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This Happy Breed (film)
1944 British film
This Happy Breed
DVD release cover
Anthony Havelock-Allan
by Noël Coward
Noël Coward
Celia Johnson
John Mills
Jack Harris
Clifton Parker
Eagle-Lion Distributors Limited
1 June 1944 (1944-06-01)
This Happy Breed is a 1944 British Technicolor drama film directed by David Lean and starring Robert Newton, Celia Johnson, Stanley Holloway and John Mills. The screenplay by Lean, Anthony Havelock-Allan and Ronald Neame is based on the 1939 play This Happy Breed, by Noël Coward. It tells the story of an inter-war suburban London family, set against the backdrop of what were then recent news events, moving from the postwar era of the 1920s to the inevitability of another war. Domestic triumphs and tragedies play against such transformative changes as the coming of household radio and talking pictures. The film was not released in the United States until April 1947. [1]
The title, a reference to the English people, is a phrase from John of Gaunt's monologue in Act II, Scene 1 of William Shakespeare's Richard II . (Laurence Olivier provides the uncredited introductory narration.)
Opening in 1919, shortly after the end of the First World War, the film focuses on the Gibbons family - Frank, his wife Ethel, their three children Reg, Vi and Queenie, his widowed sister Sylvia and Ethel's mother - after they settle in a rented house in Clapham, South London. Frank is delighted that his next-door neighbour is Bob Mitchell, a friend from his days in the army.
Frank, Ethel and Bob attend a Victory Parade in the summer of 1919. [2] Frank finds employment in a travel agency, arranging tours of Western Front battlefields, run by another old army chum. As the children grow up and the country adapts to peacetime, the family attend the British Empire Exhibition held at Wembley in 1924. At Christmas 1925 the family acquire their first crystal set radio.
Reg becomes friendly with Sam, a staunch socialist, who is attracted to Vi. Queenie is pursued by Bob's sailor son Billy, but she longs to escape the suburbs and lead a more glamorous life elsewhere. During the General Strike of 1926 (in which Frank and Bob volunteer as driver and conductor of a bus), Reg is injured in a brawl in Whitechapel Road. Vi blames Sam, who had brought her brother to the area, but eventually her anger dissipates and she marries him.
In 1928, Charleston dance mania arrives in England and Queenie wins a dance contest. In 1929 Sam and Vi attend one of the new talking pictures at the cinema. News of the electoral rise of the German Nazi Party, led by Adolf Hitler, begins to appear in the newspapers. [3] Reg marries Phyllis. Billy (now a Leading seaman) proposes to Queenie, but she confesses she is in love with a married man and soon after runs off with him. Her mother says she cannot forgive her and never wants to see her again.
After a drunken regimental reunion, Bob expresses his faith that the League of Nations will keep the peace, and scoffs at Frank's concerns about the disarmament policies of the new National Government and the Japanese invasion of Manchuria. As time passes, Ethel's mother dies, Aunt Sylvia discovers spiritualism and Reg and Phyllis are killed in a car crash. The British Union of Fascists tries to stir up anti-Semitic sentiment in the city. [4] Stanley Baldwin wins the 1935 United Kingdom general election. King George V dies (January 1936) and Frank and Ethel join the crowds filing past his coffin. King Edward VIII abdicates (11 December 1936). When Neville Chamberlain returns from Munich (September 1938) with the promise of "peace in our time," Frank is disgusted by people's enthusiastic response.
Billy, home on leave from the Royal Navy and now a sub-lieutenant, announces to the family he ran into Queenie while on shore leave in France. Abandoned by her lover, she and an older woman opened a tearoom to make ends meet. She deeply regrets having left home. Billy reveals they were married two weeks previously in the Plymouth Registry Office and he has brought her back to London; Ethel forgives her.
With the a new war on the horizon, Queenie leaves her baby son in the care of her parents when she sails to join her husband in Singapore. [5] Frank and Ethel, faced with an empty nest, leave the house and move to a flat with their grandson.
Robert Newton as Frank Gibbons
Celia Johnson as Ethel Gibbons
Alison Leggatt as Aunt Sylvia
Stanley Holloway as Bob Mitchell
John Mills as Billy Mitchell
Kay Walsh as Queenie Gibbons
Amy Veness as Mrs. Flint
Eileen Erskine as Vi Gibbons
John Blythe as Reg Gibbons
Guy Verney as Sam Leadbitter
Betty Fleetwood as Phyllis Blake
Merle Tottenham as Edie, the Gibbons' maid
In 1942, David Lean and Noël Coward co-directed In Which We Serve . This Happy Breed marked Lean's solo directorial debut. He and Coward later teamed for Brief Encounter and Blithe Spirit .
Writing for TCM in February 2006, Frank Tatara says: "To a certain degree, Coward tried to have it both ways with This Happy Breed. By this point in his career, he had already cultivated the aura of high-breeding that informed most of his work. But he was raised in the same working-class environment that's covered in both his play and Lean's picture, and some of his collaborators noted a bit of a mean streak in his writing, even as he sought to celebrate the 'common' Brit. 'There is something condescending about the writing,' Anthony Havelock-Allan, the film's co-producer and co-screenwriter, noted. 'The condescension is that he escaped from it and really, how awful they were, seen from his superior and, by adoption, upper-class attitude.' " [6]
Coward had played Frank Gibbons on stage, and he wanted to reprise the role on screen. Lean felt the playwright's public persona of witty sophistication was so far removed from his humble lower class origins that audiences would be unable to accept him as Gibbons, and he initially offered the role to Robert Donat instead. [7] Donat refused the role because he objected to the final speech delivered by his character in the stage version. As he explained in a letter to Coward: "Rightly or wrongly, I believe it is just that very political irresponsibility that got us into another war". [8] The role was given to Robert Newton, whose reputation for alcoholism led the producers to require Newton to sign a contract relinquishing £500 of his £9,000 salary, every time his drinking caused a delay in production. [8] According to the film's cameraman Ronald Neame, by the end of filming, Newton had forfeited his entire salary, although the producers forgave him and paid his full fee. [9]
Lean insisted on filming This Happy Breed on three-strip Technicolor stock, although the film was difficult to acquire in Britain during the war. At the time, a Technicolor representative was assigned to the set of every film that utilised the process to ensure everything looked right on film. Lean was contractually required to follow strictly the guidelines proposed by the consultant, whose expertise he questioned and who drove him to distraction because of her concentration on the minutest details. The released film barely resembles a standard Technicolor film, which was Lean's intention. It proved to be the most successful British release of 1944 and the first of many critically acclaimed films directed by him. [10]
In an article on BFI's Screenonline website, Janet Moat singles out "the breathtaking opening sequence, a stunning aerial view of London, from the Thames and across the rooftops, down to the back door of one particular house and right through it to the front door", narrated by Laurence Olivier. "Lean was already employing one of his trademark devices of 'leaking' one scene into another - a new scene begins before the previous one has quite faded away. He especially uses sound to anticipate the next scene, keeping the audience in a constant state of expectation. One sequence in particular uses sound quite brilliantly. When Reg and his wife are killed in a car crash, Vi goes out into the garden to find Frank and Ethel and tell them the awful news. The camera stays in the living room while the radio plays a loud dance tune, and the happy sound of children playing outside is heard. Eventually Frank and Ethel come into the frame, from the garden, the soundtrack making a poignant counterpoint to their silent grief." [11]
Between March 2006 and January 2008, the restoration of This Happy Breed, combining digital and photochemical techniques, was carried out at the British Film Institute's National Archive's Conservation Centre in Berkhamsted and at Cineric, a post-production facility which combines optical printing and photochemical restoration with innovative digital techniques, in New York City. The project included correcting the colour and a full digital restoration of the picture and soundtrack. The most time-consuming part of the sound restoration process involved removing background noise that caused dialogue to become muffled when conventional methods of noise reduction were used to remove it. Technicians had to filter the noise between individual words to eliminate static. The restored film was screened as part of a major David Lean retrospective at BFI Southbank in mid-2008. [12]
The film's soundtrack, which includes the song London Pride , was performed by the London Symphony Orchestra, conducted by Muir Mathieson.
According to Kinematograph Weekly the 'biggest winners' at the box office in 1944 Britain were For Whom the Bell Tolls, This Happy Breed, Song of Bernadette, Going My Way, This Is the Army, Jane Eyre, The Story of Dr Wassell, Cover Girl, White Cliffs of Dover, Sweet Rosie O'Grady and Fanny By Gaslight. Breed was the biggest British hit of the year followed by Fanny By Gaslight, The Way Ahead and Love Story. [13] [14]
In his April 14, 1947, review for The New York Times , Bosley Crowther noted the four year delay: "Why its release here should be tardy is a puzzler to us. For "This Happy Breed," (is) an absorbing and affecting panorama of English life… (It) has a quiet charm and gentle penetration of human nature which should give it wide appeal… the story of… a plain and inconsequential family living in one of those plain little houses in a row in a plain and inconsequential London suburb between 1919 and 1939. ….Through it all, 'Mum' and 'Dad' pursue their steady and inevitably hum-drum lives, partaking of joys and sorrows as they are naturally visited upon them. Grandma and maiden Aunt Sylvia are thorns in their patient sides, but even the crotchets of these females would be missed… crises are usually soothed by a cup of hot tea. 'It's up to us ordinary people to keep things steady,' says Dad. And there you are…. Producer Anthony Havelock-Allan, Director David Lean and Ronald Neame, the cameraman… show us a house, a neighborhood and people of a wholly credible sort, and they have drawn from their excellent performers some of the neatest characterizations you'd want to see. Robert Newton and Celia Johnson (she was in "Brief Encounter," you'll recall) are brilliant as the father and mother—quiet, patient and genuine—while Kay Walsh is shrewd as the way-ward daughter and John Mills is stanch as her earnest beau. Amy Veness and Alison Leggatt are delicious as Grandma and Aunt Syl,.. (The film) hits precisely the humor, the grief and the monotony of commonplace life. Maybe it won't tempt the searchers for glamour and 'escape,' but it should be gratifying entertainment for those who put their faith in the human heart." [1]
In a 1944 review, Variety gave This Happy Breed high praise: "Based on Noel Coward's London legit hit, film soundly captures the spirit of the 1920s and 1930s reviving the era of the British general strike, the jazz dress style, the Charleston, and the depression. It touches on the troubled sphere of the class struggle and labor strife, although it has a dubious note once or twice, such as in an apparent defense of strike-breaking. But it is so much more the history of an average British family, with its pleasures and pains, to make this the paramount interest. Film is a bit episodic and choppy at the start, as it unwinds in cavalcadish [4] fashion, but it settles down soon to an absorbing chronicle. Film's excellence comes mainly in the performances. Celia Johnson, as the mother of three grown children and the rock around which the family revolves, presents a masterful, poignant portrayal. Robert Newton… is also a superb presentation as the steady, earth-bound but intelligent Britisher. Kay Walsh, as the flighty daughter dissatisfied with her lot; John Mills as the loyal sailor in love with the errant daughter; and Stanley Holloway as the nextdoor neighbor, give fine support." [2]
Writing for TCM in February 2006, Frank Tatara observes: "Coward follows various members of the Gibbons clan as they pass through a variety of highs and lows that make for an engrossing, if rather contrived War-time soap opera. Pregnancy, secret affairs, spiritualism, and auto accidents all come into play at one point or another, with the family stoically riding the rough seas of British life. It's no wonder that audiences at the time responded to it." [6]
The film holds a 100% fresh rating on Rotten Tomatoes, based on 12 reviews. [15]
TV Guide rates the film four stars and called it "an immensely charming movie, with many tears and many moments of warmth." [16]
Time Out London says, "Though Lean and Coward are less happy here than in the brittle, refined atmosphere of Brief Encounter, their adventurous excursion into suburban Clapham remains endlessly fascinating." [17]
Channel 4 rates it 3½ out of five stars and added, "A toff propagandist's England, of course. But once you've got over its peculiar patrician tones and bitty structure, there's much to enjoy – not least the changing frocks and haircuts and wallpapers."[ citation needed ]
Radio Times gives it five out of five stars and said "This second of David Lean's four collaborations with Noël Coward provides a fascinating picture of the way we were. ... such is the ebb and flow of events (both domestic and historical) that the two hours it takes to cover the 20 inter-war years seem to fly by. Celia Johnson is superb ....the best scenes belong to neighbours Robert Newton and Stanley Holloway". [18]
The National Board of Review named Celia Johnson Best Actress for her portrayal of Ethel Gibbons.
Brief Encounter is a 1945 British romantic drama film directed by David Lean from a screenplay written by Noël Coward, based on his 1936 one-act play Still Life.
Sir David Lean was an English film director, producer, screenwriter and editor. Widely considered one of the most influential directors of all time, Lean directed the large-scale epics The Bridge on the River Kwai (1957), Lawrence of Arabia (1962), Doctor Zhivago (1965), and A Passage to India (1984). He also directed two adaptations of Charles Dickens novels, Great Expectations (1946) and Oliver Twist (1948), as well as the romantic drama Brief Encounter (1945).
In Which We Serve is a 1942 British patriotic war film directed by Noël Coward and David Lean. It was made during the Second World War with the assistance of the Ministry of Information.
Dame Celia Elizabeth Johnson, was an English actress, whose career included stage, television and film. She is especially known for her roles in the films In Which We Serve (1942), This Happy Breed (1944), Brief Encounter (1945) and The Captain's Paradise (1953). For Brief Encounter, she was nominated for the Academy Award for Best Actress. A six-time BAFTA Award nominee, she won the BAFTA Award for Best Actress in a Supporting Role for The Prime of Miss Jean Brodie (1969).
Robert Guy Newton was an English actor. Along with Errol Flynn, Newton was one of the more popular actors among the male juvenile audience of the 1940s and early 1950s, especially with British boys. Known for his hard-living lifestyle, he was cited as a role model by the actor Oliver Reed and the Who's drummer Keith Moon.
Kathleen "Kay" Walsh was an English actress, dancer, and screenwriter. Her film career prospered after she met her future husband film director David Lean, with whom she worked on prestige productions such as In Which We Serve and Oliver Twist.
Ronald Neame CBE, BSC was an English film producer, director, cinematographer, and screenwriter. Beginning his career as a cinematographer, for his work on the British war film One of Our Aircraft Is Missing (1943) he received an Academy Award nomination for Best Special Effects. During a partnership with director David Lean, he produced Brief Encounter (1945), Great Expectations (1946), and Oliver Twist (1948), receiving two Academy Award nominations for writing.
Joyce Carey, OBE was an English actress, best known for her long professional and personal relationship with Noël Coward. Her stage career lasted from 1916 until 1987, and she was performing on television in her 90s. Although never a star, she was a familiar face both on stage and screen. In addition to light comedy, she had a large repertory of Shakespearean roles.
This Happy Breed is a play by Noël Coward. It was written in 1939 but, because of the outbreak of World War II, it was not staged until 1942, when it was performed on alternating nights with another Coward play, Present Laughter. The two plays later alternated with Coward's Blithe Spirit. The title, a reference to the English people, is a phrase from John of Gaunt's monologue in Act II, Scene 1 of Shakespeare's Richard II.
Sir Anthony James Allan Havelock-Allan, 4th Baronet was a British film producer and screenwriter whose credits included This Happy Breed, Blithe Spirit, Great Expectations, Oliver Twist, the 1968 version of Romeo and Juliet and Ryan's Daughter.
Alison Joy Leggatt was an English character actress.
Blithe Spirit is a 1945 British fantasy-comedy film directed by David Lean. The screenplay by Lean, cinematographer Ronald Neame and associate producer Anthony Havelock-Allan, is based on actor/director/producer and playwright Noël Coward's 1941 play of the same name, the title of which is derived from the line "Hail to thee, blithe Spirit! Bird thou never wert" in the poem "To a Skylark" by Percy Bysshe Shelley. The song, "Always", written by Irving Berlin, is an important plot element in "Blithe Spirit".
Judy Campbell was an English film, television and stage actress, widely known to be Noël Coward's muse. Her daughter is the actress and singer Jane Birkin, her son the screenwriter and director Andrew Birkin, and among her grandchildren are the actresses Charlotte Gainsbourg and Lou Doillon, the late poet Anno Birkin, the artist David Birkin and the late photographer Kate Barry.
Millions Like Us is a 1943 British propaganda film, showing life in a wartime aircraft factory in documentary detail. It starred Patricia Roc, Gordon Jackson, Anne Crawford, Eric Portman and Megs Jenkins. It was co-written and co-directed by Sidney Gilliat and Frank Launder. According to the British Film Institute database, this film is the first in an "unofficial trilogy", along with Two Thousand Women (1944) and Waterloo Road (1945).
Maurice Elvey was one of the most prolific film directors in British history. He directed nearly 200 films between 1913 and 1957. During the silent film era he directed as many as twenty films per year. He also produced more than fifty films - his own as well as films directed by others.
Merle Tottenham was a British stage and film actress. Her stage work included the original West End production of Noël Coward's Cavalcade in 1931; and she reprised her role as Annie the servant in the subsequent Hollywood film, in 1933. She also appeared as Dora, the maid in Night Must Fall (1937) with Robert Montgomery and Rosalind Russell, and the film version of Coward's This Happy Breed (1944), as Edie, the maid.
The name Queenie is an affectionate, or pet use, of the term queen - and is thought to be derived from the Old English word 'cwen', meaning 'woman' rather than a reference to the monarch or his wife.
Cineguild Productions was a production company formed by director David Lean, cinematographer Ronald Neame and producer Anthony Havelock-Allan in 1944. The company produced some of the major British films of the 1940s.
John Blythe was an English character actor.
Jennifer Gray was a British actress, frequently seen in the West End and on tour between 1934 and 1954. She made only two cinema films, but was often seen on BBC television in the late 1940s. Among the roles she created onstage were Daphne Stillington in Noël Coward's Present Laughter and Queenie Gibbons in his This Happy Breed, which premiered on successive nights in September 1942.
1 2 Crowther, Bosley (14 April 1947). "' This Happy Breed' Pictures Charm of Life in Family of English Middle Class -- Shown at Little Carnegie". The New York Times. ISSN 0362-4331 . Retrieved 16 January 2022.
1 2 after the Treaty of Versailles marked the formal end of the war
↑ The headline refers to the September 1930 German federal election at which the Nazis achieved a major breakthrough, becoming a major party in the Reichstag. Hitler finally came to power in January 1933.
1 2 the speaker - wearing a black uniform as these had not yet been banned by the Public Order Act 1936 - refers to the recent disorder at the 1934 Olympia Rally
↑ Singapore fell to the Japanese in February 1942. Enemy residents were killed, interned or made prisoners of war. When the film was released in 1944, the fates of these men, women and children were still largely unknown. Singapore remained occupied until the war in the Pacific ended, in August 1945. By the time the film was released in the U.S.A., prisoners had been freed and survivors had shared their accounts. Prisoner of war#Empire of Japan
1 2 "This Happy Breed". www.tcm.com. Retrieved 16 January 2022. {{cite web}}: CS1 maint: url-status (link)
↑ "BFI Screenonline: This Happy Breed (1944)". www.screenonline.org.uk.
1 2 Palmer, R. Barton and William Robert Bray (2013). Modern British Drama on Screen. New York: Cambridge University Press. pp. 49–50. ISBN 9781107001015 . Retrieved 12 August 2015.
↑ Neame, Ronald (2010). "The Golden Age" (Interview). Interviewed by Karen Stetler. Criterion Collection.
↑ "This Happy Breed". Turner Classic Movies.
↑ "BFI Screenonline: This Happy Breed (1944)". www.screenonline.org.uk. Retrieved 16 January 2022.
↑ BFI.org.uk Archived 23 December 2009 at the Wayback Machine
↑ Lant, Antonia (1991). Blackout : reinventing women for wartime British cinema. Princeton University Press. p. 231=232.
↑ Robert Murphy, Realism and Tinsel: Cinema and Society in Britain 1939-48 2003 p 207
↑ This Happy Breed , retrieved 16 January 2022
↑ "This Happy Breed - TV Guide". TVGuide.com.
↑ "Time Out London review". Archived from the original on 10 October 2012. Retrieved 8 January 2009.
↑ "TV listings guide". Radio Times.
This Happy Breed at IMDb
This Happy Breed at the TCM Movie Database
This Happy Breed at AllMovie
This Happy Breed: Home Truths an essay by Farran Smith Nehme at the Criterion Collection
Films directed by David Lean
In Which We Serve (1942)
This Happy Breed (1944)
Blithe Spirit (1945)
Brief Encounter (1945)
The Passionate Friends (1949)
Madeleine (1950)
Hobson's Choice (1954)
Summertime (1955)
The Bridge on the River Kwai (1957)
Lost and Found: The Story of Cook's Anchor (1979; documentary)
A Passage to India (1984)


