In a case that clearly illustrates the extent of corruption, callousness and greed on the part of Big Pharma's cancer industry, two drug companies have been ordered to pay nearly $70 million to settle a federal lawsuit over charges that the companies lied about the effectiveness of a cancer drug.
The two companies, Genentech and OSI Pharmaceuticals, agreed to pay $67 million to avoid further litigation over its deceptive marketing of Tarceva, a drug used to treat non-small-cell lung cancer.
Details of the lawsuit reveal the unscrupulous and illegal marketing techniques employed by the drug maker, which almost certainly led to the early deaths of patients who received treatment involving the useless drug.
"The lawsuit said the companies gave their sales representatives promotional materials that discouraged doctors from testing patients for EGFR.
"The companies also promoted Tarceva, the lawsuit said, by giving doctors illegal kickbacks disguised as fees for making speeches or serving on Genentech's advisory boards.
Under the terms of the False Claims Act, the federal government will receive $62.6 million of the settlement, State Medicaid programs will get $4.4 million and Shields and his lawyers will share the remaining $10 million.
Unfortunately, drug manufacturers have a history of ignoring their "responsibility" to patients and the healthcare industry – there have been numerous cases of fraudulent marketing, falsified study results and bribery on the part of drug makers.
Big Pharma has shown that it will stop at nothing in the pursuit of profits. It's clear that the "cancer industry" has no interest in curing anyone – human lives and ethics are far less important than dollars to these greedy and soulless criminals.
The profits raked in by Big Pharma are absolutely staggering. It's important to understand what kind of money we're actually talking about.
If it weren't for the courage of whistleblowers like Brian Shields, Big Pharma would simply continue its corrupt practices virtually unchecked – after all, the FDA and other regulatory agencies have been bought out by the drug industry and do little to protect the public from the fraudulent marketing of useless and dangerous medications.
Two drug companies, Genentech and OSI Pharmaceuticals, have agreed to pay $67 million to settle a whistleblower lawsuit accusing them of misleading doctors about the effectiveness of a cancer drug called Tarceva. – By agreeing to the settlement, neither company admitted any guilt.
Federal prosecutors in San Francisco announced the settlement on June 6, 2016.
The whistleblower, Brian Shields, had worked as a Tarceva sales representative, and later as a product manager. He filed the lawsuit in 2011 under the False Claims Act. Shields and his attorneys will receive $10 million of the settlement. The remainder of the settlement will be divided between State Medicaid programs and the federal government.
Shields alleged that the company had provided doctors and medical professionals with misleading information about Tarceva. According to a news release received by CNN, the companies had led doctors to believe that the drug would be effective in a broad patient population.
But Genentech and OSI knew there was little evidence to support that claim, and that Tarceva had been shown to be effective only in non-small-cell lung cancer patients who had never smoked, or who had a particular genetic mutation in the epidermal growth factor receptor (EGFR), which is involved with cancer growth. The lawsuit alleged also that the companies' promotional materials discouraged testing for EGFR mutation.
The companies were also accused in the suit of giving physicians illegal kickbacks disguised as payments for making speeches or for serving on Genentech's advisory board.
Accurate survival data are vital to doctors' prescribing decisions.


According to the CTPA, the UK Cosmetics Industry was worth £8,438,000,000 in 2013 and is one of the top five largest markets in the EU. As this is such an overwhelmingly prominent market that specialises in lotions and potions we apply directly to our skin, hair and teeth, regulations have to be solid and governing bodies are faced with the need to constantly review and sharpen up the rules.
People have been developing beauty products all over the world for thousands of years. The CTPA provides some interesting uses of beauty products over history; did you know that in 600 BC, people combined gum, egg whites, gelatine and beeswax to create nail varnish? Not only that, but the Ancient Romans discovered a trick to create waves in their hair by utilising soil, water and the sun!
There have been concerns voiced by campaigning groups about the safety of cosmetics, but the UK cosmetics industry is led by scientists who are in charge of researching and developing new formulations, as well as monitoring the safety of products. If there is the slightest chance that a cosmetic product poses a threat to our safety, it will be scientifically studied and evaluated, and then removed from the market.
REACH is the organisation that regulates chemical substances in general, but as the cosmetics industry is a specialist industry with often more stringent legislation, there are other governing bodies in place. For example, the EC Cosmetics Directive monitors the safety of cosmetics in Europe.
Cosmetic products are manufactured under controlled conditions such as in a cleanroom. Our class 7 cleanroom provides a contaminant-free environment to safely pack and repack cosmetic products. Many of the ingredients used in cosmetic products are technical-grade; meaning strict regulations are in place for the process of manufacturing and supplying the ingredients.
Regulations got an overhaul in 2012, sprouting concern for the industry's ability to innovate – if there were so many rules, how would companies have room to experiment and grow? Luckily, brands seemed to adapt to the regulations which are important for our safety and that of the environment.
The safety of all cosmetics products that go on sale has to be assessed by a professional, specifically a person with qualifications in toxicology. The assessment will be documented in an information pack to provide details such as the specification and composition of ingredients, methods of manufacture and effects on human health.
Materials in products must be disclosed on an EU database and there exists a list of banned ingredients which absolutely cannot be used in the UK cosmetics industry.
All negative reactions to products must be reported to the authorities in the country the reaction occurs in and this data should be made public. All of these rules have been implemented as a public assurance that your beauty products are not a toxic threat.
Of course, as time has progressed, changes have been made to the rule book to eliminate bad practices and improve the cosmetics industry.
Now, companies must be able to present data to support any claims they make about a product. This is an effective way of putting an end to inaccurate claims such as "chemical-free shampoo" and "not tested on animals".
The good news is that animal testing has largely been banned. The testing of finished cosmetic products and ingredients on animals has been stopped and The Cosmetics Directive is aiming to also eliminate safety testing on animals. However, it will still be permitted in certain circumstances that are subject to pre-approval.
In 2014, the exfoliating microbeads you find in some face washes and toothpaste were banned in certain US areas due to their effect on the environment. The beads are actually plastic, so researchers discovered that they weren't biodegradable and were too small to be filtered out by wastewater materials. Not only this, but they were being eaten by fish that couldn't digest them and ultimately ending up in the human food chain.
Major cosmetics companies such as Unilever and L'Oreal have agreed to phase out the microbeads. There are currently no restrictions on microbeads in the UK cosmetics industry, but campaigners are working to convince the big brands to phase out the particles on a global scale.
To stay informed with changes to regulations as they become news, follow our social channels. We're always sharing information about the chemical and cosmetics industries and would love to connect with more of our readers.


