenses, such as tuition, other fees and room and board. There will be at least two disbursements over the course of the academic year. Any excess money will be released to you, or your parents, as cash or a check. In the case of a PLUS loan, these extra funds may be placed into your school fund. In the case of a Stafford loan, you may choose to have your school hold the excess money over until it is needed.
The variable interest rate for a 2008-2009 PLUS loan is 5.01%. The rate for a Stafford loan disbursed on or after July 1, 2008 is fixed at 6.0%. There is a fee of up to 4% of the total loan amount applied to PLUS loans, and a fee of up to 2% for a Stafford loan. Loan rates are revised each year on first of July.
The terms of repayment for both types of loan are similar. You or your parents will have up to six months after you graduate, withdraw or move to less than half-time status, to begin repaying the loan. Both types of loan may be canceled, but only under specific and unusual circumstances. To find out more about PLUS and Stafford loans, as well as other types of financial aid, visit the Department of Education's financial aid Web site (http://www.ed.gov/offices/OSFAP/DirectLoan/index.html).


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Berühmte Architekten des Altertums

Berühmte Architekten der Antike

Berühmte Architekten des 6. bis 13. Jahrhunderts

Berühmte Architekten des 13/14. Jahrhunderts

Berühmte Architekten des 15/16. Jahrhunderts

Berühmte Architekten des 17./18. Jahrhunderts

Berühmte Architekten des 19. Jahrhunderts

Berühmte Architekten des 20./21. Jahrhunderts

Berühmte Architektengruppen und -Büros

 Arbeitsrat für Kunst
 Archigram
 Asymptote Architecture (Artikel in der engl. Wikipedia)
 Atelier 5
 Bolles+Wilson
 BBPR
 Congrès Internationaux d'Architecture Moderne (CIAM) (1928–1959)
 Coop Himmelb(l)au
 Deutscher Werkbund
 Der Ring
 De Stijl
 Diener & Diener Architekten
 Gerkan, Marg und Partner (GMP)
 Groupe International d'Architecture Prospective (GIAP) (1965–1967)
 Gläserne Kette
 Gruppo 7
 Haus-Rucker-Co
 heri&salli
 Herzog & de Meuron
 MBM (Josep Martorell, Oriol Bohigas, David Mackay, Oriol Capdevila und Francesc Gual – früher auch Albert Puigdomènech, Barcelona)
 M.I.A.R.
 Modern Architectural Research Group (MARS)
 monovolume Architecture (Pedó Patrik, Pobitzer Juri)
 Murphy/Jahn
 MVRDV
 New York Five
 Novembergruppe
 Office for Metropolitan Architecture (siehe Rem Koolhaas)
 Architekten Schröder Schulte-Ladbeck
 SITE
 Skidmore, Owings and Merrill (SOM)
 Splitterwerk
 Studio PER
 Superstudio
 TAC The Architects Collaborative
 Team 10

Siehe auch
 Liste bekannter Bauforscher
 Liste bedeutender Architektinnen

Weblinks

Archit


Communication is so much more than just our words. Communication is the sum total of our confidence, body language, voice, and our words. In this TEDx talk the speaker illustrates just how all of these components fit into effective speaking. He does this by speaking about nothing and how he can hold your attention for the whole talk even though he has absolutely nothing to say.
From hanging out with your friends, to the watercooler at work, and our intimate relationship communication is the foundation that all of us have to lay if we are wanting that relationship to be healthy and strong. This is no less true when it comes to being agents of change in our communities. If we are really wanting to change the way things are done or change minds we better know how to do so effectively so that we might persuade people to be a part of the change.
Speaking by far is the most common way that we all communicate but then why is it that so many of us have such a fear of it or a general lack of knowledge concerning what makes a good communicator? The answer to that question is different for every individual however the solution is the same. The purpose of this information on this page is to give you the tools and principles that you can take and put into practice and become better at communicating your ideas. Because everyone has a story to tell and everyone deserves to tell it and have others listen.
Above is the slideshow that we used for the class workshop centered around communication and how to be more effective communicators. Below you can download our presenters notes/lesson plan that we used in the presentation of this workshop.
Listening is the most important part of communication. When you are talking with someone you become an active participant in that person's life. That is something significant and needs to be treated as such. Part of effectively communicating your thoughts is responding to others and that is only possible if you are truly vested in that individual and their ideas.
As the speaker in the video points out, everyone knows something that you don't and everyone is better at something than you. So why not take the time to listen to each person and prepare to be amazed.