I think packing your hospital bags has to be one of the most exciting parts of pregnancy. I must have read over fifty blog posts on what people packed, whilst trying to pack my own. From around 28 weeks of pregnancy I had mine packed, but on a weekly basis I'd redo them and add to them. In the end we settled for two bags, one for my belongings & a second for Johns' and Noahs'. It made it easier for John or my Mum to get things out as they knew which bag to look in. There was some things I took that were definitely not needed, but here is what I took.
Two nightys - button down, easier to breastfeed.
Dressing gown - I get cold easily.
Big pairs of knickers - Asda sell packs of 4/5 for about £4. They're comfy and I didn't mind if they ruined.
Sanitary towels - The night time ones, much more absorbent than maternity towels.
Toiletries - toothpaste, toothbrush, shower gel, dry shampoo, massage oil, flannel.
Lots of snacks - haribo, cereal bars, chewing gum & sports drinks.
Four sleepsuits - variety of sizes incase like me you have an unexpected chubba or vice versa.
I think that was everything, but as I'm writing this post after Noahs' birth, I can't be 100% sure I've remembered absolutely everything we took. I would totally recommend Lucozade Sport as this really helped me gain some energy back after labour. A massage oil was also essential as I had most of my labour in my back, it helped when my mum rubbed my back with it during early labour. Hope this has helped anyone currently packing theirs.


