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The Illusionist
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The Illusionist is a 2006 American romantic mystery film written and directed by Neil Burger and starring Edward Norton, Paul Giamatti, and Jessica Biel. It is based loosely on Steven Millhauser's short story "Eisenheim the Illusionist".
Clyde Shelton is desperate to exact revenge on those who killed his family as well as on the police officials, including assistant DA Nick Rice, who could not guarantee an appropriate sentence.
Martine approaches Terry, a car salesman who faces serious financial issues, to form a gang and rob a bank. However, things are not as easy as they seem.
Civil War veteran and small-time rancher Dan Evans decides to escort Ben Wade, an outlaw, for a paltry sum of 200 dollars to regain his lost honour and retrieve his barn from Glen Hollander.
A teenager finds himself transported to a mysterious kingdom after he discovers a lost relic. Once there, he teams up with a few warriors to rescue the jailed Monkey King to whom the relic belongs.
Stephen Meyers is the junior campaign manager of the presidential candidate Mike Morris. However, he gets him involved in a major political scandal that jeopardises Mike's shot at presidency.
Two boys are brought up in a sadistic neighbourhood of Rio de Janeiro. They adopt diverse professional paths, with one of them becoming a photographer and the other boy becoming a drug dealer.
Two friends on a summer holiday in Spain become enamoured with the same painter, unaware that his ex-wife, with whom he has a tempestuous relationship, is about to re-enter the picture.
An ageing wrestler struggles to keep up with life as he is too old to continue his wrestling career. He realizes that he has to come to terms with what life has to offer at this stage and move on.
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Youve probably seen that Ive been playing generally with the Oculus Rift Development Kit since Ive got my device as well as fortunately the fact that so much more than 2000 DKs were sent out means a lively consumer community and there are really new improvement across the Rift on a regular basis. Today, considering that the Rift handles your eyesight entirely and when you wear earphones for the sound-you sort of get totally cut off from real life, and and although that this has edges it also provides some minuses.
On October 7th, the 99th time of the NFL season begins, but when you're outside of The United States, you might have trouble adjusting in. If you attempt to supply the games on the web, hosts might prevent your access by checking your IP number .
Block-chain facilities supplier BitFury brought together over 70 leading numbers in the business that was cryptocurrency Jan, 20-16, to get a roundtable meeting. Adhering to a year of discussion on the time to come of Bitcoin and block dimensions change, the North American Bitcoin Conference eventually led to a a consensus that was more organized to resolve the problem longterm.
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Scientists are now closer than ever to being able to use graphene as a superconductor – to conduct electricity with zero resistance – making it useful for developing energy efficient gadgets, improving medical research, upgrading power grids, and much more besides.
The key to the new approach is heating a silicon carbide (SiC) crystal, itself a superconductor, until the silicon atoms have all evaporated. This leaves two graphene layers on top of each other in a way that, in certain conditions, offers no resistance to electrical current.
A similar dual-layer approach was also successfully used to turn graphene into a superconductor earlier this year. The difference here is the layers don't have to be carefully angled on top of each other, which should make it easier to reproduce at scale.
Technically speaking, the scientists have found a flat band structure where electrons don't meet with resistance, so they can flow freely regardless of their energy level.
Researchers have studied two-layer graphene before, as it's a well-known semiconductor. But this time researchers spotted something previously unnoticed in the layers.
The scientists determined that the interaction between the graphene layers, as well as the effects of the silicon carbide lattice, were jointly responsible for creating the flat band.
They used a special technique called angle-resolved photoemission spectroscopy or ARPES to determine how the electrons were behaving at a very high resolution. That was made possible by the BESSY II synchrotron particle accelerator at HZB.
Another requirement for superconductivity is reaching a certain energy level known as the Fermi energy level. The two layers of graphene tested here got close enough to that point that the researchers think it could be tweaked to fit relatively easily.
"We can predict this behaviour with very few parameters and could use this mechanism to control the band structure," says one of the team, Oliver Rader from HZB.
While we've seen graphene act as a superconductor before, this latest study brings it closer than ever to being something that will properly scale up and be useful in everyday life. Some previous successes were achieved by adding other metals to graphene, but here it's doing all the work on its own.
The scientists say the technique shows promise for working at elevated temperatures too, unlike the ultra-low temperature conditions seen in previous efforts to make graphene act as a superconductor, and upon which this research is based.
Graphene continues to surprise us with the wonderful ways it can work: the one-atom-thick layer of graphite is ultra-thin yet harder than diamond and stronger than steel. It has potential in everything from solar power to water purification.
In its original state it's already an excellent conductor of electricity, and now it seems we're getting closer to the ultimate in conductivity – and it's thanks to some of the most advanced scientific instruments we have.
The research has been published in Science Advances.


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Top 10 sizzling pictures of Jessica Chastain – Hollywood actress 2019
Mumbai Web design > Top Images > Top 10 sizzling pictures of Jessica Chastain – Hollywood actress 2019
10 sizzling footage of Jessica Chastain – Hollywood actress identified for It chapter 2, Molly's sport and Interstellar.
Jessica Chastain is among the most versatile and delightful actress of her technology. The 42-year-old actress who performed Beverly Marsh in IT : Chapter 2, has gained a Golden Globe Award and a couple of academies Awards nomination.
Jessica made her movie debut in 2008 with the film Jolene. In 2011, Chastain earned her first Oscar nomination for the movie The Assist. In 2012, she gained a lot crucial acclaim and fame for enjoying CIA analyst in Zero Darkish Thirty, for which she gained a Golden Globe and an Oscar nomination.
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Listed below are 25 gorgeous sizzling pictures of Jessica Chastain.

