text:
Lawless Misconduct
At approximately noon today a seventeen year-old [unarmed] African-American male was shot [a reported] nine to tens times in the chest near Canfield apartments in Ferguson, Missouri. [ a city within the limits of Saint Louis County]. Read more on the full developing story here. I initially became aware of this unfortunate situation while scrolling my Instagram news feed, initially it was photos of the young man's step father holding a cardboard sign that read "FERGUSON POLICE JUST EXECUTED MY UNARMED SON".
Louis Head, father of the slain teenager…
The powerful image began to spread like wild-fire as did the disturbing images of the child's lifeless body still laying in state in the middle of the street. It was this image that sent my emotions and rage into overload. How dare people be so insensitive and disrespectful to post photos of this?
Even as I type I am searching for the words to express how this situation has affected me. As a mother, I am mortified at the state this country will be in when my son is of age, but more importantly I am saddened by the lack of sensitivity people have for tragedy. It's no secret that St. Louis is on the map as one of the most dangerous cities in the US and as been for years. The violence in this city is and has been out of control for a very long time. For some, who like myself that have lived in Saint Louis their entire lives have become desensitized and numb to what is going on around us. Funny thing is, blacks are killing blacks more and more each day. It is not until shootings such as that of young Mike that there is a call to action.
Lesley McSpadden, mother of Michael Brown, 17.
It is unfortunate that this child, [yes he was a child, 17 years-old] like Trayvon Martin was unarmed, walking down the street, had his life taken from him in a brutal and senseless manner. He was not gunned down by a gang banger, or a part of a drug deal gone bad, he was shot multiple times by someone who took an oath to serve and protect. He was scheduled to start college on Monday.
Citizens vs Police
His lifeless body stayed laid in state in the exact spot where life slipped from him for hours. This along with the act itself outraged residents and onlookers. Photos and videos bombarded social media in an attempt to raise awareness to the incident, when for many it did the opposite causing even more outrage. Where is the respect? I continued watching videos, looking at photos and reading comments and came to the realization that we as a people look for any and every opportunity to capitalize, be it triumph or tragedy there is always an opportunity for personal gain and notoriety. People in the community are expecting microwave results. Unfortunately the answers we all seek will not be found today. As our local radio program director said, "This is not an episode of Law and Order the crime will not be solved in sixty minutes." Today we are outraged, tomorrow we will be on to the next issue. The time is now 8:41 pm and the officer who is guilty of the shooting has yet to be identified to the media, however it has been released that he has been placed on paid administrative leave pending investigation. Funny, had the shoe been on the other foot and an [white] officer been gunned down by a black kid his face would plastered all over the news. One thing I learned as the daughter of two police officers, and the step-daughter of one the most notorious narcotics' officers in Saint Louis City is that right or wrong police protect their own. So as a society [and not just Saint Louisians] how do we change the trajectory of our communities' current state of emergency. Obviously, hosting peace rallies and town hall meetings is not an effective means to an end. The problem seems to be much greater than the solution.
Playing devil's advocate I have to honestly say that it is not the police who are solely responsible for all the deaths and murders of our your young black men. Black on black crime is the culprit. So in the wake of today's tragic events we can march and boycott the Ferguson Police Department, demanding answers and justice but tomorrow there will just be reports of another slain black man on the north side. Who will we boycott and demand answers from then? It was not a white police officer, or the KKK who shot the 45 year-old grandmother as she walked down the street with her three young grandchildren, it was not a member of the Aryan Brotherhood that gunned down the man in the park during an alumni picnic while 1000 people were present. We want to speak about change but what changes are we making? What steps are we taking as people to find a real solution to the problem? People are using these tragedies as ways to build fame for themselves, creating projects and programs that need "funding" all under the pretense of stopping the violence. I don't recall Dr.King setting up a GOFUNDME.com account so he could fund a march or rally.
I work in a shelter for at risk and troubled youth and one thing I know to be true is that we are living in a world full of angry, unsettled, mentally ill people. There is an entire generation of youth who have no sense of empathy or regard for human life. Our society if nothing else has become dehumanize and desensitized. It's nothing for a person to take the lives of others then their own. We don't love and respect the heritage from which we came why would anyone else? Am I saying that the police should be able to treat us like animals and shoot our sons down in the middle of the street like a rabid dog? No, but at what point do we turn the mirror around and accept that change starts with US? May GOD bless the soul of the young man Michael Brown who lost his life today. May his family find peace somewhere amidst the chaos. May HE also be with our entire city as we sort through our feelings of anger, sadness and confusion. Blessings, Brendolyn Marie
"We are hurt to hear that yet another teenaged boy has been slaughtered by law enforcement especially in light of the recent death of Eric Garner in New York who was killed for selling cigarettes. We plan to do everything within our power to ensure that the Ferguson Police Department as well as the St. Louis County Police Department releases all details pertinent to the shooting. We strongly encourage residents to stay away from the crime scene so that no additional citizens are injured. I have spoken directly with St. Louis County Police Chief Jon Belmar, and I am confident that both he and his department will ensure that the investigation is conducted properly and that all details are kept transparent." Eshter Haywood, President St. Louis County NAACP
Posted in: african americans, race relations, st. louis
FairyTales…..
One thought on "Lawless Misconduct"
Brandon ingram says:
This was well stated. The African American community has to take control over our own communities before we try and attack others for the same thing we do on an everyday basis.


text:
This is not the forum you're looking for
Akame ga Kill! [Anime Discussion]
#79569 • 2014-07-05 01:42:04	*	• DarkChaplain said:
Infosheet:
Title: Akame ga Kill!
Episodes & Type: 24 Episodes TV Anime
Airing: July 7, 2014 to ?
Genres: Action, Adventure, Fantasy
Rating & Demographic: ? Shounen
Studio: White Fox
Licensed: Yes, Sentai Filmworks (Streaming available)
Adapted from: Manga
[POSSIBLE SPIN-OFF/SEQUEL INFO, IF STANDALONE, DELETE LINE]
Noteworthy Voice Actors:
Noto Mamiko - Enma Ai from Jigoku Shoujo, Kuronuma Sawako from Kimi ni Todoke, Anna Liebert from Monster
Tamura Yukari - Furude Rika from Higurashi no Naku Koro ni / Lady Bernkastel from Umineko no Naku Koro ni, Jibril from No Game No Life
Asakawa Yuu - Rider from Fate/stay night, Shinonome Satsuki from *Koi to Senkyo to Chocolate, Shiris from Record of Lodoss War
Web: Website - MyAnimeList
In a fantasy world, fighter Tatsumi sets out for the Capitol to earn money for his starving village, and finds a world of unimaginable corruption, all spreading from the depraved Prime Minister who controls the child Emperor's ear. After nearly becoming a victim of this corruption himself, Tatsumi is recruited by Night Raid, a group of assassins dedicated to eliminating the corruption plaguing the Capitol by mercilessly killing those responsible.
Teaser:
www.youtube.com/watch?v=lrd5UriGpq8
#79649 • 2014-07-06 13:16:35	• judar said:
The manga for this is really great and I can't wait for the first episode to come out! I'm really hyped about this and it premieres today! I can't wait to see my lil amigos in full colour (except for Mein) and movement!
#79682 • 2014-07-07 03:45:49	• kamihate said:
I'm going to watch it now, but i have to say, the manga is awesome, and make me feel with very high expectations. I'll be back when i watch to discuss.
#79688 • 2014-07-07 04:52:30	• Rinneko said:
www.youtube.com/watch?v=Cy1IrD2IHUE
www.youtube.com/watch?v=lSX47-AFDrM
This was good. The first episode set the stage for a good series. Although it started with Tatsumi's comic relief, which I wasn't sure I would enjoy, it ended well by showing more of Tatsumi's nature. I'm excited to learn more about Night Raid.
#79690 • 2014-07-07 05:41:49	• Yugure said:
Watched the 1st episode, and all I can say is that, it was awesome. I'll be expecting the unexpected for the next 23 episodes. Judging the anime, I can assume that the manga is good, so I might read it anytime soon. For now, this is on my watch list.
(and I thought I would end up not watching any anime this season .__.)
#79700 • 2014-07-07 08:33:51	*	• Warlock said:
When Aria showed up, I was like oh shit! First episode was pretty good and engaging. Already knowing what happens kinda sucks, but oh well.
The OP/ED are decent as well. I think the ED has me hooked more though.
I'm expecting lots of nostalgia from the beginning of the series. The manga is so good that the anime has a lot to accomplish still.
#79701 • 2014-07-07 08:42:29	• PureBoredom said:
The first episode feels a bit rushed, but understandable. I expect good things anyhow.
#79711 • 2014-07-07 13:08:18	*	• Dark-B said:
As someone who hasn't read the manga, when I first heard about the series, it was very vague from the description. But, as I got used to seeing synopses of shows like that, I immediately assumed It'll be disappointing for me for the fact It's going to follow the entire "main character stops X from killing people and let X how it's wrong" and shit. By the end of the first episode, I was almost crying tears of joy, because I was at least wrong and I'll be watching a bloody series for the first time in a while. But I did have a tear because of the final scene in the episode, was terrible yet at the same time i absolutely loved how it set the route for having our main character be an actual assassin and killer.
You know, that's pretty much the reason why I hate Code:Breaker, for characters like Sakura and the horrible potential it wasted as well as the plot movement and development the way it was. Seeing Akame Ga Kill proving the direction of the show in my eyes wrong made me feel great.
P.S: Pretty soon you might see me rotating characters from the show for use in gravatars if I end up loving it by next week.
#84924 • 2014-11-30 00:50:59	• SENsei said:
I just wanna say now that the anime really disappointed me.
#84934 • 2014-11-30 07:47:34	• Zephyr said:
I've read the manga and it's pretty cool. Although they could done made the MC more badass
#85275 • 2014-12-08 00:58:26	• AshitoKenji said:
So.... this anime is breaking my heart..
Anime original ending is looking shit.
#85282 • 2014-12-08 04:11:46	• Teil said:
Respond 13 people participating
anime (467) adventure (17) action (37) fantasy (30) darkchaplain (159)

redpajama_set_name: RedPajamaCommonCrawl


text:
Antoni Corone (Willoughby, Ohio, ?–) amerikai színész és producer, aki a floridai Hollywoodban él.