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Make sure measles shots up to date, Public Health Agency says
Measles causes high fever, coughing, sneezing and a widespread painful rash
The Public Health Agency of Canada has issued a statement aimed at reminding Canadians that measles is a serious and highly contagious disease and that getting vaccinated is the best protection.
The statement comes in response to an outbreak of nine cases of measles in Vancouver that began after an unvaccinated Canadian child contracted the disease on a family trip to Vietnam.
Measles causes high fever, coughing, sneezing and a widespread painful rash. The infection can lead to serious complications such as pneumonia and encephalitis and can be fatal.
READ MORE: B.C. mom of transplant recipient worries about measles outbreaks
READ MORE: Eight cases of measles confirmed in Vancouver outbreak
The Public Health Agency says getting two doses of the measles, mumps and rubella vaccine is almost 100 per cent effective in preventing the disease.
The agency is urging Canadians to ensure their immunizations are up to date, especially if they are travelling outside the country.
People who cannot be vaccinated, including infants, people with certain underlying health conditions and those undergoing chemotherapy, rely on high levels of immunity within communities to protect them from the disease.
Okanagan ski resort officials displeased with Family Day roll-out
Minister says plans to fight poverty, climate change, focus of B.C. budget

redpajama_set_name: RedPajamaCommonCrawl


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UPS stock slides after U.S. delivery volume declines
Tournament employees work to squeegee the court after rain delays a match between Kim Clijsters and Sloane Stephens during the Truist Atlanta Open at Atlantic Station on July 26, 2021 in Atlanta, Georgia.
Casey Sykes | Getty Images
Shares of logistics company UPS fell sharply on Tuesday after the company's second-quarter earnings report showed that deliveries in the United States were slowing.
The company reported $3.06 in adjusted earnings per share and $23.42 billion in revenue for the quarter. Analysts surveyed by Refinitiv were expecting $2.82 in earnings per share and $23.24 billion in revenue.
However, the headline beat was fueled by a big jump in the amount of revenue per package and strength in international markets, as the total volume of U.S. deliveries declined almost 3% year over year. Ground packaged volume in the U.S. was down 4% year over year.
Additionally, the revenue from U.S. packages in the second-quarter missed expectations, according to Street Account.
The stock was down nearly 9% in early trading.
The decline in volume is relative to one of the main periods of economic restrictions and store closures in the U.S. in 2020, when e-commerce boomed due to the Covid-19 pandemic. The company's next-day air volume in the U.S. did rise in the most recent quarter.
"I want to thank all UPSers for executing our strategy and delivering high service levels, which fueled record financial results in the second quarter," UPS CEO Carol Tome said in a statement. "Through our better not bigger framework, we are moving our world forward by delivering what matters."
Shares of UPS were up nearly 25% for the year before Tuesday's report. The stock jumped more than 43% in 2020.
3 Telecom Stocks That Will Be Big Winners in 2023
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Luxfer Holdings (LXFR) and CVR Refining (CVRR): Growth and Income Stocks
Stocks making the biggest moves midday: Chevron, Tesla, Seagate Technology, United Rentals and more


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Josefine Rybrink, född 19 januari 1998, är en svensk fotbollsspelare som spelar för BK Häcken. Hon spelar främst som försvarare, men har även spelat som mittfältare. Hennes äldre syster, Klara Rybrink, spelar för Kristianstads DFF

Karriär
Rybrinks moderklubb är Onsala BK. Inför säsongen 2015 värvades hon av Kungsbacka DFF.

Den 30 november 2017 värvades Rybrink av Kristianstads DFF, där hon skrev på ett tvåårskontrakt. I november 2019 förlängde Rybrink sitt kontrakt med ett år. Säsongen 2020 spelade hon 20 ligamatcher. I december 2020 förlängde Rybrink sitt kontrakt i klubben med två år.

Inför säsongen 2022 värvades Rybrink av BK Häcken, där hon skrev på ett treårskontrakt.

