text:
Endothelial cell secretory granule exocytosis
Lead Research Organisation: MRC National Inst for Medical Research
A thin continuous layer of cells covers the inside of all our blood vessels, separating blood from our tissues and cells. Unlike other cells in the body, blood does not clot when in contact with healthy endothelial cells. This unique and vital property stems from the secretion of molecules that prevent blood coagulation, and that rapidly dissolve blood clots if they do form. The endothelium is not however a one-trick-pony; in addition to controlling blood coagulation, they play essential roles in regulating blood flow, tissue repair and growth, and inflammation within the vasculature and adjacent tissues. Endothelial cells control all of these different processes through the secretion of a large number of different molecules. In effect, the vascular endothelium functions as a highly specialised multi-tasking secretory machine that responds rapidly to changes in its local environment. Alterations to the normal secretory function of endothelial cells are though to contribute to an increased risk of hypertension and atherosclerosis; major causes of stroke and heart attacks. Our research is aimed at trying to understanding the cellular mechanisms that regulate secretion from these cells. We focus particularly on the secretion of peptides and proteins involved in the control of blood coagulation (von Willebrand factor and tissue plasminogen activator) and inflammation (p-selectin and small cytokines such as interleukin-8). We combine biochemical, molecular, cell biological and biophysical approaches to directly analyse the synthesis, storage and secretion of these molecules in single endothelial cells. Understanding how the secretory function of endothelial cells is controlled under normal conditions will shed light on the changes that occur during disease and help us to develop new strategies for the treatment of vascular disorders.
Vascular endothelial cells play a crucial role in the regulation of blood flow, blood clotting and inflammation through the secretion of a wide range of vasoactive, pro- or anti-coagulant and inflammatory molecules. Many of these molecules are of great clinical importance including the anti-coagulant tissue plasmonogen activator (tPA) and the pro-coagulant and inflammatory molecules von Willebrand factor (vWF) and p-selectin. In addition to their physiological roles, vWf and p-selectin have been implicated in the development of vascular disease (atherosclerosis). Our research is aimed at understanding the mechanisms and regulation of secretion of vWF, p-selectin and tPA from human endothelial cell. These studies will lead to a better understanding of the contribution of endothelial cells to the regulation of blood flow, blood clotting and intravascular inflammation.||Our specific aims are (1) to provide a detailed kinetic description of hormone and calcium evoked exocytosis of two distinct classes of secretory organelle found within endothelial cells, the Weibel Palade body (WPb) that contains vWF and p-selectin, and the tPA containing organelle, (2) to determine the Ca2+-dependence of tPA and WPb secretory organelle exocytosis, (3) to examine the contribution of cytoskeletal elements (microtubules; MTs, and actin) to granule movement and recruitment during stimulation, (4) to determine the distribution of secretory organelle release sites and the fate of secreted proteins and (5) to identify the SNARE proteins involved in WPb exocytosis.||We use cultured human umbilical vein endothelial cells (HUVEC) as a model system in which to study endothelial secretion. Our approaches to investigating endothelial exocytosis include electrophysiological measurements of endothelial cell membrane surface area, direct optical (epi-fluorescence, total internal reflection fluorescence or confocal) recordings of fluorescent WPb and tPA organelles in living HUVEC, and biochemical assays of vWF, proregion and tPA release. Our studies take advantage of morphological peculiarities of WPb and of endothelial cells (EC) in general. (1) The large size of WPb allows individual WPb to be detected as fast discrete steps in membrane capacitance (Cm) in high-resolution patch clamp capacitance recordings. (2) Their unusual shape (rod like) and large size make WPb easy to identify using optical (bright field or fluorescence microscopy) approaches and for cell biological investigations. (3) Our ability to label WPb with fluorescent proteins enables the formation, movement and exocytosis of individual WPb to be analysed in detail. The relatively limited numbers of WPb per cell (up to a few hundred), allow the behaviour of each individual WPb within a population to be investigated within single cells. (4) With the exception of the nuclear region, HUVEC (and EC in general) are very flat and thin (<1um), making these cells ideal for optical studies of fluorescent organelles. Together with the physiological and pathological importance of the secreted factors, the ease of culture and amenability to transfection of HUVEC (using nucleofection procedures), these endothelial cells provide an excellent model system in which to study secretory granule biogenesis, trafficking and secretion.||Our research program draws upon collaborations with groups within NIMR (Dr Matthew Hannah (Molecular Neuroendocrinology), Dr David Ogden (Neurophysiology), Drs Justin Molloy, Gregory Mashanov, Mike Anson, John Corrie and Gordon Reid (Physical Biochemistry)) as well as other UK (Dr Paul Skehel (Edinburgh University), Dr C.P.D. Wheeler-Jones (Royal Veterinary College, London), Dr V O Connor (Southampton University), and overseas institutions Dr G. Zupancic (University of Ljubljana, Slovenia).
Total Expenditure April 2006 - March 2018:
MC_U117573808
Blood (50%)
Neurological (50%)
1.1 Normal biological development and functioning (100%)
MRC National Inst for Medical Research, United Kingdom (Lead Research Organisation)
University of Southampton, United Kingdom (Collaboration)
University of Edinburgh, United Kingdom (Collaboration)
Imperial College London, United Kingdom (Collaboration)
Paris Descartes University, France (Collaboration)
University of Strathclyde, United Kingdom (Collaboration)
Royal Veterinary College, United Kingdom (Collaboration)
Yale University (Collaboration)
University of Ljubljana, Slovenia (Collaboration)
Medical Research Council (Collaboration)
St George's Hospital (Collaboration)
Tom Carter (Principal Investigator)
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Athinoula Meli (2007) Kinetics of histamne-evoked Weibel palade body exocytosis in cultured human endothelial cells in European Biophysics Journal
Babich V (2009) Differential effect of extracellular acidosis on the release and dispersal of soluble and membrane proteins secreted from the Weibel-Palade body. in The Journal of biological chemistry
Babich V (2008) Selective release of molecules from Weibel-Palade bodies during a lingering kiss. in Blood
Berriman JA (2009) Structural organization of Weibel-Palade bodies revealed by cryo-EM of vitrified endothelial cells. in Proceedings of the National Academy of Sciences of the United States of America
Bierings R (2012) The interplay between the Rab27A effectors Slp4-a and MyRIP controls hormone-evoked Weibel-Palade body exocytosis. in Blood
Cookson E (2012) Properties of the Weibel-Palade Body Fusion Pore in Biophysical Journal
Erent M (2007) Rate, extent and concentration dependence of histamine-evoked Weibel-Palade body exocytosis determined from individual fusion events in human endothelial cells. in The Journal of physiology
Gregory Mashanov (2007) Single fluorophore tracking of P-selectin-EGFP during exocytosis of Weibel-Palade bodies. in European Biophysics Journal
Hannah MJ (2005) Differential kinetics of cell surface loss of von Willebrand factor and its propolypeptide after secretion from Weibel-Palade bodies in living human endothelial cells. in The Journal of biological chemistry
Hellen N (2012) Role of the Cytoskeleton in the Regulation of Weibel-Palade Body Exocytosis in Biophysical Journal
Research Tools and Methods
Title LAMP-1-dt-Tom
Description Lysosoaml marker prtoein. Expression allows direct visualisation of lysosomes in living cells
Type Of Material Technology assay or reagent
Year Produced 2009
Provided To Others? Yes
Impact publication: PMID: 18252862
URL http://europepmc.org/abstract/MED/18252862
Title MyRIP
Description Fusion of WT full length MyRIP with EGFP
Provided To Others? No
Impact Use of reagent resulted in greater understanding of the mechanisms regulating Von Willebrand factor secretion from endothelial cells
Title P-selectin construct
Description Leukocyte adesion molecule. Expression labels secretory granules in endothelial cells and other cell types.
Title Slp4-a
Description fusion protein of full length WT Slp4-a with EGFP, mCherry
Impact Use of reagent led to a greater understanding of the mechansims regualting von Willebrand secretion from endothelial cells
Title VWF constructs
Description VWF-propolypeptide fused to different fluorescent proteins (EGFP, YFP, CFP, mRFP, mCherry, tdTomato)
Impact Has allowed direct visualisation of secretory granules in living endothelial cells in conjunction of other markers of the secretory pathway.
Title eotaxin-3 m EGFP
Description eotaxin-3 fused to mEGFP
Impact Has allowed the direct visualisation of the behaviour of this small cytokine during secrerory granule formation and release during exocytosis in endothelial cells
Title interlukin-8 mCherry
Description interlukin-8 fused to mCherry
Impact Has allowed the direct visualisation of this cytokine within the secretory pathway of endothelial cells. Revealed novel mde of endothelial secretion.
Title tPA-EGFP
Description Sectreted protein. Expression labels two distinct granule populations in endothelial cells.
Impact none during current review period
Description Analysis of secretory kinetics
Organisation University of Paris - Descartes
PI Contribution My group carries out the basic research and builds and developes the experimental setups used, with advice from our collaborator, Dr David Ogden (formerly in Neurophysiology at NIMR.)
Collaborator Contribution This collaboration has provided significant technical and intellectual advice on the development of experimental techniques and the interpretation of data.
Impact Publications; PMID: 15831502, PMID: 17540703
Description Biochemical analysis of exocytosis in endothelium
Organisation University of Southampton
Department Faculty of Natural and Environmental Sciences
PI Contribution We provide the experimental model system, reagents and data analysis facilities.
Collaborator Contribution Practical experimental and intellectual contributions
Impact Publication of meeting Abstracts (Biochemical Soc Transations)
Description Cyclooxygenase-2 induction and prostacyclin synthesis
Organisation Royal Veterinary College (RVC)
Department Veterinary Basic Sciences
PI Contribution Experimental materials and intellectual input.
Collaborator Contribution Practical experimental and intellectual contributions. Contribution of reagents.
Impact Publications: PMID: 16467309
Description Developement of reagents for research
Organisation University of Edinburgh
Department Centre for Neuroregeneration (CNR)
PI Contribution We carry out experimental research with these reagents and have used them as a base for developing further reagents with our lab (fluorescent colour swops and mutants).
Collaborator Contribution Dr Paul Skehel has developed reagents (tPA-EGFP, P-selectin-DsRed) that have been extensively used in our research. He is also involved in the development of animal models for studying secretion in vivo.
Description Exocytosis in adult human heart endothelial cells
Organisation Imperial College London
Department National Heart & Lung Institute (NHLI)
PI Contribution We collaborate to study the mechanisms and regulation of WPB exocytosis in adult ECs of human origin
Collaborator Contribution We have gained access to sources of adult human heart ECs. The collaboration has led to us setting up new methods in the lab.
Impact PMID 23001355 PMID: 22898601
Description Software development for data aquisition
Organisation University of Strathclyde
Department Strathclyde Institute of Pharmacy & Biomedical Sciences
PI Contribution We carry out testing of his programnmes and provide detailed feedback that allows Dr Dempster to improve his software. This has led to substantial improvements in the programme that have benefited the general scientific community who use this freeware software in their research.
Collaborator Contribution Dr John Dempster has written custom shareware software (Winfluor; http://spider.science.strath.ac.uk/PhysPharm/showPage.php?pageName=software_imaging) for high speed optical and electrophysiological data aquisition. He has provided a unique set of solutions for our needs, without his contribution we would not be able to do the work we do in the way we can now.
Description Statistical analysis of secretory kinetics
Organisation University of Ljubljana
PI Contribution My group provides the experimental data for which the statistical analysis programs are written. The programmes are written by DR Gregor Zupancic, University of Ljubljana. Feedback and beta testing of programmes are carried out in the lab.
Collaborator Contribution This collaboration has led to the development of software programs essential for the the quantitative analysis of the kinetics and mechanisms underying secretory granule exocytosis
Impact Publications PMID: 17540703
Description TIRF imaging of exocytosis in endothelial cells
Organisation Yale University
Department Department of Cell Biology
PI Contribution We are making custom fluorescence constructs for high resolution TIR imaging of exocytosis of WPBs
Collaborator Contribution We have gained reagents and will in the futre gain joint publications
Impact No out comes as yet, but in the future this will result in joint opublications.
Description Torok
Organisation St George's Hospital
Department Institute of Biomedical Sciences
PI Contribution test genetically encoded ca indicators
Collaborator Contribution Make genetically encoded ca indicators
Impact none
Description Ultrastructural studies of Weibel Palade bodies
Department MRC National Institute for Medical Research (NIMR)
PI Contribution Experimental data, Intellectual input
Collaborator Contribution Publications, intellectual input
Description WPB formation and secretion
PI Contribution reagents, experimental research, intellectual
Collaborator Contribution Reagents, intellectual input, practical expeimental aid
Impact Publications PMID: 15831502 PMID: 17540703 PMID: 18252862 PMID: 19258324 PMID: 19805028
Description Advanced techniques workshop
Type Of Presentation Workshop Facilitator
Results and Impact Teach groups of 3-5 postgraduate students advanced imaging and electrophysiology techniques
Students often return as teachers and demonsrtators on the course in later years.
Students forge collaborative links with other students and teachers to further their careers.
Year(s) Of Engagement Activity Pre-2006,2006,2007,2008,
URL http://www.mba.ac.uk/microelectrode-techniques-for-cell-physiology/
Results and Impact Practical teaching of advanced electrophysiological and imaging techniques to postgraduate, postdoctoral researchers and academics. Course provided excellent forum for exchange of ideas and knowledge between experienced and junior researchers.
URL http://www.mba.ac.uk/microelectrode-techniques-cell-physiology
Results and Impact training next generation of researchers
Description School Lectures
Results and Impact Lecture on blood clotting Local schools 30 minutes feedback positive
Non other than to elicit questions and interested from the audiance.
Description University of the 3rd Age
Results and Impact Lecture on Blood clotting Audience: University of the 3rd Age 30 minutes positve feedback