Élete

Ír és olasz szülők: Pat és Tony Cornacchione gyermekeként született Cleveland keleti oldalán az Ohio állambeli Willoughby-ben, és itt is nevelkedett Willoughbyben és Wickliffe-ben.

A karakterszínész Corone karrierje az 1980-as években indult, általában robusztus, kissé impozáns és uralkodó típusú szerepekkel – például a klubok kidobói és biztonsági személyzetét, katonák és tisztek szerepei. 1986-ban többek között Charley Hannah szerepében, és egy azt követő angol tv komédiában, valamint az olasz gengszter Frank Urbano az HBO Oz szerepében, A nyakék nyomában (1996), Sztriptíz (1996), Bad Boys II (2003).

Főbb szerepei
 Tengeri Ördög (rövidfilm, 2014)
 A feltételezett gyilkos (2013) – Maurer nyomozó
 Imigrantica (2013) – Thomas MacNally vámos
 Zöld zóna (2010) – Lyons ezredes
 Újraszámlálás (TV film, 2008) – Tom Feeney
 Piszkos lappal (Video, 2008) – Éles
 Cserbenhagyás (2007) – Őrmester Burke
 Minden lében Négy kanál (tv-sorozat, 2007) – Kőműves
 Az éjszaka urai (2007) – Michael Solo
 Védd magad! (2006) – Kórházi nyomozó
 A megtorló (2004) – TJ
 Amerikai pisztoly (2002) – Charles Anderson
 Nyeretlenek (2002) – Captain Briggs
 Sheena, a dzsungel királynője (tv-sorozat, 2001) – Armstrong
 Falcone (tv-sorozat, 2000) – Carlo Volonte
 Logan bosszúja (TV film, 1998) – Mike Faffino
 Cápaember – Tökéletes Ragadozó (TV film, 1998) – Exec
 Vad vágyak (1998) – Rendőrfőkapitány
 Ördögök szigete (TV film, 1997) – Gallindo Ügyvédje
 Walker, a texasi kopó (tv-sorozat, 1997) – Sid Jarvis
 Amikor leszáll AZ éj (1997) – Olsen nyomozó
 Csalimadarak (1997) – Recepció Clerk
 Szökevények (Video, 1997) – Barnes FBI
 Sztriptíz (1996) – Nico
 Tiszta játszma (1995) – Codebreaker
 A specialista (1994) – Mesterlövész
 Kincskommandó (tv-sorozat, 1994) – Ironside
 Adós, fizess! (TV film, 1993) – Carlos
 Csak az erős győzhet (1993) – Green Beret őrmester
 Halálos erő (1993) – Fat Tommy
 Mocsárlény: A sorozat (Swamp Thing, tv-sorozat, 1992) – Alonso
 Superboy (tv-sorozat, 1988-1990) – Ben
 Villamosszék villanófényben (TV film, 1990) – Mike Knighton
 Miami Vice (tv-sorozat, 1985-1988) – George Sordoni
 Charley Hannah (TV film, 1986) – Marco

Jegyzetek

Források

További információk

 Filmkatalógus.hu

Amerikai színészek
Amerikai producerek
A 20. században született személyek
Élő személyek
Ohióiak

redpajama_set_name: RedPajamaWikipedia


Many of us know that poor oral hygiene can cause cavities, but what if these cavities are left untreated? Untreated cavities can affect the pulp of the tooth, which is a collection of sensitive nerves and blood vessels located at its center. Left untreated, pulp diseases can lead to the loss of the tooth. Pulp diseases usually come with symptoms including tooth pain when eating hot/cold foods, sudden intense mouth pain, and infection.
Reversible Pulpitis - Mild inflammation of the pulp, symptoms can include pain when eating hot/cold foods. Left untreated, this form of pulp disease can lead to a collection of bacteria and pus. To treat this form of pulp disease, a filling is typically required.
Irreversible Pulpitis - Severe inflammation of the pulp, symptoms include sudden pain. Left untreated, this form of pulp disease can lead to widespread gum infection. This type of pulp disease is usually treated with a root canal.
Dental Pulp Calcification - The hardening of the pulp tissue can cause hypersensitivity and pain. Root canals are used to clear away hardened tissue.
Dental Pulp Exposure - Occurs when a crack in the tooth exposes the pulp to the outside, allowing bacteria to enter. Depending on the severity of exposure, a root canal or even tooth extraction may be required.
Most instances of pulp disease occur due to poor dental hygiene, meaning that it can easily be prevented by maintaining healthy brushing and flossing habits. If you have any questions about pulp diseases, feel free to contact us here at the Rideau Dental Centre by calling 613-230-7475.


A report from the American Institute of Stress found that our team dynamics directly affect more than 90% of what is stressing us out at work.
Dressed in heavy cotton, a helmet and respirator, Jessica Ball worked the night shift monitoring "fissure 8," which has been spewing fountains of lava as high as a 15-story building from a slope on Hawaii's Kilauea volcano.
The Trump administration said Saturday it's freezing payments under an "Obamacare" program that protects insurers with sicker patients from financial losses, a move expected to add to premium increases next year.
Shah Rukh Khan, who recently completed 26 years in showbiz, is all about spending time with his family when he can. Recently, he shared a picture with his wife Gauri Khan that has everyone talking.
Sanju: Is this Bollywood blockbuster whitewashing Sanjay Dutt?
Bollywood actor Sanjay Dutt is one of India's most controversial celebrities. His addiction to alcohol and drugs, his alleged affairs and, most damningly, his conviction in a terror case have all been avidly documented. But a newly released biopic has been accused of "whitewashing" his chequered past, writes Aparna Alluri.
An export economy should be established in other parts of the country as well by taking a cue from Biyagama. The country desperately needs to increase foreign exchange earnings in order to overcome the present debt trap, Prime Minister Ranil Wickremesinghe said.
Former Defence Secretary Gotabaya Rajapaksa says that the present Government was mainly focused on personal vengeance rather than developing the country.
Speaking at the launch of the 'Harimaga' initiative in Kolonnawa on Saturday (7), Rajapaksa said that the Government was not keen on developing the country. "We have never seen the Government talking to media about development of the country, instead we see them talking about nabbing or punishing someone," he said.
The United National Party has decided to move an adjournment motion over the New York Times report on former President Mahinda Rajapaksa for allegedly accepting USD 7.6 mn from China Harbour Merchant Company for his election campaign.
The Police Narcotics Bureau (PNB) seized 103.9 kilogrammes of heroin worth Rs.1,248 million on Saturday night in one of the department's biggest drug busts ever.
Having missed a major portion of the three-Test series against West Indies in the Caribbean, former Test captain Angelo Mathews is keen to prove his worth as a senior statesman of the Sri Lanka team in the upcoming two-Test series against South Africa starting at Galle on July 12.


This is a thoughtful and nuanced take on Keller's article. The patient/immune system analogy is fitting! When you say you convinced your Senator to vote your way on gun safety – did I miss this blog post?
Oh no, I never made that event into a blog post, but I did post a picture about it on my personal Facebook page.
This was a thoughtful and nuanced take on his article. Your patient/immune system analogy was fitting! Did I miss the post on how you convinced your Senator to vote your way on gun safety?


THE ENDLESS BATTLE: The Fall of Hong Kong and Canadian POWs in Imperial Japan. By Andy Flanagan. Nominated for the 2018 Democracy 250 Historical Writing Award. $20.00 plus postage. ORDER: endlessbattlepow@gmail.com Phone: 506-522-5508.


text:
Loans under Mudra Yojana in Gujarat
Launched in the month of April, 2015, records reveal that till now loans worth Rs. 5,830 crore have been disbursed to more than 10 lakhs of beneficiaries in Gujarat. During the last one year, the loans and support of banks and microfinance institutions (MFIs) have been made available to more than 10 lakh new entrepreneurs across Gujarat in setting up their small businesses under the Pradhan Mantri Mudra Yojana (PMMY). As per the statistics released by SLBC committee more than 70 % target was achieved successfully under PMMY Scheme by the end of December 2015.
Statement from SLBC official
According to an SLBC official, the women entrepreneurs accounted for more than 70 per cent of the total borrowers which is a big positive for the success of this scheme. He also revealed that most of the loans disbursements are serving for the purpose of entrepreneurs for purchasing vehicles for goods and personal transport, starting or expanding saloons, beauty parlors, gymnasium, boutiques and tailoring shops among others.
SLBC senior official stated that PSU bank loans are availed by the entrepreneurs who run small scale enterprises who are in the productions of home make food products (Pickle, papad making), canteen or hotel services, and shops (dry cleaning, automobile servicing, photography and so many).
Current Stats of Mudra Yojana Scheme
Till the date of 7th April, 2016, the Mudra Yojana scheme in the state of Gujarat has served to 9.5 lakh beneficiaries under the 'Shishu Loans' category with a loans disbursement worth of Rs 2111 crore, 85,039 beneficiaries under the 'Kishore Loans' category with a loan disbursement worth of Rs 1,843 crore, and 25,852 beneficiaries have been served under the 'Tarun Loans' category with a loans disbursement worth of Rs 1,875 crore in the last 12 months.
The below listed table suggest the categories carried under the Mudra Yojana scheme on offering loans.
S.No Category Loan Range Disbursement No of Beneficiaries
1 Shishu Up to Rs. 50,000 Rs. 2,111 Crore 9.5 Lakhs
2 Kishore From Rs. 50,000 to Rs. 5 Lakhs Rs. 1,843 Crore 85,039
3 Tarun From Rs. 5 Lakhs to Rs. 10 Lakh Rs. 1,875 Crore 25,852
Factors on Attaining Loans under Mudra Yojana Scheme
Below listed details are the eligibilities for attaining loan:
Non-farming activities
Which come under micro and small enterprises
Should be an income generating activity
Related to manufacturing, trading and services
Credit need should be only up-to Rs 10 Lakhs
Objective of Launching Mudra Yojana Scheme
The reason behind the launch of Mudra Yojana Scheme is to provide financial support for Micro and Mini scale enterprises; also the Micro Unites Development & Refinance Agency Ltd (MUDRA) under central government guidelines offers finances for non-farm and non-corporate sectors, which beneficial for youths who have idea on launching their own businesses.
Prime Minister's Speech on the Launch of MUDRA Scheme
While speaking at the launch of the MUDRA scheme, Narendra Modi said that providing finances and promoting financial support to the small entrepreneurs is the biggest and the best way to promote the growth and development of the Indian in economical terms.
The Stand Up India Scheme
Chhattisgarh disburses MUDRA Yojana
Tata Capital Housing unveils home loan scheme with 4% rate
Is CIBIL Score Required To Get Mudra Loan?


text:
Q: How to determine whether computer is on Domain from event logs? I have spent a short period of time in an office recently, and I was able to dump the event logs on to a USB drive.
There are only XP Pro machines in the office.  Is it possible that there is a domain running?
What should I look for in the Event Logs to work out whether they are in a domain?