Källor

Noter

Svenska fotbollsspelare
Spelare i Kungsbacka DFF
Spelare i Kristianstads DFF
Spelare i Kopparbergs/Göteborg FC
Spelare i Damallsvenskan
Födda 1998
Levande personer
Kvinnor

redpajama_set_name: RedPajamaWikipedia


In a departure from my normal film production technology focus, I have also been working on an animated web series called Grounds of Freedom. Over the past year I have been directing the effort and working with a team of people across the country who are helping in various ways. After a year of meetings, experimentation and work we finally started releasing finished episodes on YouTube.
The show takes place in Grounds of Freedom, a coffee shop where a variety of animated mini-figures gather to discuss freedom and its application to present-day cultural issues and events. The show is created with a workflow that weaves through a variety of Adobe Creative Cloud apps. Back in October I presented our workflow during Adobe Max in LA, and I wanted to share it with postPerspective's readers as well.
When we first started planning for the series, we considered using live action. Ultimately, after being inspired by the preview releases of Adobe Character Animator, I decided to pursue a new digital approach to brick filming (a film made using Legos), which is traditionally accomplished through stop-motion animation. Once everyone else realized the simpler workflow possibilities and increased level of creative control offered by that new animation process, they were excited to pioneer this new approach. Animation gives us more control and flexibility over the message and dialog, lowers production costs and eases collaboration over long distances, as there is no "source footage" to share.
The biggest challenge to using Character Animator is creating digital puppets, which are deeply layered Photoshop PSDs with very precise layer naming and stacking. There are ways to generate the underlying source imagery in 3D animation programs, but I wanted the realism and authenticity of sourcing from actual photographs of the models and figures. So we took lots of 5K macro shots of our sets and characters in various positions with our Canon 60D and 70D DSLRs and cut out hundreds of layers of content in Photoshop to create our characters and all of their various possible body positions. The only thing that was synthetically generated was the various facial expressions digitally painted onto their clean yellow heads, usually to match an existing physical reference character face.
Once we had our source imagery organized into huge PSDs, we rigged those puppets in Character Animator with various triggers, behaviors and controls. The walking was accomplished by cycling through various layers, instead of the default bending of the leg elements. We created arm movement by mapping each arm position to a MIDI key. We controlled facial expressions and head movement via webcam, and the mouth positions were calculated by the program based on the accompanying audio dialog.
The puppets had to be finished and fully functional before we could start animating on the digital stages we had created. We had been writing the scripts during that time, parallel to generating the puppet art, so we were ready to record the dialog by the time the puppets were finished. We initially attempted to record live in Character Animator while capturing the animation motions as well, but we didn't have the level of audio editing functionality we needed available to us in Character Animator. So during that first session, we switched over to Adobe Audition, and planned to animate as a separate process, once the audio was edited.
That whole idea of live capturing audio and facial animation data is laughable now, looking back, since we usually spend a week editing the dialog before we do any animating. We edited each character audio on a separate track and exported those separate tracks to Character Animator. We computed lipsync for each puppet based on their dedicated dialog track and usually exported immediately. This provided a draft visual that allowed us to continue editing the dialog within Premiere Pro. Having a visual reference makes a big difference when trying to determine how a conversation will feel, so that was an important step — even though we had to throw away our previous work in Character Animator once we made significant edit changes that altered sync.
We repeated the process once we had a more final edit. We carried on from there in Character Animator, recording arm and leg motions with the MIDI keyboard in realtime for each character. Once those trigger layers had been cleaned up and refined, we recorded the facial expressions, head positions and eye gaze with a single pass on the webcam. Every re-record to alter a particular section adds a layer to the already complicated timeline, so we limited that as much as possible, usually re-recording instead of making quick fixes unless we were nearly finished.
Once we had fully animated scenes in Character Animator, we would turn off the background elements, and isolate each character layer to be exported in Media Encoder via dynamic link. I did a lot of testing before settling on JPEG2000 MXF as the format of choice. I wanted a highly compressed file, but need alpha channel support, and that was the best option available. Each of those renders became a character layer, which was composited into our stage layers in After Effects. We could have dynamically linked the characters directly into AE, but with that many layers that would decrease performance for the interactive part of the compositing work. We added shadows and reflections in AE, as well as various other effects.
Walking was one of the most challenging effects to properly recreate digitally. Our layer cycling in Character Animator resulted in a static figure swinging its legs, but people (and mini figures) have a bounce to their step, and move forward at an uneven rate as they take steps. With some pixel measurement and analysis, I was able to use anchor point keyframes in After Effects to get a repeating movement cycle that made the character appear to be walking on a treadmill.
I then used carefully calculated position keyframes to add the appropriate amount of travel per frame for the feet to stick to the ground, which varies based on the scale as the character moves toward the camera. (In my case the velocity was half the scale value in pixels per seconds.) We then duplicated that layer to create the reflection and shadow of the character as well. That result can then be composited onto various digital stages. In our case, the first two shots of the intro were designed to use the same walk animation with different background images.
All of the character layers were pre-comped, so we only needed to update a single location when a new version of a character was rendered out of Media Encoder, or when we brought in a dynamically linked layer. It would propagate all the necessary comp layers to generate updated reflections and shadows. Once the main compositing work was finished, we usually only needed to make slight changes in each scene between episodes. These scenes were composited at 5K, based on the resolution off the DSLR photos of the sets we had built. These 5K plates could be dynamically linked directly into Premiere Pro, and occasionally used later in the process to ripple slight changes through the workflow. For the interactive work, we got far better editing performance by rendering out flattened files. We started with DNxHR 5K assets, but eventually switched to HEVC files since they were 30x smaller and imperceptibly different in quality with our relatively static animated content.
In Premiere Pro, we had the original audio edit, and usually a draft render of the characters with just their mouths moving. Once we had the plate renders, we placed them each in their own 5K scene sub-sequence and used those sequences as source on our master timeline. This allowed us to easily update the content when new renders were available, or source from dynamically linked layers instead if needed. Our master timeline was 1080p, so with 5K source content we could push in two and a half times the frame size without losing resolution. This allowed us to digitally frame every shot, usually based on one of two rendered angles, and gave us lots of flexibility all the way to the end of the editing process.
While Dynamic Link doesn't offer the best playback performance without making temp renders, it does have two major benefits in this workflow. It ripples change to the source PSD all the way to the final edit in Premiere just by bringing each app into focus once. (I added a name tag to one character's PSD during my presentation, and 10 seconds later, it was visible throughout my final edit.) Even more importantly, it allows us to collaborate online without having to share any exported video assets. As long as each member of the team has the source PSD artwork and audio files, all we have to exchange online are the Character Animator project (which is small once the temp files are removed), the .AEP file and the .PrProj file.
This gives any of us the option to render full-quality visual assets anytime we need them, but the work we do on those assets is all contained within the project files that we sync to each other. The coffee shop was built and shot in Idaho, our voice artist was in Florida, our puppets faces were created in LA. I animate and edit in Northern California, the AE compositing was done in LA, and the audio is mixed in New Jersey. We did all of that with nothing but a Dropbox account, using the workflow I have just outlined.
Past that point, it was a fairly traditional finish, in that we edited in music and sound effects, and sent an OMF to Steve, our sound guy at DAWPro Studios http://dawpro.com/photo_gallery.html for the final mix. During that time we added other b-roll visuals or other effects, and once we had the final audio back we rendered the final result to H.264 at 1080p and uploaded to YouTube.
This entry was posted in 2D, 3D, Animation and tagged Adobe Character Animator, Adobe Creative Suite, Digital Puppets, DSLR, Grounds of Freedom, Legos, Mike McCarthy, YouTube on December 7, 2018 by Randi Altman.
When you think of the environmental organization Greenpeace, images of people protecting whales, forests and oceans come to mind. It's serious business… but recently the non-profit decided to extend its reach with humor.
While Greenpeace videos are well viewed, it's mostly Greenpeace enthusiasts and activists who hit play. In order to reach a more general audience the organization turned to comedy, specifically LA-based writer/director/editor Olivier Agostini.
This entry was posted in Uncategorized and tagged Final Cut Pro, Greenpeace, Olivier Agostini, Red Epic, Short film, The Arctic 30 Story Isn't Over, YouTube on August 6, 2014 by Randi Altman.
Tremors lead to earthquakes, and the industry has felt a few… the shelves are starting to rattle. And the Big One is not far away.
There is a fundamental change happening in the minds of creators right now. It is possibly the biggest shift since the dawn of film and the ability to make still pictures appear to move.
This entry was posted in Uncategorized and tagged creation, distribution, Lucas Wilson, post production, YouTube on February 20, 2014 by Randi Altman.


Open networks allow users to communicate without any prior arrangements such as contractual agreement or organisation membership. However, the very nature of open networks makes authenticity difficult to verify. We show that authentication can not be based on public key certicates alone, but also needs to include the binding between the key used for certication and it's owner, as well as the trust relationships between users. We develop a simple algebra around these elements and describe how it can be used to compute measures of authenticity.