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Case report and literature review
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Arch Craniofac Surg > Volume 20(3); 2019 > Article
Park, Yoon, Bang, and Ahn: Branchial cleft cyst in the parotid gland in a human immunodeficiency virus-negative patient
Archives of Craniofacial Surgery 2019;20(3):191-194.
DOI: https://doi.org/10.7181/acfs.2019.00031
Branchial cleft cyst in the parotid gland in a human immunodeficiency virus-negative patient
Yun Yong Park1 , Jung Soo Yoon1 , Seong Sik Bang2 , Hee Chang Ahn1
1Department of Plastic and Reconstructive Surgery, Hanyang University College of Medicine, Seoul, Korea
2Department of Pathology, Hanyang University College of Medicine, Seoul, Korea
Correspondence: Hee Chang Ahn Department of Plastic and Reconstructive Surgery, Hanyang University College of Medicine, 222-1 Wangsimni-ro, Seongdong-gu, Seoul 04763, Korea E-mail: ahnhc@hanyang.ac.kr
Received January 25, 2019 Revised March 25, 2019 Accepted April 19, 2019
Copyright © 2019 The Korean Cleft Palate-Craniofacial Association
In branchial lymphoepithelial cyst (BLEC), which is also known as branchial cleft cyst, the remnants of a branchial arch develop into a cyst, causing swelling. The first case of BLEC in the parotid gland was reported by Hildebrant in 1895. Since then, BLEC in the parotid gland has continued to be reported, but in rare cases. A 45-year-old man presented to our hospital with a swelling of the left cheek of approximately 6 months' duration. The patient underwent a superficial parotidectomy and was pathologically diagnosed with BLEC. Of note, this was the first case of non-human immunodeficiency virus (HIV)-related BLEC of the parotid gland in South Korea. BLEC is a benign condition, but its treatment depends on the presence of HIV infection. In HIV-negative patients, BLEC does not require a further work-up to evaluate metastasis. Our case report describes the diagnosis and treatment of BLEC in a patient without HIV.
Keywords: Branchioma / Parotid gland / Salivary glands
In branchial lymphoepithelial cyst (BLEC), which also referred to as branchial cleft cyst, the remnant of a branchial arch develops into a cyst, causing swelling [1]. Branchial cleft cysts are classified into four groups depending on which branch cleft they originated from, with locations ranging from the external auditory canal (in first branchial cleft cysts) to the lower part of the neck (in fourth branchial cleft cysts). Branchial cleft cysts in the parotid gland belong to the category of first branchial cleft cysts [2].
Since the first case of BLEC in the parotid gland was reported by Hildebrant in 1895, a total of 70 cases have been reported as of 2018 [1]. The incidence of BLEC in the parotid gland increased with the human immunodeficiency virus (HIV) epidemic, and it now occurs in an estimated 3% to 6% of HIV-positive adults [3,4]. However, BLEC of the parotid gland in HIV-negative patients is extremely rare, and the case presented herein is the first such case in South Korea. In this case report, we present the evaluation and treatment of BLEC in the parotid gland in an HIV-negative patient.
A 45-year-old male patient visited the outpatient clinic of the department of plastic surgery with a swelling of the left cheek that had lasted for about 6 months. The patient reported no events that could have caused particular trauma to the left facial area. The size of the patient's cyst had recently been increasing, prompting him to visit a tertiary hospital for examination and treatment (Fig. 1).
Upon physical examination, the swelling of the left cheek was not accompanied by pain and tenderness. There was no change in size or feeling of warmth during eating, and a soft movable mass was palpable. Facial nerve function was intact. We then performed contrast-enhanced facial computed tomography (CT) for further evaluation. The differential diagnosis between BLEC and vascular malformations is very important. In general, vascular malformations are hyperdense on contrast-enhanced CT scans, whereas BLECs present as hypodense, thin-walled lesions. The CT findings showed a well-defined cystic mass with peripheral rim enhancement and central poor enhancement, confined to the superficial lobe of the left parotid gland (Fig. 2). The mass was suggestive of a benign cystic lesion, such as sialocele or first branchial cleft cyst. The hospital protocol for HIV diagnosis was followed. An HIV rapid test, enzyme-linked immunosorbent assay test, and Western blot were negative. We considered superficial parotidectomy, since the lesion was benign. The patient underwent left superficial parotidectomy under general anesthesia for resection of the mass. During the operation, the soft tissue surrounding the mass showed severe adhesion and fibrosis. After careful dissection and identification of the five main branches of the facial nerve, en bloc mass removal was performed successfully. Sternocleidomastoid (SCM) muscle transfer was performed to prevent Frey syndrome and a depression deformity of the parotid region. The histopathologic report was suggestive of a BLEC of the parotid gland (Fig. 3). Seroma was observed on the 3rd postoperative day and drainage was performed for more than 10 days. Thereafter, the seroma improved and we confirmed the absence of a facial nerve injury. This study was approved by the Institutional Review Board of Hanyang University Seoul Hospital (IRB No. 2019-01-016).
BLEC has been defined as the occurrence of single or multiple cysts within salivary gland lymph nodes [5,6]. BLECs are also known as branchial cleft cysts because they develop from the remnant masses of branchial arches. However, the precise pathogenesis of BLEC is controversial, and many theories have been suggested, of which the parotid gland inclusion theory appears to be the most feasible explanation for BLEC formation. According to this proposal, BLECs develop due to the cystic transformation of lymph nodes [1].
BLEC has been associated with HIV infection as part of a diffuse infiltrative lymphocytosis syndrome, in which it is a clinical manifestation of lymphoid hyperplasia in the parotid glands. In recent decades, the HIV epidemic has caused the incidence of parotid gland BLEC to increase [2]. In contrast, BLEC of the parotid gland in HIV-negative patients is extremely rare. In particular, the case described herein is the first case of BLEC of the parotid gland in a HIV-negative patient reported in South Korea.
Histologically, BLEC has a wall lined by stratified epithelium, most commonly squamous, but possibly cuboidal or pseudostratified columnar type. The epithelial component is supported by lymphoid aggregates, demonstrating a well-formed germinal center. Lymphoid hyperplasia is observed inside. The specimens from our patient showed similar pathologic findings (Fig. 3), leading to the pathological diagnosis of BLEC.
BLEC does not recur or metastasize. Therefore, the treatment of BLEC in HIV-negative patients is usually surgical resection. In contrast, HIV-associated BLEC requires observation, repeated aspiration for swelling, and antiretroviral medication. Our patient's mass was confined to the superficial lobe of parotid gland on CT findings, and we therefore performed superficial parotidectomy that included the mass. After superficial parotidectomy, we performed SCM muscle transfer for two purposes. The first was to prevent a depression deformity caused by the mass removal. Second, Frey syndrome can occur after parotidectomy because the parotid gland is not encapsulated [7]. Therefore, in our patient, an SCM muscle flap was used to create a barrier between the parotid gland and overlying skin. After the pathological diagnosis of BLEC, the patient was confirmed to be HIV-negative and the treatment was terminated. There was no complication, and postoperative course was not eventful.
Our case is the first case of BLEC of the parotid gland in South Korea. In addition, it is significant that we successfully treated this patient through our protocol. In conclusion, our case report provides useful information on how to diagnose and treat BLEC in the future.
Ethical approval
The study was approved by the Institutional Review Board of Hanyang University Seoul Hospital (IRB No. 2019-01-016) and performed in accordance with the principles of the Declaration of Helsinki. Written informed consent was obtained.
The patient provided written informed consent for the publication and the use of his images.
Preoperative photographs. The patient complained of swelling on the left cheek area. The swelling of the left cheek was not accompanied by pain or tenderness. (A) Frontal view and (B) lateral view.
Preoperative computed tomography. (A, B) The arrow indicates the mass, which was well-defined, located in the superficial lobe, and measured 2.5×1.7×2.1 cm. The findings were suggestive of a benign mass, such as pleomorphic adenoma or sialocele.
Histopathologic findings of the lymphoepithelial cyst. (A) The cut surface showed a unilocular cystic lesion, filled with straw-colored fluid (gross findings). (B) On microscopic examination, the dense lymphoid component completely surrounded the cystic cavity (H&E, scanning view). (C) Lymphoid follicles with a germinal center were identified (H&E, ×200). (D) The cyst was lined by attenuated squamous epithelium, and lymphocytic infiltration of the cystic epithelium was prominent (H&E, ×400).
1. Joshi J, Shah S, Agarwal D, Khasgiwal A. Benign lymphoepithelial cyst of parotid gland: review and case report. J Oral Maxillofac Pathol 2018;22(Suppl 1):S91-7.
2. Krishnamurthy A, Ramshanker V. A type I first branchial cleft cyst masquerading as a parotid tumor. Natl J Maxillofac Surg 2014;5:84-5.
3. Dave SP, Pernas FG, Roy S. The benign lymphoepithelial cyst and a classification system for lymphocytic parotid gland enlargement in the pediatric HIV population. Laryngoscope 2007;117:106-13.
4. Pillai S, Agarwal AC, Mangalore AB, Ramaswamy B, Shetty S. Benign lymphoepithelial cyst of the parotid in HIV negative patient. J Clin Diagn Res 2016;10:MD05-6.
5. Varnholt H, Thompson L, Pantanowitz L. Salivary gland lymphoepithelial cysts. Ear Nose Throat J 2007;86:265.
6. Ebrahim S, Singh B, Ramklass SS. HIV-associated salivary gland enlargement: a clinical review. SADJ 2014;69:400-3.
7. Filho WQ, Dedivitis RA, Rapoport A, Guimaraes AV. Sternocleidomastoid muscle flap preventing Frey syndrome following parotidectomy. World J Surg 2004;28:361-4.
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Dept. of Plastic and Reconstructive Surgery Chonnam National University Medical School, 42 Jebong-ro, Dong-gu, Gwangju 61469, Korea
Tel: +82-62-220-6354 Fax: +82-62-220-6357 E-mail: office_acfs@kcpca.or.kr
Copyright © 2023 by Korean Cleft Palate-Craniofacial Association.