Our Dirt calculator will help you estimate how many Cubic Yards of Dirt you need for your desired coverage area.
Step 1 – Determine your Coverage Area – We offer 2 types of calculators, 1 is a "Box" coverage area calculator for calculating square or rectangular areas. The 2nd is to calculate "Circular" areas.
* Box coverage area- input your measurements (Length x Width) into the "Area" fields.
Step 2 – Enter desired materials depth- Input the depth in inches; the calculator will automatically estimate the required materials in cubic yards.
* The materials calculator works for construction materials smaller then ¾" in size, including Topsoil, Dirt, Sand, Stone, Gravel, DGA, Stone Dust and Aggregate.


Ranchi: Patratu Vidyut Utpadan Nigam Limited (PVUNL), a joint venture company of the National Thermal Power Corporation (NTPC) and Jharkhand Bijli Vitaran Nigam Limited (JBVNL), has issued a notice to the latter, threatening to stop power supply from Saturday midnight for non-payment of pending dues.
Deputy manager, PR, eastern region-1 of the NTPC headquarters in Patna, Vishwanath Chandan, said NTPC had signed a power purchase agreement (PPA) with the JBVNL on March 30, 2016 along with the formation of the JV company thereby agreeing that PVUNL would be supplying power solely to the state government.
"The JV has been formed at 74:26% share-holding between the NTPC and JBVNL and unless the state government pays the bills generated against the power supplied to it, the power generation company would not be in a position to continue with further production," he said.
Explaining that PVUNL has to pay in advance to the coal companies for procuring coal for its thermal plant, Chandan said that from April 2016 to September 2016 state has already bought power worth Rs82.44 crore at the rate of approximately Rs6 per unit.


text:
Q: JSON Serialization / Deserialization Kotlin Android Jetpack Compose Table I'm in the process of creating a table section in Jetpack Compose that deserializes the data from a JSON.
At this point, I'm simply trying to display the data (the table formatting and clean up will come later, so you can ignore that part).  Things have been going okay until I got to a part where the table row values are an array of arrays.  I'm getting this error:
Error:

Expected class kotlinx.serialization.json.JsonObject as the serialized body of ...TableRow, but had class kotlinx.serialization.json.JsonArray

Here is the part of the test JSON that is being parsed for this table:
{
 "title": "TRANSACTION HISTORY",
 "type": "Table",
 "names": [
      "Date",
      "Amount",
      "Lender",
      "Borrower"
   ],
    "values": [
        [
           "07\/01\/2014",
           "$315,000",
           "Steve's Lending Co.",
           "Glenn Danzig"
         ],
         [
           "10\/13\/2011",
           "$236,000",
           "Feet Company",
           "Marcus Toeswater"
         ]
      ]
   },
   {
     "title": "ASSESSMENT & TAX",
     "type": "Table",
     "names": [
          "Year",
          "Property Taxes",
          "Tax Assessment"
     ],
     "values": [
          [
            "2017",
            "$6,068",
            "$395,000"
          ],
          [
            "2016",
            "$5,864",
            "$372,000"
          ],
          [
            "2015",
            "$5,609",
            "$341,500"
          ]
      ]
   },

Here's the code I have right now.  I'm simply trying to post two rows of data:
1 with the column header names, and
1 with all of the row data (doesn't have to look nice at this point - I'm just trying to get the mapping done)
@Serializable
@SerialName("Table")
@Parcelize
data class TableSection(
    override val title: String? = null,
    @SerialName("names")
    val columnHeader: ArrayList<String?> = arrayListOf(),
    @SerialName("values")
    val tableData: ArrayList<TableRow> = arrayListOf(),
) : Section() {
    @Composable
    override fun Content(modifier: Modifier) {
        return Column {
            Row {
                columnHeader.map {
                    Text(it ?: "")
                }
            }
            Row {
                tableData.map { row ->
                    row.tableRowValues.map { value ->
                        Text(value ?: "")
                    }
                }
            }
        }
    }
}

@Serializable
@Parcelize
data class TableRow(
    @Serializable
    val tableRowValues: ArrayList<String?> = arrayListOf(),
) : Parcelable

Note:  The Title and the Table Column Headers work just fine.  It's the table data that is throwing the error.

A: I ended up creating a custom serializer to get the nested values:
@Serializable(with = TableRowSerializer::class)
@Parcelize
data class TableRow(
    val tableRowValues: List<String?> = arrayListOf(),
) : Parcelable

object TableRowSerializer : KSerializer<TableRow> {
    private val serializer = ListSerializer(String.serializer())

    override val descriptor: SerialDescriptor = serializer.descriptor

    override fun serialize(encoder: Encoder, value: TableRow) {
        val rowValues = value.tableRowValues
            rowValues.let{rowValues as? List<String>}
                ?.let { encoder.encodeSerializableValue(serializer, it) }
    }

    override fun deserialize(decoder: Decoder): TableRow {
        return TableRow(decoder.decodeSerializableValue(serializer))
    }
}

redpajama_set_name: RedPajamaStackExchange


Cedarwood Virginian, Clove Bud, Oregano, Rosemary 1,8-Cineole and Thyme Thymol.
Do not diffuse near or apply to the face of children 6 years of age or younger.
Cajeput Essential Oil belongs to the Melaleuca family and is known for its therapeutic properties and wonderful aroma. This fresh, herbaceous, fruity aroma can help energize and improve your mood. It is also an ideal candidate to have on hand when seasonal illnesses attack. Cajeput supports a healthy respiratory system and will have you bouncing back in no time. Help alleviate sore muscles and joints, relieve cramping during menstruation, and support a healthy respiratory system throughout the year.
Relieve seasonal illness by diffusing 2 drops of Cajeput, 2 drops of Lemon, and 2 drops of Thyme Linalool in your Plant Therapy Aromatherapy Diffuser to open up the respiratory system and breathe easier.
Dilute at a 1-3% ratio with your favorite Plant Therapy Carrier Oil and apply to the wrists or back of neck to fight fatigue, energize, and improve your mood.
I hadn't used this oil before. I put it in my homemade muscle rub and wow it really is a great one for sore muscles!!
This lovely oil smells like a combination of a minty, mentholated tea tree. In a diffuser or topical with a carrier oil are my favorite ways to use cajeput.
I love this smell. Works great as but repellent in the summer. Also great in the winter when we get sick.
Love to add this to the diffuser for seasonal illnesses!