text:
Battery life and charging options: Charging your smartwatch is a hassle and the biggest downside to trading in your manually-wound or button battery-powered watch. A Fitbit Versa might last 3 - 4 days between charges, but a smartwatch like the Samsung Gear Sport or Apple Watch will need recharging every couple of days and sometimes every night if you are tapping on the screen regularly and using its apps.
Some smartwatches have robust offerings of apps, either preinstalled on the watch or available for download in an app store. Apps can be as simple as a timer or stopwatch, or can control your smart-home devices, switch up your music, or provide turn-by-turn directions for walking or driving. In our testing and everyday use, however, these watch apps rarely offer a great experience. But there are some exceptions, including some fitness apps and apps that track things like water or food intake.
Our 19 contenders all promised to give us some distance from our phones by notifying us of incoming calls and texts. But we found that some smart watches were much slower than others at letting us know we had a call. It turns out the quality of the bluetooth connection determines how quickly you'll be notified, with our worst performers only registering the call with two seconds to spare before diverting to voicemail (yes you, Montblanc) while others simply failed to display any calls at all.
348 x 250 Resolution Touchscreen Display/ Color LCD/ Dynamic Personal Coaching/ PurePulse Heart Rate/ Popular Apps/ SmartTrack/ Sleep Stages And Insights/ Store And Play Music/ Water Resistant Up To 50M And Tracks Swims/ Built-In NFC Chip/ All-Day Activity/ Built-In GPS/ Multi-Day Battery/ Multi-Sport Modes/ Smartphone Notifications/ Charcoal And Smoke Gray Finish
Tizen is a Linux-based operating system for devices, including smartphones/tablets, in-vehicle infotainment (IVI) devices, smart TVs, laptops/desktops and other platforms. Tizen is a project within the Linux Foundation and is governed by a Technical Steering Group (TSG) composed of Samsung and Intel among others. Samsung released the Samsung Gear 2, Gear 2 Neo, Samsung Gear S, Samsung Gear S2 and Samsung Gear S3 running Tizen.[86]
The Charge 3's screen has 40-percent more active space than the Charge 2 has, and it makes for a better touchscreen overall. From the watch face, swipe from top to bottom to reveal the notification drawer; from bottom to top to see the daily dashboard; and side to side to see available apps. Transitions between screen pages are smooth, and stick-figure animations in apps like the Exercise app move with ease.
That same attractive stainless steel design is here. The 240 x 240 pixel display at the heart of the body is by no means the brightest or most vibrant you'll find, but crucially delivers strong visibility in most workout conditions whether you're sweating it out indoors or outside. However, there is no touchscreen or touchpad here, you'll have to resort to pressing some buttons - that could be a deal-breaker for some, but we're sure it won't be a massive one for most.
Overall, the updated lower price makes the Huawei Watch 2 a much better prospect if you're in the market for a smartwatch, especially if you're an Android user. While Wear OS smartwatches will work with iPhones, the experience is more limited compared to pairing with Android. For this reason, if you're an iPhone user for whom money is no problem, then we'd still recommend opting for an Apple Watch.
Speaking of music, that's what really sets this smartwatch apart (especially compared to Garmin's other wearables). The Vivoactive 3 Music has enough internal storage for 500 songs — and they're easy to download to your device using the Garmin Express software. Once your songs are downloaded, you can listen to music without a smartphone. Just connect some Bluetooth headphones to the watch and you're good to go. If streaming is more your game, then you can also download some popular media apps as well.
The primary differences with the Classic versus the standard include, first off, that this model lacks LTE. That, however, does mean that the Classic is built from a more premium "Titanium Grey" shell which has a bit less sporty look. A leather band is also installed out of the box rather than the silicone one found on other models. Pricing on the Huawei Watch 2 Classic is a bit higher than the standard model, asking $369 from retailers such as Amazon and Best Buy.
Fitbit OS 2.0 brings a new-look UI that offers more insights into your daily data and quick reply support for messages for Android phone users (iOS support coming at a later date). You can still download apps and a whole lot of watch faces, pay from your wrist using Fitbit Pay and tap into Fitbit Coach, while new women's health tracking has also been introduced for the first time, which is also available for the Ionic, too.
The Watch 2 comes in two varieties, Sports and Classic. The former is a little cheaper, looking unsurprisingly much like a standard sports watch. The Classic is noticeably more attractive, with a premium-looking shell and included leather band. If you're after something that's appropriate at a nice restaurant as well as the gym, you may want to pay the extra money, but all features are otherwise the same.
Using your voice with the Google Assistant function built into the Q watches (and every modern Wear OS watch) is generally okay, though only roughly 80 percent reliable. The combination of a microphone on the side of your watch, a Bluetooth connection to your phone when you're away from Wi-Fi, your phone's cellular Web connection, and the imperfect acknowledgement of human speech by Google Assistant do not make for anything near a 100 percent success rate. When it works, Google Assistant makes you feel connected and advanced; when it fails, you can be seen as a person who asks their wrist about the capital of Malaysia. This is more a reflection of the state of connectivity and digital assistants than of the Q watches themselves—or any Wear OS watch, for that matter—although in our experience Wear OS watches fail on voice queries more often than Siri on the Apple Watch. That said, voice dictation on the Q watches is far more reliable, at least when it comes to recognizing words and phrases, than Google Assistant. If transcription fails, it's more likely to be because of the watch/phone connection than the watch mishearing your words.
Flaws but not dealbreakers: The Vívosport's screen is highly sensitive to incidental brushes and touches; we ended up activating the screen auto-lock feature, a small annoyance. Compared with a dedicated GPS running watch, the GPS tracking on any fitness band takes longer to connect to satellites; and it's easier to see your pace and other statistics on a running watch's larger LCD screen while moving than on a fitness band's relatively miniscule display. Garmin doesn't have the motivating social network of Fitbit, so it's less likely that your friends or coworkers will connect and challenge you, or that a corporate fitness challenge will work with your Vívosport. A fitness band falls short of a full-featured smartwatch, because typically it won't give you a voice assistant, let you install apps, or let you interact with phone notifications, and many of those notifications will be difficult to read on the Vívosport's small screen.
For instance, I rarely use the touchscreen on my Fitbit Versa because the shortcuts to my most-used smartwatch features are available via the three physical buttons on the watch. Gesture recognition is hit and miss on smartphone screens, nowhere near as responsive and accurate as on your smartphone screen, so bear that in mind too. Force Touch is a useful feature that has come to smartwatches, notably the Apple Watch. Just press down or tap the screen to activate different features.
We test every new smartwatch to gauge its design and comfort. If it's not stylish and comfortable enough to get you from an early morning workout to the office to a night out, you probably won't wear it every day. Most smartwatches are also fitness trackers, so we put all of its sensors to the test, from step counts to heart rate to GPS (when applicable).


The Mike Condon Memorial Scholarship is available to full - time students. You must have at least a 2.25 GPA while enrolled in a construction - related program to be eligible for this award. Preference will be given to students who have completed a construction - related curriculum or participated in school - sponsored construction - related activities.


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Q: WCF calls twice or more itself, but only if I keep a code line (I need it) I have a weird problem. I've made a couple of working wcf. I've updated one of them and it seems all ok.
But, if I call a method with a get within the browser, I get ERR_CONNECTION_RESET. Debbuging it, I've found that the code is looping, calling itself twice or three times, when the call is only one.
The code is really similar to other, but there is something I can't understand.
Why does it loop?
This is the code of my method:
    public List<WrapImpianti> GetImpianto(string codret, string storeID, string hashedString, string outputType)
    {
        Utility.Logger("GetImpianto: start " + outputType);
        var md5 = new md5Manager();
        string key = "";
        IS_RETISTI retista = getRetista(codret);
        if (retista != null)
            key = retista.CHIAVEDES;
        List<WrapImpianti> r = new List<WrapImpianti>();
        //return r;
        if (md5.checkHashedInput(codret + storeID, hashedString, key))
        {
            try
            {
                using (var db = new AccessData.Entities())
                {
                    var t = db.IS_IMPIANTI.Where(x => x.STOREID == storeID && x.IDRET == retista.ID).ToList();
                    r = t.Select(x => new WrapImpianti(x, key)).ToList();
                }
                return r;
            }
            catch (Exception ex)
            {
                throw new WebFaultException<string>(ex.Message, HttpStatusCode.Conflict);
            }
        }
        else
            throw new WebFaultException<string>("Hash non corretto", HttpStatusCode.BadRequest);
    }

If I comment the row "r = t.Select(x => new WrapImpianti(x, key)).ToList();", it works... or, at least, it returns an empty object (because I don't populate it) without looping.
Why? It only calls the init method of my class WrapImpianti...
this is the class
[DataContract]
    public class WrapImpianti
    {
        public WrapImpianti(){}
        private IS_IMPIANTI model;
        private string key;

        public WrapImpianti(IS_IMPIANTI model, string key)
        {
            this.model = model;
            this.key = key;
        }
        private string p_STOREID { get; set; }
        [DataMember]
        public string STOREID
        {
            get
            {
                if (model == null)
                    return p_STOREID.ToSafeString();
                else
                    return this.model.STOREID.ToSafeString();
            }
            set { p_STOREID = value; }