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A Short (But Very Interesting) History of the Fringe
How's it going, lovely?
by Savoir Flair
A Shaved Head Can Be Sexy Too
View Savoir Flair's SF Profile
A post shared by Ciara (@ciara)
Music star Ciara has cut herself a long, sleek fringe reminiscent of Sixties-style icon Brigitte Bardot. We are loving the look so much that it got us thinking about the history of the fringe – which stretches back thousands of years and has taken on plenty of different styles along the way.
Photo: Courtesy of PA Images
Bangs are when the hair at the front of the head is cut short, covering all or part of the forehead. One of the most famous fringes arguably belonged to the Egyptian queen Cleopatra, whose thick bangs have been immortalized in countless film and TV productions. Fringes were also popular among both men and women in ancient Greece and Rome and through the Middle Ages – but the style hasn't always been favored. In Encyclopedia of Hair: A Cultural History, Victoria Sherrow writes: "At times, bangs were controversial. During the 1600s, conservative clergy said that women who cut and curled their hair into bangs represented 'a slide into mortal sin'. These bangs were regarded as a sign of vanity." From the 1900s, bangs have been a pretty constant trend in the West – but the style has changed over the years.
Bobs reigned supreme during the flapper era. It was a fashion-forward and sexy style as it showed off plenty of neck, and more often than not it was paired with a thick, heavy fringe so the face was fully framed.
In the Fifties, styles tended to fall into two camps. The first was pin-up girl bangs inspired by Betty Page: a short, thick fringe slightly curled at the bottom, and the second was the short, fluffy fringe popularized by Audrey Hepburn.
The 1960s was when fringes became fuller and more luscious. This was modeled by French cool girls like Brigitte Bardot, who tended to wear thick fringes and the rest of their hair in a big bouffant – a style Ciara might have been inspired by today.
While the style didn't change too much between the Sixties and Seventies, fringes did become noticeably shaggier. Celebrities like Jane Birkin went for a more relaxed, gappier approach to block bangs.
The Eighties won't exactly go down in history as a stellar time for hair. The overwhelming trend was for volume, in the body of your hair as well as your bangs. The bigger, the better – but unfortunately not everyone was blessed with lots of hair, which often resulted in some straggly looking fringes.
Bangs weren't hugely prominent in the 1990s – perhaps as a reaction to the excess of the Eighties. When they did emerge, they tended to be light and gappy – a more nonchalant take on the style.
In 2004, bangs seemed to be experiencing another surge in popularity in the United States," Sherrow writes in Encyclopedia of Hair. "Jennifer Aniston helped to spark the trend after she appeared in the television show Friends with long bangs that were swept to the side." During this time, the style tended to be longer, meaning it could be more versatile – fringes could be worn in curtains, to the side, or pinned back. Other fringe icons of the decade included Catherine Zeta-Jones and Rihanna.
Social media means celebrities switch up their looks more regularly than ever. Instead of just one fringe trend ruling Instagram, there are countless trends. Many of these fads take direct inspiration from the past. Ciara went down the Sixties route with her heavy bangs, but she's not alone in looking back. Jennifer Lopez recently cut herself a shaggy fringe straight out of the Seventies, while Zoe Kravitz's uber short bangs are a modern take on Audrey Hepburn's pixie cut, and Chrissy Teigen's long side fringe has the versatility of a Noughties cut.
A post shared by Chris Appleton (@chrisappleton1)
Bangs Are Back, According to Jennifer Lopez (and These 5 Other Celebs)
She's Celebrating Her Birthday, We're Celebrating Her Beauty


The smartphone user now has the perfect way to kill time and stay entertained. With Color Switch in your Apple or Android smartphone, you can have fun training your reflexes, forming strategies of overcoming levels that progressively get tougher. The app has seen millions of downloads, and the number is only set to rise.
What's So Great About Color Switch?
How To Get Color Switch For Your Smartphone?
Color Switch is the number one addictive game of the year. The app has been received the prestigious Editor's Choice tag on the Play Store, so you can know this app is certainly not one to miss. Color Switch is the perfect example of the concept that a simple app with iconic graphics becomes a record-breaking entertainer. Isn't that true in hindsight? I mean, look at Mario or tile matching games!
Tap to make the ball jump. Keep at it, because the ball falls down too.
Pass the ball through similar colors to collect stars.
Avoid obstacles on other colors or have your ball destroyed.
The four colored ball switches your color, so keep your eyes wide open to register the new color and make your escape to higher levels.
Search for Color Switch in the Search bar.
Open the page of the game.
Click "Install" or "Get", depending upon your device.
Go through the permissions before agreeing to get the app.
In a matter of seconds, you can be sure to get the app ready on your device.
You can also get the app outside the Play Store via the apk file. Color Switch apk file can help you set up the game not only in Android; but also on Blackberry and Windows PC, though the latter necessitates an Android Emulator.
Download an Android Emulator. BlueStacks might do the trick.
Install it on your PC. Save your data and close all programs before, so you may restart the device when prompted.
Login to the newly installed app using a Gmail account. This will enable you to access the Play Store directly via the emulator.
Now go to the Play Store and find Color Switch. Press Install.
If you have a Color Switch APK though, right click the file. The apk file can be obtained from the internet for free.
Press Open With and choose the emulator.
The installation completes in a matter of seconds. Wait for the notification.
In no time, you can enjoy unlimited gaming on any device you like. Is there any reason to skip this amazing game from your gaming experience?
Color Switch has fast become the darling of the smartphone generation. The craze refuses to die. With progressively complex and hard levels and a pace not many can claim to keep up with, the game is pretty much posed to be the app of the year. In our next post, we will be telling you more about how to download Color Switch for PC, not only this we will also reveal some of the major Color Switch cheats that would help you become a master of this game.