Believe it or not, this movie has a special place for me since it played a pretty huge part during my young adult period. Back in 2008, I had friend who were really into 70's-80's music including the king of pop and he usually brought me interesting albums. One day, he gave me a copy of Moonwalker. It was a big deal at the time because the film wasn't available in any format except original VHS and Laserdisc from 1988, so it was kinda interesting to watch this from bootlegged DVD. I was 15, but I felt like I was in the land of adventure and fun again although this is just a 90-minute commercial for his Bad album*, which I also have as cassette tape as well.
Fast forward to 2009, our king of pop passed away. In my country, there was a massive craze in MJ again, which is unbelievable considering that Korean pop culture was really big here and many Thai people considered him as some sort of joke at that time. I remember there was a huge (I mean, HUGE) flash mob at the biggest shopping mall in Bangkok, his Bucharest concert was shown on national television again (and there was a time when it's shown on jumbotron in the shopping mall. To my surprise, there are enormous number of people, including restaurant's greeters, standing in the mall and watching him doing moonwalk), and every albums of MJ became available again in record store. Apparently, it brought back the proper DVD release of Moonwalker as well, which is stunning because around that time only handful of countries had DVD release of it.
So, anyway, let's take a look at this memorable flick from the king of pop himself.
What's this film all about?
As I said, this is a 90-minute commercial for his Bad album. But there's one thing I didn't mention: this is another ego-driven film. It few moments of "Hey, look at me! I'm really famous!" attitude. I'll focus more about this soon. Nonetheless, this is an anthology film in which it separates into 8 segments and each segment is connect to another one through either storyline or editing. It means that the only way I can review it properly is to tell you what's each segment is all about and whether I like it or not.
What is it?: It's an intercut of Man In The Mirror music video (which features montage of historical figures such as Martin Luther King Jr. and Mother Teresa) and his performance on stage. Also, it has a lot of footage of fans crying and fainting audience being carried out of concert venue. And in the end, MJ softly says "Make a change'.
Do I like it?: Yeah, but not that much. As I said, this is another "Look at me!" moment in this film. I have no problem showing how great an artist is, but since I saw the Bucharest concert, which has lots of crying/fainting fans footage, it gets old pretty fast.
What is it?: It's a montage of his songs, from Jackson 5 era to the new Bad album, which features short music video clips and/or cool motion graphics and editing.
Do I like it?: Yes. I think this is a good summary of his career up to 1988 and it has an interesting way to make us entertain and learn about his famous songs through stop-motion and weird effects. If I knew anyone who hasn't heard of MJ before, I'd show him/her this cool segment because of nice editing and fantastic songs that featured here.
What is it?: A parody of Bad music video, featuring cast consists of young kids.
Do I like it?: No. Well, I know what you guys are thinking of right now, but this segment is not funny at all. It's a shot-for-shot remake of Bad music video, but with 5-8 years old kids instead. There's no humor or funny moments in this segment at all. If you want hilarious spoof of Bad video, check out Weird Al's Fat.
What is it?: A claymotion adventure of MJ and paparazzis that keep chasing him.
Do I like it?: This is a dumb fun segment that I enjoy. Although it has another "Look at me!" moment (at the beginning, our MJ is being chased by many people. Then he runs into a wardrobe and decides to dress as a rabbit, which turns him into claymotion figure) and hilarious ending (which features dance battle between MJ and the rabbit itself), it feels like I become a kid again for some reason. Maybe because it has anti-realistic attitude.
What is it?: A music video of the song. That's it.
Do I like it?: Although it's kinda cheating to put a whole music video in a film just to fill the runtime, there are interesting aspects about it. First of, this is shown in widescreen version! Many version that you've seen before on TV is the cropped 4:3 version and has pretty bad film-to-video transfer compared to this one. Second, this is a really cool music video which also serves as a time machine to his heyday because it reflects his gossip story he had to face at the time: Elizabeth Taylor affair, his own monkey, his "hyperbaric chamber", etc. It shows us how many scandals happened at the time. Although some people say "You tell us to leave alone, but why did you create controversy in its first place?", I think this is one of his "F-you" songs about the media and scandals in general. There are truckload of songs like this in his next albums (the famous one is probably Scream, which has lavish music video and becomes one of the most expensive music videos of all time).
What is it?: This is the only part of the film that feels like an actual "movie", not just a sketch. It's about MJ and a gang consists of three kids (Kids…again?) who accidentally an evil organization led by Mr. Big (played by Joe Pesci) and the gang has to escape him. Through the escape, MJ uses his magical power to do things here: from turning an abandoned nightclub to a kickass dance floor to turning himself into Mecha-Jackson robot. There's no logic involves in this segment at all. Oh, one of the kids is played by Sean Lennon, son of John Lennon.
Do I like it?: Unfortunately, yes. Although most of modern audience may think exactly the same while they are watching MJ playing in the fields with kids and MJ always gets away from bad guy no matter what happens, you can't deny that his nightclub dancing scene is fantastic. Sure, it's not as mind-blowing as Thriller video, but it has fantastic setting and dancing sequences. Seriously, who can forget the famous his anti-gravity lean?
What is it?: A "concert" performance of MJ's cover version of Beatles hit song.
Do I like it?: Definitely NO. Not only his cover version is pretty bad (no pun intended), it also reflects a conflict between him and Paul McCartney about owning Beatles catalog. For those that don't know, in 1985, MJ bought ATV music publishing, a company that owned rights of many bands' lyrics including the fab four and it destroyed a friendship between king of pop and one of the best pop song writers of all time. It's a segment that I always skip when I watch it.
What is it?: End credits. DUH. Just kidding. First, it has an acappella version of the song called "The Moon is Walking" and later on it has music video of Smooth Criminal.
Do I like it?: Yes. Only for the SC music video. I like it because it has a nice stuttering effects which somehow makes the video cooler, well at least to me.
Overall, no matter how much you guys want to insert out-of-context pedophilia jokes while watching Moonwalker, you have to admit that this is an interesting movie. Of course, it's a commercial for his new album at the time, but there's difference between bad commercial and good commercial. This is the later one.
*Fun fact: If you have ORIGINAL print of this album on CD, LP, or cassette, don't throw them away! To this day, the original mix never surfaces again in any shape or form. The version used in Bad: Special Edition and Bad 25 is slightly different from original one. For instance, in the song Bad, the original mix has more horn sound than the newer one. Also, in Smooth Criminal the original mix has louder hand-clap sound and quieter bass than the newer one.
Check out next page for the review of Moonwalker video game!


text:
import pygame as pg
from OpenGL.GL import GL_LINE_STRIP, GL_TRIANGLE_FAN
from typing import Optional, Callable
from easygl.arrays import VertexArrayData, DType, attribute, vertex, VertexArray
from easygl.shaders import ShaderProgramData, ShaderProgram
from easygl.textures import TexDescriptor, TextureData, MipMap, Wrap, Filter
from easygl.structures import FrozenMat4, Vec2, Vec4
from easygl.display import BlendMode, GLWindow

__all__ = [
    'MAX_PRECISION',
    'circle_line',
    'ellipse_line',
    'circle_fill',
    'ellipse_fill',
    'arc_line',
    'arc_ellipse_line',
    'pie_line',
    'pie_ellipse_line',
    'pie_fill',
    'pie_ellipse_fill',
    'init',
]