Sacrum Convivium means sacred banquet, and it is the title of a famous text of St Thomas Aquinas rejoicing in the fact that we encounter Christ's saving love in the Eucharist, or Holy Communion. This CD includes a musical setting of that text, but the CD is also a banquet of sacred music from the 16th century to the present.
Under the direction of previous Organ Scholars Julian MacBride and David Moore, the Choir of Corpus Christi College produced their first CD. Pie Pelicane features 16 tracks sung by the College choir through the Christian year in Chapel, including music by Howells, Byrd and Gardiner, among others. The CD also contains two of Organ Scholar David Moore's compositions for Corpus Christi.
To purchase a copy of either CD, please send a cheque made payable to Corpus Christi College, to the Development Office. Each CD costs £13 inclusive of postage and packaging. Credit card purchases can also be made by following this link.


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BORN: 04, November 1969 | Uvalde, Texas, USA
American actor and producer Matthew David McConaughey was born in Uvalde, Texas. His mother, Mary Kathleen (McCabe), is a substitute school teacher originally from New Jersey. His father, James Donald McConaughey, was a Mississippi-born gas station owner who ran an oil pipe supply business. He is of Irish, Scottish, English, German, and Swedish descent. Matthew grew up in Longview, Texas, where he graduated from the local High School (1988). Showing little interest in his father's oil business, which his two brothers later joined, Matthew was longing for a change of scenery, and spent a year in Australia, washing dishes and shoveling chicken manure. Back to the States, he attended the University of Texas in Austin, originally wishing to be a lawyer. But, when he discovered an inspirational Og Mandino book "The Greatest Salesman in the World" before one of his final exams, he suddenly knew he had to change his major from law to film.
He began his acting career in 1991, appearing in student films and commercials in Texas and directed short films as Chicano Chariots (1992). Once, in his hotel bar in Austin, he met the casting director and producer Don Phillips, who introduced him to director Richard Linklater for his next project. At first, Linklater thought Matthew was too handsome to play the role of a guy chasing high school girls in his coming-of-age drama Dazed and Confused (1993), but cast him after Matthew grew out his hair and mustache. His character was initially in three scenes but the role grew to more than 300 lines as Linklater encouraged him to do some improvisations. In 1995, he starred in Texas Chainsaw Massacre: The Next Generation (1994), playing a mad bloodthirsty sadistic killer, opposite Renée Zellweger.
Camila Alves McConaughey (9 June 2012 - present) ( 3 children)
His mother, Mary Kathleen "Kay" McCabe, is a schoolteacher.
He lived for a year in Warnervale, New South Wales, Australia, as a 1988 Rotary exchange student in 1988, returning with an adopted Australian accent which remained with him for awhile after returning to the United States.
Attended the University of Texas at Austin, College of Communication, where he majored in film, receiving his Bachelor's degree in Radio-Television-Film (1993).
Attended and graduated from Longview High School in Longview, Texas in 1988.
Arrested in Austin, Texas for "resisting transportation" after first being under suspicion for marijuana possession. [October 1999]
Police responded to a disturbance call at Matthew's home in Austin, Texas in October 1999. When they arrived, the music was blaring and Matthew was playing bongo drums in the nude. He was with an unknown man and police attempted to arrest both of them after spotting illegal drugs. Matthew resisted arrest.
Was for some time strongly considered to play Jack Dawson in Titanic (1997), until Leonardo DiCaprio decided to accept the role.
Travelled around Peru after filming A Time to Kill (1996).
Voted "Most Handsome" in his senior year of high school.
Member of Delta Tau Delta, international college fraternity.
He owns a 1,600-acre ranch in west Texas, which he purchased for $500,000.
His father, James Donald McConaughey, died of a heart attack in August 1992. He once played football for the Green Bay Packers.
His first professional acting job was in a beer commercial.
Is a huge fan of John Mellencamp's music. Was seen wearing a T-shirt from Mellencamp's "Whenever We Wanted" tour in A Time to Kill (1996).
McConaughey was on the sidelines with the Texas Longhorns football team during the 2006 Rose Bowl, when the Longhorns beat the USC Trojans 41-38.
Was accompanied by Penélope Cruz to the Grammy Awards in 2005. The couple met on the set of Sahara (2005).
[on career philosophy] Be the lean horse for the long ride. I figure I am in the third round of a 15 round fight.
(on himself) My best quality is that I'm a big hearted person. I'm resilient, too. My worst quality is selfishness, although everyone is guilty of that to an extent. Everyone should be, I think -- you need to respect yourself.
Traveling is a great love of mine. I love South America and Africa. I'm your ultimate backpacker when I'm away. It's just me and my backpack. It's good for getting away from the industry.
(on how he got started in acting) I was about 21 when I started. I dropped out of law school to go to film school -- the idea of practicing law for my whole life seemed a little boring. I was doing more directing stuff to start with, until a student mate asked me to be in his film Dazed and Confused (1993). A professional guy named Don Phillips spotted me and the rest is history.
(on Hollywood) I love it. It's silly to say that it is a world of false and stupid people. Sure there are witches and swindlers, but you can meet there many creative, talented and generous persons too. Hollywood is a pleasant place, when you are hip to the game and you enjoy it for what it is really.
[on shapely women] I see it more with black women, who get dressed up and they're wearin' everything to fit snug, and they're walking the walk. And you're like, "Man, look at you go! Where did you get that?". She might be a larger package, but boy, she sure understands how she's wrapped.
(on working with Christian Bale in Reign of Fire (2002)) Christian is one of the finest actors I've ever had the privilege of working with. He's a giving actor, and he'll lay it on the line to get good results.
I want to be reincarnated as a jaguar. They're the coolest animals in the world. I came across one very briefly in the Manú National Park in Peru. I followed its tracks and got close enough to realize how beautifully self-contained it was. Jaguars are keen and they're perfectly poised. I'd sure love to be that well designed.
To understand me, you need to understand Texan logic. If you come from Texas, you're 100 per cent American but you'll do things the Texan way. We're independent. We've got our own way of doing things. Try to build fences round us and we'll run you out of town. I can go anywhere in the world but my spirit is still Texan and I recognize my own kind. There are no secret handshakes but when Texans meet there's a special fraternity.
I love taking advantage of my fame. If I go to the airport and get taken to the front of the line, I'm not going to protest. When I show up to see a band and I get whisked backstage, I like it. If I'm offered the use of a private jet, bring it on. But I draw the line at playing the, "Do you know who I am?" card and I refuse to have every little thing done for me. If you buy into all that, it will show up in your acting. The trick is to understand that being a good actor isn't playing a red-carpet celebrity. Fame is the by-product. If you don't see that, you'll be chasing your tail for a full decade ? and that makes a man dizzy. It's important to realize that fame is a dance, and I'd like to think I've got my dance down better now.


Click to show race results for 24H Dubai - SPX 2019.
The following graph shows the change in the DriverDB Rating of Dennis Houweling over time since January 1st 2013. The rolling average of the graph is 10 days.


Invention to Innovation Summit, Punjab-2019 was held on 2-3 April, 2019 in Centre for Excellence in Molecular Biology (CEMB), University of the Punjab, Lahore. IPO Pakistan, being an important stakeholder participated in Summit. IPO provided free of cost trade mark searches to general public and business community. Information about registration of IP rights were circulated through brochures and representatives of IPO themselves guided the students, faculty, business men and others.
Dr. Rizwan Basharat, In Charge, IPO Regional Office, Lahore received the shield as guest of honour.