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Skincare & Online Store
Dr. Sarah Kennea BS MBCHB, MRCGP, CCFP
BSC (Hons), MBCHB, MRCGP, CCFP BSc (Hons)
Dr. Sarah Kennea is the Medical Director and founder of Whistler Medical Aesthetics (WMA). Dr. Kennea was recognized early in her aesthetic career for her precise and careful skill with injectables. Her expertise in the area of aesthetics medicine became sought after by others in the industry, and after being invited to the Allergan Medical Institute Faculty in 2018, she was invited to lead the Faculty in 2022.
Specializing in the MD Codes, Dr. Kennea has pioneered techniques for treating not just patients for aesthetic outcomes, but patients with genetic or traumatic injuries. The ability to gently, and methodically shape and contour the face, with a completely natural outcome is a skill set that few injectors have acquired.
Her results come not just out of expertise and experience, but out of a genuine passion for her patients. Dr. Kennea said "Getting to know and understand my patient's concerns and personalities before picking up a syringe is a pivotal part of understanding and meeting their needs."
This is the cornerstone of the founding ethics and principles at WMA.
Dr. Kennea is one of only seven physicians in Canada,a nd the only physician to be selected twice, to be metored and trained by arguably the world's foremost expert on Injectable medicine and the founder of the MD Codes the inimitable Dr. Mauricio De Maio. Dr. De Maio is a world-renowned plastic surgeon whose practice is based in Brazil. The MD Codes is the modern template designed to enable a modern approach to facial aesthetics.
Dr. Kennea at a training session with Dr. Mauricio De Maio
2022 AMI Faculty and Mentees
The purpose of the faculty was for the Allergan medical Institute (AMI) to take seven of the best Physician Injectors from across Canada and give them a once-in-a-lifetime opportunity to train and be mentored by MD Codes founder Dr. De Maio. The MD Codes provide a universal symbolic language for reducing variability in injection techniques. The MD Codes platform provides user-friendly algorithms to help clinicians increase patient satisfaction by going beyond the treatment of lines and folds and to focus on reducing unfavourable facial attributes.
To effectively deliver a youthful appearance with a custom-tailored solution, Dr. de Maio's MD Codes ™ divides the face into numerous points of injection.
Dr. Kennea has spent the last five years perfecting the 8 Point lift, the brainchild of De Maio. The 8 Point Lift is effectively a set of extremely precise guidelines, designed to rein in what has for too long been treated with wildly unpredictable results…REUSLTS are impressive: cheekbones are lifted, hollows under the eyes diminished, lines from the nose-to-mouth reduced and a tweak upwards at the corners of the mouth. And symmetry, which determines the appeal of a face to another's eye, is created or restored." The treatment is much more careful and conscious of a patient's specific needs and goals than other facial procedures.
Dr. Kennea has made a number of training videos for AMI and has appeared in a series of training seminars online and in person. Dr. Kennea has authored a white paper on treating the Gummy smile and presented this technique on behalf of AMI to Physicians from across Canada. She is widely sought after and has mentored a number of Physicians new to injecting.
Her practice in Whistler attracts patients from across North America, and her nurses can train with Dr. Kennea and her colleagues in various disciplines, making them some of the highest-trained nurse injectors in Canada.
Dr. Kennea - History
Dr. Sarah Kennea studied at Glasgow University, graduating in 2001 with a Medical Degree and a simultaneous BSc Degree in Immunology, as well as completing an Undergraduate Course at Yale University, Connecticut.
Prior to establishing her own practice in the Channel Islands, Dr. Kennea was commissioned as a an officer in the Royal Army Medical Corps by Her Majesty Queen Elizabeth II. She served at a field hospital in Iraq during the conflict in 2003 winning the Iraq service medal. She is a published Member of the Faculty of Forensic and Legal Medicine, and returned to Glasgow University to achieve a Diploma in Forensic Medical Science from the Society of Apothecaries in London, as well as a diploma in and Medical Jurisprudence.
Dr. Kennea strongly believes the 'Hollywood' glamorous image of aesthetics is misplaced and strives to destigmatize this imagery.
In my clinic I am looking at the full picture and helping our patients focus on how they want to feel from treatment, versus focusing on bothersome lines and folds in isolation. Taking this approach leads to higher patient satisfaction.
Dr Sarah Kennea
Dr Kennea is a member of the Canadian Medical Association the College of Physicians & Surgeons of British Columbia & The Canadian Association in Aesthetic Medicine.
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Q: More efficient way to scrape ratings values from TripAdvisor using R I am trying to scrape the ratings from TripAdvisor. So far, I have managed to extract the HTML nodes, turn them into character strings, extract the string that represents the numeric I need then converted it to the correct number, finally dividing it by 10 to get the correct value it is demonstrating.
library(rvest)

url <- "https://www.tripadvisor.co.uk/Attraction_Review-g1466790-d547811-Reviews-Royal_Botanic_Gardens_Kew-Kew_Richmond_upon_Thames_Greater_London_England.html"

ratings_too_big <- url %>%
  read_html() %>%
  html_nodes("#REVIEWS .ui_bubble_rating") %>%
  as.character() %>%
  substr(38,39) %>%
  as.numeric()

ratings_too_big/10

This is without doubt very messy - what's a cleaner, more efficient way to do this? I have also tried Hadley Wickham's example shown here:
library(rvest)

url <- "http://www.tripadvisor.com/Hotel_Review-g37209-d1762915-Reviews-JW_Marriott_Indianapolis-Indianapolis_Indiana.html"

reviews <- url %>%
  read_html() %>%
  html_nodes("#REVIEWS .innerBubble")

    rating <- reviews %>%
  html_node(".rating .rating_s_fill") %>%
  html_attr("alt") %>%
  gsub(" of 5 stars", "", .) %>%
  as.integer()

This was not successful, as no data was returned (there appears to be nothing in the HTML node ".rating .rating_s_fill"). I am new scraping and css identifiers, so apologies if the answer is obvious.


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Poor Kidney Function Significantly Linked With Dementia Incidence
By Gianna Melillo
Data from a 10-year follow-up study showed declining kidney function is significantly associated with dementia risk among older adults.
Results of a 10-year follow up of a cohort study revealed poor and declining kidney function in older adults is associated with a higher risk of dementia. Findings, published in Age and Aging, also showed the association is not attributable to stroke and persists after accounting for major cardiometabolic conditions, authors wrote.
Previous research has indicated cognitive impairment is common among patients with end-stage renal disease undergoing hemodialysis, while a graded association exists between chronic kidney disease (CKD) severity and cognitive impairment.
"The kidneys and the brain, both being end organs, are thought to be susceptible to vascular damage due to similar anatomic and hemodynamic features," the researchers explained, proposing one possible common underlying mechanism.
Globally, CKD prevalence is increasing due in part to increasing rates of hypertension, diabetes, and obesity.
To better elucidate the relationship between estimated glomerular filtration rate (eGFR) and dementia, the investigators assessed data that were compiled for over 10 years in a large community dwelling as part of the Whitehall II cohort study. This study was established in 1985 and originally included data on 10,308 individuals. Since the study's inception, follow-up clinical examinations have taken place every 4 to 5 years, while in the current analysis, baseline data on kidney function measured between 2007 and 2009 were utilized.
Data were also linked with electronic health records of the United Kingdom National Health Service and all-cause dementia was identified based on International Classification of Diseases, 10th Revision codes. Individuals were followed until the recorded date of dementia, death, or March 31, 2019.
Changes in eGFR were measured at follow-up appointments that took place between 2012 and 2013. A total of 6050 adults with a mean age of 65.8 (5.9) years were included in the current analysis.
The researchers found:
306 cases of dementia were recorded over a mean follow-up of 10 years
Baseline eGFR < 60 was associated with an HR for dementia of 1.37 (95% CI, 1.02-1.85) in analysis adjusted for sociodemographic factors, hypertension, obesity, stroke, diabetes and cardiovascular disease/medication
Removing stroke cases at baseline and censoring them over the follow-up yielded an HR of 1.42 (95% CI, 1.00-2.00) for the association between CKD and dementia
Decline of eGFR ≥ 4 between 2007 to 2009 and 2012 to 2013 was associated with incidence of dementia over a 6.3-year mean follow-up (HR, 1.37; 95% CI, 1.02-1.85), with somewhat stronger associations when analyses were restricted to those with eGFR ≥ 60 in 2007 to 2009 (HR, 1.56; 95% CI, 1.12-2.19)
Mean (SD) age at dementia diagnosis was 78.1 (5.3) years and these individuals tended to have worse sociodemographic and health profiles at baseline.
Overall, the researchers noted 3 key findings:
The eGFR < 60 threshold, used to denote risk of CKD, is also valid for risk of dementia
A robust association of eGFR < 60 with incidence of dementia that was not attributable to stroke and persisted after adjustment for other major cardiometabolic conditions
Declining eGFR, even when confined to analysis on persons with eGFR ≥ 60 at baseline, was associated with higher incidence of dementia
Current results are in accordance with previously published research, but the exact underlying mechanisms linking the 2 conditions remain unclear.
In the Whitehall II analysis, the researchers were only able to adjust for traditional risk factors, marking a limitation to the study. Participants included were also more likely to be healthier than those with advanced kidney disease, while the follow-up period employed "is not long enough to rule out reverse causations where estimates can be biased due to the long preclinical phase of dementia affecting multiple processes," the authors wrote.
Cost of care, increasing rates of CKD prevalence, and poor outcomes warrant the prioritization of CKD surveillance from a public health standpoint, the researchers concluded. "While cardiovascular disease and reduction in life expectancy are recognized adverse outcomes of CKD, it is possible that dementia is also part of the risk associated with CKD."
Singh-Manoux A, Oumarou-Ibrahim A, Machado-Fragua MD, et al. Association between kidney function and incidence of dementia: 10-year follow-up of the Whitehall II cohort study. Age Aging. Published online January 17, 2022. doi:10.1093/ageing/afab259