A: I'd recommend you check the Security section of the Event Viewer (or the appropriate log):

If you open an entry here, you'll see a log entry for some authentication event. The event I opened here was validated against the domain WINXP. That is, in fact, the name of the workstation, not a domain controller:

So this could be a hint that the whole machine is not connected to a domain. If you check more entries, you can see if there ever was an authentication event against another machine (maybe a domain controller).
I don't think this would be a reliable way to determine if a client is, in fact, a domain client. But it might help.

Just FYI, a quick way to determine if the machine is part of a domain if you have access to it could be to:
echo %LOGONSERVER%

on a command prompt. If it prints the local machine name, it's not part of a domain. Otherwise, it should print the name of the domain controller.

A: Just do a search for 3260 this is the event that will show in the system log when a PC joins a domain.
Event 3260

redpajama_set_name: RedPajamaStackExchange


Cp24 reports that Members of Black Lives Matter- Toronto and the Anti-Racism Network of Durham Region held a rally outside the Oshawa courthouse on Wednesday, September 27, 2017, ahead of a pre-trial hearing for Toronto Police Officer, Michael Theriaul,t and his brother Christian, both accused of brutally beating black Whitby teen Dafonte Miller.
The article quotes Miller's lawyer, Julian Falconer, who has raised concerns about the conduct of Durham police. For example, he said that Durham investigators failed to interview an eyewitness to the beating. Falconer also provided an account of what allegedly happened in the early morning hours of Dec. 28. According to Falconer, the Theriault's allegedly beat Miller "within an inch of his life." Falconer also said that following the attack, Miller's left eye was dislodged from its socket and was split in four, causing him to permanently lose vision in that eye. Falconer added that Miller also suffered a broken nose, broken orbital bone, bruised ribs, and a fractured wrist.
The Toronto Police Service has requested that the Waterloo Regional Police Service undertake a third-party review of the case. Waterloo Regional Police Service is itself, embroiled in a legal battle with current and former female officers filing a class action lawsuit against the service for harassment and a poisoned work environment.


I'm looking to buy a digital piano so that I can play around with different instruments (not for recording purposes, although that would be an added benefit). There's two that I'm currently looking at buying secondhand (Casio AP10 or Casio Privia 110), and both seem to have midi in/out ports.
Would I be able to download a cheap/free program onto my laptop and connect that to the digital piano to play basic sounds (e.g. flute, trumpet), with the audio still coming out of the digital piano?
I'm totally new in this area, having only played acoustic piano for years, so any help would be appreciated.
The answer is no. The reason is that the two keyboards you have mentioned (Casio AP10 or Casio Privia 110) have no audio in. They can still be useful of course.
First you need to get a midi interface for your computer. You should be able to find a USB midi interface for something like 15 to 30 USD. Secondly you need some program in your computer. For the Mac Garageband is a good example. For a Windows or Linux computer you will have to search a bit more.
play on the keyboard and create sounds in the computer. You can listen to them on the computer speaker.
What you cannot do is send sound from the computer to the keyboard speakers -- there simply is no connection on the keyboard.
Not the answer you're looking for? Browse other questions tagged piano keyboard midi digital-piano midi-controller-keyboard or ask your own question.
Two sounds speak in a same time, how can I set it back?
Are there good plug-n-play boxes to give piano sounds to a midi only keyboard?


text:
#include "fsl_spi_dma.h"

/*******************************************************************************
 * Definitions
 ******************************************************************************/

/* Component ID definition, used by tools. */
#ifndef FSL_COMPONENT_ID
#define FSL_COMPONENT_ID "platform.drivers.flexcomm_spi_dma"
#endif

/*<! Structure definition for spi_dma_private_handle_t. The structure is private. */
typedef struct _spi_dma_private_handle
{
    SPI_Type *base;
    spi_dma_handle_t *handle;
} spi_dma_private_handle_t;

/*! @brief SPI transfer state, which is used for SPI transactiaonl APIs' internal state. */
enum _spi_dma_states_t
{
    kSPI_Idle = 0x0, /*!< SPI is idle state */
    kSPI_Busy        /*!< SPI is busy tranferring data. */
};

typedef struct _spi_dma_txdummy
{
    uint32_t lastWord;
    uint32_t word;
} spi_dma_txdummy_t;

/*<! Private handle only used for internally. */
static spi_dma_private_handle_t s_dmaPrivateHandle[FSL_FEATURE_SOC_SPI_COUNT];
/*******************************************************************************
 * Prototypes
 ******************************************************************************/

/*!
 * @brief DMA callback function for SPI send transfer.
 *
 * @param handle DMA handle pointer.
 * @param userData User data for DMA callback function.
 */
static void SPI_TxDMACallback(dma_handle_t *handle, void *userData, bool transferDone, uint32_t intmode);

/*!
 * @brief DMA callback function for SPI receive transfer.
 *
 * @param handle DMA handle pointer.
 * @param userData User data for DMA callback function.
 */
static void SPI_RxDMACallback(dma_handle_t *handle, void *userData, bool transferDone, uint32_t intmode);

/*******************************************************************************
 * Variables
 ******************************************************************************/
#if defined(__ICCARM__)
#pragma data_alignment = 4
static spi_dma_txdummy_t s_txDummy[FSL_FEATURE_SOC_SPI_COUNT] = {0};
#elif defined(__CC_ARM)
__attribute__((aligned(4))) static spi_dma_txdummy_t s_txDummy[FSL_FEATURE_SOC_SPI_COUNT] = {0};
#elif defined(__GNUC__)
__attribute__((aligned(4))) static spi_dma_txdummy_t s_txDummy[FSL_FEATURE_SOC_SPI_COUNT] = {0};
#endif

#if defined(__ICCARM__)
#pragma data_alignment = 4
static uint16_t s_rxDummy;
static uint32_t s_txLastWord[FSL_FEATURE_SOC_SPI_COUNT];
#elif defined(__CC_ARM)
__attribute__((aligned(4))) static uint16_t s_rxDummy;
__attribute__((aligned(4))) static uint32_t s_txLastWord[FSL_FEATURE_SOC_SPI_COUNT];
#elif defined(__GNUC__)
__attribute__((aligned(4))) static uint16_t s_rxDummy;
__attribute__((aligned(4))) static uint32_t s_txLastWord[FSL_FEATURE_SOC_SPI_COUNT];
#endif

#if defined(__ICCARM__)
#pragma data_alignment = 16
static dma_descriptor_t s_spi_descriptor_table[FSL_FEATURE_SOC_SPI_COUNT] = {0};
#elif defined(__CC_ARM)
__attribute__((aligned(16))) static dma_descriptor_t s_spi_descriptor_table[FSL_FEATURE_SOC_SPI_COUNT] = {0};
#elif defined(__GNUC__)
__attribute__((aligned(16))) static dma_descriptor_t s_spi_descriptor_table[FSL_FEATURE_SOC_SPI_COUNT] = {0};
#endif

/*******************************************************************************
* Code
******************************************************************************/

static void XferToFifoWR(spi_transfer_t *xfer, uint32_t *fifowr)
{
    *fifowr |= xfer->configFlags & (uint32_t)kSPI_FrameDelay ? (uint32_t)kSPI_FrameDelay : 0;
    *fifowr |= xfer->configFlags & (uint32_t)kSPI_FrameAssert ? (uint32_t)kSPI_FrameAssert : 0;
}

static void SpiConfigToFifoWR(spi_config_t *config, uint32_t *fifowr)
{
    *fifowr |= (SPI_DEASSERT_ALL & (~SPI_DEASSERTNUM_SSEL(config->sselNum)));
    /* set width of data - range asserted at entry */
    *fifowr |= SPI_FIFOWR_LEN(config->dataWidth);
}

static void PrepareTxLastWord(spi_transfer_t *xfer, uint32_t *txLastWord, spi_config_t *config)
{
    if (config->dataWidth > kSPI_Data8Bits)
    {
        *txLastWord = (((uint32_t)xfer->txData[xfer->dataSize - 1] << 8U) | (xfer->txData[xfer->dataSize - 2]));
    }
    else
    {
        *txLastWord = xfer->txData[xfer->dataSize - 1];
    }
    XferToFifoWR(xfer, txLastWord);
    SpiConfigToFifoWR(config, txLastWord);
}

static void SPI_SetupDummy(SPI_Type *base, spi_dma_txdummy_t *dummy, spi_transfer_t *xfer, spi_config_t *spi_config_p)
{
    uint32_t instance = SPI_GetInstance(base);
    dummy->word = ((uint32_t)s_dummyData[instance] << 8U | s_dummyData[instance]);
    dummy->lastWord = ((uint32_t)s_dummyData[instance] << 8U | s_dummyData[instance]);
    XferToFifoWR(xfer, &dummy->word);
    XferToFifoWR(xfer, &dummy->lastWord);
    SpiConfigToFifoWR(spi_config_p, &dummy->word);
    SpiConfigToFifoWR(spi_config_p, &dummy->lastWord);
    /* Clear the end of transfer bit for continue word transfer. */
    dummy->word &= (uint32_t)(~kSPI_FrameAssert);
}

status_t SPI_MasterTransferCreateHandleDMA(SPI_Type *base,
                                           spi_dma_handle_t *handle,
                                           spi_dma_callback_t callback,
                                           void *userData,
                                           dma_handle_t *txHandle,
                                           dma_handle_t *rxHandle)
{
    int32_t instance = 0;