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package io.gravitee.am.repository.jdbc.management.api.model;

import org.springframework.data.annotation.Id;
import org.springframework.data.relational.core.mapping.Column;
import org.springframework.data.relational.core.mapping.Table;

import java.time.LocalDateTime;

/**
 * @author Eric LELEU (eric.leleu at graviteesource.com)
 * @author GraviteeSource Team
 */
@Table("webauthn_credentials")
public class JdbcCredential {
    @Id
    private String id;
    @Column("reference_type")
    private String referenceType;
    @Column("reference_id")
    private String referenceId;
    @Column("user_id")
    private String userId;
    private String username;
    @Column("ip_address")
    private String ipAddress;
    @Column("user_agent")
    private String userAgent;
    @Column("credential_id")
    private String credentialId;
    @Column("public_key")
    private String publicKey;
    private long counter;
    @Column("aaguid")
    private String aaguid;
    @Column("att_stmt_fmt")
    private String attestationStatementFormat;
    @Column("att_stmt")
    private String attestationStatement;
    @Column("created_at")
    private LocalDateTime createdAt;
    @Column("updated_at")
    private LocalDateTime updatedAt;
    @Column("accessed_at")
    private LocalDateTime accessedAt;

    public String getId() {
        return id;
    }

    public void setId(String id) {
        this.id = id;
    }

    public String getReferenceType() {
        return referenceType;
    }

    public void setReferenceType(String referenceType) {
        this.referenceType = referenceType;
    }

    public String getReferenceId() {
        return referenceId;
    }

    public void setReferenceId(String referenceId) {
        this.referenceId = referenceId;
    }

    public String getUserId() {
        return userId;
    }

    public void setUserId(String userId) {
        this.userId = userId;
    }

    public String getUsername() {
        return username;
    }

    public void setUsername(String username) {
        this.username = username;
    }

    public String getCredentialId() {
        return credentialId;
    }

    public void setCredentialId(String credentialId) {
        this.credentialId = credentialId;
    }

    public String getPublicKey() {
        return publicKey;
    }

    public void setPublicKey(String publicKey) {
        this.publicKey = publicKey;
    }

    public long getCounter() {
        return counter;
    }

    public void setCounter(long counter) {
        this.counter = counter;
    }

    public String getAaguid() {
        return aaguid;
    }

    public void setAaguid(String aaguid) {
        this.aaguid = aaguid;
    }

    public String getAttestationStatementFormat() {
        return attestationStatementFormat;
    }

    public void setAttestationStatementFormat(String attestationStatementFormat) {
        this.attestationStatementFormat = attestationStatementFormat;
    }

    public String getAttestationStatement() {
        return attestationStatement;
    }

    public void setAttestationStatement(String attestationStatement) {
        this.attestationStatement = attestationStatement;
    }

    public LocalDateTime getCreatedAt() {
        return createdAt;
    }

    public void setCreatedAt(LocalDateTime createdAt) {
        this.createdAt = createdAt;
    }

    public LocalDateTime getUpdatedAt() {
        return updatedAt;
    }

    public void setUpdatedAt(LocalDateTime updatedAt) {
        this.updatedAt = updatedAt;
    }

    public String getIpAddress() {
        return ipAddress;
    }

    public void setIpAddress(String ipAddress) {
        this.ipAddress = ipAddress;
    }

    public String getUserAgent() {
        return userAgent;
    }

    public void setUserAgent(String userAgent) {
        this.userAgent = userAgent;
    }

    public LocalDateTime getAccessedAt() {
        return accessedAt;
    }

    public void setAccessedAt(LocalDateTime accessedAt) {
        this.accessedAt = accessedAt;
    }

}

redpajama_set_name: RedPajamaGithub


text:
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David has over 25 years of commercial real estate experience and has previously been a Partner with B6 Real Estate Advisors, Executive Managing Director, Market Leader with Colliers International, Executive Managing Director with Massey Knakal Realty Services, which was acquired by Cushman & Wakefield in December 2014, Managing Principal with the New Jersey office of Cassidy Turley and Chief Operating Office with Colliers Houston & Co. In these leadership roles, David has been responsible for the growth, operational and financial performance of these companies along with the oversight of the office, industrial, retail, land and investment sales divisions.
Background and Experience
David spent the first seventeen years of his career as a salesperson/broker and was a Principal at Newmark Real Estate of New Jersey, currently known as Newmark Knight Frank which acquired Jacobson Goldfarb and Tanzman Company (JGT) in 2001. Throughout his career, David has completed hundreds of transactions on behalf of tenants including: Merrill Lynch, Best Buy and Bed Bath & Beyond and has represented properties on behalf of institutional and local owners including: Mack-Cali, John Hancock, Chase Manhattan Bank, Atlantic Realty and Kushner Real Estate Group, among others.
David attended Boston University where he received his Bachelor of Science degree in Marketing and Public Relations. Additionally, he earned a Master of Science degree in Real Estate from New York University.
Professional Affiliations and Designations
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Selected to the "ROI Influencers" list for Real Estate by ROI-NJ (2017)
Named to the Real Estate "Power 75" list for Real Estate in New Jersey by NJBiz (2016)
A Top Broker of the Year with Normandy Real Estate Partners (2009)
Received Office Deal of the Year – Reckson Associates Realty Corporation (2005)
Award of distinction – Advance Realty Group (2005)
Awards of distinction – Mack-Cali Realty Corporation (2002-2003)
New Jersey Broker of the Year – Reckson Associates Realty Corporation (2000)
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Reasonably priced and within 15 mins walk to the Capitole and Basilica. Clean and comfortable room, fresh towels given every day. Probably could keep one more dustbin, provide free complimentary water bottle. Shower gel bottle in bathroom was almost empty. Also should provide guest with clear public transport information on how to get to hotel from airport without spending a fortune on taxis.
Bad smell of mildew and insecticide.
I knew it wasn't lavish at 88€ for 2 people, but it was like staying at Alcatraz without meals.
Located a few blocks from the train station and the metro. Twenty minute walk to the city center where most of the cafes, shopping and sites are located. Front desk spoke English.


Dosage: Readers are required to accept who they are because He loves us flaws & all!
And on March 9, 1993 a QUEEN was born!
I recently celebrated my 25thbirthday! I don't know what it is, but it's something about the year 25 that makes me feel GROWN! Maybe it's because I'm 5 years away from 20 and 5 years closer to 30 or because I'm a quarter of a century, or maybe it's because I realize I am growing up. The struggles I faced within myself when I was younger are no longer my struggles. I am accepting me.
I went through a period of my life where I didn't like me. I didn't like what I saw in the mirror and I dressed the way I felt. I barely wore makeup or dressed up which is not like me at all, but I couldn't break out of this mindset that I was ugly, overweight, and my skin was a mess. The crazy part is I could look at the next girl and point out what was beautiful about her and couldn't do that for myself. Even when I was complimented, I couldn't receive it as easily as I would receive something negative. My flaws were constantly at the forefront of my mind. I just didn't love me…I ate my feelings unconsciously, and with friends I would joke about my flaws, but on the inside, it was my truth.
My struggles with my outer appearance soon attached itself to how I thought about myself. I compared myself to others a lot. Especially being the last of my friends to graduate, I felt as though something was wrong with me. Then I was still dealing with a guy who wouldn't commit to me. Which led to me feeling like I wasn't enough. I felt like I wasn't the girlfriend he wanted me to be. These feelings of not being enough took over my mind. With my mom I felt I wasn't the daughter she wanted me to be. With jobs, friends, school I just felt I'm not enough, I'm not deserving.
Then my relationship ends because I want to be celibate and he doesn't which is his choice, but at the time of me struggling with not being enough, those feelings then translated into I'm not worth the wait.
I was a MESS! And not because of my struggles,but because this is not how God saw me.
Everything I struggled with didn't start overnight but had been there since childhood and grew as I got older. I had gotten so low that I needed to seek help. At the peak of my lowness I was still in college and I sought help at the on-campus counseling service. The beauty of counseling is you're never to young or to old to get help. And no problem is to little to a counselor. I admonish those who relate to this blog to seek help.
We all know God is the answer and as I have said repeatedly He is the source, but God wouldn't place counselors in the world if there wasn't any need for them. I'm just saying,GET HELP! Moving right along, talking to a counselor helped me in so many ways. For the sake of the blog, I won't share every detail, but on the last day I met with my counselor he told me loud and clear, "Chelsea there is nothing wrong with you." I remember it struck a chord with me because I really had made up in my mind that something was wrong with me, had to be right? But truth is there wasn't! He went on to explain something he admired about me which was my willingness to grow. He gave several assignments to complete which all had to do with affirming the person I am.
How many know that God gives you affirmations in His word?
I thought WOW that is so true. God is perfect in all His ways and He loves me! He created me in His image! He doesn't see my flaws as I see them he calls me fearfully and wonderfully made! Therefore, why am I tripping?
Trust the affirmations that God gave you in His word and pray that your mindset changes to how He sees you. It took me years to break out of this mindset, so I understand the struggle, but He does love you and He wants you to accept it! I am grateful that at 25 years old I am no longer where I used to be mentally because I've finally accepted that perfection loves me!