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Zero to Hero in 60 Weeks: How To Build a World-Class IR Team
Zero to Hero in 60 Weeks: How To Build a World-Class IR Team Learn from the founding member of Uber's Security Response team about what it takes to build one of the best security teams in the world. https://applied-cyber.stanford.edu/events/building-a-world-class-ir-team https://applied-cyber.stanford.edu/@@site-logo/Applied-Cyber-logo-small.png
Learn from the founding member of Uber's Security Response team about what it takes to build one of the best security teams in the world.
https://applied-cyber.stanford.edu/events/building-a-world-class-ir-team
Where Huang 305
This talk will deep dive on many technical challenges facing companies today and battle tested solutions that have enabled Uber's Security Team to respond in any situation.
Alex Levinson is one of Uber's senior security engineers and has been instrumental in shaping Uber's Security Response team (Incident Response team) into what it is today. Alex will describe what Uber's IR team does, explain how the IR team's mission breaks into technical roles, go over each role in detail, and share how they have evolved over time.


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Let Them Fight & Behold The Crazy Full Trailer for 'Godzilla Vs. Kong'
Boom NewsFilm & TVStream
Image Courtesy of Legendary/Warner Bros./HBO Max
The day is here. For some, it's just another day. Yet for many it's a day of celebration and loud exclaiming. A day where beasts of gigantic size punch each other in the face. Over and over and over. It's quite special. Anyways, here's the Godzilla vs. Kong trailer. It's highly advisable you watch this on the biggest screen possible and loud as possible. You might not be viewing this in a theater, but that doesn't you can't try to replicate the experience.
There's a good chance that no one really needs a synopsis of Godzilla vs. Kong. That would just be silly. All people need to know is that there's a lot of punching, atomic breath being fired, building beating destroyed and an abundance of time spent on the humans. It turns out, the official synopsis has a bit more going on than expected (*minor possible spoilers*):
"Legends collide in 'Godzilla vs. Kong' as these mythic adversaries meet in a spectacular battle for the ages, with the fate of the world hanging in the balance. Kong and his protectors undertake a perilous journey to find his true home, and with them is Jia, a young orphaned girl with whom he has formed a unique and powerful bond. But they unexpectedly find themselves in the path of an enraged Godzilla, cutting a swath of destruction across the globe. The epic clash between the two titans — instigated by unseen forces — is only the beginning of the mystery that lies deep within the core of the Earth."
In the middle of the trailer, there's literally a moment where they call out Godzilla not quite acting like himself. So, that doesn't come as a surprise in the description. What does raise eyebrows, is the mention of "unseen forces". Is that referring to alien beings? An old staple of Godzilla films from yesteryear? Does that mean we might be getting a strange outing where alien are pitting kaiju against each other, every few millennia or so? That's a lot of questions, but it sets up a world of wild possibilities. And that is how you get people to watch your film. By doing something audaciously weird and outside the box.
What did you think about that trailer, dear reader? Are you thrilled by the mayhem? Excited by the glowing axe that seemingly comes out of nowhere? It's a lot to take in and while there's no telling how much of the film will be an all-out kaiju, this looks all kinds of amazing. Part of that is Godzilla. Part of that is Kong. The last element, that factors in, is the humans. When you plop Rebecca Hall, Alexander Skarsgard, Demian Bichir, Brian Tyree Henry, you're hoping people notice. Same goes for putting Adam Wingard (The Guest, You're Next) behind the camera. The outcome of if that's effective enough, as well who wins the overall battle (hopefully the audience), is something most people will be able to find out when Godzilla vs. Kong erupts onto HBO Max & theaters on March 26, 2021.
GodzillaGodzilla vs. KongHBO MaxKing Kong
'Last Flag Flying' Rises Mostly To The Occasion Thanks To Strong Lead Performances