MAX_PRECISION = 721
_initialized = False

def circle_line(window, view, projection, position, rotation, radius, color, precision, tex=None, vcoord=0.,
                blend=BlendMode.alpha):
    # type: (GLWindow, Mat4, Mat4, Vec2, float, float, Vec4, int, Optional[TexDescriptor], float) -> None
    pass

def oval_line(window, view, projection, position, rotation, size, radii, color, precision, tex=None, vcoord=0.,
                blend=BlendMode.alpha):
    # type: (GLWindow, Mat4, Mat4, Vec2, float, Vec2, Vec2, Vec4, int, Optional[TexDescriptor], float) -> None
    pass

def ellipse_line(window, view, projection, position, rotation, radii, color, precision, tex=None, vcoord=0.,
                blend=BlendMode.alpha):
    # type: (GLWindow, Mat4, Mat4, Vec2, float, Vec2, Vec4, int, Optional[TexDescriptor], float) -> None
    pass

def circle_fill(window, view, projection, position, rotation, radius, color, precision, tex=None, vcoord=0.,
                blend=BlendMode.alpha):
    # type: (GLWindow, Mat4, Mat4, Vec2, float, float, Vec4, int, Optional[TexDescriptor], float) -> None
    pass

def ellipse_fill(window, view, projection, position, rotation, radii, color, precision, tex=None, vcoord=0.,
                blend=BlendMode.alpha):
    # type: (GLWindow, Mat4, Mat4, Vec2, float, Vec2, Vec4, int, Optional[TexDescriptor], float) -> None
    pass

def arc_line(window, view, projection, position, rotation, radius, start, end, color, precision, tex=None, vcoord=0.,
             blend=BlendMode.alpha):
    # type: (GLWindow, Mat4, Mat4, Vec2, float, float, float, float, Vec4, float, Optional[TexDescriptor], float, BlendMode) -> None
    pass

def arc_ellipse_line(window, view, projection, position, rotation, radii, start, end, color, precision, tex=None, vcoord=0.,
             blend=BlendMode.alpha):
    # type: (GLWindow, Mat4, Mat4, Vec2, float, Vec2, float, float, Vec4, float, Optional[TexDescriptor], float, BlendMode) -> None
    pass

def pie_line(window, view, projection, position, rotation, radius, start, end, color, precision, tex=None, vcoord=0.,
             blend=BlendMode.alpha):
    # type: (GLWindow, Mat4, Mat4, Vec2, float, float, float, float, Vec4, float, Optional[TexDescriptor], float, BlendMode) -> None
    pass

def pie_ellipse_line(window, view, projection, position, rotation, radii, start, end, color, precision, tex=None, vcoord=0., blend=BlendMode.alpha):
    # type: (GLWindow, Mat4, Mat4, Vec2, float, Vec2, float, float, Vec4, int, Optional[TexDescriptor], float, BlendMode) -> None
    pass

def pie_fill(window, view, projection, position, rotation, radius, start, end, color, precision, tex=None, vcoord=0.,
             blend=BlendMode.alpha):
    # type: (GLWindow, Mat4, Mat4, Vec2, float, float, float, float, Vec4, float, Optional[TexDescriptor], float, BlendMode) -> None
    pass

def pie_ellipse_fill(window, view, projection, position, rotation, radii, start, end, color, precision, tex=None, vcoord=0.,
             blend=BlendMode.alpha):
    # type: (GLWindow, Mat4, Mat4, Vec2, float, Vec2, float, float, Vec4, float, Optional[TexDescriptor], float, BlendMode) -> None
    pass

def init():
    global _initialized, circle_line, ellipse_line, oval_line, ellipse_fill, circle_fill, arc_line, arc_ellipse_line,\
        pie_line, pie_ellipse_line, pie_fill, pie_ellipse_fill,\
        circle_shader_data, circle_vertex_array, circle_shader, texdata

    if _initialized:
        return

    # region - - -- ----==<[ ARRAYS ]>==---- -- - -

    circle_vertex_data = VertexArrayData()

    with circle_vertex_data.definition():
        attribute('idx', DType.ubyte)

    with circle_vertex_data.new_primitive('indices', MAX_PRECISION + 1):
        for i in range(MAX_PRECISION + 1):
            vertex(index=0)

    # endregion

    # region - - -- ----==<[ TEXTURES ]>==---- -- - -

    s = pg.Surface((4, 1))
    s.fill((255, 255, 255))
    texdata = TextureData()
    texdata.create_from_surface('circle_line_tex', s, False, False, MipMap.linear_linear, Wrap.repeat, Filter.linear)

    # endregion

    # region - - -- ----==<[ SHADERS ]>==---- -- - -

    circle_vshader_code = """
    #version 330 core

    in float idx;

    uniform float circle_prec;
    uniform mat4 model;
    uniform mat4 view;
    uniform mat4 projection;
    uniform float vcoord;

    out vec2 coord;

    vec4 vertex(float num, float den) {

        float ang = radians((num / den) * 360.0f);

        return vec4(cos(ang), sin(ang), 0.0f, 1.0f);

    }

    void main() {

        gl_Position = projection * view * model * vertex(gl_VertexID, circle_prec + idx);
        coord = vec2(gl_VertexID / circle_prec, vcoord);

    }
    """
    oval_vshader_code = """
        #version 330 core

        in float idx;

        uniform float ratio;
        uniform float circle_prec;
        uniform mat4 model;
        uniform mat4 view;
        uniform mat4 projection;
        uniform float vcoord;

        out vec2 coord;

        vec4 vertex(float num, float den) {

            float r = num / den;
            float rad;
            if (r > .5f)
                rad = 1.f - ((r * 2.f) - 1.f);
            else
                rad = r * 2.f;

            float rt = ratio + (1.f - ratio) * rad;
            float ang = radians(r * 360.0f);

            return vec4(cos(ang), sin(ang) * rt, 0.0f, 1.0f);

        }

        void main() {

            gl_Position = projection * view * model * vertex(gl_VertexID, circle_prec + idx);
            coord = vec2(gl_VertexID / circle_prec, vcoord);

        }
        """
    circlefill_vshader_code = """
    #version 330 core

    in float idx;

    uniform float circle_prec;
    uniform mat4 model;
    uniform mat4 view;
    uniform mat4 projection;
    uniform float vcoord;

    out vec2 coord;

    vec4 vertex(float num, float den) {

        float ang = radians((num / den) * 360.0f);

        return vec4(cos(ang), sin(ang), 0.0f, 1.0f);