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Founder and Chief Brand Officer at Bossa Studios (she has over 60 employees, of whom 70% are millenials or Gen Y), she previously founded WonderLuk and BOLDR. She has built and launched over 20 digital/mobile products, games, and brands in the last 15 years. Her forte is to create original products and concepts while inspiring people about making big things happen and being bold every day.
With a Computer Science degree, an MBA and many Arts & Design courses, her brain expanded into balancing spark and creative chaos with a great ability to execute. Business-wise, she's worked in product and innovation within large companies, including Globo TV (the world's largest commercial broadcaster) and Vertu/Nokia.
She founded the BAFTA-winning games company Bossa Studios (success), the '3D printing for design lovers' brand WonderLuk (failure) and learned loads along the journey.
With a strong team of 60 people based in London, she helped Bossa grow from zero to a multi-million dollar business. Bossa is now amongst the 1% top performing UK startups in terms of annual sales.
Their games are B2C and went viral due to their ingenious growth strategy and were bought by millions of people worldwide. They can be played on the computer, mobile, iPad, Playstation, Xbox and VR.
She was voted as one of the Top 35 Women under 35 by Management Today, Top 30 Women in Games, and was everywoman's Entrepreneur of the Year finalist.
In 2015, she became a Tech London Advocate to help foster our startups ecosystem, and got listed as Influential Tech Leader on the TechCityInsider's Almanac. In 2016, her letter of advice to young entrepreneurs was published on the Dear Female Founder book.
As a founder who's succeeded and failed, she loves inspiring more women to shape the future with Tech. She's been actively inspiring them at events she speaks at, TV programmes such as the BBC's Girls Can Code, Disney's Minnie Challenge, and through one-on-one mentoring.
"Thank you very much for your excellent Breakfast Briefing at Events Events yesterday. The topic was really key to the delegates, as you saw with so many of them turning up early. The feedback afterwards was overwhelmingly positive and people really enjoyed your talk and got a lot out of it. So thanks again!"
Founder of Bossa Studios, a BAFTA winning games studio in London. She has featured in Management Today's Top 35 Women under 35 and employs over 60 people, 70% of whom are millennials. She's also involved with campaigns to encourage girls to consider careers in Tech. Spoke at our Millennial Afternoon Tea in May '18.
Julie is one of the world's leading thinkers, investors and entrepreneurs in the areas of Digital Transformation of large enterprise by young, fast-growing enabling tech firms.