text:
Chapter 1: Media and Culture
1.1 Media and Culture
1.2 Intersection of American Media and Culture
1.3 The Evolution of Media
1.4 Convergence
1.5 The Role of Social Values in Communication
1.6 Cultural Periods
1.7 Mass Media and Popular Culture
1.8 Media Literacy
Chapter 2: Media Effects
2.1 Mass Media and Its Messages
2.2 Media Effects Theories
2.3 Methods of Researching Media Effects
2.4 Media Studies Controversies
Chapter 3: Books
3.1 Books
3.2 History of Books
3.3 Books and the Development of U.S. Popular Culture
3.4 Major Book Formats
3.5 Current Publishing Trends
3.6 The Influence of New Technology
Chapter 4: Newspapers
4.1 Newspapers
4.2 History of Newspapers
4.3 Different Styles and Models of Journalism
4.4 How Newspapers Control the Public's Access to Information and Impact American Pop Culture
4.5 Current Popular Trends in the Newspaper Industry
4.6 Online Journalism Redefines News
Chapter 5: Magazines
5.1 Magazines
5.2 History of Magazine Publishing
5.3 The Role of Magazines in the Development of American Popular Culture
5.4 Major Publications in the Magazine Industry
5.5 How Magazines Control the Public's Access to Information
5.6 Specialization of Magazines
5.7 Influence of the Internet on the Magazine Industry
Chapter 6: Music
6.2 The Evolution of Popular Music
6.3 The Reciprocal Nature of Music and Culture
6.4 Current Popular Trends in the Music Industry
6.5 Influence of New Technology
Chapter 7: Radio
7.1 Radio
7.2 Evolution of Radio Broadcasting
7.3 Radio Station Formats
7.4 Radio's Impact on Culture
7.5 Radio's New Future
Chapter 8: Movies
8.2 The History of Movies
8.3 Movies and Culture
8.4 Issues and Trends in Film
Chapter 9: Television
9.1 The Evolution of Television
9.2 The Relationship Between Television and Culture
9.3 Issues and Trends in the Television Industry
9.4 Influence of New Technologies
Chapter 10: Electronic Games and Entertainment
10.1 Electronic Games and Entertainment
10.2 The Evolution of Electronic Games
10.3 Influential Contemporary Games
10.4 The Impact of Video Games on Culture
10.5 Controversial Issues
10.6 Blurring the Boundaries Between Video Games, Information, Entertainment, and Communication
Chapter 11: The Internet and Social Media
11.1 The Internet and Social Media
11.2 The Evolution of the Internet
11.3 Social Media and Web 2.0
11.4 The Effects of the Internet and Globalization on Popular Culture and Interpersonal Communication
11.5 Issues and Trends
Chapter 12: Advertising and Public Relations
12.1 Advertising
12.2 Public Relations
Chapter 13: Economics of Mass Media
13.1 Economics of Mass Media
13.2 Characteristics of Media Industries
13.3 The Internet's Effects on Media Economies
13.4 Digital Divide in a Global Economy
13.5 Information Economy
13.6 Globalization of Media
13.7 Cultural Imperialism
Chapter 14: Ethics of Mass Media
14.1 Ethics of Mass Media
14.2 Ethical Issues in Mass Media
14.3 News Media and Ethics
14.4 Ethical Considerations of the Online World
Chapter 15: Media and Government
15.1 Media and Government
15.2 Government Regulation of Media
15.3 The Law and Mass Media Messages
15.4 Censorship and Freedom of Speech
15.5 Ownership Issues in the Mass Media
15.7 Media Influence on Laws and Government
15.6 Digital Democracy and Its Possible Effects
Chapter 16: The Future of Mass Media
16.1 Changes in Media Over the Last Century
16.2 Information Delivery Methods
16.3 Modern Media Delivery: Pros and Cons
16.4 Current Trends in Electronic Media
16.5 Privacy Laws and the Impact of Digital Surveillance
16.6 Mass Media, New Technology, and the Public
Understanding Media and Culture
Recognize the role the major Hollywood studios have in shaping the movie industry today.
Identify the major economic concerns involved in the production and distribution of films.
Describe the effects of piracy on the movie industry.
Filmmaking is both a commercial and artistic venture. The current economic situation in the film industry, with increased production and marketing costs and lower audience turnouts in theaters, often sets the standard for the films big studios are willing to invest in. If you wonder why theaters have released so many remakes and sequels in recent years, this section may help you to understand the motivating factors behind those decisions.
The Influence of Hollywood
In the movie industry today, publicity and product are two sides of the same coin. Even films that get a lousy critical reception can do extremely well in ticket sales if their marketing campaigns manage to create enough hype. Similarly, two comparable films can produce very different results at the box office if they have been given different levels of publicity. This explains why the film What Women Want, starring Mel Gibson, brought in $33.6 million in its opening weekend in 2000, while a few months later, The Million Dollar Hotel, also starring Gibson, only brought in $29,483 during its opening weekend (Nash Information Services, 2000; Nash Information Services, 2001). Unlike in the days of the Hollywood studio system, no longer do the actors alone draw audiences to a movie. The owners of the nation's major movie theater chains are keenly aware that a film's success at the box office has everything to do with studio-generated marketing and publicity. What Women Want was produced by Paramount, one of the film industry's six leading studios, and widely released (on 3,000 screens) after an extensive marketing effort, while The Million Dollar Hotel was produced by Lionsgate, an independent studio without the necessary marketing budget to fill enough seats for a wide release on opening weekend (Epstein, 2005).
The Hollywood "dream factory," as Hortense Powdermaker labeled it in her 1950 book on the movie industry (Powdermaker), manufactures an experience that is part art and part commercial product (James, 1989). While the studios of today are less factory-like than they were in the vertically integrated studio system era, the coordinated efforts of a film's production team can still be likened to a machine calibrated for mass production. The films the studios churn out are the result of a capitalist enterprise that ultimately looks to the "bottom line" to guide most major decisions. Hollywood is an industry, and as in any other industry in a mass market, its success relies on control of production resources and "raw materials" and on its access to mass distribution and marketing strategies to maximize the product's reach and minimize competition (Belton). In this way, Hollywood has an enormous influence on the films to which the public has access.
Ever since the rise of the studio system in the 1930s, the majority of films have originated with the leading Hollywood studios. Today, the six big studios control 95 percent of the film business (Dick). In the early years, audiences were familiar with the major studios, their collections of actors and directors, and the types of films that each studio was likely to release. All of that changed with the decline of the studio system; screenwriters, directors, scripts, and cinematographers no longer worked exclusively with one studio, so these days, while moviegoers are likely to know the name of a film's director and major actors, it's unusual for them to identify a film with the studio that distributes it. However, studios are no less influential. The previews of coming attractions that play before a movie begins are controlled by the studios (Busis, 2010). Online marketing, TV commercials, and advertising partnerships with other industries—the name of an upcoming film, for instance, appearing on some Coke cans—are available tools for the big-budget studios that have the resources to commit millions to prerelease advertising. Even though studios no longer own the country's movie theater chains, the films produced by the big six studios are the ones the multiplexes invariably show. Unlike films by independents, it's a safe bet that big studio movies are the ones that will sell tickets.
The Blockbuster Standard
While it may seem like the major studios are making heavy profits, moviemaking today is a much riskier, less profitable enterprise than it was in the studio system era. The massive budgets required for the global marketing of a film are huge financial gambles. In fact, most movies cost the studios much more to market and produce—upward of $100 million—than their box-office returns ever generate. With such high stakes, studios have come to rely on the handful of blockbuster films that keep them afloat (New World Encyclopedia), movies like Titanic, Pirates of the Caribbean, and Avatar (New World Encyclopedia). The blockbuster film becomes a touchstone, not only for production values and story lines, but also for moviegoers' expectations. Because studios know they can rely on certain predictable elements to draw audiences, they tend to invest the majority of their budgets on movies that fit the blockbuster mold. Remakes, movies with sequel setups, or films based on best-selling novels or comic books are safer bets than original screenplays or movies with experimental or edgy themes.
James Cameron's Titanic (1997), the second highest grossing movie of all time, saw such success largely because it was based on a well-known story, contained predictable plot elements, and was designed to appeal to the widest possible range of audience demographics with romance, action, expensive special effects, and an epic scope—meeting the blockbuster standard on several levels. The film's astronomical $200 million production cost was a gamble indeed, requiring the backing of two studios, Paramount and 20th Century Fox (Hansen & Garcia-Meyers). However, the rash of high-budget, and high-grossing, films that have appeared since—Harry Potter and the Sorcerer's Stone and its sequels (2002–2011), Avatar (2009), Alice in Wonderland (2010), The Lord of the Rings films (2001–2003), The Dark Knight (2008), and others—are an indication that, for the time being, the blockbuster standard will drive Hollywood production.
The Role of Independent Films
While the blockbuster still drives the industry, the formulaic nature of most Hollywood films of the 1980s, 1990s, and into the 2000s has opened a door for independent films to make their mark on the industry. Audiences have welcomed movies like Fight Club (1999), Lost in Translation (2003), and Juno (2007) as a change from standard Hollywood blockbusters. Few independent films reached the mainstream audience during the 1980s, but a number of developments in that decade paved the way for their increased popularity in the coming years. The Sundance Film Festival (originally the U.S. Film Festival) began in Park City, Utah, in 1980 as a way for independent filmmakers to showcase their work. Since then, the festival has grown to garner more public attention, and now often represents an opportunity for independents to find market backing by larger studios. In 1989, Steven Soderbergh's sex, lies, and videotape, released by Miramax, was the first independent to break out of the art-house circuit and find its way into the multiplexes.
In the 1990s and 2000s, independent directors like the Coen brothers, Wes Anderson, Sofia Coppola, and Quentin Tarantino made significant contributions to contemporary cinema. Tarantino's 1994 film, Pulp Fiction, garnered attention for its experimental narrative structure, witty dialogue, and nonchalant approach to violence. It was the first independent film to break $100 million at the box office, proving that there is still room in the market for movies produced outside of the big six studios (Bergan, 2006).
The Role of Foreign Films
English-born Michael Apted, former president of the Director's Guild of America, once said, "Europeans gave me the inspiration to make movies…but it was the Americans who showed me how to do it (Apted, 2007)." Major Hollywood studio films have dominated the movie industry worldwide since Hollywood's golden age, yet American films have always been in a relationship of mutual influence with films from foreign markets. From the 1940s through the 1960s, for example, American filmmakers admired and were influenced by the work of overseas auteurs—directors like Ingmar Bergman (Sweden), Federico Fellini (Italy), François Truffaut (France), and Akira Kurosawa (Japan), whose personal, creative visions were reflected in their work (Pells, 2006). The concept of the auteur was particularly important in France in the late 1950s and early 1960s when French filmmaking underwent a rebirth in the form of the New Wave movement. The French New Wave was characterized by an independent production style that showcased the personal authorship of its young directors (Bergan). The influence of the New Wave was, and continues to be, felt in the United States. The generation of young, film school-educated directors that became prominent in American cinema in the late 1960s and early 1970s owe a good deal of their stylistic techniques to the work of French New Wave directors.
The French New Wave movement of the 1950s and 1960s showed that films could be both artistically and commercially successful. Jean-Luc Godard's Breathless is well known for its improvisatory techniques and use of jump cuts.