    }

    void main() {

        if (gl_VertexID == 0) {
            gl_Position = projection * view * model * vec4(0.0f, 0.0f, 0.0f, 1.0f);
            coord = vec2(.5f, vcoord);
        } else {
            gl_Position = projection * view * model * vertex(gl_VertexID - 1.0f, circle_prec + idx);
            coord = vec2((gl_VertexID - 1.0f) / circle_prec, vcoord);
        }
    }
    """
    circle_fshader_code = """
    #version 330 core

    in vec2 coord;

    uniform sampler2D tex;
    uniform vec4 color;
    uniform bool solidcolor;

    void main() {

        if (solidcolor)
            gl_FragColor = color;
        else
            gl_FragColor = color * texture(tex, coord);
    }
    """

    arc_vshader_code = """
    #version 330 core

    in int idx;

    uniform float angle;
    uniform float theta;
    uniform float arc_prec;
    uniform mat4 model;
    uniform mat4 view;
    uniform mat4 projection;
    uniform float vcoord;

    out vec2 coord;

    void main() {

        float i = idx - idx;
        float step = (gl_VertexID + i) / arc_prec;
        float micro = step * theta;
        float arc_angle = mod(angle + micro, 360.0f);
        float rad = radians(arc_angle);
        vec4 position = vec4(cos(rad), sin(rad), 0.0f, 1.0f);

        gl_Position = projection * view * model * position;
        coord = vec2(step, vcoord);

    }
    """
    pie_vshader_code = """
    #version 330 core

    in int idx;

    uniform float angle;
    uniform float theta;
    uniform float arc_prec;
    uniform mat4 model;
    uniform mat4 view;
    uniform mat4 projection;
    uniform float vcoord;

    out vec2 coord;

    void main() {

        float step = (gl_VertexID + idx) / arc_prec;
        float micro = ((gl_VertexID + idx) / (arc_prec - 2)) * theta;
        float arc_angle = mod(angle + micro, 360.0f);
        float rad = radians(arc_angle);

        vec4 position = vec4(cos(rad), sin(rad), 0.0f, 1.0f);
        if (step == 0.0f || step == 1.0f)
            position = vec4(0.0f, 0.0f, 0.0f, 1.0f);

        gl_Position = projection * view * model * position;
        coord = vec2(step, vcoord);

    }
    """
    piefill_vshader_code = """
        #version 330 core

        in int idx;

        uniform float angle;
        uniform float theta;
        uniform float arc_prec;
        uniform mat4 model;
        uniform mat4 view;
        uniform mat4 projection;
        uniform float vcoord;

        out vec2 coord;

        void main() {

            float step = (gl_VertexID + idx) / arc_prec;
            float micro = ((gl_VertexID + idx) / (arc_prec - 2)) * theta;
            float arc_angle = mod(angle + micro, 360.0f);
            float rad = radians(arc_angle);

            vec4 position = vec4(cos(rad), sin(rad), 0.0f, 1.0f);
            if (step == 0.0f || step == 1.0f)
                position = vec4(0.0f, 0.0f, 0.0f, 1.0f);

            gl_Position = projection * view * model * position;
            coord = vec2(step, vcoord);

        }
        """

    circle_shader_data = ShaderProgramData("")
    circle_shader_data.compile_vertex_shader('circle', shader_code=circle_vshader_code)
    circle_shader_data.compile_vertex_shader('circlefill', shader_code=circlefill_vshader_code)
    circle_shader_data.compile_fragment_shader('circle', shader_code=circle_fshader_code)

    circle_shader_data.compile_vertex_shader('oval', shader_code=oval_vshader_code)

    circle_shader_data.compile_vertex_shader('arc', shader_code=arc_vshader_code)
    circle_shader_data.compile_vertex_shader('pie', shader_code=pie_vshader_code)

    circle_shader_data.link('circle_shader', vertex='circle', fragment='circle')
    circle_shader_data.link('oval_shader', vertex='oval', fragment='circle')
    circle_shader_data.link('circlefill_shader', vertex='circlefill', fragment='circle')
    circle_shader_data.link('arc_shader', vertex='arc', fragment='circle')
    circle_shader_data.link('pie_shader', vertex='pie', fragment='circle')

    circle_shader = circle_shader_data.build('circle_shader')
    oval_shader = circle_shader_data.build('oval_shader')
    circlefill_shader = circle_shader_data.build('circlefill_shader')
    arc_shader = circle_shader_data.build('arc_shader')
    pie_shader = circle_shader_data.build('pie_shader')

    # endregion

    # region - - -- ----==<[ VAOS ]>==---- -- - -

    circle_vertex_array = VertexArray(circle_vertex_data, 'indices', circle_shader)
    oval_vertex_array = VertexArray(circle_vertex_data, 'indices', oval_shader)
    circlefill_vertex_array = VertexArray(circle_vertex_data, 'indices', circlefill_shader)
    arc_vertex_array = VertexArray(circle_vertex_data, 'indices', arc_shader)
    pie_vertex_array = VertexArray(circle_vertex_data, 'indices', pie_shader)

    # endregion

    # region - - -- ----==<[ RENDER FUNCTIONS ]>==---- -- - -

    def circle_line(window, view, projection, position, rotation, radius, color, precision, tex=None, vcoord=0., blend=BlendMode.alpha):
        # type: (GLWindow, Mat4, Mat4, Vec2, float, float, Vec4, int, Optional[TexDescriptor], float) -> None
        count = max(8, min(precision, MAX_PRECISION))
        model = FrozenMat4.transform(Vec4(position, 0., 1.), rotation, Vec4(radius, radius, 0., 1.))

        current = window.blend_mode
        window.blend_mode = blend
        with circle_vertex_array.render(GL_LINE_STRIP, count + 1) as shader:   # type: ShaderProgram
            shader.load1f('circle_prec', count)
            shader.load_matrix4f('model', 1, False, model)
            shader.load_matrix4f('view', 1, False, tuple(view))
            shader.load_matrix4f('projection', 1, False, tuple(projection))
            shader.load1f('vcoord', vcoord)
            if isinstance(tex, TexDescriptor):
                shader.load_sampler2d('tex', tex.id, 0)
                shader.load1i('solidcolor', 0)
            else:
                shader.load_sampler2d('tex', texdata['circle_line_tex'].id, 0)
                shader.load1i('solidcolor', 1)
            shader.load4f('color', *color)

        window.blend_mode = current

    def ellipse_line(window, view, projection, position, rotation, radii, color, precision, tex=None, vcoord=0., blend=BlendMode.alpha):
        # type: (GLWindow, Mat4, Mat4, Vec2, float, Vec2, Vec4, int, Optional[TexDescriptor], float) -> None
        count = max(8, min(precision, MAX_PRECISION))
        model = FrozenMat4.transform(Vec4(position, 0., 1.), rotation, Vec4(radii, 0., 1.))