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Film Music Notes
Analysis, Style, Technique, and More
John Barry's James Bond Scores (Part 6 of 6): Barry's Changing Bond Style
Film Music Notes Posted on June 30, 2013 by Mark Richards September 1, 2014
John Barry's career as a composer for the James Bond franchise spanned twenty-five years and twelve films beginning with his collaboration with Monty Norman on the Bond theme for the very first Bond film, Dr. No in 1962, and ending with the The Living Daylights in 1987. After Dr. No, Barry went on to score eleven Bond films on his own.
Across these eleven films, there are certainly recurring elements that form a distinctive style for Bond scoring that Barry firmly established with Goldfinger, his second solo Bond score. But at the same time, Barry treated these elements flexibly, developing them further, adding new elements or excluding old ones, sometimes at the request of the filmmakers. Hence, although Barry's Bond style was always recognizable, these sorts of changes kept the music sounding fresh even while it remained familiar enough to form a strong connection with previous Bond scores. The following film music analysis traces the progression of four key features in Barry's changing Bond style:
The James Bond Theme
The Title Song
Ostinatos
In addition to these four features, I will also discuss the filmmakers' influence on Barry's Bond scores.
1. The James Bond Theme
Of course, the James Bond theme appears in all of Barry's Bond scores, most often fragmented and rescored in a slow tempo to create a suspenseful atmosphere. But the way in which its familiar jazz-scored version appears evolved with time. Not only is it always heard with the famous gunbarrel sequence, but it also usually appears in the pre-title sequence at the start of each film. Within the film proper, though, its function changed more than once.
With the first Bond film, Dr. No (scored by Monty Norman), it was used to project Bond's suave, cool character, as when he is introduced in the casino:
Barry followed this use of the Bond theme in From Russia with Love, as when Bond arrives at a hotel and proceeds to examine his room for listening devices (from 4:23 below):
In Barry's next two scores, however, Goldfinger and Thunderball (the next two Bond films), this particular scoring of the Bond theme essentially disappears outside of the gunbarrel sequence. Instead, Barry weaves the theme into each film's title song, thereby creating a more organic mixture of musical material and allowing him to rely far more on the title song and less on the Bond theme without neglecting it altogether. Notice the Bond accompaniment in the "Goldfinger" song below at 0:52 and a little of the theme's B section near the end at 2:30:
…and in the "Thunderball" song below at its very start (the Bond theme's B section) and at 0:37 (the Bond accompaniment):
After these films, the jazz-scored Bond theme was associated with action scenes in which Bond has the upper hand, as in You Only Live Twice, in which he takes down a fleet of enemy helicopters in Q's flying device, "Little Nellie" (heard from 0:21):
…or in On Her Majesty's Secret Service, in which Bond and his allies come to the rescue of Bond's fiancée Tracy. (In this latter case, however, Barry was asked to insert the theme against his will.) In Barry's scores that followed, Diamonds Are Forever, The Man with the Golden Gun, and Moonraker, the jazzy form of the Bond theme was generally confined to the gunbarrel sequence and perhaps the pre-title sequence. In Octopussy, because the film was in competition with the unofficial Bond film Never Say Never Again, the theme appeared a record nine times, most prominently during a car chase in which Bond does not have the advantage until the very end of the scene (heard at 1:23):
This type of usage of the theme returned in Barry's next (and last) two Bond scores, A View to a Kill and The Living Daylights. Thus, beyond merely signifying the film's protagonist, the theme's function underwent several subtle changes over the years.
2. The Title Song
For Barry, the title song was a crucial aspect of a Bond score since he always drew on its material to fashion a good portion of each score. With Goldfinger, Barry established the technique of beginning each song with a distinctive figure or two. While this technique was partly tied to the attempt to sell soundtrack albums, it also had a functional aspect in that Barry generally employed these figures as recurring motives in the film. Notably, his title songs often open with the interval of a fourth or fifth, making them easy to identify when they return:
Diamonds are Forever – Accompaniment
Diamonds are Forever – Melody
"Where Are You?" from Moonraker
Although the function of the title song remained more consistent than the Bond theme over Barry's career, it too experienced some changes in its application. As we saw in Goldfinger, Barry utilized the title song as a generalized main theme that not only accompanied Goldfinger himself as a kind of leitmotif, but also suspenseful scenes, a car chase, and a landscape scene as well. With the enormous success of Goldfinger, both film and music, Barry clearly felt that he had hit on a winning technique, so continued to employ it in his next five Bond scores. (Though in On Her Majesty's Secret Service, it's not the instrumental title theme that acts as a main theme, but the vocal song "We Have All the Time in the World", which appears in a montage within the film proper.) Moreover, the technique allowed Barry to work with new music in each Bond film while still keeping within the style he had created.
With Moonraker, we saw that Barry's style began to take on more symphonic characteristics, especially in the development and reshaping of musical ideas rather than their repetition, likely as an influence from John Williams' success with Star Wars only two years earlier. Consequently, those aspects of Barry's Bond scores that had previously played more minor roles—the Bond theme and ostinatos—could take on a larger role in the film without becoming tiring. In other words, the symphonic style allowed Barry more melodic variety in his options for a Bond score. Rather than relying mainly on the title song, he could now incorporate more new music through the use of new developments of the Bond theme and more developmental ostinatos.
With so many ideas at Barry's disposal, the title song no longer needed to accompany so many different emotional situations. Thus, he confined its use almost exclusively to love scenes. This narrower function continued into his subsequent scores for Octopussy and A View to a Kill. This scene from Octopussy is typical of Barry's use of the title song in these later Bond scores:
In Barry's final Bond score, The Living Daylights, the title song's appearance is reduced to the point of being negligible. It occurs only during a couple of suspense scenes and more prominently in a couple of chase scenes (with a segment of the song's B section, which is harder to recognize). But it is important to remember that Barry had very little to do with this song, as his creative difficulties with a-ha, the band who wrote and performed the song, are well known. For the love scenes, Barry instead wrote a theme of his own that became the song "If There Was a Man", heard over the end credits. Hence, the same basic technique is still in evidence, though with a shift in the song's placement due to Barry's waning control over the title song. (This loss of control was partly why Barry refused when asked to return to the Bond franchise for Tomorrow Never Dies.)
3. Other Themes and Songs
Henchmen's Leitmotifs
Another feature of Barry's Bond style is the use of themes, songs, and motives (i.e., distinctive melodies) other than the Bond theme and title song. In some cases, these additional themes are leitmotifs for the villain's henchmen, examples being Oddjob from Goldfinger, Kidd and Wint from Diamonds Are Forever, and Necros from The Living Daylights, all of which I've discussed in these posts. Whether or not a henchman received a leitmotif seems not to have depended on any particular aspect of the film. Rather, it was most likely a way to offer melodic diversity in the score. The majority of Goldfinger, for instance, is based on the title song, so the leitmotif provides some welcome contrast. In Diamonds Are Forever, several scenes contain diegetic jazzy lounge music, and many of the action scenes are very sparsely scored, forcing Barry to make the most of the relatively small amount of non-diegetic music used in the film. And in The Living Daylights, Barry's marginalization of the title song left him plenty of room to fill with other themes.
The 007 Theme
Barry employed the 007 theme in five Bond films beginning with From Russia with Love and continuing into Thunderball, You Only Live Twice, Diamonds Are Forever, and Moonraker. He seems to have used it as a kind of counterweight for each of these films in that, in the four Connery Bond films in which it appears (the first four above), its buoyant, active sound provides the action with some levity, especially in Diamonds Are Forever, where the overall dark tone of the film is considerably lightened when Bond takes control of Blofeld's escape pod and tosses it about. Compare these to its appearance in Moonraker, where the already light and somewhat humourous tone of the film is made more serious by a noticeably slowed down version of the theme:
Here it is in From Russia with Love:
And here it is in Moonraker (starting at 1:45):
Landscape Themes
Occasionally, Barry wrote a separate theme to accompany shots of landscapes, as in On Her Majesty's Secret Service (at 0:19):
and Moonraker (at 0:09):
Like the leitmotifs for henchmen and the 007 theme, these landscape themes offer melodic contrast within Barry's James Bond style.
4. Ostinatos
Ostinatos—repetitions of a relatively short unit of music—are an integral part of each one of Barry's Bond scores, primarily because they occupy so much of the score. (I would estimate as much as half of most scores.) Barry's technique for ostinatos did not, however, remain unchanged throughout his career. In the early scores, the ostinato pattern tends to undergo only minimal change by adding short fragments of melody overtop. This keeps the engine-like drive of the ostinato intact for its entire length and works especially well in intense scenes like "The Laser Beam" from Goldfinger, where a laser beam slowly nears Bond's groin.
As we saw with Moonraker, Barry's approach to ostinatos began to include more contrasting material in accordance with a more symphonic style, hence breaking up the repetitions and creating a more relaxed mood appropriate for landscape scenes, space scenes, and other visual expanses. This technique was taken somewhat further in The Living Daylights, in the cue I discussed called "Mujahadin and Opium", where a broad two-phrase melody unfolds over the ostinato, suggesting the vastness of the Afghan desert:
And yet, it's not as if Barry continued to develop his ostinato technique in isolation from his other Bond-score components. Some themes, such as that of Kidd and Wint in Diamonds Are Forever, have an ostinato accompaniment. At other times, as in the pre-title sequence of Goldfinger, the Bond theme's accompaniment becomes an ostinato on its own. And even a part of the title song may be used as an ostinato, as do the opening two chords of the Goldfinger title song in the cue "Dawn Raid on Fort Knox":
And as we saw above, in his later scores, Barry's ostinatos themselves tended to become more melodic, more like a theme. Thus, the ostinatos were one of the more flexible aspects of Barry's Bond score style.
The Filmmakers' Influence
While the four features discussed above form the core of Barry's Bond style, there were sometimes other elements that made their way into some of the films at the request of the filmmakers. Perhaps the most prominent of these is the use of musical quotations, which actually originated in Marvin Hamlisch's score for The Spy Who Loved Me with its quotes of Maurice Jarre's themes from Doctor Zhivago and Lawrence of Arabia, as well as Bach's Air on the G String, and Mozart's Piano Concerto No. 21 in C major. In the very next Bond film, Moonraker, there are quotations of Elmer Bernstein's theme from The Magnificent Seven, Tchaikovsky's Romeo and Juliet Oveture, and Chopin's "Raindrop" Prelude. As I argued in the Moonraker analysis, the appearance of these pieces was almost certainly at the suggestion of Lewis Gilbert, who directed both this film and The Spy Who Loved Me.
In other cases, the filmmakers asked for the insertion of the Bond theme in a scene against Barry's wishes. This occurred in On Her Majesty's Secret Service during Bond's helicopter rescue of Tracy in Blofeld's mountaintop lair, and also in Diamonds Are Forever, when Bond is searching a house for Willard Whyte (just before he runs into "Bambi" and "Thumper").
And in a few other instances, there was disagreement as to what kind of music should accompany a scene or whether music should be present at all. In the dune buggy chase in Diamonds Are Forever, director Guy Hamilton wanted comical music to match the light-hearted character of the scene. But Barry disagreed and thought the scene would be more effective scored with more serious action music to heighten the contrast and throw the parodic nature of the scene into relief. What ended up in the film was a compromise between the two sides that ironically makes it more difficult to interpret the emotional content of the scene since it incorporates both comical and serious qualities (from 2:17):
Finally, there was also the sparse use of music in many action scenes in Barry's Bond scores of the late 1970s and early to mid 80s due to the filmmakers' preference for a variety of sound effects in place of music, a consequence of the clearer film sound achieved with the new Dolby stereo technology. Once again, Barry disagreed with this approach, especially in Moonraker, which was released only two years after the widespread adoption of Dolby. Nevertheless, as with all of the filmmakers' suggestions, the approach forms a part of the Bond style for these films, just not Barry's Bond style.
John Barry firmly established his James Bond style in his second Bond score, Goldfinger. In that film, he employed the title song in various situations as a main theme for the film, made sparing use of the James Bond theme, and created a leitmotif for the henchman, Oddjob. Another substantial part of the score was based on ostinatos. These four components became the basis of Barry's Bond style for the remainder of his career. But Barry never allowed this pattern to fall into monotony because most of the components—the title song, other themes (excluding the 007 theme), and ostinatos—were new with each film. And even the one constant element, the Bond theme, underwent changes in the frequency of its appearance and in its function, so that it could feel quite different even if heard with the same upbeat, jazzy scoring as before. In this way, Barry's Bond style always offers much that is new even while continuing in a similar vein as previous Bond films. Striking the right balance between new and old was one of Barry's many strengths as a Bond composer and surely part of the reason why his music for the James Bond legacy remains greatly admired today.
Coming soon… John Williams' Superman March
Posted in Analysis, James Bond, John Barry, Style	permalink
John Barry's James Bond Scores (Part 6 of 6): Barry's Changing Bond Style — 5 Comments
Sue on July 1, 2013 at 7:01 am said:
Thanks for that excellent discussion and analysis.