        }
        private string p_CODICE { get; set; }
        [DataMember]
        public string CODICE
        {
            get
            {
                if (model == null)
                    return p_CODICE.ToSafeString();
                else
                    return this.model.CODICE.ToSafeString();
            }
            set { p_CODICE = value; }
        }
        private string p_CODRETE { get; set; }
        [DataMember]
        public string CODRETE
        {
            get
            {
                if (model == null)
                    return p_CODRETE.ToSafeString();
                else
                {
                    using (var db = new AccessData.Entities())
                    {
                        var pp = db.IS_RETISTI.FirstOrDefault(x => x.ID == this.model.IDRET);
                        if (pp != null)
                            return pp.CODICE;
                        else
                            return "";
                    }
                }
            }
            set { p_CODRETE = value; }
        }
        private string p_INDIRIZZO { get; set; }
        [DataMember]
        public string INDIRIZZO
        {
            get
            {
                if (model == null)
                    return p_INDIRIZZO.ToSafeString();
                else
                    return this.model.INDIRIZZO.ToSafeString();
            }
            set { p_INDIRIZZO = value; }
        }
        private string p_CITTA { get; set; }
        [DataMember]
        public string CITTA
        {
            get
            {
                if (model == null)
                    return p_CITTA.ToSafeString();
                else
                    return this.model.CITTA.ToSafeString();
            }
            set { p_CITTA = value; }
        }
        private string p_STATO { get; set; }
        [DataMember]
        public string STATO
        {
            get
            {
                if (model == null)
                    return p_STATO.ToSafeString();
                else
                    return this.model.STATO.ToSafeString();
            }
            set { p_STATO = value; }
        }
        private string p_COD_ESERCENTE { get; set; }
        [DataMember]
        public string COD_ESERCENTE
        {
            get
            {
                if (model == null)
                    return p_COD_ESERCENTE.ToSafeString();
                else
                    return this.model.COD_ESERCENTE.ToSafeString();
            }
            set { p_COD_ESERCENTE = value; }
        }
        private string p_TERMINAL_ID { get; set; }
        [DataMember]
        public string TERMINAL_ID
        {
            get
            {
                if (model == null)
                    return p_TERMINAL_ID.ToSafeString();
                else
                    return this.model.TERMINAL_ID.ToSafeString();
            }
            set { p_TERMINAL_ID = value; }
        }
        private string p_COL { get; set; }
        [DataMember]
        public string COL
        {
            get
            {
                if (model == null)
                    return p_COL.ToSafeString();
                else
                    return this.model.COL.ToSafeString();
            }
            set { p_COL = value; }
        }
        private string p_NOME { get; set; }
        [DataMember]
        public string NOME
        {
            get
            {
                if (model == null)
                    return p_NOME.ToSafeString();
                else
                    return this.model.NOME.ToSafeString();
            }
            set { p_NOME = value; }
        }
        private string p_CAP { get; set; }
        [DataMember]
        public string CAP
        {
            get
            {
                if (model == null)
                    return p_CAP.ToSafeString();
                else
                    return this.model.CAP.ToSafeString();
            }
            set { p_CAP = value; }
        }
        private string p_TELUFF { get; set; }
        [DataMember]
        public string TELUFF
        {
            get
            {
                if (model == null)
                    return p_TELUFF.ToSafeString();
                else
                    return this.model.TELUFF.ToSafeString();
            }
            set { p_TELUFF = value; }
        }
        private string p_TELCELL { get; set; }
        [DataMember]
        public string TELCELL
        {
            get
            {
                if (model == null)
                    return p_TELCELL.ToSafeString();
                else
                    return this.model.TELCELL.ToSafeString();
            }
            set { p_TELCELL = value; }
        }
        private string p_NOTE { get; set; }
        [DataMember]
        public string NOTE
        {
            get
            {
                if (model == null)
                    return p_NOTE.ToSafeString();
                else
                    return this.model.NOTE.ToSafeString();
            }
            set { p_NOTE = value; }
        }
        private string p_PIVA { get; set; }
        [DataMember]
        public string PIVA
        {
            get
            {
                if (model == null)
                    return p_PIVA.ToSafeString();
                else
                    return this.model.PIVA.ToSafeString();
            }
            set { p_PIVA = value; }
        }
        private string p_CODICEFISCALE { get; set; }
        [DataMember]
        public string CODICEFISCALE
        {
            get
            {
                if (model == null)
                    return p_CODICEFISCALE.ToSafeString();
                else
                    return this.model.CODICEFISCALE.ToSafeString();
            }
            set { p_CODICEFISCALE = value; }
        }
        private string p_GESTORE { get; set; }
        [DataMember]
        public string GESTORE
        {
            get
            {
                if (model == null)
                    return p_GESTORE.ToSafeString();
                else
                {
                    using (var db = new AccessData.Entities())
                    {
                        return db.IS_GESTORI.FirstOrDefault(x => x.ID == this.model.IDGES).CODICE.ToSafeString();
                    }
                }
            }
            set { p_GESTORE = value; }
        }
        private string p_PROPRIETARIO { get; set; }
        [DataMember]
        public string PROPRIETARIO
        {
            get
            {
                if (model == null)
                    return p_PROPRIETARIO.ToSafeString();
                else
                {
                    using (var db = new AccessData.Entities())
                    {
                        return db.IS_PROPRIETARI.FirstOrDefault(x => x.ID == this.model.IDPRP).CODICE.ToSafeString();
                    }
                }
            }
            set { p_PROPRIETARIO = value; }
        }
    }

Why, if I call my class init method, does it start looping? And then, why does it return ERR_CONNECTION_RESET?

A: Ok, this is interesting. The solutions was here:
    public string PROPRIETARIO
    {
        get
        {
            if (model == null)
                return p_PROPRIETARIO.ToSafeString();
            else
            {
                using (var db = new AccessData.Entities())
                {
                    return db.IS_PROPRIETARI.FirstOrDefault(x => x.ID == this.model.IDPRP).CODICE.ToSafeString();
                }
            }
        }
        set { p_PROPRIETARIO = value; }

in my customclass.. sometimes, the IDPRP is null and raises this error.
It is very interisting: I was expecting this type of error was more visible to the developer, instead of loop itself and get an anonymous error.
Hope it can be useful for someone. ;)

redpajama_set_name: RedPajamaStackExchange


text:
ProWein under new management
By Christian Davis
ProWein organisers Messe Düsseldorf has announced the appointment of Marius Berlemann as the show's new head.
From March 1 Berlemann will take over the position of director and assume responsibility for the complete worldwide ProWein portfolio as global head wine & spirits.
Since May 2012 Prowein had been headed by interim manager Michael Degen (pictured), executive director and member of the board at Messe Düsseldorf.
Berlemann will report to Degen, who is responsible for both ProWein and a number of other international trade fairs.
Berlemann joined Messe Düsseldorf as a trainee in 2010. In 2012 he became a senior project manager. In this position he was in charge of growing the ProWein family in China (Shanghai) and South East Asia (Singapore) among other projects.
At both locations Berlemann had already been working for the Messe Düsseldorf subsidiaries, Messe Düsseldorf Shanghai Ltd and Messe Düsseldorf Asia, for several months. Before joining MD the 30-year old completed his master's majoring in general management at Witten/Herdecke University.
Keywords: prowein
London Wine Fair slams "extremely aggressive" move from Prowein amid clash of dates
Prowein postponed until May
World's Most Admired Wine Brands ceremony postponed over Coronavirus
Prowein announces new head
Prowein geared up for 25th edition


text:
Our Mantra: "Consistently Outstanding"
Our expectations and standards are high; we seek to be outstanding in all that we do and demand excellence from all our learners. Success is recognised and celebrated in all aspects of school life and we are very proud of our academic achievements, extensive extra-curricular provision and our major sporting achievements. We expect all our young people to work hard and create a positive learning environment for others. Our staff is expected to adhere to school policies and strive to be consistently outstanding in all aspects of their professional roles at Our Lady's. We are fully committed to all aspects of the Single Equality Policy, the safeguarding of learners and staff and promoting community cohesion.
Great value is placed on parental partnerships and we have been re-designated in 2011 with the Leading Parent Partnership Award in recognition of our outstanding relationships with the community to which we serve. Also we have achieved the prestigious Investors in People Gold Award, the Inclusion Quality Mark, and Centre for Excellence for Inclusion, the Specialism Quality Mark, the Cultural Diversity Quality Standard, the Quality in Study Support Award, received commendation from the DfE and Specialist Schools and Academies Trust, placing us in the top 100 schools for continuous improvement. Over the past 5 years outcomes have continuously improved. We believe that it is crucial to work together to ensure that our children receive the best possible education and are prepared for their future life. This is done in a positive, friendly atmosphere which is based on mutual respect. Parents can expect excellent information, advice and guidance through: progress and written reports, Induction Day, Parents' Evenings, Information Evenings and you are always welcome to make an appointment to come into school to meet Learning Managers, Form Tutors and Teaching Staff. Parents may contact the leadership team at any point to discuss any worries or make suggestions on how to continue to improve our school.
Our school is a Catholic school with an Engineering specialism situated in Skelmersdale, Lancashire. We have outstanding links with local primary schools. We are proud to be a strong faith community and welcome children from other Christian and religious backgrounds.
To live by our Mission Statement "In Christ We Grow" is at the heart of all that we do. It is our mission to make Christ known to evey child and foster genuine love in each of them. We recognise that it is of fundamental importance that Christian principles are at the centre of every aspect of school life. Our staff works on the understanding that Catholic education is a journey that never ends and we strive to help our community to make the connection between faith, learning and life. We work on the principle that it is not what we educate but how we educate that is important and that children will only learn through the smiling eyes of the staff charged with their formation. The school strives to be a positive influence in the life of the local Church by enabling the learners to experience a living tradition of faith and by maintaining the highest ideals within the curriculum. We recognise the social diversity and need to work for cohesion in our society.
The moral, spiritual, social and cultural development of all learners permeates the curriculum. We aim to maintain a just and caring school community in which all learners, teachers and members of the associate staff are given personal recognition and a sense of security, respect and dignity. We believe that it is only in such an environment that learners can recognise and appreciate achievement in its various forms including high academic standards and good examination results. All learners are encouraged to fulfil their full potential, personal ambitions and aspirations within a safe and caring environment. We believe in the philosophy that it is not what we learn but how we learn which fully develops children.
Our Engineering Status reflects our commitment to supporting the local community. The development of the work force for the future through the extension of problem solving, team work and creative thinking is important. "Engineering The Future" is the theme for our college status. We achieved the Specialism Quality Mark and leading and transforming level in 2013.
Every effort is made to cater for the individual needs of learners. The recognition of the continuity and progression of education means that Our Lady's works closely with our partner primary schools and with the post-16 institutions especially St. John Rigby 6th Form College. We are the first school to have been given the Inclusion Quality Mark and Centre of Excellence at the same time. It is testament to our mission to be fully inclusive, break down barriers to learning and allow everyone to flourish, regardless of their starting point. Our 75 minute lessons allow for full differentiation to ensure no-one is left struggling or in need of further materials to stretch and challenge the mind.
Great emphasis is placed upon the need for learners to develop self-discipline and respect for others. The wearing of school uniform is insisted upon. High levels of attendance and punctuality are viewed as vitally important. Good manners and courtesy to others are expected from everybody. Good order and the importance of personal relationships are insisted upon throughout the school to allow genuine learning and academic and personal development to take place. Poor behaviour will not be tolerated but every effort is made to stress the positive and celebrate achievement to boost the self-esteem, confidence and dignity of the individual members of Our Lady's. An array of out of class activities give learners the opportunity for self-expression and the enjoyment and satisfaction which comes from achievement. Motivation is enhanced through the relationships that are strengthened through engaging with staff in different situations.
The school depends on the partnership with the parents. Our home-school agreement recognises the role we play in ensuring the best for the learners. All learners receive personal study opportunities every night. Communication through reports, meetings and the learners' journals ensures close links.
In general the school aims to create an ethos that supports a sense of co-operation, pride, identity and purpose in all learners, members of staff and parents. The raising of standards is a key theme throughout Our Lady's. Our learners deserve the best. Our Catholic ethos is realised through making the most of opportunities to progress and achieve.