        current = window.blend_mode
        window.blend_mode = blend
        with circle_vertex_array.render(GL_LINE_STRIP, count + 1) as shader:   # type: ShaderProgram
            shader.load1f('circle_prec', count)
            shader.load_matrix4f('model', 1, False, model)
            shader.load_matrix4f('view', 1, False, tuple(view))
            shader.load_matrix4f('projection', 1, False, tuple(projection))
            shader.load1f('vcoord', vcoord)
            if isinstance(tex, TexDescriptor):
                shader.load_sampler2d('tex', tex.id, 0)
                shader.load1i('solidcolor', 0)
            else:
                shader.load_sampler2d('tex', texdata['circle_line_tex'].id, 0)
                shader.load1i('solidcolor', 1)
            shader.load4f('color', *color)

        window.blend_mode = current

    def oval_line(window, view, projection, position, rotation, size, radii, color, precision, tex=None, vcoord=0., blend=BlendMode.alpha):
        # type: (GLWindow, Mat4, Mat4, Vec2, float, float, Vec4, int, Optional[TexDescriptor], float) -> None
        count = max(8, min(precision, MAX_PRECISION))
        model = FrozenMat4.transform(Vec4(position, 0., 1.), rotation, Vec4(size, 0., 1.))

        current = window.blend_mode
        window.blend_mode = blend
        with oval_vertex_array.render(GL_LINE_STRIP, count + 1) as shader:   # type: ShaderProgram
            shader.load1f('ratio', min(radii) / max(radii))
            shader.load1f('circle_prec', count)
            shader.load_matrix4f('model', 1, False, model)
            shader.load_matrix4f('view', 1, False, tuple(view))
            shader.load_matrix4f('projection', 1, False, tuple(projection))
            shader.load1f('vcoord', vcoord)
            if isinstance(tex, TexDescriptor):
                shader.load_sampler2d('tex', tex.id, 0)
                shader.load1i('solidcolor', 0)
            else:
                shader.load_sampler2d('tex', texdata['circle_line_tex'].id, 0)
                shader.load1i('solidcolor', 1)
            shader.load4f('color', *color)

        window.blend_mode = current

    def circle_fill(window, view, projection, position, rotation, radius, color, precision, tex=None, vcoord=0., blend=BlendMode.alpha):
        # type: (GLWindow, Mat4, Mat4, Vec2, float, float, Vec4, int, Optional[TexDescriptor], float) -> None
        count = max(8, min(precision, MAX_PRECISION))
        model = FrozenMat4.transform(Vec4(position, 0., 1.), rotation, Vec4(radius, radius, 0., 1.))

        current = window.blend_mode
        window.blend_mode = blend
        with circlefill_vertex_array.render(GL_TRIANGLE_FAN, count + 2) as shader:   # type: ShaderProgram
            shader.load1f('circle_prec', count)
            shader.load_matrix4f('model', 1, False, model)
            shader.load_matrix4f('view', 1, False, tuple(view))
            shader.load_matrix4f('projection', 1, False, tuple(projection))
            shader.load1f('vcoord', vcoord)
            if isinstance(tex, TexDescriptor):
                shader.load_sampler2d('tex', tex.id, 0)
                shader.load1i('solidcolor', 0)
            else:
                shader.load_sampler2d('tex', texdata['circle_line_tex'].id, 0)
                shader.load1i('solidcolor', 1)
            shader.load4f('color', *color)

        window.blend_mode = current

    def ellipse_fill(window, view, projection, position, rotation, radii, color, precision, tex=None, vcoord=0., blend=BlendMode.alpha):
        # type: (GLWindow, Mat4, Mat4, Vec2, float, Vec2, Vec4, int, Optional[TexDescriptor], float) -> None
        count = max(8, min(precision, MAX_PRECISION))
        model = FrozenMat4.transform(Vec4(position, 0., 1.), rotation, Vec4(radii, 0., 1.))

        current = window.blend_mode
        window.blend_mode = blend
        with circlefill_vertex_array.render(GL_TRIANGLE_FAN, count + 2) as shader:   # type: ShaderProgram
            shader.load1f('circle_prec', count)
            shader.load_matrix4f('model', 1, False, model)
            shader.load_matrix4f('view', 1, False, tuple(view))
            shader.load_matrix4f('projection', 1, False, tuple(projection))
            shader.load1f('vcoord', vcoord)
            if isinstance(tex, TexDescriptor):
                shader.load_sampler2d('tex', tex.id, 0)
                shader.load1i('solidcolor', 0)
            else:
                shader.load_sampler2d('tex', texdata['circle_line_tex'].id, 0)
                shader.load1i('solidcolor', 1)
            shader.load4f('color', *color)

        window.blend_mode = current

    def arc_line(window, view, projection, position, rotation, radius, start, end, color, precision, tex=None, vcoord=0., blend=BlendMode.alpha):
        # type: (GLWindow, Mat4, Mat4, Vec2, float, float, float, float, Vec4, float, Optional[TexDescriptor], float, BlendMode) -> None
        a = start % 360.
        b = end % 360.
        if b < a:
            theta = (360. - a) + b
        else:
            theta = b - a
        if theta == 0:
            return

        model = FrozenMat4.transform(Vec4(position, 0., 1.), rotation, Vec4(radius, radius, 0., 1.))
        arc_prec = int(max(2, min(precision, MAX_PRECISION -1)))
        current = window.blend_mode
        window.blend_mode = blend
        with arc_vertex_array.render(GL_LINE_STRIP, arc_prec) as shader:   # type: ShaderProgram
            shader.load1f('angle', a + 1)
            shader.load1f('theta', theta)
            shader.load1f('arc_prec', arc_prec)
            shader.load_matrix4f('model', 1, False, model)
            shader.load_matrix4f('view', 1, False, tuple(view))
            shader.load_matrix4f('projection', 1, False, tuple(projection))
            shader.load1f('vcoord', vcoord)
            if isinstance(tex, TexDescriptor):
                shader.load_sampler2d('tex', tex.id, 0)
                shader.load1i('solidcolor', 0)
            else:
                shader.load_sampler2d('tex', texdata['circle_line_tex'].id, 0)
                shader.load1i('solidcolor', 1)
            shader.load4f('color', *color)

        window.blend_mode = current

    def arc_ellipse_line(window, view, projection, position, rotation, radii, start, end, color, precision, tex=None, vcoord=0., blend=BlendMode.alpha):
        # type: (GLWindow, Mat4, Mat4, Vec2, float, Vec2, float, float, Vec4, float, Optional[TexDescriptor], float, BlendMode) -> None
        a = start % 360.
        b = end % 360.
        if b < a:
            theta = (360. - a) + b
        else:
            theta = b - a
        if theta == 0:
            return

        model = FrozenMat4.transform(Vec4(position, 0., 1.), rotation, Vec4(radii, 0., 1.))
        arc_prec = int(max(2, min(precision, MAX_PRECISION -1)))
        current = window.blend_mode
        window.blend_mode = blend
        with arc_vertex_array.render(GL_LINE_STRIP, arc_prec) as shader:   # type: ShaderProgram
            shader.load1f('angle', a + 1)
            shader.load1f('theta', theta)
            shader.load1f('arc_prec', arc_prec)
            shader.load_matrix4f('model', 1, False, model)
            shader.load_matrix4f('view', 1, False, tuple(view))
            shader.load_matrix4f('projection', 1, False, tuple(projection))
            shader.load1f('vcoord', vcoord)
            if isinstance(tex, TexDescriptor):
                shader.load_sampler2d('tex', tex.id, 0)
                shader.load1i('solidcolor', 0)
            else:
                shader.load_sampler2d('tex', texdata['circle_line_tex'].id, 0)
                shader.load1i('solidcolor', 1)
            shader.load4f('color', *color)