Vintage Breathless Movie Poster Detail – CC BY 2.0.
In the current era of globalization, the influence of foreign films remains strong. The rapid growth of the entertainment industry in Asia, for instance, has led to an exchange of style and influence with U.S. cinema. Remakes of a number of popular Japanese horror films, including The Ring (2005), Dark Water (2005), and The Grudge (2004), have fared well in the United States, as have Chinese martial arts films like Crouching Tiger, Hidden Dragon (2000), Hero (2002), and House of Flying Daggers (2004). At the same time, U.S. studios have recently tried to expand into the growing Asian market by purchasing the rights to films from South Korea, Japan, and Hong Kong for remakes with Hollywood actors (Lee, 2005).
Cultural Imperialism or Globalization?
With the growth of Internet technology worldwide and the expansion of markets in rapidly developing countries, American films are increasingly finding their way into movie theaters and home DVD players around the world. In the eyes of many people, the problem is not the export of a U.S. product to outside markets, but the export of American culture that comes with that product. Just as films of the 1920s helped to shape a standardized, mass culture as moviegoers learned to imitate the dress and behavior of their favorite celebrities, contemporary film is now helping to form a mass culture on the global scale, as the youth of foreign nations acquire the American speech, tastes, and attitudes reflected in film (Gienow-Hecht, 2006).
Staunch critics, feeling helpless to stop the erosion of their national cultures, accuse the United States of cultural imperialism through flashy Hollywood movies and commercialism—that is, deliberate conquest of one culture by another to spread capitalism. At the same time, others argue that the worldwide impact of Hollywood films is an inevitable part of globalization, a process that erodes national borders, opening the way for a free flow of ideas between cultures (Gienow-Hecht, 2006).
The Economics of Movies
With control of over 95 percent of U.S. film production, the big six Hollywood studios—Warner Bros., Paramount, 20th Century Fox, Universal, Columbia, and Disney—are at the forefront of the American film industry, setting the standards for distribution, release, marketing, and production values. However, the high costs of moviemaking today are such that even successful studios must find moneymaking potential in crossover media—computer games, network TV rights, spin-off TV series, DVD and releases on Blu-ray Disc format, toys and other merchandise, books, and other after-market products—to help recoup their losses. The drive for aftermarket marketability in turn dictates the kinds of films studios are willing to invest in (Hansen & Garcia-Meyers).
Rising Costs and Big Budget Movies
In the days of the vertically integrated studio system, filmmaking was a streamlined process, neither as risky nor as expensive as it is today. When producers, directors, screenwriters, art directors, actors, cinematographers, and other technical staff were all under contract with one studio, turnaround time for the casting and production of a film was often as little as 3 to 4 months. Beginning in the 1970s, after the decline of the studio system, the production costs for films increased dramatically, forcing the studios to invest more of their budgets in marketing efforts that could generate presales—that is, sales of distribution rights for a film in different sectors before the movie's release (Hansen & Garcia-Meyers). This is still true of filmmaking today. With contracts that must be negotiated with actors, directors, and screenwriters, and with extended production times, costs are exponentially higher than they were in the 1930s—when a film could be made for around $300,000 (Schaefer, 1999). By contrast, today's average production budget, not including marketing expenses, is close to $65 million today (Nash Information Services).
Consider James Cameron's Avatar, released in 2009, which cost close to $340 million, making it one of the most expensive films of all time. Where does such an astronomical budget go? When weighing the total costs of producing and releasing a film, about half of the money goes to advertising. In the case of Avatar, the film cost $190 million to make and around $150 million to market (Sherkat-Massoom, 2010; Keegan, 2009). Of that $190 million production budget, part goes toward above-the-line costs, those that are negotiated before filming begins, and part to below-the-line costs, those that are generally fixed. Above-the-line costs include screenplay rights; salaries for the writer, producer, director, and leading actors; and salaries for directors', actors', and producers' assistants. Below-the-line costs include the salaries for nonstarring cast members and technical crew, use of technical equipment, travel, locations, studio rental, and catering (Tirelli). For Avatar, the reported $190 million doesn't include money for research and development of 3-D filming and computer-modeling technologies required to put the film together. If these costs are factored in, the total movie budget may be closer to $500 million (Keegan). Fortunately for 20th Century Fox, Avatar made a profit over these expenses in box-office sales alone, raking in $750 million domestically (to make it the highest-grossing movie of all time) in the first 6 months after its release (Box Office Mojo, 2010). However, one thing you should keep in mind is that Avatar was released in both 2-D and 3-D. Because 3-D ticket prices are more expensive than traditional 2-D theaters, the box-office returns are inflated.
The Big Budget Flop
However, for every expensive film that has made out well at the box office, there are a handful of others that have tanked. Back in 1980, when United Artists (UA) was a major Hollywood studio, its epic western Heaven's Gate cost nearly six times its original budget: $44 million instead of the proposed $7.6 million. The movie, which bombed at the box office, was the largest failure in film history at the time, losing at least $40 million, and forcing the studio to be bought out by MGM (Hall & Neale, 2010). Since then, Heaven's Gate has become synonymous with commercial failure in the film industry (Dirks).
More recently, the 2005 movie Sahara lost $78 million, making it one of the biggest financial flops in film history. The film's initial production budget of $80 million eventually doubled to $160 million, due to complications with filming in Morocco and to numerous problems with the script (Bunting, 2007).
Movie piracy used to be perpetrated in two ways: Either someone snuck into a theater with a video camera, turning out blurred, wobbly, off-colored copies of the original film, or somebody close to the film leaked a private copy intended for reviewers. In the digital age, however, crystal-clear bootlegs of movies on DVD and the Internet are increasingly likely to appear illegally, posing a much greater threat to a film's profitability. Even safeguard techniques like digital watermarks are frequently sidestepped by tech-savvy pirates (France, 2009).
In 2009, an unfinished copy of 20th Century Fox's X-Men Origins: Wolverine appeared online 1 month before the movie's release date in theaters. Within a week, more than 1 million people had downloaded the pirated film. Similar situations have occurred in recent years with other major movies, including The Hulk (2003) and Star Wars Episode III: Revenge of the Sith (2005) (France, 2009). According to a 2006 study sponsored by the MPAA, Internet piracy and other methods of illegal copying cost major Hollywood studios $6.1 billion in the previous year (Hiestand, 2006). The findings of this report have since been called into question, with investigators claiming that there was no clear methodology for how researchers estimated those figures (Sandoval, 2010). Nonetheless, the ease of theft made possible by the digitization of film and improved file-sharing technologies like BitTorrent software, a peer-to-peer protocol for transferring large quantities of information between users, have put increased financial strain on the movie industry.
A film's performance at the box office is often directly related to the studio marketing budget that backs it.
Because of high marketing and production costs, the major studios have increasingly come to rely on blockbuster films to keep themselves profitable.
Independent films found increased popularity in the 1990s and 2000s, in part because they represented a break from the predictable material often released by studios.
With the rise of digital filming technology and online movies, movie piracy has become an increasing concern for Hollywood.
In Section 8.3 "Issues and Trends in Film", you learned that blockbuster films rely on certain predictable elements to attract audiences. Think about recent blockbusters like Alice in Wonderland, Avatar, and Pirates of the Caribbean and consider the following:
What elements do these films have in common? Why do you think these elements help to sell movies?
How have the big Hollywood studios shaped these elements?
How do economic concerns, like box-office totals, promote predictable elements?
Have these movies been affected by piracy? If so, how? If not, why?
Apted, Michael. "Film's New Anxiety of Influence," Newsweek, December 28, 2007. http://www.newsweek.com/2007/12/27/film-s-new-anxiety-of-influence.html.
Belton, American Cinema/American Culture, 61–62.
Bergan, Film, 60.
Bergan, Ronald. Film (New York: Dorling Kindersley, 2006), 84.
Box Office Mojo, "Avatar," May 31, 2010, http://boxofficemojo.com/movies/?id=avatar.htm.
Bunting, Glenn F. "$78 Million of Red Ink?" Los Angeles Times, April 15, 2007, http://articles.latimes.com/2007/apr/15/business/fi-movie15/4.
Busis, Hillary. "How Do Movie Theaters Decide Which Trailers to Show?" Slate, April 15, 2010, http://www.slate.com/id/2246166/.
Dick, Kirby. interview, Fresh Air.
Dirks, "The History of Film: the 1980s."
Epstein, Edward Jay. "Neither the Power nor the Glory: Why Hollywood Leaves Originality to the Indies," Slate, October 17, 2005, http://www.slate.com/id/2128200.
France, Lisa Respers. "In Digital Age, Can Movie Piracy Be Stopped?" CNN, May 2, 2009, http://www.cnn.com/2009/TECH/05/01/wolverine.movie.piracy/.
Gienow-Hecht, Jessica C. E. "A European Considers the Influence of American Culture," eJournal USA, February 1, 2006, http://www.america.gov/st/econenglish/2008/June/20080608094132xjyrreP0.2717859.html.
Hall, Sheldon and Stephen Neale, "Super Blockbusters: 1976–1985," in Epics, Spectacles, and Blockbusters: A Hollywood History (Detroit: Wayne State Univ. Press, 2010), 231.
Hansen and Garcia-Meyers, "Blockbusters," 283.
Hiestand, Jesse. "MPAA Study: '05 Piracy Cost $6.1 Bil.," Hollywood Reporter, May 3, 2006. http://business.highbeam.com/2012/article-1G1-146544812/mpaa-study-05-piracy-cost-61-bil.
James, Caryn. "Critic's Notebook: Romanticizing Hollywood's Dream Factory," New York Times, November 7, 1989, http://www.nytimes.com/1989/11/07/movies/critic-s-notebook-romanticizing-hollywood-s-dream-factory.html.
Keegan, "How Much Did Avatar Really Cost?"
Keegan, Rebecca. "How Much Did Avatar Really Cost?" Vanity Fair, December 2009, http://www.vanityfair.com/online/oscars/2009/12/how-much-did-avatar-really-cost.html.
Lee, Diana. "Hollywood's Interest in Asian Films Leads to Globalization," UniOrb.com, December 1, 2005, http://uniorb.com/ATREND/movie.htm.
Nash Information Services, "Glossary of Movie Business Terms," The Numbers, http://www.the-numbers.com/glossary.php.
Nash Information Services, "The Million Dollar Hotel," The Numbers: Box Office Data, Movie Stars, Idle Speculation, http://www.the-numbers.com/2001/BHOTL.php.
Nash Information Services, "What Women Want," The Numbers: Box Office Data, Movie Stars, Idle Speculation, http://www.the-numbers.com/2000/WWWNT.php.
New World Encyclopedia, s.v. "Film Industry," www.newworldencyclopedia.org/entry/Hollywood.
Pells, Richard. "Is American Culture 'American'?" eJournal USA, February 1, 2006, http://www.america.gov/st/econ-english/2008/June/20080608102136xjyrreP0.3622858.html.
Powdermaker, Hortense. "Hollywood, the Dream Factory," http://astro.temple.edu/~ruby/wava/powder/intro.html.
Sandoval, Greg. "Feds Hampered by Incomplete MPAA Piracy Data," CNET News, April 19, 2010, http://news.cnet.com/8301-31001_3-20002837-261.html.
Schaefer, Eric. "Bold! Daring! Shocking! True!": A History of Exploitation Films, 1919–1959 (Durham, NC: Duke University Press, 1999), 50.
Sherkat-Massoom, Mojgan. "10 Most Expensive Movies Ever Made," Access Hollywood, 2010, http://today.msnbc.msn.com/id/34368822/ns/entertainment-access_hollywood/?pg=2#ENT_AH_MostExpensiveMovies.
Tirelli, Aldo-Vincenzo "Production Budget Breakdown: The Scoop on Film Financing," Helium, http://www.helium.com/items/936661-production-budget-breakdown-the-scoop-on-film-financing.
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redpajama_set_name: RedPajamaCommonCrawl