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Craniofacial Neurofibromatosis Type 1: Clinical Features, Challenges Of Management, And A Report Of 2 Nigerian Patients
O Akadiri, I Jackson
O Akadiri, I Jackson. Craniofacial Neurofibromatosis Type 1: Clinical Features, Challenges Of Management, And A Report Of 2 Nigerian Patients. The Internet Journal of Head and Neck Surgery. 2008 Volume 3 Number 1.
Objective: The objective of this article is to highlight the various soft tissue and skeletal manifestations of craniofacial neurofibromatosis and the challenges involved in the surgical management of patients with complex cases. Methodology:An extensive literature review was conducted to highlight the clinical features of craniofacial neurofibromatosis. The notable challenges of management from the experience of the authors were highlighted and two cases of Nigerian patients are presented to demonstrate the challenges of management as it affects patients in the developing nations of Africa who often require referral abroad.Result:Patients with craniofacial neurofibromatosis present with varying soft tissue and skeletal features which often necessitate complex, expensive and highly technical surgical management which are often not locally available in some developing countries. In this article, the skeletal features are presented under 3 subheadings; cranial features, orbital features and orofacial features. The 2 cases presented illustrate the clinical features and the technicalities of management with emphasis on the need for a committed craniofacial team. Conclusion:In order to reduce the physical and financial burden in the management of complex craniofacial conditions, the need to improve facilities and expertise and to form effective craniofacial teams in the third world countries is imperative.
Neurofibromatosis (NF) is a generalized form of the benign tumor of the peripheral nerves derived from fibrous element of the nerve sheath1. It is neuroectodermal in origin with varying involvement of the skin, subcutaneous tissue, and bone. It is an autosomal dominant inherited disorder with approximately 50% of patients having a positive family history of the disease 2. There are two types; neurofibromatosis type 1 (NF-1), known as Von Recklinghausen disease which results from mutation on the long arm of Chromosome 17. It is more common, occurring with a frequency of 1 in 3000 live birth, which accounts for 96% to 97% of all cases of NF. The type 2 (NF-2) is associated with a mutation on the long arm of chromosome 22 and accounts for approximately 3% of all cases34. Though the disease has been found across all ethnic and racial boundaries, the prevalence among Blacks and Orientals is considerable. In a multicenter study, higher incidence rates of 12.8% and 57.4% respectively were reported among African and Asian patients 4
The incidence of head and neck involvement with neurofibromatosis ranges from 1% to 22% in the published literature567. NF-1 manifests in the craniofacial complex as varying involvement of the soft tissue and bone of the orbitocranial and jaw regions usually resulting in hemifacial deformities. Bilateral involvements have also been reported; Bloem and van der Meulen reported a case of bilateral orbito-facial involvement affecting the entire face8. Due to the extensive and destructive manifestation of craniofacial neurofibromatosis and the consequent functional and cosmetic disabilities imposed by the disease, sophisticated radio-diagnostic facilities are required for effective treatment planning. The surgical management of the disease can be highly technical because of the involvement of vital structures of the craniofacial complex. We have observed that many patients from some African and Asian countries are being referred abroad for treatment; the reasons often cited are those of inadequacy of sophisticated radio-diagnostic facilities and lack of surgical expertise for the treatment of extensive lesions.
In this article, the clinical features and challenges of management of craniofacial neurofibromatosis are highlighted. We also report two cases of Nigerian patients with extensive lesions who were treated abroad.
Clinical features of craniofacial neurofibromatosis
Von Recklinghausen Neurofibromatosis or NF-1 is the variant of the disease mostly associated with extensive craniofacial manifestation 6. It often presents with a variety of clinical features manifested in the soft tissue and skeletal structures of the region.
Soft tissue manifestation
The soft tissue manifestation can involve the scalp, periorbital and intraorbital tissues, and the skin and subcutaneous tissues over the upper and lower jaws. The usual cutaneous involvement is the presence of multiple café-au-lait spots. There could be multiple nodular outgrowths over the scalp and face or an excessive and pendulous stretch of tissue hanging from the face, which on palpation, often contains a knobbly interwoven collection of fibrous, neural and vascular elements constituting plexiform neurofibromatosis. This is characteristically described as a "bag of worm"910. There is often a significant hemifacial hypertrophy with ipsilateral mechanical ptosis of the upper eyelid and drooping of the angle of the mouth. Sometimes the facial nerve is involved with varying degree functional deterioration11. Involvement of branches of the trigeminal nerve may be associated with pain and/or paraesthesia 12. Intraoral lesions11314 present as discrete non-ulcerated nodules covered by normal oral mucosa usually occurring on the cheek, palate, alveolar ridge, vestibule and tongue. Some times there is simply a diffuse involvement of the oral tissues. The involvement of the tongue may result in macroglossia, and occasionally, part of the dentition may be submerged.
Skeletal manifestation
The skeletal manifestation is varied and can be in the form of cortical erosions from the contiguous tumor mass, dysplastic bony changes, hyperostosis or subperiosteal cysts14. The resultant deformities in the cranial, orbital and facial bone structures have been extensively described in the literature.
Cranial features
Radiologically, there are mesodermal dysplatic changes in the sphenoid bone which include absence or hypoplasia of the greater wing and hypoplasia and medial deviation of the lesser wing, deformity of the sella turcica and body of the sphenoid151617. CT evidence of cavernous sinus enlargement has been described in up to 71% of patients16. Usually there is associated antero-posterior enlargement of the middle cranial fossa, sometimes with intracranial tumors; resulting in herniation of the temporal lobe into the orbital cavity through the bony defect created by the absence of the greater wing of the sphenoid bone 21516. When some cranial nerves are involved, usually there is enlargement of the respective exit foramina113. Multiple congenital calvarial defects involving the parietal, temporal and occipital bones and poor pneumatisation of the ethmoidal, sphenoidal and mastoid sinuses and erosion of the internal acoustic meatus are well documented1819. Traditionally, most of the cranial deformities were attributed to developmental dysplasia irrespective of contiguous presence of tumor tissue 2021 but recent evidence has demonstrated a close association between contiguous tumor proliferation and the dysplastic changes, hence the concept of secondary dysplasia has been suggested15.
Orbital features
The orbital changes in neurofibromatosis type 1 have largely been attributed to the consequence of the sphenoidal dysplasia, orbital invasion and proliferation of the plexiform neurofibromatosis (PNF) 1516.