    /* check 'base' */
    assert(!(NULL == base));
    if (NULL == base)
    {
        return kStatus_InvalidArgument;
    }
    /* check 'handle' */
    assert(!(NULL == handle));
    if (NULL == handle)
    {
        return kStatus_InvalidArgument;
    }

    instance = SPI_GetInstance(base);

    memset(handle, 0, sizeof(*handle));
    /* Set spi base to handle */
    handle->txHandle = txHandle;
    handle->rxHandle = rxHandle;
    handle->callback = callback;
    handle->userData = userData;

    /* Set SPI state to idle */
    handle->state = kSPI_Idle;

    /* Set handle to global state */
    s_dmaPrivateHandle[instance].base = base;
    s_dmaPrivateHandle[instance].handle = handle;

    /* Install callback for Tx dma channel */
    DMA_SetCallback(handle->txHandle, SPI_TxDMACallback, &s_dmaPrivateHandle[instance]);
    DMA_SetCallback(handle->rxHandle, SPI_RxDMACallback, &s_dmaPrivateHandle[instance]);

    return kStatus_Success;
}

status_t SPI_MasterTransferDMA(SPI_Type *base, spi_dma_handle_t *handle, spi_transfer_t *xfer)
{
    int32_t instance;
    status_t result = kStatus_Success;
    spi_config_t *spi_config_p;

    assert(!((NULL == handle) || (NULL == xfer)));
    if ((NULL == handle) || (NULL == xfer))
    {
        return kStatus_InvalidArgument;
    }

    /* Byte size is zero. */
    assert(!(xfer->dataSize == 0));
    if (xfer->dataSize == 0)
    {
        return kStatus_InvalidArgument;
    }
    /* cannot get instance from base address */
    instance = SPI_GetInstance(base);
    assert(!(instance < 0));
    if (instance < 0)
    {
        return kStatus_InvalidArgument;
    }

    /* Check if the device is busy */
    if (handle->state == kSPI_Busy)
    {
        return kStatus_SPI_Busy;
    }
    else
    {
        uint32_t tmp;
        dma_transfer_config_t xferConfig = {0};
        spi_config_p = (spi_config_t *)SPI_GetConfig(base);

        handle->state = kStatus_SPI_Busy;
        handle->transferSize = xfer->dataSize;

        /* receive */
        SPI_EnableRxDMA(base, true);
        if (xfer->rxData)
        {
            DMA_PrepareTransfer(&xferConfig, ((void *)((uint32_t)&base->FIFORD)), xfer->rxData,
                                ((spi_config_p->dataWidth > kSPI_Data8Bits) ? (sizeof(uint16_t)) : (sizeof(uint8_t))),
                                xfer->dataSize, kDMA_PeripheralToMemory, NULL);
        }
        else
        {
            DMA_PrepareTransfer(&xferConfig, ((void *)((uint32_t)&base->FIFORD)), &s_rxDummy,
                                ((spi_config_p->dataWidth > kSPI_Data8Bits) ? (sizeof(uint16_t)) : (sizeof(uint8_t))),
                                xfer->dataSize, kDMA_StaticToStatic, NULL);
        }
        DMA_SubmitTransfer(handle->rxHandle, &xferConfig);
        handle->rxInProgress = true;
        DMA_StartTransfer(handle->rxHandle);

        /* transmit */
        SPI_EnableTxDMA(base, true);

        if (xfer->configFlags & kSPI_FrameAssert)
        {
            PrepareTxLastWord(xfer, &s_txLastWord[instance], spi_config_p);
        }

        if (xfer->txData)
        {
            /* If end of tranfer function is enabled and data transfer frame is bigger then 1, use dma
             * descriptor to send the last data.
             */
            if ((xfer->configFlags & kSPI_FrameAssert) &&
                ((spi_config_p->dataWidth > kSPI_Data8Bits) ? (xfer->dataSize > 2) : (xfer->dataSize > 1)))
            {
                dma_xfercfg_t tmp_xfercfg = {0};
                tmp_xfercfg.valid = true;
                tmp_xfercfg.swtrig = true;
                tmp_xfercfg.intA = true;
                tmp_xfercfg.byteWidth = sizeof(uint32_t);
                tmp_xfercfg.srcInc = 0;
                tmp_xfercfg.dstInc = 0;
                tmp_xfercfg.transferCount = 1;
                /* Create chained descriptor to transmit last word */
                DMA_CreateDescriptor(&s_spi_descriptor_table[instance], &tmp_xfercfg, &s_txLastWord[instance],
                                     ((void *)((uint32_t)&base->FIFOWR)), NULL);

                DMA_PrepareTransfer(
                    &xferConfig, xfer->txData, ((void *)((uint32_t)&base->FIFOWR)),
                    ((spi_config_p->dataWidth > kSPI_Data8Bits) ? (sizeof(uint16_t)) : (sizeof(uint8_t))),
                    ((spi_config_p->dataWidth > kSPI_Data8Bits) ? (xfer->dataSize - 2) : (xfer->dataSize - 1)),
                    kDMA_MemoryToPeripheral, &s_spi_descriptor_table[instance]);
                /* Disable interrupts for first descriptor to avoid calling callback twice. */
                xferConfig.xfercfg.intA = false;
                xferConfig.xfercfg.intB = false;
                result = DMA_SubmitTransfer(handle->txHandle, &xferConfig);
                if (result != kStatus_Success)
                {
                    return result;
                }
            }
            else
            {
                DMA_PrepareTransfer(
                    &xferConfig, xfer->txData, ((void *)((uint32_t)&base->FIFOWR)),
                    ((spi_config_p->dataWidth > kSPI_Data8Bits) ? (sizeof(uint16_t)) : (sizeof(uint8_t))),
                    xfer->dataSize, kDMA_MemoryToPeripheral, NULL);
                DMA_SubmitTransfer(handle->txHandle, &xferConfig);
            }
        }
        else
        {
            /* Setup tx dummy data. */
            SPI_SetupDummy(base, &s_txDummy[instance], xfer, spi_config_p);
            if ((xfer->configFlags & kSPI_FrameAssert) &&
                ((spi_config_p->dataWidth > kSPI_Data8Bits) ? (xfer->dataSize > 2) : (xfer->dataSize > 1)))
            {
                dma_xfercfg_t tmp_xfercfg = {0};
                tmp_xfercfg.valid = true;
                tmp_xfercfg.swtrig = true;
                tmp_xfercfg.intA = true;
                tmp_xfercfg.byteWidth = sizeof(uint32_t);
                tmp_xfercfg.srcInc = 0;
                tmp_xfercfg.dstInc = 0;
                tmp_xfercfg.transferCount = 1;
                /* Create chained descriptor to transmit last word */
                DMA_CreateDescriptor(&s_spi_descriptor_table[instance], &tmp_xfercfg, &s_txDummy[instance].lastWord,
                                     (void *)((uint32_t)&base->FIFOWR), NULL);
                /* Use common API to setup first descriptor */
                DMA_PrepareTransfer(
                    &xferConfig, &s_txDummy[instance].word, ((void *)((uint32_t)&base->FIFOWR)),
                    ((spi_config_p->dataWidth > kSPI_Data8Bits) ? (sizeof(uint16_t)) : (sizeof(uint8_t))),
                    ((spi_config_p->dataWidth > kSPI_Data8Bits) ? (xfer->dataSize - 2) : (xfer->dataSize - 1)),
                    kDMA_StaticToStatic, &s_spi_descriptor_table[instance]);
                /* Disable interrupts for first descriptor to avoid calling callback twice */
                xferConfig.xfercfg.intA = false;
                xferConfig.xfercfg.intB = false;
                result = DMA_SubmitTransfer(handle->txHandle, &xferConfig);
                if (result != kStatus_Success)
                {
                    return result;
                }
            }
            else
            {
                DMA_PrepareTransfer(
                    &xferConfig, &s_txDummy[instance].word, ((void *)((uint32_t)&base->FIFOWR)),
                    ((spi_config_p->dataWidth > kSPI_Data8Bits) ? (sizeof(uint16_t)) : (sizeof(uint8_t))),
                    xfer->dataSize, kDMA_StaticToStatic, NULL);
                result = DMA_SubmitTransfer(handle->txHandle, &xferConfig);
                if (result != kStatus_Success)
                {
                    return result;
                }
            }
        }

        handle->txInProgress = true;
        tmp = 0;
        XferToFifoWR(xfer, &tmp);
        SpiConfigToFifoWR(spi_config_p, &tmp);

        /* Setup the control info.
         * Halfword writes to just the control bits (offset 0xE22) doesn't push anything into the FIFO.
         * And the data access type of control bits must be uint16_t, byte writes or halfword writes to FIFOWR
         * will push the data and the current control bits into the FIFO.
         */
        if ((xfer->configFlags & kSPI_FrameAssert) &&
            ((spi_config_p->dataWidth > kSPI_Data8Bits) ? (xfer->dataSize == 2U) : (xfer->dataSize == 1U)))
        {
            *(((uint16_t *)((uint32_t) & (base->FIFOWR))) + 1) = (uint16_t)(tmp >> 16U);
        }
        else
        {
            /* Clear the SPI_FIFOWR_EOT_MASK bit when data is not the last. */
            tmp &= (uint32_t)(~kSPI_FrameAssert);
            *(((uint16_t *)((uint32_t) & (base->FIFOWR))) + 1) = (uint16_t)(tmp >> 16U);
        }