Depending on the existing needs, cleaners can work only for two hours a day or from the early morning hours to the evening hours. Some also have night shifts, especially in the toilets in the open 24-hour galleries. During their work, they use special vacuum cleaners and machines for cleaning floors, as well as traditional brooms and sweepers, mops and cloths. .


Sofie Verhoeven is a consultant focused on policy economics and impact evaluation. She has experience in socio-economic impact measurement in both the FMCG and financial sector. She is based in the Netherlands.
Sofie has experience in a variety of impact measurement and strategy fields, including facilitating knowledge sharing within the sustainable finance sector, developing metrics to steer impact investment decisions, and measuring impact in the FMCG sector through economic modelling.
Before joining Steward Redqueen she worked at FMO, gained experience at the Municipality of Rotterdam and did research in Uganda on the local pharmaceutical market. Sofie holds a MSc Policy Economics from the Erasmus University in Rotterdam, and previously studied at Maastricht University, Copenhagen Business School and Cátolica University in Lisbon.


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Week 12 waiver-wire pickups and fantasy targets for IDP leagues
Dec 9, 2018; Orchard Park, NY, USA; New York Jets defensive end Henry Anderson (96) tackles Buffalo Bills running back Marcus Murphy (45) as he runs the ball during the first half at New Era Field. Mandatory Credit: Timothy T. Ludwig-USA TODAY Sports
By Jonathon Macri
For most fantasy football leagues the playoffs are just around the corner, and with that it is extremely important that our roster is filled to the brim with great IDP options that we feel comfortable starting during this crucial time.
Here are 10 more IDPs to potentially add to your waiver-wire adds this week.
Michael Bennett, DE, Dallas Cowboys
Before being traded away from the New England Patriots, Bennett was not exactly having a great season IDP-wise. Since joining the Cowboys, though, Bennett has 3 sacks in three games, two of which came this past Sunday against the Lions. The hope now for Bennett is that this is a sign he is comfortable in the Cowboys' system and ready to rock for the rest of the season. While with the Patriots Bennett had a total of just 10 pressures through six games, now through three games with the Cowboys he's already surpassed that with 15. Bennett will likely be a hot commodity on the waiver wire for teams looking to make a playoff run.
Henry Anderson, DE, New York Jets
Anderson has missed some games due to injury this season but appears to be healthy as we reach the end of the fantasy football regular season. Anderson should act as a nice depth add here as he plays a fair amount of snaps for the Jets' defense as a starter and has managed a sack in consecutive weeks as well. While not putting up high tackle numbers, he is at least a threat to sack the quarterback every game that he is out there which should earn him a roster spot in most IDP leagues.


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Q: Skip copying of file if target is the same I am trying to build an auto sync application. The files should just be copied if e.g. the content has changed. Since I am new to camel and I didn't find anything I would like to know if it is possible to somehow compare the target file with the source file (if there is one).
public class App {

    public static void main(String[] args) {
        final long durationMs = 2000;
        final CamelContext camelContext = new DefaultCamelContext();
        try {
            camelContext.addRoutes(new RouteBuilder() {
                @Override
                public void configure() throws Exception {
                    from("file:/home/av/Schreibtisch/src?noop=true&recursive=true&maxDepth=100")
                            .to("file:/home/av/Schreibtisch/target");
                }
            });
            camelContext.start();
            Thread.sleep(durationMs);
            camelContext.stop();

        } catch (Exception camelException) {
            camelException.printStackTrace();
        }
    }

}

A: There is a whole section in Apache Camel documentation to see how to avoid consuming a certain file under certain condtions. idempotent and idempotentKey are the solution here.
Maybe your discriminatory conditions to tell if the file is already consumed would be :

*

*File size (${file:name}-${file:size})

*File timestamp (${file:name}-${file:modified})

*Implement a more complex conditions.

For example, to use the size of the file. It would be something along the lines of:
from("file:/somedir?noop=true&idempotentKey=${file:name}-${file:size}")


Today, Quora announced the launch of their newest product: Stats, an analytics tool billed as a "dashboard for writers." The feature is being rolled out over the next couple of weeks and will replace the current Views page. The new Stats page lets writers track views, upvotes and shares over various lengths of time, which is especially useful for those who churn out a lot of content on the platform.
According to Bodnick, this sort of analytics tool is one of their most popular feature requests. "We're a very data-oriented company and we're really happy that we're able to give our writers more visibility with their writing," he said. Some of the more popular posts of late include former New York Giants running back Tiki Barber's answers about the recent Incognito-Martin scandal and prison reform advocate Chrisfino Kenyatta Leal's answers about prison life.
"It would not surprise me over time that we would make this product better [in the future]," said Bodnick, when asked if Stats would be expanded to include other metrics.
Journos: Do you use Quora for your research and reporting? Or just for reading? We do enjoy perusing answers in the journalism section (and here's a handy list of journos on Quora).


Finds WiFi and internet information for Airbnb listings, and includes it on the page. Click on the WiFi icon to view all comments prior guests have left that talks about the internet. If icon does not light up, no comments exist.


* NJC decides on the Report of the Five-Man Committee set up to investigate petitions against Hon. Mr. Justice W. S. N. Onnoghen, GCON and Hon. Mr. Justice I. T. Muhammad, CFR.
The National Judicial Council (NJC) has finally reached a decision on the allegation of false assets declaration levelled against Honourable Justice Walter Onnoghen, as well as the petition against the acting Chief Justice of Nigeria, Mr. Justice I.T. Mohammad, CFR.
In a press release signed by the Director of Information, Soji Oye, Esq., and made available to TheNigerialawyer, the Council said that it will convey its decision to the President of Nigeria, President Buhari.
The National Judicial Council reconvened today in an Emergency Meeting to consider the Report of the Five-Man Committee constituted to investigate the allegations of misconduct made against Hon. Mr. Justice W. S. N. Onnoghen, GCON and Hon. Mr. Justice I. T. Muhammad, CFR.


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The Foreigner concert that the Neligh-Oakdale choir sang at with Nate Metchske and Jamie Sehi.
What are your future plans (college with major if known or workforce) and where do you hope to be in five years?
Going to both Northeast and Southeast community college and I am going to have a major as a surgical technician.