The erosion of the greater wing of the sphenoid and consequent encroachment of the content of the temporal fossa, as well as invasion of the extraocular muscles and the extraconal space with PNF results in the reduction of orbital volume causing proptosis of the globe. Sometimes there is downward displacement of the globe and expansion of the orbital rim due to PNF infiltration of the roof of the orbit. The combination of anterior displacement of the globe due to encroachment by the middle cranial fossa and downward displacement due to a mass superior to the globe results in enlargement of the orbital rim to produce the classic egg-shaped orbital deformity15. There may be complete erosion and replacement of the lateral orbital wall with tumor tissue further diminishing the orbital volume. When there is maldevelopment or narrowing of the anterior chamber angle due to direct infiltration of the globe, buphthalmos results, and this can lead to blindness or globe enucleation1522. Blindness may also result from tumor infiltration of the retina with corkscrew malformation of the retinal vessels leading ultimately to retinal ischemia23. Rarely, enophthalmos and hypoglobus may occur secondary to the widening of the inferior orbital fissure and weakening of the suspensory complex of the globe with malposition or disinsertion of the canthal ligaments924. Other ocular abnormalities include the presence of iris hamartomas (Lisch nodules) and heterotopic calcifications within the orbit 1819.
Orofacial features
The radiographic manifestations of maxillary and mandibular lesions often include radiolucencies with well-defined, poorly-defined or irregular diffuse borders26. The widening of the orbital rim often leads to hypoplasia and poor pneumatisation of the ipsilateral maxilla15. There may be hypoplasia of the mandibular body and ramus, abnormal coronoid process, and zygomatic arch. Mandibular cysts have been reported and more rarely there is mandibular overgrowth with a convex outer contour and increase in the vertical height 192527. When the inferior alveolar nerve is involved, there is widening of the mandibular foramen or canal113. Reported dental abnormalities include numerical aberrations, retention of molars and aplasia of the mandibular second molars in association with PNF28.
Challenges of management
The challenges confronted in the management of craniofacial neurofibromatosis are multifarious. It includes; 1. Diagnostic challenges 2. Challenges involved in the coalition of an effective multidisciplinary team 3. Technically demanding surgical expertise 4. A long-term commitment to prolong follow-up, and management of recurrences and complications 5. Physical and psychological rehabilitation of patients
Radiological examination is most essential for the evaluation of the skeletal and soft tissue involvements which is often extensive with attendant cosmetic and functional deformities affecting vital organs. The challenges, especially in the underdeveloped parts of the world is the availability and affordability of sophisticated, modern investigational facilities and techniques e.g. computerized tomography, magnetic resonance imaging, and 3-dimensional CT imaging which are required for a comprehensive evaluation of the disease in order to effectively plan treatment and for serial monitoring of treatment progress.
The importance of a multidisciplinary team approach is underscore by the need to ensure a thorough pre-op evaluation of patients, which often involves radiologists, neurosurgeons, ophthalmologists, orthodontists, and cranio-maxillofacial surgeons. An effective synchronization of the activities of these specialists is often difficult to achieve in places where there is no established craniofacial team. Once properly evaluated, the decision is taken whether or not to treat. Since the disease is essentially benign, the decision to treat is usually predicated on the presence of unacceptable cosmetic deformities, disturbing symptoms or significant functional aberrations. These are often very difficult to correct and require surgical expertise in craniofacial osteotomies, neurosurgical manipulations and orbital and oculoplastic surgery much of which procedures require specialized instrumentation and training, hence, should not be undertaken lightly without adequate experience.
Above all, it is important for the clinicians to realize that a venture into the management of patients with craniofacial neurofibromatosis requires a long term commitment to provide follow-up, repeated operations if necessary, management of complications and long term physical and psychological rehabilitations.
Patient 1 is a 21-year-old Nigerian male who was referred to the Craniofacial Institute Southfield, Michigan, USA; he was sponsored by a charity organization. The patient presented with features of neurofibromatosis involving the left hemi-face, the left orbit, frontal and cheek areas with associated loss of facial nerve function in the buccal and frontal branches. There were multiple facial neurofibromatoses with great excess of ptotic facial and cheek skin resulting in a pendulous overhang over the face and with significant orbital distortion. There was buphthalmos with attendant loss of vision in the left eye. MRI imaging revealed a large enhancing neurofibroma on the left, which extended into the subtemporal soft tissues. There was bone erosion and dysplasia of anterior and middle cranial fossa including the temporal bone and portions of the sphenoid as well as the sella. The underlying left brain was somewhat deformed and atrophic and there is a large arachnoid cyst present. An ovoid mass thought to represent hematoma was seen centrally within the lesion. Inferiorly, the lesion interdigitated with muscles of mastication and extended as far as the inferior margin of the mandible with extension into the pharyngeal space. Additional information provided by the CT scan was the increased height (51mm) of the anterior margin of the left orbit due to tumor infiltration. The width was deceptively normal (42,5mm) due to anterior displacement of the globe. The right orbital margin was normal in both dimension measuring 43.4mm in width and 38.4mm in height. Bilateral carotid angiography was performed for the vascular mapping of the lesion, this revealed a large hypovascular mass along the left aspect of the neck and skull resulting in displacement and distortion of the arterial system without evidence of tumor blush.
In the first surgery, a coronal flap was raised with detachment of the temporalis muscles craniotomies and orbital osteotomies were performed to gain access for tumor resection and to correct the deformity of the orbital margins. The orbital content were removed and the facial soft tissue tumor was comprehensively excised. Seven months later, a second surgery was performed for removal of the plates and screws and recontouring of the orbit. Postoperatively, the second surgery was complicated with a frontotemporal hematoma which became infected, patient also had fever and diarrhea. A possible co-existence of a gastrointestinal neurofibromatosis was ruled out. The frontotemporal abscess was drained, fever and diarrhea were controlled and the general condition of patient improved significantly. The patient subsequently received eye prosthesis to the left orbit and the general outcome was very satisfactory.
Patient 2 is a 19-year-old Nigerian male who presented with features of right-sided cranio-orbito-facial neurofibromatosis of soft tissue and bone and was also referred on the sponsorship of a charity organization. There was significant deformation of the skull, orbit, and nasal architecture with skeletal enlargement of the right hemiface. There was buphthalmos of the right eye. CT and MRI imaging revealed enlargement of the right side of the face including the orbit, mandible, maxilla, alveolus and zygoma. There were bony projections into the cranium along the sagittal and mildly in the parietal suture areas. The deformed and thickened mandible and maxilla were also demonstrated on panoramic radiograph.
The surgical treatment was in two stages; at first, large frontal craniotomy was accomplished via a coronal approach. The nasal and orbital bones were osteotomized and placed in the correct position, a cranial bone graft was harvested from the parietal bone and grafted to the bridge of the nose. The floor and medial wall of the right orbit was recontoured to correct the exophthalmos. Excess skin of the scalp, neck and eyelid was removed and the right oral commissure was reconstituted. There was extensive intraoperative bleeding which was treated intraoperatively by a combination of hypotensive anaesthesia and transfusion of packed cells, platelets, fresh frozen plasma and crystalloids. Postoperatively, the patient went into respiratory failure with pulmonary crepitations. He had positive pressure ventilatory support, continuous monitoring of arterial blood gasses and diuretics. Patient recovered fully afterward with satisfactory healing and a good postoperative outcome.