        window.blend_mode = current

    def pie_line(window, view, projection, position, rotation, radius, start, end, color, precision, tex=None, vcoord=0., blend=BlendMode.alpha):
        # type: (GLWindow, Mat4, Mat4, Vec2, float, float, float, float, Vec4, int, Optional[TexDescriptor], float, BlendMode) -> None
        a = start % 360.
        b = end % 360.
        if b < a:
            theta = (360. - a) + b
        else:
            theta = b - a
        if theta == 0:
            return

        model = FrozenMat4.transform(Vec4(position, 0., 1.), rotation, Vec4(radius, radius, 0., 1.))
        arc_prec = int(max(5, precision / (360. / theta)))
        current = window.blend_mode
        window.blend_mode = blend
        with pie_vertex_array.render(GL_LINE_STRIP, arc_prec) as shader:  # type: ShaderProgram
            shader.load1f('angle', a)
            shader.load1f('theta', theta)
            shader.load1f('arc_prec', arc_prec - 1)
            shader.load_matrix4f('model', 1, False, model)
            shader.load_matrix4f('view', 1, False, tuple(view))
            shader.load_matrix4f('projection', 1, False, tuple(projection))
            shader.load1f('vcoord', vcoord)
            if isinstance(tex, TexDescriptor):
                shader.load_sampler2d('tex', tex.id, 0)
                shader.load1i('solidcolor', 0)
            else:
                shader.load_sampler2d('tex', texdata['circle_line_tex'].id, 0)
                shader.load1i('solidcolor', 1)
            shader.load4f('color', *color)

        window.blend_mode = current

    def pie_ellipse_line(window, view, projection, position, rotation, radii, start, end, color, precision, tex=None, vcoord=0., blend=BlendMode.alpha):
        # type: (GLWindow, Mat4, Mat4, Vec2, float, Vec2, float, float, Vec4, int, Optional[TexDescriptor], float, BlendMode) -> None
        a = start % 360.
        b = end % 360.
        if b < a:
            theta = (360. - a) + b
        else:
            theta = b - a
        if theta == 0:
            return

        model = FrozenMat4.transform(Vec4(position, 0., 1.), rotation, Vec4(radii, 0., 1.))
        arc_prec = int(max(5, precision / (360. / theta)))
        current = window.blend_mode
        window.blend_mode = blend
        with pie_vertex_array.render(GL_LINE_STRIP, arc_prec) as shader:  # type: ShaderProgram
            shader.load1f('angle', a)
            shader.load1f('theta', theta)
            shader.load1f('arc_prec', arc_prec - 1)
            shader.load_matrix4f('model', 1, False, model)
            shader.load_matrix4f('view', 1, False, tuple(view))
            shader.load_matrix4f('projection', 1, False, tuple(projection))
            shader.load1f('vcoord', vcoord)
            if isinstance(tex, TexDescriptor):
                shader.load_sampler2d('tex', tex.id, 0)
                shader.load1i('solidcolor', 0)
            else:
                shader.load_sampler2d('tex', texdata['circle_line_tex'].id, 0)
                shader.load1i('solidcolor', 1)
            shader.load4f('color', *color)

        window.blend_mode = current

    def pie_fill(window, view, projection, position, rotation, radius, start, end, color, precision, tex=None, vcoord=0., blend=BlendMode.alpha):

        a = start % 360.
        b = end % 360.
        if b < a:
            theta = (360. - a) + b
        else:
            theta = b - a
        if theta == 0:
            return

        model = FrozenMat4.transform(Vec4(position, 0., 1.), rotation, Vec4(radius, radius, 0., 1.))
        arc_prec = int(max(5, precision / (360. / theta)))
        current = window.blend_mode
        window.blend_mode = blend
        with pie_vertex_array.render(GL_TRIANGLE_FAN, arc_prec) as shader:  # type: ShaderProgram
            shader.load1f('angle', a)
            shader.load1f('theta', theta)
            shader.load1f('arc_prec', arc_prec - 1)
            shader.load_matrix4f('model', 1, False, model)
            shader.load_matrix4f('view', 1, False, tuple(view))
            shader.load_matrix4f('projection', 1, False, tuple(projection))
            shader.load1f('vcoord', vcoord)
            if isinstance(tex, TexDescriptor):
                shader.load_sampler2d('tex', tex.id, 0)
                shader.load1i('solidcolor', 0)
            else:
                shader.load_sampler2d('tex', texdata['circle_line_tex'].id, 0)
                shader.load1i('solidcolor', 1)
            shader.load4f('color', *color)

        window.blend_mode = current

    def pie_ellipse_fill(window, view, projection, position, rotation, radii, start, end, color, precision, tex=None, vcoord=0., blend=BlendMode.alpha):
        # type: (GLWindow, Mat4, Mat4, Vec2, float, Vec2, float, float, Vec4, float, Optional[TexDescriptor], float, BlendMode) -> None
        a = start % 360.
        b = end % 360.
        if b < a:
            theta = (360. - a) + b
        else:
            theta = b - a
        if theta == 0:
            return

        model = FrozenMat4.transform(Vec4(position, 0., 1.), rotation, Vec4(radii, 0., 1.))
        arc_prec = int(max(5, precision / (360. / theta)))
        current = window.blend_mode
        window.blend_mode = blend
        with pie_vertex_array.render(GL_TRIANGLE_FAN, arc_prec) as shader:  # type: ShaderProgram
            shader.load1f('angle', a)
            shader.load1f('theta', theta)
            shader.load1f('arc_prec', arc_prec - 1)
            shader.load_matrix4f('model', 1, False, model)
            shader.load_matrix4f('view', 1, False, tuple(view))
            shader.load_matrix4f('projection', 1, False, tuple(projection))
            shader.load1f('vcoord', vcoord)
            if isinstance(tex, TexDescriptor):
                shader.load_sampler2d('tex', tex.id, 0)
                shader.load1i('solidcolor', 0)
            else:
                shader.load_sampler2d('tex', texdata['circle_line_tex'].id, 0)
                shader.load1i('solidcolor', 1)
            shader.load4f('color', *color)