It seems, then, that the "Bond theme" developed somewhat organically during the series of films (franchise). As the films continued, I noticed that they began to parody each other in subtle ways and I submit that the 're-casting' of the theme is a major way to achieve that. I suppose it's inevitable that a series of films with the same character is going to become monotonous – what new things can be possibly said? So I think Connery tended to parody the films towards the end and this was probably a reason why alternative actors were chosen – there was going to be an end point and inevitability with parody. A new "James Bond" would freshen the characterization. Connery was the most superb, but Moore tended towards the subtle tongue-in-cheek too. The 007 theme in its various incarnations became somewhat self-reflexive and, to a degree, parodying. The consistent use of a 007 "theme" also implied 'quality assurance' – audiences knew what they were getting, that it would be predictable but by transforming or paraphrasing the theme itself they knew to expect the unexpected.
There are marketing reasons, of course, but I regard a 'signature' theme as synonymous with a type of film and a 'guarantee' about what audiences could expect.
Newer, less familiar title music would disrupt that narrative expectation and create a newer set of expectations – so the 'franchise' can continue.
Mark Richards on July 1, 2013 at 8:04 am said:
Sue – Yes, I would agree that the evolution of the use of the Bond theme (in its jazz-scored form) did provide a certain guarantee for audiences while giving them something new at the same time.
One use that Barry seemed to stay away from is for a "heroic escape" that Bond makes. The first really prominent example is in Hamlisch's score for The Spy Who Loved Me, in the pre-title sequence, when Bond skis off a cliff and opens his parachute, which is a big Union Jack (at 0:58):
Michael Kamen used it in pretty much the same way in Licence to Kill, when Bond makes his escape by water skiing away with a harpoon gun:
This use of the Bond theme seems to have become common in more recent Bond films. Barry's conception of the theme didn't really include this function, or at least marginalized it.
Matt S on August 10, 2015 at 9:17 am said:
I just discovered your blog and finished reading your whole Barry-Bond series. It is excellent! In your passage about other themes and songs, you neglected to mention other action themes that many of the films have. When the main theme is used as a love theme, Barry often writes an additional action theme to be used multiple times the film. In You Only Live Twice there is "A Drop in the Ocean", in Octopussy there is "Gobinda Attacks/Yo-Yo Fight" and in A View to a Kill there's "Snow Job/He's Dangerous". You also say that in "The Man with the Golden Gun, and Moonraker, the jazzy form of the Bond theme was generally confined to the gunbarrel sequence and perhaps the pre-title sequence." The Bond theme is used for the car chase in The Man with the Golden Gun in its same form as in the gunbarrel, and in Moonraker, the form used in the pre-title freefall sequence is later used in a boat chase. Since The Man with the Golden Gun, Barry used the full-on Bond theme for chase sequences in every film. In Octopussy it's used in the taxi chase and in the car chase on the train tracks. In A View to a Kill it's used in the chase in Paris. And in The Living Daylights it's used in the Gibraltar chase and in the Aston Martin chase.
Film Score Junkie on August 10, 2015 at 6:40 pm said:
Great additions, Matt! When I wrote these Bond posts, I never intended them to be comprehensive, so there are inevitably themes that go unmentioned. But it's really nice to have your additional themes here. It's a hope of mine to one day do a thorough examination of all of Barry's Bond scores. Thanks again for your input.
AFC Silence on November 16, 2017 at 1:07 am said:
I feel it is worth pointing out that the use of the James Bond Theme in the clips you cite from From Russia with Love and You Only Live Twice were also sequences that were 'scored' without Barry's approval/participation (in a similar situation to the one mention regarding OHMSS). These scenes were done in the dub and were not intended that way by Barry. Regarding You Only Live Twice, Barry wrote the cue 6m2 for Little Nellie's take off and first flight, and the immediate next cue for the scene is 6m3, where Bond states over the radio that he is returning to base. Notice there is no gap in the cue numbers; if Barry had intended the James Bond theme for the aerial fight, that cue would have been 6m3 and the 'returning to base' cue would have been 6m4. The dogfight sequence was originally intended to play without music, with the James Bond Theme 'tracked' (and remixed to fit) into the scene for a more lively feel.
Similarly, the train tracks chase in Octopussy that Matt S. mentions above is another case of tracking; that is, previously-composed being inserted into the sequence (either by the editor, director or music editor) where there was originally a different cue or no music written for that sequence originally by the composer.
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Celebrating Star Wars
James Bond (Barry)
John Williams Themes
Morricone Dollars Trilogy
Other Posts in This Series
John Barry's James Bond Scores (Part 1 of 6): Goldfinger
John Barry's James Bond Scores (Part 2 of 6): On Her Majesty's Secret Service
John Barry's James Bond Scores (Part 3 of 6): Diamonds Are Forever
John Barry's James Bond Scores (Part 4 of 6): Moonraker
John Barry's James Bond Scores (Part 5 of 6): The Living Daylights
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WSTale » Science » Enigma machine used by the Nazis in WWII found in the Baltic Sea
Enigma machine used by the Nazis in WWII found in the Baltic Sea
mediabest December 3, 2020	byEnigmaMachineNaztheused
Enigma machine used by the Nazis to send secret messages to German forces across Europe during World War II is accidentally discovered in the depths of the Baltic Sea
The relic was found at the bottom of Gelting Bay, on Germany's northern coast
Divers had been removing abandoned fishing nets when they came across it
Enigma machines worked by repeatedly scrambling letters in changing ways
This let the Nazi forces to safely send messages by radio as part of blitzkrieg
However, experts at Bletchley Park were able to decrypt the changing codes
An Enigma machine — the German encryption device used by Nazi forces to send secret message during World War II — has been recovered from the Baltic Sea.
Divers recovered the device at the bottom of Gelting Bay, on Germany's northern coast, while working to remove abandoned fishing nets that threaten marine life.
Designed shortly after WWI by the engineer Arthur Scherbius for commercial usage, the cipher engine was adopted by many national governments and militaries.
The portable device is best-known for its use by the Axis powers to encode military commands, for safe transmission by radio, as part of their rapid 'blitzkrieg' strategy.
Enigma featured a number of wheels, which together formed an electric circuit that repeatedly scrambled an entered character — and reconfigured after each letter.
German military models — made more complex through the addition of a plugboard, for added scrambling — and their codebooks were highly sought by the allies.
Codebooks contained the daily instructions for how operators should pick and set the machine's code wheels and plugs which encoded the messages.
Understanding the principles behind the machine and its daily code changes allowed experts at Bletchley Park to learn to decrypt Nazi radio transmissions.
At their peak, the Allied forces decoded some 3,000 German messages a day — notably helping the admiralty track down U-boats during the Battle of the Atlantic.
An Enigma machine — the German encryption device used by Nazi forces to send secret message during World War II — has been recovered from the Baltic Sea, pictured
Designed shortly after WWI by the engineer Arthur Scherbius for commercial usage, the cipher engine (pictured) was adopted by many national governments and militaries
The find was a discovery like no other, said Gabriele Dederer of the World Wide Fund for Nature (WWF), which hired the divers for the marine conservation effort.
'The WWF has been working for many years to rid the Baltic Sea of dangerous ghost nets,' she added.
Abandoned or lost fishing nets, known as ghost nets, represent a deadly trap for fish, marine mammals and sea birds — and are a form of underwater pollution.
'We regularly find larger objects, on which the nets get tangled underwater. Such so-called "hook points" are often tree trunks or stones,' Ms Dederer said.
'The Enigma is by far the most exciting historic find.'
The device was found on the seabed after Submaris — a company based in Kiel — used side-viewing sonar technology to identify the net that it was caught in.
Submaris diver Florian Huber said that the machine was most likely sent to its watery resting place in May 1945.
This month saw 47 German U-boats scuttled in Gelting Bay by their crews, who were determined not to let the vessels fall into the hands of the Allies.
'We suspect that our Enigma went overboard in the course of this event,' Mr Huber explained.
The portable device, pictured, is best-known for its use by the Axis powers to encode military commands, for safe transmission by radio, as part of their rapid 'blitzkrieg' strategy
Submaris diver Florian Huber said that the machine was likely sent to its watery resting place in May 1945. This month saw 47 German U-boats (like the one pictured) scuttled in Gelting Bay by their crews, who were determined not to let the vessels fall into the Allies' hands
Enigma featured a number of wheels, which together formed an electric circuit that repeatedly scrambled an entered character — and reconfigured after each letter. German military models — made more complex through the addition of a plugboard, for added scrambling — and their codebooks were highly sought by the allies. Codebooks contained the daily instructions for how operators should pick and set the machine's code wheels and plugs which encoded the messages. Pictured, the newly recovered Enigma machine on the seafloor
Copies of the Enigma machine are now 'extremely rare', Mr Huber noted, with 'only a few specimens […] available in German museums'.
'As an underwater archaeologist, I have already made many exciting and strange finds,' he continued.
'However, I didn't dream that we would once find an Enigma machine.'
'It was a grey November day I will not forget so soon.'
The find was a discovery like no other, said Gabriele Dederer of the World Wide Fund for Nature (WWF), which hired the divers for the marine conservation effort
Copies of the Enigma machine (pictured) are now 'extremely rare', Mr Huber noted, with 'only a few specimens […] available in German museums'
The WWF has been working for many years to rid the Baltic Sea of dangerous ghost nets,' she added. 'We regularly find larger objects, on which the nets get tangled underwater. Such so-called "hook points" are often tree trunks or stones,' Ms Dederer said. 'The Enigma is by far the most exciting historic find.' Pictured, a diver photographs the Enigma machine underwater
The newly-discovered Enigma machine has now been sent to Museum of Archaeology in Schleswig, where it will be preserved and studied further.
The WWF — which has released an app showing the location of suspected 'ghost' nets — has asked divers making use of the data to respect any historical artefacts they might uncover as a result.
'Should further archaeological finds come up, we would like to point out that there is a legal obligation to report them, as this could be underwater cultural heritage,' commented Ms Dederer.
Divers recovered the device at the bottom of Gelting Bay, on the Germany's northern coast, while working to remove abandoned fishing nets that threaten marine life
Understanding the principles behind the machine and its daily code changes allowed experts at Bletchley Park to learn to decrypt Nazi radio transmissions. At their peak, the Allied forces decoded some 3,000 German messages a day — notably helping the admiralty track down U-boats during the Battle of the Atlantic. Pictured, a reconstruction of one of Alan Turing's Bombe machines which was used to help decrypt Enigma messages
WHAT WAS THE ENIGMA MACHINE?
The Enigma machine was a device used to encrypt messages by the German military during the Second World War
The Enigma was a type of enciphering machine used by the German armed forces to send messages securely during the Second World War.
It used a complex series of rotors and lights to encrypt messages by swapping letters around via an ever-changing 'enigma code'.
Polish mathematicians worked out how to read enigma messages prior to 1939, and shared this information with the British.
But German cryptographers upgraded the security of the machines at the outbreak of the war by changing the cipher system daily.
A team of researchers, including famed British mathematician Alan Turing, eventually broke the enigma code in 1941.
They invented devices known as Bombe machines that could decipher the enigma code, allowing Allied forces to intercept German messages.
It is believed that the work of Turing and his team shortened the war's duration by up to two years.
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Diamonds aren't forever: Seybold Building jeweler claims owner won't relocate his store
Downtown Miami building on the National Registry of Historic Places is replacing its facade
Dec.December 03, 2019 09:45 AM
By Francisco Alvarado
The front entrance of the Seybold building at 36 N.E. First Street
A jeweler at the Seybold Building in downtown Miami claims the landlord is about to put the store out of business as a result of an ongoing renovation project.
Nemaro Jewelers, which is four years into a 15-year lease, is suing Seybold owner Flagler Street Associates in Miami-Dade Circuit Court for allegedly breaching the lease agreement.
The 166,000-square-foot building at 36 Northeast First Street near Flagler Street was originally completed in 1921 and is on the National Register of Historic Places. It's a vertical shopping center housing more than 300 jewelers on 10 floors.
Lawyers for Nemaro and Flagler Street Associates could not immediately be reached for comment. According to the complaint, the landlord informed Nemaro sometime shortly after June 26, 2018 that Flagler Street Associates would be undertaking a major renovation of the Seybold Building. Specifically, the property owner is replacing the full facade of the building, a job that will take six months or longer to complete, the lawsuit states.
As a result, a substantial portion of Nemaro's suite will be demolished, rendering the space unusable for a jewelry store, according to the complaint. Nemaro, owned by Yair Kassab according to state corporate records, informed Flagler Street Associates that it was willing to cooperate with the landlord to find an alternate space in the building.
However, the jeweler sought assurances from Seybold's owner that the temporary alternative space would be move-in ready in order to avoid disrupting Nemaro's business.
Nemaro claims that the relocation required extensive planning that involved the placement of safes and the installation of security alarm and video monitoring systems.
But Flagler Street Associates made no effort to prepare the temporary space when the company informed Nemaro that the construction work was beginning in October, the lawsuit alleges. Instead, when Nemaro pointed out that it could not operate in its space during the construction, Flagler Street Associates declared the jeweler was in default of the lease, according to the suit.
In addition, Flagler Street Associates "unilaterally commenced construction activities, framing off or boxing in the exterior of Nemaro's leased premises." Nemaro claims its business is going to be destroyed. The jeweler is seeking unspecified damages against Flagler Street Associates.
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Żmerynka (ukr. Жмеринка) – miasto na Ukrainie, w obwodzie winnickim, siedziba władz rejonu żmeryńskiego.