A second surgery was performed about a year later for cosmetic improvement of residual exophthalmos and facial appearance. The previous coronal incision was opened, further excision of residual neurofibromatous tissue was done, followed by orbital recontouring, medial and lateral canthopexy and face-lift.
The two patients presented were referred from Nigeria based on the complexity of their craniofacial neurofibromatosis. These patients presented with extensive lesions associated with distortion of multiple cranial and facial tissues requiring adequate and judicious diagnosis and treatment planning.
Characteristic dysplastic features of craniofacial neurofibromatosis were found on CT and MRI imaging. Patient 1 had sphenoid bone defects associated with orbital deformities resulting in exophthalmos and buphthalmos which had resulted in blindness of the left eye. Patient 2 had a similar manifestation but the visual acuity of the buphthalmic eye was within acceptable limits. Calvarial defects and deformities of the jawbones are well depicted in patient 2. The skeletal and cosmetic deformity was more extensive in patient 2 in whom nasal bone grafting and face-lift had to be performed to improve final aesthetic outlook.
The disseminated nature of the tumor involving orbital, intra- and extracranial tissue as well as extensive bony distortion of the skull and jaws necessitated a team approach which was facilitated by the well-established existence of a craniofacial team at the institute headed by the senior author (ITJ). This enabled adequate radiological, opththalmological, neurosurgical and cranio-maxillofacial assessments and comprehensive treatment planning. The surgical management which was accomplished by a neurosurgeon and the senior author (ITJ) – a craniofacial surgeon, involved a combination of craniotomies and orbital osteotomies to gain access for intraorbital tumor resection and for correction of orbital volume and the widened orbital margin. The reconstruction of the nasal skeleton was effected with a cranial bone graft in patient 2.
Profuse intraoperative hemorrhage has been associated with operations on neurofibromatosis; this is attributed to the interwoven vascular elements within the neurofibromatous tissue29. This was the experience with patient 2 who required large volume of crystalloids and blood products to maintain hemodynamic stability intraoperatively. The patient developed respiratory failure post operatively with evidence of fluid overload. He recovered completely following adequate positive ventilatory support and diuresis with continuous monitoring of arterial blood gases until stability was achieved.
More often than not, the treatment of neurofibromatosis requires repeated surgery for several reasons. One is that it is usually impossible to excise all the tumor tissue; another is the tendency for recurrence and malignant transformation. In addition, further surgeries are often required to improve aesthetics. In these two patients, further operations were performed to recontour the orbit for orbital prosthesis and to improve the aesthetic value of the patients, which indeed does enhance psychological rehabilitation.
In conclusion, we have highlighted some essential clinical and radiological features of craniofacial neurofibromatosis based on literature reports; we have also identified the various challenges involved in the management of the disease. Finally, we have presented the cases of two patients whose management significantly illustrates the challenges often encountered in the management of the disease. In order to reduce the physical and financial burden in the management of complex craniofacial conditions like these, the need to improve facilities and expertise and to form effective craniofacial teams in the third world countries is imperative. This will facilitate the treatment of patients in their home countries.
Oladimeji Adeniyi Akadiri, BDS, FWACS Department of Oral and Maxillofacial Surgery, Faculty of dentistry, University of Port-Harcourt, Nigeria. (Same address for reprints) Tel NO: (234) 702-800-4075 e-mail: oaakadiri@yahoo.com
1. Regezi JA, Sciubba JJ. Oral Pathology: Clinical pathologic correlations. 3rd Ed. London, WB Saunders, 1999
2. Hunt JA. Common craniofacial anomalies: conditions of craniofacial atrophy/hypoplasia and neoplasia. Plast Reconstr Surg 2003;111:1497- 1508
3. Mulvihill JJ. Neurofibromatosis – a genetic epidemiologist's point of view. Ann N Y Acad Sci 1986;486:30-37
4. Miyawaki T, Billings B, Har-Shai Y, et al. Multicenter study of wound healing in neurofibromatosis and neurofibroma. J Cranio-Maxillofac Surg 2007;18:1008-1011
5. Lee V, Ragge NK, Collin JRO. Orbital neurofibromatosis: clinical features and surgical management. Ophthalmology 2004;111:382-388
6. Adkin JC, Ravitch MM. The operative management of neurofibromatosis in children with special reference to lesions of the head and neck. Surgery 1977;82:342-348
7. North K. Neurofibromatosis Type 1 in childhood. London: Mackeith press 1997;31-33
8. Bloem JJ, Van der Meulen JC. Neurofibromatosis in plastic surgery. Br J Plast Surg 1978;31:50-53
9. Marchac D, Britto JA. Remodeling the upper eyelid in the management of orbitopalpebral neurofibromatosis. Br J Plast Surg 2005; 58:944-956
10. Faris SR, Grove AS. Orbital and eyelid manifestation of neurofibromatosis – a clinical study and literature review. Ophthal Plast Reconstr Surg 1996;12:245-259
11. Samii M, Turel KE, Penkert G. Management of seventh and eight cranial involvement in cerebelopontine angle tumor. Clin Neurosurg. 1985;32:242-72
12. Bhattacharyya I, Cohen D. Oral neurofibroma. Available at http://www.emedicine.com/derm/TOPIC674.HTM. Accessed June 15, 2008
13. Rajendran R, Sivapathasundharam B. Shafer's textbook of oral pathology. 5th Ed. New Delhi, Elsevier 2006.
14. Killey HC, Seward GR, Kay LW. Oral Surgery Part II. Oxford, Wright, 1998 Pg 65
15. Jacquemin C, Bosley TM, Svedberg H. Orbital deformities in craniofacial neurofibromatosis Type 1. Am J Neuroradiol. 2003;24:1678-1682
16. El-Watidy S, Jamjoom A, Jamjoom ZA, et al. Cranio-orbital anomalies in Von Recklinghansen neurofibromatosis simulating an intracranial space-occupying lesion. Annals of Saudi Medicine 1995;15:399-401
17. George RA, Godara SC. Cranio-orbital-temporal neurofibromatosis: A case report and review of literature. Neuroradiology 2004;14:317-319
18. Gupta SK, Nema HV, Bhatia PL, et al. The radiological features of craniofacial neurofibromatosis. Clinical Radiol 1979;30:553-557
19. Gupta SK, Kaur S, Sharma OP. Craniofacial neurofibromatosis a Roentgen profile. Australasian Radiology 1984;28:97-105
20. Meszaros T, Guzo F. Neurofibromatosis. AJR 1966;98:557-569
21. Galanski M, Benz G. Plain film findings in neurofibromatosis. Rofo 1978;129:757-761
22. Jackson IT, Carbonnel A, Potparic, et al. Orbital neurofibromatosis classification and management. Plast Reconstr Surg 1993;92:1-11
23. Neurofibromatosis type1– eyes. Available at http://www.gfmer.ch/genetic_diseases_v2/gendis_detail_list.php?cat3=1268. Accessed June 17, 2008
24. Fukuta K, Jackson IT. Orbital neurofibromatosis with enophthalmos. Br J Plast Surg 1993;46:36-38
25. Ijaduola GTA, Ademiluyi GA, Olanrewaju DA. Skeletal lesion in Von Recklinghausen's disease of the head and neck in Nigerian Africans. Journal of Laryngology & Otology 1986;100:823-830
26. Kaplan I, Calderon A, Kaffe I. Radiological findings in jaws and skulls of neurofibromatosis type 1 patients. Dentomaxillofac Radiol 1994;23:216-220
27. D'Ambrosio JA, langlais RP, Young RS. Jaw and skull changes in neurofibromatosis. Oral Surg Oral Med Oral Pathol 1988;66:391-396
28. Friedrich RE, Giese M, Schmelzle R, et al. Jaw malformations plus displacement and numerical aberrations of teeth in neurofibromatosis type 1: a descriptive analysis of 48 patients based on panoramic radiographs and oral findings. J Craniomaxillofac Surg. 2003;1:1-9
29. Earley MJ, Moriarty P, Yap LH. Isolated bilateral orbital neurofibromatosis in a twelve-years-old. Br J Plast Surg 2001;54:162-164
Oladimeji A Akadiri, BDS
Visiting Physician to the Craniofacial Institute
Ian T. Jackson
Medical Director, Craniofacial Institute