        window.blend_mode = current
    # endregion

    _initialized = True

redpajama_set_name: RedPajamaGithub


When the Greensboro Coliseum expanded from its original 9,000-seat configuration to 16,000 seats in 1970, it needed a premier event to anchor the cavernous multipurpose arena. A basketball tournament seemed like a good idea.
And one of the reasons Greensboro earned that nickname was because of the Big Four Tournament, a two-night, regular-season extravaganza that displayed the state's four ACC teams in nonconference action.
The games didn't count in the standings, which made them no less intense, but took some of the pressure off for the fans in the stands. It was an early-season hoops appetizer, not as complicated as the eight-team format of the Dixie Classic.
The event was brilliant in its simplicity: NC State, North Carolina, Duke and Wake Forest played on two consecutive nights at the Greensboro Coliseum. They were randomly paired the first night, with the winners facing each other the next night in the title game, while the losers played each other in the consolation game.
In each of the 11 tournaments, there was a team with two wins, two teams with a 1-1 record and a team with two losses.
Fans loved it. Other than the first season, it was always a sell-out. Athletics directors loved it. Other than 1974, when NC State received an outrageous sum of $125,000 to play a made-for-television game against seven-time defending national champion UCLA in St. Louis, the game was the biggest entry on the basketball ledger sheet, earning each school more than $50,000 a year in income.
That was huge in the 1970s, before there were even whispers of conference television packages.
Predictably, however, the coaches hated it. Why add the extra stress of playing an archrival one more time in an already difficult season?
But there was certainly room in the schedule. The ACC had only seven teams for most of the 1970s and the conference round robin was only 12 games long. A premier event like this filled the state's biggest coliseum unlike any other early season events could have.
There were some unbelievable games, perhaps none more than the first days of 1974, when No. 5 NC State opened the event against No. 4 North Carolina. It kicked off what certainly has to be regarded as the greatest year that city has ever seen, thanks mostly to the Pack.
The Tar Heels were undefeated and the Wolfpack's only loss was the 84-66 throttling it took against the Bruins two weeks earlier in St. Louis. The Pack rebounded by winning the Sugar Bowl Tournament in New Orleans then returned to its home state to face the Tar Heels, with the hope of kicking off a run to the NCAA championship, which was slated to be in Greensboro later that year.
The Pack built as much as a nine-point lead in the contest, but Carolina came back to make it interesting in the final two minutes. Wolfpack senior center Tommy Burleson gave the Pack a 76-75 lead with 42 seconds remaining and junior point guard Monte Towe made two quick-trigger free throws with 18 seconds to play.
North Carolina's Ed Stahl drew his team within one point with a jumper, and the Tar Heels stole the inbounds pass under its own basket. Stahl, however, missed a potential game-winning shot in the final seconds, and the Wolfpack held on for a 78-77 victory over Dean Smith's Tar Heels, State's fifth victory in a string of nine in a row over UNC.
State, after trailing early, whipped Wake Forest in the title game, taking its third Big Four title in four years and kicking off the unofficial start to the ACC season. The Pack swept through the league regular season, won the North-South Doubleheader against Georgia Tech and Furman in Charlotte, returned to Greensboro to win the ACC Tournament against Maryland in what is still remembered as the greatest conference game ever played, won two games in the NCAA East Regional at Reynolds Coliseum and then capped off a brilliant campaign by beating UCLA and Marquette in the NCAA semifinals and championship game.
State never won the Big Four title again, though. In 1975, the Demon Deacons and sensational freshman Rod Griffin ended the Wolfpack's 36-game winning streak on the opening night with the Wolfpack seeing that its fortunes might not be the same without departed center Tommy Burleson on the floor.
The coaches eventually won the argument about playing in such a tough nonconference event. In 1980, just after Georgia Tech entered the ACC and the league schedule expanded to 14 games, they agreed to end the tournament.
Valvano's team lost to Wake Forest 87-57 in his first Big Four game, but beat fellow first-year coach Mike Krzyzewski in the consolation finals, in the first of Valvano's 12 wins over the Blue Devils.
In the final Big Four championship game, Wake Forest's Frank Johnson scored 24 points to lead the Demon Deacons to an 82-71 victory over No. 11 North Carolina. Freshman Sam Perkins had 22 points for the Tar Heels.
The Wolfpack posted a 13-9 overall record in the event and won it three times.
The Big Four certainly generated excitement, and the coaches knew it. When Sloan left for Florida following the 1979-80 season, one of the first things he did was help set up the Florida Four with the Gators, Florida State, Jacksonville and South Florida. It lasted just two seasons.


Fountain Court resides in the shadow of Mount Rainier just south of Seattle, Washington. Adjacent towns in King County are Renton, Kent, Enumclaw and Covington. We are surrounded by the wonders of nature in the growing community of Maple Valley. Nestled in a quiet neighborhood you'll find independent living Cottages and Assisted Living. Come see how we're Celebrating the ART of Life.
The Cottages are a great option for those who want to retire and exchange the burdens of home maintenance for time spent with family and friends. Each of our 54 studio and one-bedroom apartments have kitchenettes, spacious closets and storage and large private bathrooms.


Additions is a catch-all word for a lot of different types of projects. An addition can be an expansion of your kitchen off the back of your house, a new family room, or as simple as a new garage.
Home ReBuilders can help you evaluate the best way to add on to create your new space. There are cost differences between going up or out. Setbacks for your home may be restrictive in your neighborhood and dictate the best way of approaching your project, including bathroom renovations. A variance is sometimes required for certain types of projects. Many factors play a role in decisions about additions and Home ReBuilders can help you evaluate, navigate and guide you in this decision process.