text:
DFW Clinic
Meet Dr. T
Designs for Wellness™ - Samuel Tyuluman, M.D.
Just How Germy Are Airplanes?
Talk about an annoying seatmate: New research from Auburn University reveals that nasty bacteria can hang around on airplanes for days.
In the study, scientists wanted to see how long two common types of bacteria—methicillin-resistant Staphylococcus aureus (MRSA) and E. coli O157:H7—could survive in airplane-like conditions. So they replicated the inside of a plane (20 percent humidity) and exposed common items like armrests, tray tables, toilet handles, and cloth seat pockets to the bacteria. E. Coli lasted up to 96 planes on an armrest, and MRSA lived up to 168 hours (1 week!) on the seat pocket.
Unsurprisingly, large commercial airplanes aren't cleaned after every flight, says aviation specialist Mark Gendreau, M.D.
Study author James Barbaree, Ph.D., says he hopes his research encourages airlines to take greater cleaning precautions in the future. But until then, guard against catching disgusting germs—or worse, deadly diseases—with these air-travel sanitation solutions.
Drink Up...
Before you fly, down some water, says Gendreau. Planes have low-humidity levels—where bacteria thrive—and when you're body's dried up, your mucous membranes that typically fight off foreign germs are dry, too. That leaves your immune system compromised, which is also already weaker when you're traveling due to stress, lack of sleep, and a busy schedule. So drink about 6 ounces of water per 90 minutes that you're in flight, Gendreau advises.
...But Avoid the Bathroom Water
The H2O on airplanes was bad enough to force the Enviromental Protection Agency (EPA) to address the issue. The organization is still involved in mitigation and remediation, says Gendreau. Experts aren't sure why the EPA found dangerous bacteria (coliform bacteria associated with feces) in the stored water on airplanes, but it's possible that the storage compartment isn't regularly cleaned, he says. So after going to the restroom, wash your hands in the sink with soap. Then scrub your hands with just sanitizer. Don't use the sink water to drink, brush your teeth, or even wash your face. If you ask for drinking water from a flight attendant, he or she will supply you with clean, bottled H2O brought aboard separately from the big tank, says Gendreau.
Be Your Own One-Man Cleaning Crew
Since you can't always rely on a clean cabin, "when you travel on airplanes, you have to put infection control in your own hands," says Gendreau. Use disinfecting wipes, or a tissue with a few drops of hand sanitizer, to wipe down the seat, armrests, tray tables, seat-back pockets, and anything else you're going to be touching, he suggests. Before eating or touching your face, slather your hands with sanitizer.
Blow Away Bacteria
That ventillation system above your head doesn't just keep you cool—it can also shield against airborne germs. Airplane vents mix 50 percent of the air inside with the other half of air outside, says Gendreau. Cabin air is warmed, filtered through HEPA filters, and is usually cleaner than the air piped into your office building, he says. So use this fan as a defense against germs. Aim the vent down so air is flowing directly in front of your face. Turn it to a low-medium level so you can feel fresh air hitting your lap. You'll be creating a shield of purified air that will push away any illness-causing intruders flying toward you.
What you need to know about #EBOLA!
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Doing your Labs with DFW Hormones cost substantially less than other Providers and results are interpreted quickly and in understandable terms.
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The information contained on this site is intended strictly for research and informational purposes only. It does not, in any way, establish a provider/patient relationship with any individual and does not constitute medical advice, directives, or care. You should speak with your personal health care provider before making any changes in your medical treatment and follow their instructions for care. The information provided is publicly available and cannot be considered complete nor is it intended to diagnose, or direct treatment for, any medical condition. The content must not be used to substitute a medical exam, and/or management of any health issue by a qualified medical provider.
Copyright © 2014 Samuel Tyuluman, MD. | About | MedAmi-Labs | Events | Blog | Contact | Privacy Notice | Terms & Conditions


It is a very well-liked thought that visuals perform better in communicating a certain information than mere words and phrases. Graphic layout operates precisely on this theory. It is a medium to converse your tips and principles to a specific viewers. But it is just not text nor is business cards mississauga . Graphic design and style is a skilful and gorgeous blend of the two terms and pictures. The adverts in publications, journals and many others are the best examples of graphic design which are utilized to talk a precise concept. This is an powerful medium of visible interaction.
Graphic design is an art in which you can produce suggestions, concepts and experience making use of the textual as well as the visual articles. It can fluctuate from currently being virtual to physical. There can be many reasons for producing the graphic layout like professional goal, for instructional institutions, promoting cultural activities and programmes or even for political needs.
It is essentially a inventive approach whereby the customers, the designers and the indicator makers are the energetic stakeholders. They arrive together to conceptualise and visualize a sign, symbol, phrase or a layout that would put throughout their concept in a proper and efficient way. The important phrase right here is Visible Interaction and all the endeavours taken in this course result in a lovely design and style.
The layout that is acknowledged in an immediate is the most efficient. This has been in use for so long now. The type, kind and impression that we see on the posters, deals and adverts in newspapers, journals are portion of the process. Above the many years the target has shifted to computer systems and now we have graphic types that can be customized in accordance to the client's liking. They can be provided new attributes and styles relying on the sort of concept a single wants to express via the style.
The mystery of great visible communication is that it reaches to the focused audience in just the identical form that it was created for. A one letter can also express an effective idea as nicely as a manufacturer symbol. The major thing is that the viewers need to be ready to comprehend the concept.
Even though drawing out the suggestions for a website it is equally essential that the material and the visual appeal of the site should be taken into account. There should be a excellent sync in between the content material and the design that has been produced. Or else there is a possibility that your site will not have as considerably viewers as you are anticipating. Graphic style is a massive draw for the viewers simply because at times, a man or woman will have a search at the graphics and then decide to go more. Appearances do matter and a colourful and artistically accomplished style usually has an higher hand. Photos and images are the very best persuasion for viewers to have a glimpse at your website and Graphic design does just that.


Big news for How I Met Your Mother Fans!! It is rumored that a spin-off is not far over the horizon. The Huffington Post reports that CBS will be piloting a new series called How I Met Your Dad that will apparently tell the same story except from the mother's perspective.
With the season finale of HIMYM looming ever so near, the potential spin-off could be comforting to viewers who were bracing themselves for withdraw from the show. While there is no set release date or any sort of details about How I Met Your Dad, the notion that some part of this show may continue is good news. Of course now is not the time to be thinking about the spin-off! HIMYM is moving through one of the most dynamic and unique seasons of its 9 year life. Before we all move on to its potential successor be sure to grab a seat and enjoy the exciting fruition of this timeless show.