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The Schwarz Group is a family-owned multinational retail group that operates grocery shops under the Lidl and Kaufland brands. It is the largest European retailer and the fourth-largest retailer in the world by revenue. The Schwarz Group stores sell mostly private label brands and the Schwarz group also operates its own production facilities for baking goods, soft drinks, and ice cream.

History
Schwarz Group was founded by Josef Schwarz (1903–1977), father of Dieter Schwarz, in 1930. It is headquartered in Neckarsulm, Baden-Württemberg, Germany. The Schwarz Group is an international trading company with 500,000 employees and operates over 12,900 stores in 2021 across 33 countries. It is made up of the two retail divisions Lidl and Kaufland. In addition to the retail business, the Schwarz Group also owns brands in the beverages, baked goods, sweets, and ice cream sectors. The Schwarz Group has been involved in the collection, sorting, and recycling of recyclable materials for many years. With the Dieter Schwarz Foundation, the company supports education primarily in Dieter Schwarz's hometown Heilbronn.

The company had a €125.3 billion turnover in the 2020/2021 fiscal year.

References

Privately held companies of Germany
Retail companies of Germany
Companies based in Baden-Württemberg
Companies based in Neckarsulm


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Q: Path with relative points in SVG I have got svg with flexible height and width.
I'm trying to produce code equivalent to this:

  <svg width='100%' height='100%' viewBox="0 0 100 100" preserveAspectRatio="none" style='background-color: yellow'>

    <path
      style="fill:none;stroke:blue;stroke-width:5;"
      d="M0% 10% L50% 10% L50% 90% L100% 90%"          <-here is the problem
    />

  </svg>

So when I scale #svg-container i will get:

But since I can't create path with percent coordinates the best I can do is: (JSFiddle)

  <svg width='100%' height='100%' viewBox="0 0 100 100" preserveAspectRatio="none" style='background-color: yellow'>

    <path
      style="fill:none;stroke:blue;stroke-width:5;"
      d="M0 10 L50 10 L50 90 L100 90"
    />

  </svg>

Which gives me this results:

On the second picture you can see problem with stretched stroke-width.
My question is: how to achieve behavior like on the first picture?
I'm not looking for JavaScript answers and breaking path.

A: Seems like you want a style of vector-effect: non-scaling-stroke
Note that not all UAs implement this but Chrome and Firefox certainly do.

A: I am sorry to say I think you will only be able to do this with JavaScript, even if this is not the answer that you're looking for. What is happening is that you are first generating the SVG path, then resizing it afterward so the image becomes stretched.
To use JavaScript you can use (browser.width/100)*10 to get 10%, for example, and this should work for all sizes of browser screen.
How are you re-scaling the image (i.e. is it a CSS @media query)? It might be possible to draw the path after the re-scale, but again I feel this will need JS as you will need to load the content after the browser load.
Sorry to answer in opposition to what you have asked, but unless there is an alternative I think this is the only way you can do this.