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thank u, next: Ariana Grande shattered my expectations of pop
Alfredo Flores
Ariana Grande released her latest album "thank u, next" on Feb. 8, 2019. The album debuted at number one in America, Australia, and the UK to critical acclaim.
Chabeli Yumang, Staff Writer
thank u, next is Ariana Grande's latest album with chart-topping singles such as "break up with your girlfriend, i'm bored," "7 rings," and the title-drop song, "thank u, next," accompanied by a throwback music video that's racked up millions of views. The album cements Grande in the mainstream with trap-heavy instrumentals that still feature Grande's classic R&B sound.
In the wake of the death of her ex, Mac Miller, and a breakup with then-boyfriend Pete Davidson in late 2018, thank u, next's theme is about moving on from relationships. It expresses Grande's feelings about her past relationships and their turbulence.
"A lot of this album mourns failed yet important, beautiful relationships in my life (as well as celebrates growth/exploring new independence)," Grande said in an Instagram story.
The background of the album intrigued me. As someone who used to hold the prejudice that all pop songs were shallow, at first, I expected a surface-level breakup ballad stretched over twelve songs. Instead, the album surprised me in many ways.
The album's most noticeable aspect was its cohesion. It seemed to be a retelling of Grande's thoughts conveyed through the music and lyrics with each song being like a new chapter. Even though I had seen this setup before in albums such as alternative pop artist Marina and the Diamonds's Electra Heart, I had never heard of it in pop albums before. Yet the producers and songwriters of thank u, next expressed its cohesion beautifully.
The producers for thank u, next perfectly captured its essence. The first three songs had soothing R&B-influenced instrumentals and dreamy vocals that set a calm beginning. The story grows more turbulent with the energetic trumpet beat drop in "bloodline" and a thumping bass line paired with trap beats in "bad idea," then reaches its climax at "ghostin," a raw ballad about Grande coping with the loss of Mac Miller. Finally, it ends on a happy note with its poppy promotional singles: "7 rings," "thank u, next," and "break up with your girlfriend, i'm bored."
The production's variety was amazing. I had expected pop songs to sound relatively the same in albums with some changes according to music trends, but there were so many musical influences in thank u, next, from pop mainstays like tropical house and trap, to more alternative genres like lo-fi hip hop. Instead of the variety clashing, it all seemed to fit together within Grande's album.
Compared to the production, the lyrics' quality varied. Of course, like most pop music, there was a lot of repetitive choruses, but, for the most part, the lyrics were okay. Given that Grande co-wrote all the songs in the album, it's no surprise that her lyrics were heartfelt and honest. I especially liked how sometimes the lyrics seemed to clash with the instrumentals. If someone listened to "fake smile" without Grande's vocals, they'd think it would probably be a chill summer song. Instead, Grande sings about her dissatisfaction with how celebrities have to always keep face. Most of the time, though, the lyrics seamlessly blended with the production. That being said, I didn't like the lyrics of "7 rings" and "make up" that much, partially because of their seemingly lazy writing.
Overall, for my first step into pop music, the album was high quality, heightening my expectations for other pop singers to be just as good at songwriting as Grande. It's no surprise as to why it charted number one on Billboard, five minutes after debuting. With straightforward lyrics and beautiful production, thank u, next is a novel in twelve songs that will surprise any music listener.
Paul McCartney's perfect winter album
"Soul" (2020): Whatever happened to originality?
What's your Spotify Wrapped?
Evermore stories to tell
"Happiest Season" (2020): Since when did adequacy become so controversial?
Shawn Mendes takes a wonderful step
"The Great British Bake Off" returns with sweet eleventh season
Jingle Jangle: a Christmas masterpiece
"Mank" (2020): A pretty good movie about a guy writing a great movie
Sam Smith drops "Love Goes," their third studio album


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Doug Tisdale Honored at The Butterfly Ball for the American Cancer Society
Source: https://www.denverpost.com/2018/01/05/butterfly-ball-american-cancer-society/
Yes, indeed, there was a catch when the American Cancer Society invited Doug Tisdale to be the honoree at its annual Champions of Hope Gala, The Butterfly Ball.
No, he wasn't asked to kick in a huge amount of money in exchange for the chance to spend an evening in the spotlight and listen as friends and professional colleagues would sing his praises.
Nor was he required to sell an extraordinary amount of tickets (although he did).
Truth be told, the stipulation came from Tisdale himself: He would accept the honor only if he could once again volunteer as the evening's auctioneer.
Tisdale, an attorney, author and actor currently serving as executive vice president of the South Metro Denver Chamber of Commerce, is well-versed on persuading bidders to open their wallets, having volunteered his auctioneering skills on behalf of causes ranging from the Children's Diabetes Foundation to the Colorado Neurological Institute, Cancer League of Colorado and Cerebral Palsy of Colorado.
And he did himself proud at Champions of Hope, bringing in top dollar for items that included a weekend's use of a luxurious hybrid Karma Revero and a stay at one of the deluxe properties that are part of the Quintess Collection.
Bob Golden, president and CEO of the South Metro Chamber and a member of the American Cancer Society Denver board, presented Tisdale with the Champion of Hope award, describing him as "a man of integrity and professionalism," a man who is adept at "strategic engagement," or the art of connecting the right people to the right cause.
Tisdale deflected the praise by noting that the "true honorees tonight are the patients, doctors, researchers, caregivers and friends who live with one or more aspects of cancer every day."
He also noted that his guests included three survivors: his steady companion, Stephanie Bender, longtime friend Arlene Mohler Johnson, and Andrea Hyatt, whose late husband, Jack, had been Tisdale's mentor when he was a young lawyer starting out at the firm now known as Brownstein Hyatt Farber Schreck.
The Champions of Hope Gala was chaired by Erica Ferris, marketing director for the Monarch Casino Black Hawk and a member of the ACS Denver board. She was aided by a committee of nine: Cynthia Batchelder, Allison Beck, Kate Brewer, Niki Brewer, Rob Carroll, Jeannie DeFore, Allison Gellner, Adam O'Leary and Natalie Serkova.
The popular fundraiser was held at Mile High Station and began with a social hour where an aerialist performed without a net for a crowd that included Amy Venturi, deputy chief of staff for Gov. John Hickenlooper, and her husband, Ken; Dana Davis, executive director of the Children's Diabetes Foundation; Lisa Rigsby Peterson, executive director of the Lone Tree Arts Center, with Robin Scurto, the LTAC's annual fund manager, Susan Stiff, president of the LTAC board, and the guild's president-elect, Tonya Fallows.
Others staying on to enjoy a dinner catered by Footers and music by Raising Cain were Edgewater Mayor Kris Teegardin; KB Solutions president Kim Bimestefer; Michael Hafer, a senior vice president at Western Union, and his wife, Amy; and Steve Wiskow, luxury brand marketing manager and director of philanthropy for Bentley Denver, a dealership representing such high-end autos as Ferrari, Bentley, Lotus, USSV, Lamborghini, Aston Martin, Maserati, Porche and Karma.
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Posts tagged with "character actors"
Friday Five: "Hey, It's That Person!": MotU: The Movie Edition
July 26th, 2019 If you're a real pop culture nerd, chances are you get as excited when you see a supporting character with a familiar face as you do when one of your faves is the star. Let's celebrate these heroes!… Back in the early World Wide Web days, defunct site Fametracker had an awesome column called "Hey, It's That Guy!",...
Friday Five: Hey, It's That Person!: Big Trouble in Little China Edition
April 26th, 2019 If you're a real pop culture nerd, chances are you get as excited when you see a supporting character with a familiar face as you do when one of your faves is the star. Let's celebrate these heroes!… Back in the early World Wide Web days, defunct site Fametracker had an awesome column called "Hey, It's That Guy!",...
Friday Five: Hey, It's That Person!: Transformers Edition
January 25th, 2019 If you're a real movie and TV nerd, chances are you get as excited when you see a supporting character with a familiar face as you do when one of your faves is the star. Let's celebrate these heroes!… Back in the early World Wide Web days, defunct site Fametracker had an awesome column called "Hey, It's That Guy!",...
Friday Five: "Hey, It's That Person!": Westworld Edition
October 26th, 2018 If you're a real pop culture nerd, chances are you get as excited when you see a supporting character with a familiar face as you do when one of your faves is the star. Let's celebrate these heroes!… Back in the early World Wide Web days, defunct site Fametracker had an awesome column called "Hey, It's That Guy!",...
Friday Five: "Hey It's That Person!" - Alien Anthology Edition
August 24th, 2018 If you're a real movie nerd, chances are you get as excited when you see a supporting character with a familiar face as you do when one of your faves is the star. Let's celebrate these heroes!… Back in the early World Wide Web days, defunct site Fametracker had an awesome column called "Hey, It's That Guy!", celebrating...
Friday Five: "Hey, It's That Person!": Office Space Edition
July 27th, 2018 If you're a real movie nerd, chances are you get as excited when you see a supporting character with a familiar face as you do when one of your faves is the star. Let's celebrate these heroes!… Back in the early World Wide Web days, defunct site Fametracker had an awesome column called "Hey, It's That Guy!", celebrating...
Friday Five: "Hey, It's That Person!": Jurassic Park Edition
June 1st, 2018 If you're a real movie nerd, chances are you get as excited when you see a supporting character with a familiar face as you do when one of your faves is the star. Let's celebrate these heroes!… Back in the early World Wide Web days, defunct site Fametracker had an awesome column called "Hey, It's That Guy!", celebrating...
Friday Five: 'Hey, It's That Person!': Arrested Development Edition
Friday Five: "Hey, it's That Person!": Bill and Ted Edition
January 5th, 2018 If you're a real movie nerd, chances are you get as excited when you see a supporting character with a familiar face as you do when one of your faves is the star. Let's celebrate these heroes!... Back in the early World Wide Web days, defunct site Fametracker had an awesome column called "Hey, It's That Guy!", celebrating character...


Trimark International Companies Fund seeks to provide strong capital growth over the long term. The Fund invests primarily in securities of issuers located outside of Canada and the United States. The investment objectives of the Fund cannot be changed without the approval of a majority of the investors at a meeting called to consider the change.


This is Sarge here at C4 Defense, and today I'm going to show you how to build a patch panel like I use on my weekly live streams. I built this one for under $16, but it depends on what size you're building as to the total cost. All you need is a picture frame (with a glass front, some felt, some spray adhesive, a marker, and a ruler. Most of these items can be found on Amazon https://amzn.to/2Tla0o7 or you can find them locally. For a few buck, and a little time, you can build one today. And as always, SUBSCRIBE, COMMENT, LIKE, hit that NOTIFICATION icon if you're already a subscriber, and we'll see you on the range.