        DMA_StartTransfer(handle->txHandle);
    }

    return result;
}

status_t SPI_MasterHalfDuplexTransferDMA(SPI_Type *base, spi_dma_handle_t *handle, spi_half_duplex_transfer_t *xfer)
{
    assert(xfer);
    assert(handle);
    spi_transfer_t tempXfer = {0};
    status_t status;

    if (xfer->isTransmitFirst)
    {
        tempXfer.txData = xfer->txData;
        tempXfer.rxData = NULL;
        tempXfer.dataSize = xfer->txDataSize;
    }
    else
    {
        tempXfer.txData = NULL;
        tempXfer.rxData = xfer->rxData;
        tempXfer.dataSize = xfer->rxDataSize;
    }
    /* If the pcs pin keep assert between transmit and receive. */
    if (xfer->isPcsAssertInTransfer)
    {
        tempXfer.configFlags = (xfer->configFlags) & (uint32_t)(~kSPI_FrameAssert);
    }
    else
    {
        tempXfer.configFlags = (xfer->configFlags) | kSPI_FrameAssert;
    }

    status = SPI_MasterTransferBlocking(base, &tempXfer);
    if (status != kStatus_Success)
    {
        return status;
    }

    if (xfer->isTransmitFirst)
    {
        tempXfer.txData = NULL;
        tempXfer.rxData = xfer->rxData;
        tempXfer.dataSize = xfer->rxDataSize;
    }
    else
    {
        tempXfer.txData = xfer->txData;
        tempXfer.rxData = NULL;
        tempXfer.dataSize = xfer->txDataSize;
    }
    tempXfer.configFlags = xfer->configFlags;

    status = SPI_MasterTransferDMA(base, handle, &tempXfer);

    return status;
}

static void SPI_RxDMACallback(dma_handle_t *handle, void *userData, bool transferDone, uint32_t intmode)
{
    spi_dma_private_handle_t *privHandle = (spi_dma_private_handle_t *)userData;
    spi_dma_handle_t *spiHandle = privHandle->handle;
    SPI_Type *base = privHandle->base;

    /* change the state */
    spiHandle->rxInProgress = false;

    /* All finished, call the callback */
    if ((spiHandle->txInProgress == false) && (spiHandle->rxInProgress == false))
    {
        spiHandle->state = kSPI_Idle;
        if (spiHandle->callback)
        {
            (spiHandle->callback)(base, spiHandle, kStatus_Success, spiHandle->userData);
        }
    }
}

static void SPI_TxDMACallback(dma_handle_t *handle, void *userData, bool transferDone, uint32_t intmode)
{
    spi_dma_private_handle_t *privHandle = (spi_dma_private_handle_t *)userData;
    spi_dma_handle_t *spiHandle = privHandle->handle;
    SPI_Type *base = privHandle->base;

    /* change the state */
    spiHandle->txInProgress = false;

    /* All finished, call the callback */
    if ((spiHandle->txInProgress == false) && (spiHandle->rxInProgress == false))
    {
        spiHandle->state = kSPI_Idle;
        if (spiHandle->callback)
        {
            (spiHandle->callback)(base, spiHandle, kStatus_Success, spiHandle->userData);
        }
    }
}

void SPI_MasterTransferAbortDMA(SPI_Type *base, spi_dma_handle_t *handle)
{
    assert(NULL != handle);

    /* Stop tx transfer first */
    DMA_AbortTransfer(handle->txHandle);
    /* Then rx transfer */
    DMA_AbortTransfer(handle->rxHandle);

    /* Set the handle state */
    handle->txInProgress = false;
    handle->rxInProgress = false;
    handle->state = kSPI_Idle;
}

status_t SPI_MasterTransferGetCountDMA(SPI_Type *base, spi_dma_handle_t *handle, size_t *count)
{
    assert(handle);

    if (!count)
    {
        return kStatus_InvalidArgument;
    }

    /* Catch when there is not an active transfer. */
    if (handle->state != kSPI_Busy)
    {
        *count = 0;
        return kStatus_NoTransferInProgress;
    }

    size_t bytes;

    bytes = DMA_GetRemainingBytes(handle->rxHandle->base, handle->rxHandle->channel);

    *count = handle->transferSize - bytes;

    return kStatus_Success;
}

redpajama_set_name: RedPajamaGithub


text:
Q: How to add a long integer to existing program The code works. But, I need to include long integers. How can I do that? I've tried a million things. I'm not good at this either so it takes me 5 times longer to get a simple code. Please help.
import java.util.Scanner;
public class Exercise2_6M
{
    public static void main(String[] args)
    {
        // Create a Scanner
        Scanner input = new Scanner(System.in);
        // Enter amount
        System.out.print("Enter an integer:");
        int integer = input.nextInt();
        // Calculations
        int rinteger = Math. abs (integer);
        int sum = 0;
        int i=0;
        while(rinteger / Math.pow(10,i) > 0)
        {
            sum+=getDigit(rinteger,i);
            i++;
        }
        // Display results
        System.out.println("Sum all digits in " + integer + " is " + sum);
    }
    public static int getDigit(int num, int power)
    {
        return (num % (int)Math.pow(10,power+1)) / (int)Math.pow(10,power);
    }
}

A: Read the input value as a string and then use the BigInteger class to perform calculations with very large values.

A: A recursive solution can be much leaner:
import java.util.Scanner;
public class Exercise2_6M
 {
    public static void main (String [] args)
    {
        Scanner input = new Scanner (System.in);
        System.out.print ("Enter an long:");
        long lng = input.nextLong ();
        int sum = getDigitSum (lng);
        System.out.println ("Sum all digits in " + lng + " is " + sum);
    }

    public static int getDigitSum (long num)
    {
        if (num < 10L) return (int) num;
        else return ((int)(num % 10)) + getDigitSum (num/10L);
    }
}


Design furniture and design accessories made by Magis are available in the design online store on AmbienteDirect and are notable for their very original and modern language which seems to be beyond all conventions. The design label was founded in 1976 by Eugenio Perazza near Venice, who still today is committed to his company and passionately leads it.
It is the language of the time which the manufacturer Magis speaks with its designer furniture, as the company sees itself primarily as a creative think tank rather than as a design label with its own signature. It is therefore not surprising that the designer furniture and designer accessories are often developed in collaboration with young designers, because Magis offers designers a lot of autonomy and enough room for innovation, imagination and a path outside the mainstream.
One can often read the raw energy and courage of the youth in the unusual seating and light hearted everyday objects created by Magis. Playful ease and flexibility, in addition to the materials used - especially plastic and metal - are the main attributes of designer furniture from Magis.
With its special look and feel of the designer furniture, classical shapes are interpreted anew and are often at the same time also suitable for outdoor use - ie for balconies, terraces or gardens - because the plastics used are usually light and weather resistant. All chairs, stools, tables and design accessories from Magis are available in the online design shop on AmbienteDirect.
Over the years Magis collaborated with many designers of its time, such as with Konstantin Grcic, who was responsible, for example, for the design chairs Chair One or the 360 ° Chair Swivel Chair and who was responsible for characterising thebutterfly chair with Karim Rashid. The Bombo Stool created by Stefano Giovannoni has become a design icon that is imitated around the world. Also, the designer Air Chair by Jasper Morrison has the potential to become a design classic - at the time it was, in 2000, the first chair created in one piece through the air moulding process.
Designer furniture made by Magis warm the hearts of all design fans who love the unusual and are eager to learn a new design language! And the best: All collections from Magis are very easy to order from the AmbienteDirect online design shop .


Whether you wish to become a yoga teacher or simply deepen your practice, come join us and experience the strength, discernment and joy that come through yoga.
Upon successful completion of the course, participants can opt to become Registered Yoga Teacher RYT 200 with the internationally recognised Yoga Alliance.
This training is an intensive residential immersion, following the classical Indian-style ashram structure. Groups are small, allowing for lots of personal attention and a true community spirit.
Close to the beach and walking distance into town, restaurants and shopping. Can Cesar is an ideal retreat and vacation venue in Santa Eulalia, Ibiza, Spain. It offers the tranquility and beauty of being on the sea, which guests can access just by stepping out of the garden gate. There is a beautiful coastal path to walk along, and the centre of town is only a 10 minute walk away.
The complex includes a conference and yoga room. The lovely communal garden has a swimming pool, a yoga deck and a view of the sea. Shared double or dormitory (maximum 4 people).
Nora taught Teacher Training with SUNRA for 7 years before founding SPIRIT BODY YOGA in 2010. She was introduced to Sivananda Yoga at the age of 12 and has been teaching Hatha Yoga since 1984, following a career in dance and music. She is a Certified Yoga Therapist, Reiki Master and Massage Therapist, working with special needs clients and people recovering from substance abuse. Originally from Los Angeles, California, her travels have taken her to India, Egypt, Latin America and Europe, finally settling in Ibiza Spain.
Kirana is Director of the Integral Yoga Center in Barcelona. She has been teaching Yogasince 1992 and trains Yoga teachers in the style of her Guru who she met at the age of 16, Swami Satchidananda, disciple of Swami Sivananda and creator of Integral Yoga. Kirana, a professional Body Work Practitioner, studied with Yamuna Zake of "Yamuna Body Rolling." She is currently training to become an ecumenical minister in the tradition of Integral Yoga. Kirana imparts RAJA YOGA on this course.
Fill in the booking form to make an enquiry or booking on this 200 Hour Yoga Teacher Training in Ibiza. You can also contact the team direct on retreats@soulseedmedia.com if you have any questions.