Please click here to see insights to help you choose the right 3D printer approach for your needs.
3D Printing is more than just prototyping. Today, 3D Printing offers transformative advantages at every phase of creation, from initial concept design to production of final products and all steps in between. Today's competitive environment makes choosing the right 3D printers for every phase of creation more important than ever.
Just a few years ago in-house 3D printing was enjoyed by only a few professional design engineers and was often limited to printing concept models and some prototypes. Once considered a novel luxury, 3D printing has proven to yield long-term strategic value by enhancing design-to-manufacturing capabilities and speeding time to market. Today, 3D printing technologies have allowed an ever-growing number of creators, designers, engineers, physicians, researchers, academics and manufacturers to unleash and multiply the benefits of rapid in-house 3D printing across the entire creation process.
Leading companies are now using 3D printing to evaluate more concepts in less time to improve decisions early in product development. As the design process moves forward, technical decisions are iteratively tested at every step to guide decisions big and small, to achieve improved performance, lower manufacturing costs, delivering higher quality and more successful product introductions. In pre-production, 3D printing is enabling faster first article production to support marketing and sales functions, and early adopter customers. And in final production processes, 3D printing is enabling higher productivity, increased flexibility, reduced warehouse and other logistics costs, economical customization, improved quality, reduced product weight, and greater efficiency in a growing number of industries.
Digital-direct thermoplastic manufacturing offers exceptional quality while opening the door to novel design parameters not possible with injection molding. It also bypasses the long lead time and up-front investment in injection molding tooling. If you measure your finished parts on the three dimensions: quality, time to market, and cost per cubic inch, in many situations industrial SLS offers a better total value proposition.
How to open the door to improved products, new designs, new business models, and new markets.
When it comes to metal additive manufacturing it takes more than a 3D CAD model and a good printer to achieve successful prints. You also need the right metal additive manufacturing software to bridge the gap between your design files and 3D printer to help your ideas become a reality.
There are a number of independent metal additive manufacturing software solutions available, but many can only perform part of the process, leaving you with a string of software solutions. An all-in-one integrated metal additive manufacturing software solution removes this complexity.


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#ifndef SYSTEM_TRAY_ICON_H_INCLUDED
#define SYSTEM_TRAY_ICON_H_INCLUDED

/////////////////////////////////////////////////////////////////////////////
// CNotifyTargetWnd window

#define WM_SYSTEM_TRAY_NOTIFY (WM_USER + 1234)

class SystemTrayIcon;					// forward ref for CNotifyTargetWnd

class CNotifyTargetWnd : public CWnd
{
	DECLARE_DYNAMIC(CNotifyTargetWnd)
// Construction
private:
	CNotifyTargetWnd();					// can't make one w/o parent
public:
	CNotifyTargetWnd(SystemTrayIcon* sti) { m_Sti = sti; ASSERT(sti); }

// Attributes
public:
private:
	SystemTrayIcon* m_Sti;

// Operations
public:

// Overrides
	// ClassWizard generated virtual function overrides
	//{{AFX_VIRTUAL(CNotifyTargetWnd)
	protected:
	virtual void PostNcDestroy();
	//}}AFX_VIRTUAL

// Implementation
public:
	virtual ~CNotifyTargetWnd();
	LRESULT OnSystemTrayNotify(WPARAM id,LPARAM event);

	// Generated message map functions
protected:
	//{{AFX_MSG(CNotifyTargetWnd)
		// NOTE - the ClassWizard will add and remove member functions here.
	//}}AFX_MSG
	DECLARE_MESSAGE_MAP()
};

class SystemTrayIcon {
	friend LRESULT CNotifyTargetWnd::OnSystemTrayNotify(WPARAM,LPARAM);
private:

	// this window gets activated on icon dblclick
	// this window also owns the popup menu
	CWnd* m_ActivateWnd;

	// this window exists to receive sys tray icon notifications
	CNotifyTargetWnd* m_NotifyTargetWnd;

	UINT m_Menu;
	NOTIFYICONDATAW m_Nidw;
	NOTIFYICONDATA m_Nida;
	int m_Enabled;
	bool m_bUnicode;

protected:
	CWnd* GetActivateWnd() const { return m_ActivateWnd; }
	CNotifyTargetWnd* GetNotifyTargetWnd() const { return m_NotifyTargetWnd; }

public:
	// construction and destruction
	SystemTrayIcon(bool bUnicode);
	virtual ~SystemTrayIcon();

	// setup
	void SetWindow(CWnd* wnd) { m_ActivateWnd = wnd; }
	void SetIcon(UINT iconid);
	void SetIcon(LPCTSTR iconresourcename);
	void SetStandardIcon(LPCTSTR iconname);
	void SetToolTip(LPCTSTR tip);
	void SetMenuID(UINT menuid) { m_Menu = menuid; }

	// query
	//LPCSTR GetToolTip() const { return m_Nid.szTip; }

	// on and off
	int Enable(BOOL bOn=TRUE); // TRUE enable FALSE disable returns old value
	int IsEnabled() const { return m_Enabled; } // returns 0 for not enabled

protected:
	virtual void OnRButtonDblClick() {}
	virtual void OnRButtonDown() {}
	virtual void OnRButtonUp();
	virtual void OnMButtonDblClick() {}
	virtual void OnMButtonDown() {}
	virtual void OnMButtonUp() {}
	virtual void OnLButtonDblClick();
	virtual void OnLButtonDown() {}
	virtual void OnLButtonUp() {}
	virtual void OnMouseMove() {}
	virtual void ModifyMenu(CMenu* menu);
private:
	LRESULT OnSystemTrayNotify(WPARAM id,LPARAM event);
	void internalSetIcon(HICON hicon);
	static CString m_class; // classname for CNotifyTargetWnd
};

/////////////////////////////////////////////////////////////////////////////
#endif //SYSTEM_TRAY_ICON_H_INCLUDED

redpajama_set_name: RedPajamaGithub


Are you ready to be apart of the wellness travel movement? Wild Wellness Travel lovingly curates customized wellness itineraries for experiencing the most sought after destinations around the world. We cater to you, the evolved traveler, and develop itineraries that fit your busy lifestyle. Whether you are seeking a quick recharge or a multi city/country healing journey, we create transformative adventures following our 5 pillar philosophy: connection, nutrition, movement, self-care and discovery. These proven areas of success will allow you to find true and authentic experiences that will transform and inspire you, with benefits that last a lifetime.
Custom tailored wellness itineraries allow for options to explore your most desired corner of the world and in turn discover your best self along the way. Evolve with a solo experience, bond and grow in a women's retreat with your best friends, cherish your loved one in a romantic couples vacation, or connect and share your adventures in multi-generational family experiences for any and all age groups. Whatever your goals, we help discerning travelers explore the world around them, while also exploring the universe within.
Transfers from airport to property and beyond- Private, car rentals, luxury car rentals.
A customized WWT itinerary will offer a variety of travel options. After submitting the introductory questionnaire, a Wild Wellness specialist will connect with and work with you as your personal wellness travel coach. They will talk with you through your ideas and options, and help you turn your dreams into plans. Different destinations and hotels range in price but you can expect our carefully crafted experiences to start at $500 per person per day. Each customized itinerary has a curation fee of $250.
We know that you are serious about travel and we are serious about crafting the best possible experience for your needs and budgets, and your initial investment ensures that we share the same commitment in helping you travel the world consciously.
To receive your introductory questionairre please fill out the form below and we will be in touch with you ASAP!


text:
The Best of Country Sing the Best of Disney is an album featuring country music artists singing Disney songs. It was released on September 10, 1996 by Walt Disney Records. The album peaked at number 17 on the Billboard Top Country Albums chart and number 107 on the all-genre Billboard 200. The song "Someday" is from The Hunchback of Notre Dame.

Track listing

Chart performance

See also
Country Sings Disney - A similar compilation of country music artists singing Disney songs released in 2008.

References

1996 compilation albums
Country albums by American artists
Compilation albums by American artists
Walt Disney Records compilation albums
Country music compilation albums
Covers albums


A Pet Passport (dog passport, cat passport etc) is the popular name for the Pet Travel Scheme that originated in Europe but now which extends to other parts of the world as well. The idea being that if a pet can be easily and comprehensively identified and also confirmed as having had a rabies vaccination, then the pet is able to travel between countries that have signed up to the Pet Travel Scheme without the need for quarantine. The way pet's identity is verified is through a microchip that is fitted under the skin of an animal and this chip can then be easily read by a wand scanner that is passed over the location of the chip but which does not make physical contact with it. Your pet does not feel any discomfort when being scanned and the microchip's presence under the skin does not cause infection or ongoing irritation.
Every pet, irrespective of whether it has already had a rabies vaccination, must be vaccinated once the microchip has been fitted. About a month after the rabies vaccination has been given, your pet's blood is tested to ensure that the vaccination has taken and then a pet passport document can be issued.
For people who regularly travel between countries the Pet Passport scheme now enables owners to take their pets with them which enhances the life of both the pet and owner.
All EU countries recogise pet passports as do Croatia, Gibraltar, Norway, San Marino and Switzerland although Sweden have specific additional requirements. As with all travel involving pets it is always best to plan ahead if possible and ensure that all countries you are likely to visit on any given trip, do accept a PETS Passport.
Micro chipping for all dogs in England and Wales is likely to be compulsory by March 2015. This news has been welcomed by the Dogs Trust and RSPCA because if a dog is lost it can be quickly identified by a scanner connected to a laptop PC and the Internet because all chipped pet data is held in country specific pet databases.
Dogs and cats are the most common of pets to be micro chipped but rabbits and many others can also benefit from micro chipping. Birds, horses, reptiles (such as snakes and tortoises), fish and almost any small mammals can all be micro chipped by your local Vet. You never need to lose your pet because they, and you as their owner, can be quickly identified.