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Biogen Files MAA for Hemophilia Drug
Ellen R. Delisio
Swedish Orphan Biovitrum AB (Sobi's) partner Biogen has submitted a Marketing Authorisation Application (MAA) for Alprolix (rFIXFc) to the European Medicines Agency (EMA). Sobi has an opt-in right to assume final development and commercialization of Alprolix in Europe, Russia, certain countries in the Middle East, and North Africa, according to Sobi. The MAA filing with the EMA along with the receipt of the opt-in data package permits the formal opt-in right for Sobi to exercise its option in accordance with the collaboration agreement, the company notes.
Alprolix is a prolonged circulating recombinant factor IX Fc fusion protein product candidate for people with hemophilia B.
Source: Sobi
Alprolix
Sobi
Cortendo Buys Endocrine Disease Treatments
Certain Drugs Raise Homicide Risk
Horizon and AstraZeneca partner to explore oncology-relevant genotype
Horizon Discovery and AstraZeneca have entered into a research, collaboration and license agreement to explore a range of oncology-relevant genotypes with the aim of identifying and validating a number of novel drug targets. This deal is the second collaboration between AstraZeneca and Horizon, and follows the announcement in April 2013…
Lundbeck and Otsuka to develop investigational vaccine candidate
H. Lundbeck and Otsuka Pharmaceutical today announced that they will further expand their collaboration to include the development of Lu AF20513, an investigational vaccine candidate for Alzheimer's disease. Lu AF20513 is an anti-Aβ active vaccine candidate for Alzheimer's disease which currently is in preclinical development. It is designed towards an optimal…
BioArctic collaborates with AbbVie
Karolinska Development announces that its portfolio company BioArctic has entered into a strategically important collaboration with AbbVie, a global biopharmaceutical company, to develop and commercialize BioArctic's portfolio of antibodies directed against alpha-synuclein for the treatment of Parkinson's disease and other potential indications. Parkinson's disease is the second most-common neurological disease,…
Neurovive collaborates with A1M Pharma
NeuroVive Pharmaceutical AB and A1M Pharma AB have announced that the two companies are initiating a research collaboration in mitochondrial medicine. Initially, the purpose of the collaboration is to utilize the companies' complementary scientific platforms within the framework of ongoing research projects. The companies will evaluate results achieved to date,…


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Bethenny Frankel On Her Best Decisions, Worst Times And What Excites Her Right Now
CEO, philanthropist, producer, podcaster, author and Real Housewives of New York O.G., Bethenny Frankel might have the world at her feet, but she will never rest on her laurels.
Let's imagine, for a moment, what it would be like to be friends with Bethenny Frankel; a multi-hyphenate multitasker who seems to live in a world where the days consist of 34 hours instead of 24. Firstly, she'll look you dead in the eye and tell you, in that unmistakable New York-native accent, that you look fabulous. Unless, of course, you don't and then she won't: she's a say-what-you-mean-and-mean-what-you-say kinda woman.
You'll chat over margaritas (Skinnygirl, of course) and mention an interesting business idea you have, leading to a frank but motivating conversation that culminates with Frankel calling a friend who can help you get your venture up and running. There'll be an invitation to a charity event she's involved in. She'll give you a shout-out on social media when your business gets off the ground. And then she'll send you a late-night text checking you're on track and okay. You know she's always got your back and that makes you want to have hers.
It's the combination of razor-sharp repartee, deadpan humour, insight and charm that has made Frankel one of the most iconic of all the Real Housewives. But, ironically enough for a star of 'reality TV' (a genre that is often criticised for its lack of realism), it's Frankel's authenticity that has helped her create the multimillion-dollar empire she now presides over. An empire that counts 120-plus consumer products; from popcorn, preserves and frying pans, to shapewear, sunglasses and supplements. There are also five NYT bestselling books, a podcast, a TV production company… We could go on.
Make no mistake though; none of it was a happy accident. A pioneer in the art of monetising reality-TV fame, Frankel made two very astute business decisions when she first joined the cast of Real Housewives of New York in 2008. One was to use her ever-growing platform to advertise the now-famous Skinnygirl margarita brand to the masses – a move so successful she sold the pre-mixed drink portion of the company (while keeping the Skinnygirl name rights) to Beam Global in 2011 for a reported US$100 million.
The other was to take "the $7,250 for my first season contract of Housewives and have the wherewithal and confidence to cross out the clause giving away a piece of my business", Frankel tells The Suite. "I was broke and was no one, had nothing, the show was nothing and no one had monetised reality TV. I just had a hunch that it might be important someday," she says matter-of-factly.
That hunch paid off in spades (and by spades we mean millions of dollars), and even inspired TV networks to insist on cast members signing contractual clauses stipulating the networks get a piece of all side-hustle profits. "After my initial deal, 'the Bethenny clause' was born in the entertainment industry whereby talent was asked to give networkers and streamers a part of the action," she explains.
"I thrived and SURVIVED and fought for what is morally and ETHICALLY correct and I am STRONGER for it."
No mean feat for someone who has often spoken about growing up in a dysfunctional, non-traditional environment, where she was exposed to all kinds of abuse, from physical to drugs to eating disorders. It resulted in a resilience so strong that even being flat broke in her late 30s didn't fully break Frankel.
What nearly did? Her divorce. "It was completely excruciating and endless and there are many aspects of it that have never surfaced publicly," Frankel admits. "I was intensely private about it, which came very close to hurting my career. I kept my mouth shut and waited almost a decade for the storm to pass. I thrived and survived and fought for what is morally and ethically correct and I am stronger for it."
Strong should be Frankel's middle name (if it wasn't Robyn). Not just because she's had to find the strength to deal with her fair share of media backlash, but because her disaster relief charity is called BStrong, and even it has had its battles. "I have had people write slanderous, incorrect things about me in business and I've had to weather those storms and turn them into rainbows," she says. "I've felt like I could be cancelled for expressing an honest opinion. I've dealt with corrupt people in relief work and been on the edge worried that I couldn't pull off multimillion-dollar philanthropic transactions. I've been through it all."
Frankel gets fired up when she talks about her philanthropic work, and with good reason. Since its inception, BStrong – which provides real-time emergency assistance to people in crisis – has contributed critical supplies and funding to Puerto Rico after Hurricanes Maria and Irma, California and Australia after the wildfires, and Mexico City after an earthquake, to name just a few. Last year, it turned its attention to the coronavirus, raising over $20 million for relief, and using the money to coordinate the delivery of masks, hazmat suits, and direct funding to hospitals, healthcare systems, and police officers in the US. More recently, Frankel has worked to raise funds for the Miami condo collapse and the Haiti earthquake.
"Having the means and evolving skill set to execute lifesaving meaningful relief missions is very rewarding," she explains. "It gives me a greater purpose and always surfaces when life is simply too superficial."
It's this down-to-earth, matter-of-factness that makes Frankel more of a force than a famous face. It's also why her podcast, Just B with Bethenny Frankel, is a no-brainer: it's where 'no-bullshit Bethenny' can really show up and work her magic. After all, this is when she shines; connecting with an audience through humour, emotion, entertainment and the occasional curse word. For Frankel, the podcast is "an absolute dream … I love doing it with all of my heart".
"Having the means and EVOLVING skill set to execute lifesaving meaningful relief missions is VERY rewarding."
That's not to say the venture was without risk: letting someone like Frankel loose on the airways should come with a warning sticker. But it's what her audience wants, expects and loves. Now, 50 episodes and counting, she's featured everyone from Chelsea Handler to Hillary Clinton, Matthew McConaughey to billionaire investor, Mark Cuban. Speaking of…
"One of the best pieces of advice I've received was from Mark Cuban, who told me that just because I love a product doesn't mean I should invest in it, but that I can simply buy it," Frankel reveals. "Kevin Huvane told me to rise above it all, be gracious and not take the bait. And Ellen DeGeneres told me that you'll keep making the same mistakes until you learn the lesson, and not to buy into the love or the hate."
And Frankel's favourite advice to give to others? It's actually her own. "Never connect a dot," she says. "This isn't referring to business per se, because knowing everything in business is key. This is about socially not telling people everything – where you have been, what you're doing and who you know. I keep those cards very close to my chest."
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Dal 2004 al 2010 è stato commissario tecnico della nazionale francese, con cui fu finalista al campionato mondiale del 2006.

Biografia
È nato in Francia da padre catalano, rifugiatosi nel paese transalpino durante la dittatura di Francisco Franco. Dalla relazione con la giornalista Estelle Denis — a cui chiese pubblicamente di sposarlo durante l'Europeo 2008 — è divenuto padre di due figli, Victoire (nel 2004) e Merlin (2007); il matrimonio si è poi celebrato nel 2009.

Appassionato di teatro, tanto da aver fatto parte in gioventù di una compagnia, ha ammesso di comporre le formazioni anche in base all'astrologia: a tal proposito, l'ex nazionale francese Robert Pirès dichiarò di essere stato escluso dalle convocazioni non per ragioni tattiche o personali ma perché appartenente al segno zodiacale dello Scorpione.

Controversie
Nel giugno 1994, quando allenava la nazionale francese Under-21, durante i Mondiali americani, fu arrestato a Boston per aver tentato di vendere (a prezzo dimezzato) biglietti per l'incontro tra Corea del Sud e Bolivia: temporaneamente incarcerato, venne rilasciato dopo il versamento di una cauzione pari a 500 dollari.

Nell'agosto 2007 — tramite un'intervista a Le Parisien — rivolse accuse di slealtà al calcio italiano, citando una presunta corruzione dell'arbitro operata dall'Under-21 azzurra ai danni dei pari età francesi in una gara di qualificazione ai Giochi olimpici del 2000: tali esternazioni furono punite dall'UEFA con un turno di squalifica, cui si aggiunse un'ammenda economica di  franchi svizzeri (corrispondenti a  euro). In seguito al ricorso presentato, la sanzione pecuniaria fu annullata.

Carriera

Giocatore
Domenech debuttò nel 1969 come difensore nel Lione, squadra con la quale nel 1973 vinse la Coppa di Francia.
Passato allo Strasburgo vinse il campionato nel 1979, per poi fare la spola tra Paris Saint-Germain e Bordeaux prima di terminare la propria carriera nel Mulhouse, squadra dove fece anche le sue prime esperienze come allenatore.

Allenatore
Dopo i primi anni trascorsi come allenatore del Mulhouse, Domenech divenne allenatore del Lione nel 1988, ottenendo nel 1989 la promozione in Ligue 1.
Nel 1993 divenne CT della Nazionale Under-21, con la quale ottenne un quarto (1994), un terzo (1996) ed un secondo posto (2002) agli Europei Under-21.