text:
Experience: Endejan describes life as culinary instructor
Endejan's career as baking instructor at Moraine Park Technical College goes back a few years.
Experience: Endejan describes life as culinary instructor Endejan's career as baking instructor at Moraine Park Technical College goes back a few years. Check out this story on fdlreporter.com: http://fondul.ac/2dijY8g
For USA TODAY NETWORK-Wisconsin Published 12:04 a.m. CT Sept. 21, 2016 | Updated 2:45 p.m. CT Sept. 21, 2016
Moraine Park Culinary Arts instructor Tom Endejan pours melted chocolate into a container Saturday, Sept. 10, 2016, at Fondue Fest in downtown Fond du Lac.(Photo: Doug Raflik/USA TODAY NETWORK-Wisconsin)Buy Photo
FOND DU LAC - No, Bakery is not Tom Endejan's middle name, although it would be fitting if it was.
His father's lifelong occupation as a bakery maker no doubt played a big part with Endejan's career at Moraine Park Technical College. Old-timers might remember the Five Points Bakery on the west side of town (now closed) that his father ran.
Endejan's career as baking instructor at the college goes back a few years. From 2004 to 2007, he taught part time, both at the Fond du Lac campus and also the Fox Valley campus in Appleton. Endejan began working just at the Fond du Lac campus in 2007 and has never looked back.
Endejan, now 56 years old, fondly recalled before he even started teaching at the schools, he had 10 years of bakery experience under his belt.
"When I was 10 years old to about 13 years old, I helped wrap the bread products (in my dad's bakery)," Endejan said.
During his high school years, he worked in the bakery department in the former Lauer's Grocery Store on West Johnson.
A lifelong resident of Fond du Lac, he attended and graduated from St. Mary's Springs Academy in 1978. He started taking classes at both MPTC and the University of Wisconsin-Fond du Lac campus for three and a half years, before he went to the University of Wisconsin-Stout and received a Bachelor of Science in dietetics in 1987.
In the meantime, he married Martha in 1983.
Endejan's official title at the school is baking instructor and works with students to obtain a two year Associate's degree in culinary arts. After they graduate, the students are eligible to find jobs in bakeries, restaurants, hotels, resorts and even on cruise ships.
During the two-year course, Endejan teaches the students how to bake things from scratch, using raw ingredients to make wholesome finished products, and to follow various techniques that fit into the required curriculum. Throughout the semesters, the classes make cookies, cakes, danish, croissants, and three or four different breads each week.
Endejan noted the culinary department with his students also participate in nonprofit fundraisers for various local organizations, if it fits into their curriculum.
The largest project of the year, Endejan said, is the club's participation in Fondue Fest, which was held Sept. 10 in downtown Fond du Lac, the first Saturday after Labor Day.
"It's a good introduction to this event for first-year students," Endejan said.
The event includes a giant stainless steel fondue kettle made by Breenner Tank of Fond du Lac (which made the Guinness World Records book a decade ago), with cheese donated by Grande Cheese (this year, 90 pounds were used). He also notes that more than 300 pounds of Artisan breads were used, alongside 90 pounds of chocolate, 10 cases of strawberries, 2,600 cookies and 180 pounds of heavy cream.
"It's really a big deal, and every year it gets bigger," Endejan said.
During the school year semesters, Endejan's class also makes and sells fresh breads to the public. About 22 different kinds of bread are offered for sale through the semester from 7 a.m. to 1:30 p.m. Tuesdays through Thursdays and 1:30 to 4 p.m. on Fridays. For more information, visit morainepark.edu.
During June, July and August of this year, Endejan worked at Madison Sour Dough Bakery/Pastry Shop three days a week.
"It was an eye opener for me...updating my skills and working with sour dough breads," he said. "It brings me closer to my students and enables me to hone my own skills." In the past, he did the same thing at the American Club in Kohler during a couple of summers.
Also this past summer, Endejan and the club were invited to host a national open house at the school, through the Bread Makers of America, where he and his students demonstrated and offered for taste, several different kinds of fresh breads and pastries they make.
When asked what his favorite part of being a baking instructor, Endejan was quick to reply, "when the students come back and they can come back to teach me," referring to all the latest changing technology.
Endejan and his wife are active members of Our Risen Savior in Woodhall (township of Eldorado) and are parents to Mary and Emma. He also is serving as a Grand Knight with the North Fond du Lac Council of the Knights of Columbus. Martha is an occupational therapist with Agnesian HealthCare.
Read or Share this story: http://fondul.ac/2dijY8g


Personally, I researched for two years for a solid content management system (CMS) to host my 2,000 page static HTML site. I put many to the test with great frustration and wasted time as they were bulky, too complex, had frustrating interfaces, and high learning curve language as none of them spoke the same language, both in semantics and code. In fall of 2003, I kept stumbling across mention of this WordPress thing changing the whole concept of CMS, but it wasn't called a CMS. It was called a blogging platform.
I tried WordPress and fell madly in love. It made sense. The interface was clean and simple and it was built on a simple dynamically generated HTML and PHP framework that I could easily incorporate into my existing award-winning design. By November of 2003, my site was relaunched on the six month old WordPress web publishing platform and I never looked back.
There are many reasons to choose WordPress, as many reasons as there are different types of enthusiasts for web design, development, and code.