Żmerynka leży na historycznym Podolu.

Węzeł kolejowy.

Historia
Pierwsza pisemna wzmianka o osadzie pochodzi z XVIII wieku.

Do 1793 Żmerynka leżała w granicach województwa bracławskiego Korony Królestwa Polskiego, po czym została zagarnięta przez Rosję w II rozbiorze Polski.

Miasto od 1903.

W 1922 znalazła się w granicach Związku Radzieckiego.

W 1941 została zajęta przez Niemcy, a następnie przekazana w zarząd Rumunii jako część tzw. Transnistrii. Od 1944 ponownie pod kontrolą ZSRR. Od 1991 w granicach Ukrainy.

Zabytki
Jednym z zabytków Żmerynki jest dworzec kolejowy zbudowany pod koniec XIX wieku w stylu eklektycznym łączącym secesję z barokiem.

Demografia
 1926 — 19 560
 1939 — 23 703
 1959 — 29 368.
 1971 — 36,3 tys.
 1989 — 41 080
 2013 — 35 390

Urodzeni w Żmerynce
 Jan Brzechwa - polski poeta
 Konstanty Chyliński - polski historyk, p.o. ministra wyznań religijnych i oświecenia publicznego (1935)
 Mykoła Liwycki - prezydent Ukraińskiej Republiki Ludowej na emigracji
 Włodzimierz Nałęcz-Gembicki - polski wojskowy

Miasta partnerskie
  Skarżysko-Kamienna
  Sędziszów Małopolski

Galeria

Przypisy

Linki zewnętrzne

 Żmerynka na stronie Rady Najwyższej Ukrainy

Miasta w obwodzie winnickim
Rejon żmeryński
Żmerynka

redpajama_set_name: RedPajamaWikipedia


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