Nazionale francese
In seguito all'eliminazione nei quarti di finale degli Europei da parte della , nel 2004 subentrò a Jacques Santini sulla panchina della Nazionale maggiore francese.

Ai Mondiali del 2006 i Bleus si classificarono al secondo posto, sconfiggendo negli ottavi di finale la Spagna, nei quarti il Brasile ed in semifinale il Portogallo, per poi essere sconfitti in finale dall' ai rigori. Nonostante il buon risultato sul campo ed il buon gioco espresso dalla squadra, il tecnico non fu esente da critiche, dovute soprattutto alla già citata attenzione all'oroscopo nella scelta dei giocatori da schierare in campo ed all'aver lasciato più volte in panchina l'attaccante David Trezeguet.

Domenech fu confermato sulla panchina dei Bleus anche per il biennio successivo, che portava agli Europei del 2008 in Austria e Svizzera, in cui però la squadra deluse molto, venendo eliminata al primo turno della competizione con 1 punto ottenuto in 3 partite ed 1 solo gol, segnato da Thierry Henry nella partita persa per 4-1 contro i Paesi Bassi.

Durante le qualificazioni per il Mondiale del 2010, il 4 settembre 2009, alla vigilia della decisiva partita contro la Romania (terminata 1-1), i giocatori si resero protagonisti di quello che sarà definito un ammutinamento nei confronti di Domenech, con il capitano Henry che dichiarò:

Sempre tramite Henry i giocatori della Nazionale francese fecero sapere a Domenech di essere '"delusi del suo lavoro e annoiati e confusi dai suoi metodi di allenamento"'. Nonostante le difficoltà, la Francia riuscì a qualificarsi per la fase finale dei Mondiali estromettendo allo spareggio l', ma la qualificazione fu ottenuta in modo irregolare: nei tempi supplementari della gara di ritorno William Gallas segnò il gol dell'1-1 (andata 0-1) viziato da un evidente fallo di mano di Henry.

Prima dell'inizio dei Mondiali del 2010 la Federcalcio francese rese noto che al termine del torneo, a prescindere da come esso si sarebbe concluso per la nazionale francese, Domenech sarebbe stato sostituito da Laurent Blanc.

Al Mondiale sudafricano la nazionale di Domenech si comportò esattamente come agli europei di due anni prima, uscendo al primo turno con 1 punto in 3 gare e un solo gol, opera di Florent Malouda nella partita persa per 2-1 contro il Sudafrica. Nel corso del Mondiale la federcalcio francese escluse dalla squadra Nicolas Anelka, reo di aver insultato Domenech durante l'intervallo della partita con il Messico, e registrò le dimissioni del preparatore atletico Jean-Louis Valentin. Domenech, inoltre, si trovò ad affrontare un nuovo ammutinamento della squadra, che decise di saltare una seduta di allenamento in segno di solidarietà nei confronti di Anelka. Il loro comunicato fu letto di fronte ai giornalisti dallo stesso CT, che in conferenza stampa definì "una pagliacciata" il gesto dei calciatori. Dopo l'eliminazione il capitano Patrice Evra e la stampa francese criticarono duramente il tecnico. Lo stesso Domenech al fischio finale della partita contro il Sudafrica si rifiutò di stringere la mano al collega Carlos Alberto Parreira, aprendo un nuovo caso.

La federcalcio francese (Fff) ha licenziato Domenech in favore di Blanc il 5 settembre 2010.

Nantes
A 10 anni di distanza dall'ultimo incarico, il 26 dicembre 2020, grazie ad una deroga concessa dalla federcalcio francese, viene ingaggiato come nuovo allenatore dal , con cui firma un contratto fino al termine della stagione. Il 10 febbraio 2021, dopo aver guadagnato 4 punti in 7 giornate di campionato, viene esonerato dal Nantes.

Statistiche

Cronologia presenze e reti in nazionale

Statistiche da allenatore

Club
In grassetto le competizioni vinte.

Panchine da commissario tecnico della nazionale francese

Palmarès

Calciatore

Strasburgo: 1978-1979
Bordeaux: 1983-1984

Olympique Lione: 1972-1973
Bordeaux: 1983-1984

Olympique Lione: 1973

Allenatore

Olympique Lione: 1988-1989

Note

Altri progetti

Collegamenti esterni

Ispano-francesi
Calciatori della Nazionale francese

redpajama_set_name: RedPajamaWikipedia


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A 2005 interview with illustrator Marc Rosenthal by Norman Rockwell Museum for the exhibition, "The Art of 'The New Yorker': Eighty Years in the Vanguard."
Video produced by Jeremy Clowe for Norman Rockwell Museum. ©Norman Rockwell Museum. All rights reserved.


The Stochastic Process Model (SPM) represents a general framework for modeling joint evolution of repeatedly measured variables and time-to-event outcomes observed in longitudinal studies, i.e., SPM relates the stochastic dynamics of variables (e.g., physiological or biological measures) with the probabilities of end points (e.g., death or system failure). SPM is applicable for analyses of longitudinal data in many research areas; however, there are no publicly available software tools that implement this methodology. The R-package "stpm" comprises the SPM-methodology and allows for estimating several versions of SPM currently available in the literature including discrete- and continuous-time multidimensional models and a one-dimensional model with time-dependent parameters. Also, the package provides tools for simulation and projection of individual trajectories and hazard functions.


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Ideologies Coming Together in 'The Meeting' of Malcolm X and Dr. Martin Luther King
reviewed by Matt Ritchey
Brown Sugar Rehab's production of Jeff Stetson's The Meeting was nominated for three NAACP Theater Awards for their run at Theatre 68. And experiencing the special performance of the show at the Zephyr Theatre on May 19th, it's easy to see why.
The Meeting is about the time in 1965 when Malcolm X (Bechir Sylvan) invites Dr. King (Ethan Henry) to his apartment in Harlem to talk. What really occurred is unknown, but Stetson's play does an amazing job of showing how these two ideologically different men may have connected. They are both aware of their current safety concerns and Malcolm wants to instill some of his methods into Dr. King, thinking he may carry on the movement if he is taken out. The same is true of Dr. King wanting to instill his peaceful protests into Malcolm's ideology. It's a highly intelligent struggle between two greats, physicalized on stage by arm wrestling bouts between deep conversations which, with the benefit of hindsight, are frighteningly true predictions.
Bill Cobbs
Legendary actor and director Bill Cobbs guides the story beautifully as the actors completely own the stage. The contrasting philosophies of the two men are well represented in not only costume (Dr. King in revered black and Malcolm in his classic grey) but in spot-on vocal performance, from Sylvan's pointed city vibe to Henry's Southern drawl. It's impossible to say where (or if) the passion of the actors and the passion of the characters differed.
The best part about these conversations is that in the end, both ideas are "right." The play doesn't push for one ideology over the other but shows how they are both true, both work, and that perhaps, if the tragedies of the two men's assassinations hadn't occurred, their movements could have coalesced and we could be living in a much different world right now.
Which, of course, is a primary reason for mounting this play right now. As much as we would like to think that we've changed and learned since the 1960s, the rise of evidence in race-related police brutality and hate crimes seems to prove the opposite. If we're repeating our history, who are our modern Kings and Malcolm's? In a talk-back after the show, Producer/Malcolm actor Sylvan noted that we don't have any leaders willing to die for their beliefs today. We live in a world of hashtags and armchair justice, with a comment on the internet enough to make us feel we've made a difference. One could argue that there are a few voices rising above the din for justice and change, Ocasia-Cruz and Harris come to mind, but have we yet found that intersection of peaceful protest and action?
I sincerely hope this production and its message finds itself remounted soon.
Photo (above) by Doren Sorell Photography Bechir Sylvain, Justin Chu Cary and Ethan Henry
'The Meeting' play, African American plays in Los Angeles, best plays in Los Angeles, legendary actor and director Bill Cobbs, NAACP award winning plays, race-related police brutality, secret 1965 Harlem apartment meeting between Malcom X and Dr. Martin Luther King, Zephyr Theatre


This is a Phase III, randomized, double-masked, active-controlled, parallel-group, multi-center study. Subjects diagnosed with glaucoma or OHT who meet eligibility criteria at Visit 1 (Screening) will washout of their current topical IOP-lowering medication(s), if any. After completing the required washout period, subjects will return for Visit 2 (Baseline, Day 1). Subjects who meet all eligibility criteria at baseline will be randomized to receive double-masked treatment for 3 months. Adult subjects will receive open-label DE-117 Ophthalmic Solution for an additional 9 months.
Timolol Maleate Ophthalmic Solution 0.5% twice daily. The study will evaluate the efficacy and safety of DE-117 Ophthalmic Solution compared with Timolol Maleate Ophthalmic Solution 0.5% in subjects with glaucoma or OHT through Month 3 and will provide additional safety data through Month 12 for subjects receiving DE-117.


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Pitt commit Paris Ford invited to Under Armour All-American Game, per his Twitter account
By CardiacHill@AnsonWhaley Apr 22, 2016, 10:00am EDT
Share All sharing options for: Pitt commit Paris Ford invited to Under Armour All-American Game, per his Twitter account
Photo credit to Student Sports - www.studentsports.com
Pitt 2017 commit Paris Ford is expected to join the Panthers' football team next year, but before he does, he could play in a high-profile All-American game.
Ford announced he was invited to the Under Armour All-American game on his Twitter account on Thursday:
Blessed To Receive An Invite To The Under Armour All-American Game‼ #TrulyBlessed ® pic.twitter.com/o6UuyKWbeR
— Parîs Ford1⃣ (@DiddyBop1_) April 21, 2016
Last year, the game was played on January 2nd and televised on ESPN2. Assuming he plays, that's great news and big exposure for him and Pitt, obviously. It's right around the holidays and on national TV, so it doesn't get much bigger than that.
If he is officially selected, Ford would become the second Pitt commit to be at the game. Per the Under Armour game page, Dorian Johnson was the only other Pitt recruit to appear in the contest, when he did so back in 2013.
Currently, Ford ranks as the top Pitt commit for 2017. The four-star recruit is recognized by Rivals as the No. 3 safety in the nation, and a top 50 player overall.