text:
Gigli : Production Notes
Thematically, according to writer/director Martin Brest, Gigli is linked to his other movies. "Increasingly, I've found myself being pulled towards a central character who comes off mean, angry and unsympathetic. Gradually, another side is revealed. The fact that a character feels compelled to adopt a harsh outer shell to keep from being hurt has always interested me."
Larry Gigli's (Ben Affleck) journey is one of a man who imagines himself as one kind of person and through the course of the film, surprises himself when other facets of his personality begin to emerge. Not only did Brest find this dramatically interesting, but also a wonderful repository for humor.
"There was an atmosphere on the set that encouraged us to explore the funny side of Gigli's dilemma," says Brest. "Not so much the joke-funny side, but the serious-funny side. There are moments when the characters are flipped out about some horrible thing that's happened to them, which turns funny when a certain insight emerges. That's the kind of observation we were always looking for."
Once he had completed the script for Gigli, Brest turned to his producing partner Casey Silver, with whom he has an association dating back almost to the start of his career. "We met on Beverly Hills Cop, explains Silver, "when I was the head of development for Simpson-Bruckheimer Productions. At the last moment, we had a cast change, replacing Sylvester Stallone with Eddie Murphy, and Marty and I found ourselves thrust into the circumstance of having to redevelop the material with an impending start date. Later, when I ran production for Universal, Marty made Midnight Run. He followed that with Scent of a Woman and Meet Joe Black. We've worked together for a long time now."
ASSEMBLING THE TEAM
"I didn't really think about any particular actor to play Gigli during the writing process," says Brest. "The most important thing was to create a central character who is stuck in time, who has somehow missed the opportunity to grow and progress."
Brest sees Larry Gigli as a man that time forgot, someone who, despite his good looks and charm, lives in the past and is a bit removed from his contemporaries. "His sensibility hails from another era, twenty or thirty years ago, which immediately makes him kind of sad," says Brest. "His peers have moved on, gotten married, started families, and Gigli is still at his two-bit job, living alone in a dumpy apartment. Somewhere along the way, he took the wrong road and he's stuck. So he postures, covers up, tries to pretend he's a tough guy."
When he finished writing the character of Gigli, Brest's mind turned to casting the central role. "I thought of Ben for a couple of reasons," he says. "He has the physical presence to make Gigli intimidating, but he also possesses a wonderful vulnerability. He has a very outgoing nature that, simultaneously, reveals a certain amount of self-doubt. Ben understands the character's contradictions, his bullying, thug-like behavior and that layer of sensitivity. It was fascinating to watch him juggle those emotions. He kept both elements going at all times, balancing them effortlessly."
Vital to the story's progress is the character of Ricki, who Gigli meets through his kidnapping assignment. Her sensibility and outlook on life couldn't be more different and it shakes Gigli up, opens up a new world to him.
Ricki, Brest admits, was a difficult part to cast. She had to be beautiful, sexy and strong, but also gentle. "She had to be someone who can look you right in the eye and tell you exactly what she's thinking, someone who doesn't care what you think about her, and yet, her manner is soft and sensual. Even as I say it, I realize I'm talking about Jennifer Lopez."
"The first time we saw Ben and Jennifer share a frame together, it was immediately clear that they possessed that elusive thing called chemistry," says Silver.
"Beneath the palpable sexual tension that informs their relationship, both actors give carefully calibrated performances under Marty's meticulous direction," Silver continues. "Ben's Larry Gigli is a nuanced character whose brash demeanor masks his truer feelings. Jennifer's character, Ricki, has her own secret and also a wisdom that allows her to see through Larry's exterior persona. This dynamic creates an escalating tension that ultimately breaks down each character's defenses and portends a more hopeful future."
Lopez had the confidence and presence to embody Ricki's ability "to let Gigli know, in no uncertain terms, that his bullying had no effect on her," Brest says. "And she lets him know it's not who he really is. She's someone who can be intimidating just by being cool, level headed and logical. Most importantly, she brought an affection and sweetness to Ricki as well." Ricki's combination of strength and beauty proves to be a powerful aphrodisiac for Gigli. "Nobody has ever affected Gigli this way before and he falls madly in love with her," Brest explains.
With two icons like Affleck and Lopez in the lead roles, Brest and Silver decided to go in the opposite direction when casting the role of Brian, opting for an unknown to bring a balance to the mix. They found newcomer Justin Bartha through an open casting call. "Marty saw his tape and thought he was fantastic," Silver recalls. "The verisimilitude and the authenticity of the character of Brian were essential for the story to work and Justin pulled it off with great aplomb. He was a true find."
What tipped the scales in Bartha's favor, according to Brest, was "the quality of his acting and the consistently new ways he found to explore the character of Brian."
Brest drew on his past in fashioning the character of Brian. While still in college he worked at Bronx State Hospital, which he laughingly says "was the best possible preparation for being a movie director, if for no other reason that I found myself identifying more with the patients than with the staff."
At Bronx State Hospital, Brest was intrigued by the variety of behaviors, disorders and pathologies he encountered. "I love the idea of a character being challenged in some way. But somehow, he feels he is missing out on something that others in the real world enjoy, a vague desire for something he doesn't fully understand. That's there in Justin's portrayal of Brian."
Brest knew that he needed a strong actress to portray Gigli's overbearing mother, a small role that has great impact. When he first considered Lainie Kazan, he was concerned she might be too perfect for the role. But he relented when he saw the unexpected facets she brought to her reading. "Gigli's mom is the kind of mother who loves her son in such a big and nakedly unselfconscious way, that it just makes him want to cringe," explains Brest. "There's something kind of adorable about seeing this tough-guy being whipped around by his mother. And for Ricki to see Gigli being embarrassed by his mother, seemed to be a situation that was fraught with possibilities."
The role of Starkman, the big-time mobster from New York, whose very presence sends tremors of fear through the room, was assigned to Al Pacino, who won an Academy Award® the last time he worked with Brest on Scent of a Woman. "Al obviously generates an exciting, entertaining theatrical performance, but what takes it into this stratosphere is that he gives you whole new insights into human nature when he creates a character, which is my definition of a great actor."
For Lopez and Affleck, whose characters' lives depend on how they navigate around Starkman's insanity, working with Pacino was an invaluable learning experience. "I learned so much from Al. Even if he had done just the rehearsal, I would have walked away with enough to become a better actor," says Lopez. "I've never been in a room where so much power comes out of one human being. After every take, my stomach was in knots. He had me scared that he just might have a bullet in that gun. It was crazy, but amazing."
ABOUT THE STORY
That "Gigli is a man with a name that nobody can pronounce, is yet another in an endless series of embarrassments for the character," explains Affleck. "My character is essentially a guy who's living a life he doesn't really feel is his. He's faking it. Underneath his macho posturing is someone who's actually very sweet and very unhappy. The story resonated with me in a way that usually doesn't happen when I read a script. It was extremely strange, unusual and heart breaking. What I didn't see was how funny it was. Then as we played out some of the scenes, I realized that it has a great deal of humor."
In many ways, Affleck continues, Gigli breaks all the rules of conventional movies and was, for that reason, a liberating experience for him as an actor. "You have a not very likable protagonist whose behavior goes against the grain of how people should behave. The woman is not an ingénue. Gigli's attracted to her and also intimidated by her. It was exciting to try to do something where you didn't have to follow all the normal guidelines of movie behavior."
The "strange family dynamic" of the three central characters constantly changes throughout the story, which made it intriguing to play, according to Affleck. "As Gigli and Ricki are shuttling this mentally troubled kid around he starts to act like a father toward Brian. At other times it's Ricki who is the father and Gigli who acts like the wife. So all our expectations are constantly being challenged. It speaks to the idea of how we create families, and I think people will be able to relate to some of the scenes with the three of them."
Lopez's character is veiled in mystery. "Ricki shows up out of nowhere and she's a very self-confident, self-assured enforcer," says Lopez. "But then she starts quoting pearls of ancient Asian wisdom. Somehow, that doesn't quite fit the profile."
Like Gigli, Ricki also develops genuine feelings for Brian. "She comes to see him as a little brother and wants to take care of him. Without realizing it, the three of them create a familial bond, however dysfunctional it may be."
There is a price to be paid for these attachments, however, Lopez points out. "This starts off as a routine babysitting job for Ricki and Gigli. I don't think either of them has any idea that the situation is going to escalate, until they realize they're in way over their heads, having kidnapped the brother of a federal prosecutor."
It is the pivotal role of Brian, the guileless innocent, who changes the destinies of Gigli and Ricki. Explains Brest, "all Brian really wants is to get to this imaginary place where life will be perfect – a kind of hallucinatory state based on what he's seen over the years on television. He refers to it as 'The Baywatch,' but it's not the TV series he's talking about. In essence, it's really about all that he lacks in his life -- normality, sexuality, being attractive, having a date. But it all gets jumbled up in his head and he thinks if he could just get to that place, he would be normal and maybe even have a girlfriend."
According to Bartha, "the Baywatch is Brian's fantasy of a "normal" life. If he can only get there … if he can just reach it, he'll be "normal" too."
The actor anchored Brian's fantasy in common experiences. "Brian basically has one goal throughout the movie and that is to get to "The Baywatch," he says. So with that in mind, most of Brian's actions must be accented by that intention. In the end, it is actually the journey that transforms Brian, not the destination."
The journey itself could not have happened without Gigli. "Brian isn't necessarily aware that he has been kidnapped. He's presented an opportunity to fulfill his fantasy and he sees Gigli as the guy that will take him there. What neither Gigli nor Brian expected was a friendship developing on the way."
Then in walks Ricki and she throws Brian for a loop. "In the beginning, he's a bit hesitant towards her," Bartha explains. "Everything is so new and exciting for Brian. He's never seen such a beautiful woman. But Ricki immediately takes on a motherly role towards him and protects him from an initially hostile situation."
Bartha's portrayal was both physically and emotionally demanding for the young actor. "There is always a physicality that goes along with the creation of any character," he states. "The key was just to figure out who this person is, where he is from and what he wants. When that is done, all I have to do is get lost in the character.
On creating the character, Bartha states, "Through all the research that I did, I noticed one common thread with most of the disabled men and women that I encountered: They are honest, optimistic and live in the moment." He then went on to say, "I've learned so much throughout this experience and now I'm just trying to enjoy the journey and not think too much of the destination."
In a way, Affleck drew upon that concept in creating his character arc as well. "Gigli is someone who is relatively hopeless, yet through his interactions with Brian he finds out who he really is and starts living his life. Instead of being stuck in his life, he comes to appreciate that there's something sad and beautiful and melancholy and exciting about the almost infinite possibilities of each new day," says Affleck. "At the same time, people will find humor in the story and the ability to smile in the face of adversity. And that is completely Marty's sensibility."
THE COMMON DENOMINATOR
"Working with Marty, we found ourselves on the same wavelength in terms of the things we think about, our senses of humor and the way we look at the world," says Affleck. "He's someone whose passion and enthusiasm for making movies is tireless. He is an artist and a technician and a craftsman, and he is unflagging in his determination. He does many more takes than anybody I've ever worked with. It's a great luxury for an actor because it gives you room to experiment, to go anywhere you want to go. I think he truly loves actors. I know he loves movies."
Lopez adds: "Marty is very nurturing towards actors. When you have a director who rewards you with a kind word or gesture, it is priceless. And Marty would jump up and down and dance around and scream when a take was particularly good. Also, when you're working with a director who also wrote the script, it makes things easier because he knows exactly what he meant when he wrote it, without having any ego about his material. He was only interested in what was going to make the best movie and bring out the best performances."
The appeal for Lainie Kazan was that "I really loved the script and the character's great sense of humor and sense of the dramatic. And, by the way, can I tell you how interested I was to work with Marty Brest? I actually auditioned for this part. Marty interacted with me and was very supportive. Then, when we shot my scenes, I never felt like he needed to control me. It's very rare to be directed in such an open, positive way. It was also wonderful to work with Ben Affleck. He's such an intelligent and terrific actor. The entire experience was a very creative and joyful one."
Lopez recalls "every single take was a big surprise when I was working with Christopher Walken. I think part of his magic is that even he doesn't know what he's going to do next. There was one take when he made me laugh, which was a mistake. He saw it and was about to stop until he saw how it had affected me. So we kept going and it turned into a magical moment. It had that element of spontaneity that happens between actors when they can continue in a moment that is real as opposed to something that has been worked on so much that it loses its spark."
"Marty gives you plenty of chances to do your best," Walken says. "It's hard when you go home at night and think, 'I wish we had had that extra take because I could have done it differently, or better or whatever.' With Marty, every night I went home thinking 'I don't know whether it was good, but I certainly did get a chance to do my best.''
Principal photography on Gigli utilized more than 20 Los Angeles locations as well as sound stages at the historic Culver Studios.
In fact, the city of Los Angeles might well be called one of the movie's co-stars.
"I've been living in Los Angeles for a long time," says Brest, "but because I'm one of those displaced New Yorkers who love New York, I've always set my movies there. Before I started writing Gigli, I found myself exploring Los Angeles in a way I had never done before, gravitating towards downtown L.A., an area that people in the movie industry rarely have occasion to visit. And I became fascinated by the fact that within the city I live there's this entirely different city with its own aesthetic."
Brest was intrigued by downtown L.A.'s ramshackle qualities. "There's something fascinating about the slight state of disrepair it's in and the almost negligible architecture. I wanted to show a very particular personality of the city, a uniquely transient, depressing side."
The film's most important set was Gigli's apartment. The building the set is based on is located in Hollywood where the exterior scenes were filmed. The interior was the responsibility of production designer Gary Frutkoff and his team.
"Gary was the designer on Out of Sight, a movie I worked on when I was at Universal," explains Casey Silver. "I thought he could capture that haunted feeling that Los Angeles can have for a lot of people, that distinctive and vacant loneliness."
In his first meeting with Brest, Frutkoff realized his main challenge was Gigli's apartment. The script called for 45 minutes of the story to take place in this one location. How to treat the space outside the apartment windows on a sound stage is always a pressing concern for the production designer. Translights (giant photographic slides that are commonly used) would be too stagnant and predictable for such a long shoot. Rear projection or computer effects would add life, but would be cost prohibitive. The answer came when location manager, Ken Lavet, showed Brest and Frutkoff photos of a mid-century apartment building in Hollywood. The cement courtyard, pool and palms were bathed in a harsh southern California sunlight reminiscent of a David Hockney photomontage. The courtyard and pool would become their template.
Then Frutkoff's set decorator Maggie Martin and her crew were assigned the difficult task of enhancing this environment through sheer minimalism. "The character doesn't read, so there were no books,' explains Brest. "They couldn't hang things on the walls because Gigli has no art. Every day they'd make a suggestion and I'd say 'no, you can't put that in.' It's much easier to dress a set with lots of things than a set that has nothing, but they did a magnificent job. One of my favorite subtle details is a little wall between the dining room and the living room. It's in the background in practically every shot and we had discussions about putting a picture on it. We tried all kinds of prints and photographs and nothing really worked. Finally we decided it was best left empty. All that's there is a painted nail, as though there had been something hanging there at one time. To me it perfectly captured the atmosphere."
Recalls Frutkoff, "This was a character-driven piece, which I'm always attracted to and it had really good dialogue and heart. But I had to ask myself, 'If the story is about a guy who doesn't care about aesthetics and doesn't have much in the way of possessions, how do we make it interesting?' Then, Marty and I went for a drive through Hollywood. We gravitated off the Sunset Strip, which gave us the geography of a socio-economic area where Gigli might hang out. We drove through one neighborhood that we thought was very dramatic because it was high up in the hills, which is always better than shooting in flat areas."
During their scouting expedition, Frutkoff and Brest also saw a 1967 Impala Supersport parked in a garage. "We immediately thought Gigli would have that kind of car, which sparked a conversation about a retro element of the story. The neighborhood we were looking at seemed to have a late '50s, early '60s vibe. Once we saw that car it gave us a material point to work from, which led to Gigli's wardrobe as well as all the other environments and locations. We wanted the film to feel like it was on the verge of slipping into a period picture."
More specific elements of the film's tonal and color palette were incorporated as the production went along, Frutkoff continues. "For example, we'd be looking at locations, like a taco stand, where there was a beautiful palette of pink and aqua, very Latino. There was a mural there and the design was exactly what Marty had had in his mind for that location. "
The crucial apartment set interior was built on a soundstage and included a courtyard measuring 60-feet wide by about 110 feet long with a real swimming pool and a jacuzzi. In addition, across the way there were 12 to 15 apartments, two stories high with real palm trees and shrubbery outside. Brest was trying to suggest "the lack of a real life," he says. "It's like a struggling actor's first apartment and every actor who came to the set said, 'I lived in that place.'"
Aesthetically, Brest continues, the interior of the apartment had to suggest Gigli's inner turmoil, as if he's thinking 'how in the hell did I get here and what the hell am I doing?' The effect was realized through the accrual of minor details. For example, one of the electrical outlets has a burned spot on it as if it had shorted out. Cigarette burns were applied to the mantle and then it was painted over.
"These are things you might never look at," says Frutkoff, "but we're inside this apartment for so long, you might just notice them and they add to the story."
Brest's director of photography choice was Robert Elswit, who has memorably depicted Los Angeles in such Paul Thomas Anderson films as Boogie Nights, Magnolia and Punch-Drunk Love. "I particularly liked what he did with Magnolia," says Brest. "It's tricky to make a movie visually interesting when it's basically about characters in small settings. But Bob seems to have a sense of how to showcase the performers while still achieving visual distinctiveness."
"Marty and I talked very specifically about the look of this film," explains Elswit. "The lighting on a movie is usually script driven and then filtered through the director. Marty has a very classic approach to lighting design and a great sense of pictorial style. He rarely deviates from the use of three or four lenses. He repeats the same kind of image sizes in close-ups and medium shots. He uses a classic style of coverage and image sizes that go back to the golden age of Hollywood filmmaking."
The film's lighting style is naturalistic, Elswit continues. "It was all about the feeling of sunlight invading Gigli's apartment, which character it hit and where. Without question, the most expressive element in movies, and all the visual arts, is light and dark. More than design, more than color, it's always about light. Light has always represented the gaining of wisdom and understanding and knowledge."
In Gigli, the lighting is broken down by character, says Elswit. Since Brian "represents the gaining of wisdom, knowledge and understanding, he was lit in such a way as to reflect that."
Because the interior of Gigli's apartment was built on a soundstage, Elswit had control over the direction of the exterior light, though creating the feeling of sunlight and casting shadows was not as easy, he confesses. "You don't want to over-fill the set with light. And you need a lot of single light sources to create a single shadow on different parts of a building. We were very fortunate to be able to shoot camera tests in each room before principal photography began so we could see how they would look at different times of day."
Outdoors, however, the lighting was harder to control, especially during the driving scenes in an open convertible. "I didn't really light the actors as much as augment the sunlight. Where we drove the car, in which direction, on which streets and at what time of day – all those variables had to be taken into account."
Costume designer Michael Kaplan, who has done several films for director David Fincher, most recently Panic Room, was Brest's choice, in particular because "I thought what Michael did in Fight Club was one of the freshest, boldest, most originally creative things I had seen in years," says Brest.
Through his discussions with Brest, Kaplan explains, he began to conjure up what the characters would wear. "I try to design the costumes from the inside out so that the character is not just wearing attractive clothes. In fact, sometimes the clothes are not attractive at all. All of the clothing should give the viewer some information about the character, what their income level might be, whether they're bohemian or well to do. That's the sort of information we want to illuminate in the wardrobe."
The right clothes, Kaplan continues, not only help the director realize his vision, but make the actors feel more like the characters they're playing. "I didn't want Ben's character to be the cliché of a mob guy. I thought he should have some sort of formality about him when he was dealing with his bosses or the people who gave him assignments. To me, that meant a sport coat or a suit jacket. As for suits, they seemed wrong for him. I wanted to keep him younger and cooler than that, so we made a leather jacket that was cut like a suit jacket and combined different style elements."
Because the story transpires over a few days, Gigli doesn't have many changes. "So each costume had to be right on the nose," says Kaplan. "In terms of his palette, I though he'd be wearing blacks and burgundy. Also, because he's in Los Angeles, a city with a temperate climate, I put Ben in a lot of loose fitting or tropical casual shirts that had a slightly retro feeling. Interestingly, it reminded me of how people dressed when I was growing up in the 60s in South Philadelphia."
Like Gigli, Ricki is not a woman of means, yet Kaplan wanted her to have her own style. As he did with the character in Flashdance, he created a stylized tee shirt for Ricki to wear that would telescope her personality and individuality. He worked closely with Lopez on all of her costumes. "I found Jennifer's knowledge of her body and what looks good on her to be an enormous help. She was incredibly open to trying things on even if she thought they weren't going to work for her."
When it came to dressing the character of Brian, Kaplan was faced with a dilemma. Since the character is handicapped and only wears a single outfit throughout the film, he didn't want it to explicitly announce his mental state. Instead, he took the middle road with an outfit "that didn't match too well, but didn't clash either. There were certain elements I wanted to achieve – a certain childlike quality and something that could change as the movie went on even though Brian is in just one costume."
Since most of the film is shot in winter, Kaplan layered Bartha's costume, which afforded him the opportunity to vary his look by putting on or taking off a particular layer depending on whether Brian was indoors or outdoors. "When Brian is out in public and Gigli is trying to hide him, we put him in a leather jacket and a stocking cap. He looks like some young, hip rap musician. And because of the disguise, Justin adapted this other persona as well."
Kaplan traveled to New York to meet with Pacino about his wardrobe, narrowing down a wide choice of costumes to three for Brest to choose from. Pacino, with his particular eye for detail, seemed to have an instinctual feel for what worked for him, Kaplan recalls. "The character of Starkman is very imposing. In person Al doesn't seem that imposing until he starts acting. Then he becomes whatever he wants to become."


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channel that is broadcasting HD content.
●● Aerial Connection: Try HD channels after running the Auto Tuning function.
moving pictures from sports programmes and action movies.
Mobile phones used close to the TV (within 1m) may cause noise in analogue.
Saving Mode) has been enabled.
Select Speaker to TV Speaker.
A low signal level may cause sound distortions.
Source to confirm that the correct input source has been selected.
●● Confirm that the coaxial cable is securely connected to the TV.
Select high definition (HD) channels or programmes.
If you are using an HDMI connection, check the audio output setting on your PC.
If you are using an HDMI-to-DVI cable, a separate audio cable is required.
Position your wireless router, modem router, or access point in a central location.
Avoid putting it in a corner.
Use a wireless repeater to get an instant boost in your wireless signal strength.
frequency. Instead, use devices that communicate via the 5.0 GHz frequency.
(HDMI-CEC)) and see if Anynet+ (HDMI-CEC) has been set to On.
Search, Smart Hub, Plug & Play, etc.
or turn your TV off and on.
(HDMI-CEC)) menu to see if Anynet+ (HDMI-CEC) is set to On.
configuration or has switched to a viewing mode.
cable has been disconnected, please scan for the device again.
Languages supported by the app may be different from the user interface language.
The ability to change the language depends on the service provider.
When files aren't playing, this may help resolve the problem.
might experience problems with high-bitrate files.
Initialise the settings to factory defaults.
Use these procedures to resolve other issues that may occur.
TV. This heat, however, is not a defect and does not affect the TV's functionality.
that have aspect ratios different from your TV.
Adjust the picture size options on your external device or set the TV to full screen.
TV menu is greyed out.
Make sure the indicator arrows on the stand and stand holder are properly aligned.
the TV is turned off.
TV to a wall, we recommend using cables with 90-degree connectors.
active or the Sports Mode is On.
The expansion and contraction of the TV's outer casing may cause a popping noise.
This does not indicate a product malfunction. The TV is safe to use.
Your TV utilises high-speed switching circuits and high levels of electrical current.
A video is played according to the TV settings.
"" If the Stereo signal is too weak and an automatic switching occurs, select Mono.
"" Available only for the stereo signals.
"" Available only when the input source is set to TV.
Loading a web page may be delayed or suspended completely with certain operating systems.
disabled. In this case, you will have to reload the page.
history will not be saved.
choose. Note that the optimal and recommended resolution is 1920 x 1080 at 60 Hz.
turning on. Refer to the user manual of your graphics card for compatible resolutions.
connect them up to 2.
button or press the button.
Plays the multimedia content only with the screen off.
The available options may differ with the model and content.
Applies transition effects for the slide show.
"" The music files must be saved in the same USB device as the photo file.
Controls the subtitles of the video.
Subtitles: Turns the subtitles on or off.
Language: Sets the subtitle language.
Sync: Adjusts the synchronisation when the video and the subtitles are not synchronised.
Reset Sync: Resets the subtitle synchronisation adjustment to 0.
Size: Changes the font size for the subtitles.
Encoding: Changes the encoding language when the subtitles are displayed incorrectly.
Edge Type: Adjusts a position of texts and subtitles edge.
Edge Color: Changes a colour of subtitles edge.
This function is only available when the video supports multi-track sound.
This function is only available when the recording function is supported.
For more information about Timeshift, refer to "Using Timeshift".
Saves a video from 10 seconds before pressing this button to 10 seconds after.
information about Auto Highlights, refer to "Extracting highlights automatically".
Check the licence information and trademarks applied in your TV.
7,295,673; 7,460,668; 7,515,710; 8,656,183; 8,731,369; RE45,052.
ⓒ DTS, Inc. All Rights Reserved.
Open Source used in this product can be found on the following webpage.
(http://opensource.samsung.com) Open Source License Notice is written only English.