Brochures are both concise and accessible, which makes them a great way to display corporate information about your company's services. This easy-to-read format is also highly retainable, taking pride of place in your customers' spaces.
Placing brochures in strategic locations will allow your business to spread information to a wide audience and thereby attract new customers. They can easily be placed in promotional giveaways that are sent through the mail or laid out on tables within your office.
Many companies choose to give away other types of items along with the brochures, especially at trade shows. The merchandise might be the initial reason people are walking up, however they will read through the brochure afterwards and find out about your whole brand.
Brochures are a great cost-effective marketing plan. edirect will work with you closely to come up with a design that perfectly presents the message that you are trying to convey. Our creative graphic design team will ensure your brochures match your company's existing aesthetic.
edirect's brochures will be sleek and perfectly convey the information you are trying to spread. They can be shared with potential and existing customers alike as well as business partners and other contacts.
Flexibility is the main reason companies opt for bespoke brochures. Depending on your target audience and business objectives, you can reach customers by mailing brochures in the post, handing them out at trade shows and conferences or using them on location.
Brochures are easy to display and can be placed in a wide range of locations such as your company's offices, trade shows and more. This appeal is achieved by carefully placed print effects, such as rich laminate covers, spot UV glossed elements, and bespoke die-cut folds and shapes.
These design trends help you to engage your customers and display your service offers without going into great depth. Brochures are also useful as in-house company literature and used to remind clients and staff about your brand values. This in turn broadens your market base, as people share information verbally or over the web from your printed materials.
At edirect, our talented graphic design team is able to create bespoke brochures and creative layouts for your corporate material. This exclusive design will improve the attention given to your print material and enhance business opportunities. A brochure designed by edirect is the way forward, as we look to calculate the appropriate materials and processes to suit your budget.
Getting customers' eyes on a well-designed brochure will build up trust for your brand. Companies can choose to include any relevant information including product details, brand data and their objectives.
All brochure designs that edirect creates will be completely bespoke and tailored to your company. Whether you already have a colour scheme in mind or you want to leave it to our graphic design team, we are here to facilitate your request.
Whether you are looking to include product information with prices or share your brand's interesting history, edirect will create a design that conveys the message perfectly. We will compact the information and design eye-catching graphics that customers will immediately notice.
Brochures are able to offer a lot of information for their size. You can include company history, product overviews, service information as well as contact details at the back. A well-designed brochure will give the customer a great overview of why your brand is one they can trust.
edirect was founded in 2001, initially offering templated websites for the cheapest prices in the Dorset area. Our agency has gone from strength to strength during the past 16 years. We have now developed the skills to offer fully bespoke sites and the highest quality graphic design services.
Our close-knit team consists of experts in all facets of interactive development – strategic, technical and creative. The majority of our work comes from client recommendations with a smaller percentage through self-marketing.
Brochures are an important marketing tool that allow businesses to compact a lot of information into a small area. Our graphics team will come up with the ideal design to compact the information in a readable way onto a sleek template.
The edirect team will work with you closely to provide a completely bespoke service that helps you meet your business objectives. Each one of our clients has individual requirements and we will tailor our services accordingly to meet their needs.
With our years of experience, edirect is perfectly placed to work with you on your brochures. We have the skills and capabilities to come up with unique designs that perfectly present the information that you are looking to spread with your customers, business partners or employees.
As one of the most effective ways of reaching specific groups of people, creative brochures always have a place in a comprehensive marketing strategy. Reach out to edirect to discuss the possibilities available to your company today.
If you feel like it is time to add a new strategy to your marketing plan, then brochures offer you many benefits at a low cost. Print brochures are as important today as ever before, with people appreciating the personalised touch that they offer.
edirect is here to help businesses finalise a perfect content format for their brochures. From classic tri-fold designs to more comprehensive accordion four-folds and everything in between, we are here to help you create your perfect brochure.
People reading the brochure – whether they be potential clients, existing industry contacts or employees working within the company – will respond positively to a well-designed layout, with concise content and appropriate accompanying imagery.
The creativity of the design and the finishing effects will make all the difference on how well the brochure is received by the intended audience. With edirect's solutions, you will benefit from bespoke brochures that will provide you with a perfect low-cost marketing tool.
A client reading a brochure essentially receives one on one communication. This means they are personalised and more effective than addressing a general audience would be. The edirect team will help you figure out the best way to get the message across in an accessible manner.
Written material feels more personal than simply reading through a website. Additionally, it will give businesses the opportunity to clearly and concisely present the reasons a customer should choose their brand over the competition.
Brochures are a great investment to show the intended audience that you are serious about your brand and spreading its message as widely as you can. edirect is here to help you get that information across concisely and creatively.


Schedule a free live web demo.
FlowTrac is a fully configurable Warehouse Management System (WMS) that can provide your business with a way to manage and track any kind of inventory or assets in a single, complete system.
Utilizing advanced features and a zero footprint browser based program, FlowTrac provides a new level of control to your business' inventory and assets. With this software, you can manage inventory levels, check inventory stock, and re-order when inventory is low from any iOS or Android mobile device, as well as any desktop, laptop, or tablet. If it has Chrome, Firefox, or Safari, it can access FlowTrac.
FlowTrac's warehouse management system brings a unique set of features to meet your inventory needs. Flexibility and customization make FlowTrac's inventory software a better fit for small and medium sized businesses, giving them the customization and functionality of enterprise inventory software while keeping costs low and ROI short.
FlowTrac provides every buyer with a dedicated account manager who specializes in programming the FlowTrac warehouse management software. They will help you transfer information from your old inventory tracking software, and also provide advice on best practices, setup, and customization options for your software. Finally, they will continue to work with you in the future, guaranteeing that your business will get all the features it needs to succeed.
With FlowTrac, you can manage your inventory and assets without being forced to conform to an inflexible, out-of-the-box solution. Our expert consultants will work with you and the programmers to design the perfect inventory tracking software to fit the needs of your growing businesses in the retail, warehousing, and logistics fields. FlowTrac allows you to only use and add the features that are most critical to your individual needs. It adapts to you and your business, giving you the flexibility to streamline your processes and allow the software to grow with you.


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2015 was a year of opportunity, learning, and challenge for YouthCare, as well as for homeless youth in our community. By reviewing the 2015 Impact Report, we invite you to discover what your support of YouthCare has helped accomplish. We are grateful!
Every day we meet youth with diverse backgrounds and complex experiences already in their lives, and we work to gain their trust and learn about their fears, hopes, and dreams. The unique strengths they bring and obstacles in their pathways help to define a customized plan to stabilize and then build the skills and confidence they need to take the next step forward in their lives. Every story is different; every definition of progress and success is personal. The 2015 Impact Report shares a few of the key successes of our young people, none of which could happen without your support and trust. Please enjoy!


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Home » Site-Sections » Gadget News » Charming Xbox Tweet Proves Love Knows No Console
Charming Xbox Tweet Proves Love Knows No Console
Posted by: Jay Curd on 5 February, 2016 11:04 AM
Its Friday, we're winding down for the weekend and we think that's a good enough reason to feel happy. But we spotted something on our morning Twitter scan that we just had to share and which we thought would give you even more of a smile – especially if you're an avid console gamer!
The official @Xbox account has posted this charming image of a lady Xbox gamer and a PlayStation playing gentleman embracing one another with the logos of their chosen platforms proudly emblazoned on their jackets. A caption below cleverly reads "Achievement Unlocked: Love Knows No Console."
The inspiration for the tweet came from Twitter user @davehinkle who shared a photo that's been doing the rounds on social media of a real life Xbox/PlayStation couple who were caught flirting at a gaming event. The caption on the original tweet says "If these two can make it work, there's hope for us all". It's just like a 21st century Romeo and Juliet and Xbox has lovingly reworked the image into a rad graphic using the Xbox trademark style and green brand uniform. We think it's really something that Xbox would acknowledge the 'other' brand, even hashtagging #playstation into the tweet.
It's no secret that there's a long-standing and bitter rivalry between loyal followers of the world's leading gaming platforms with Sony's original PlayStation ruling the scene since 1994, until Microsoft released its first console in 2001 in direct competition with the PS2 which came out in 2000. The next generation console wars had begun and the two brands have gone head-to-head for the last 15 years with Xbox One and PS4 the current flagship platforms for the respective brands.
Let's hope that this touching tweet will stop the console hate – even if just for one day.
Tags: console, Gaming, Love, microsoft, playstation, ps4, Sony, Twitter, xbox, Xbox One
Article categories: Gadget News, Gaming, General Gadgets, Internet, Microsoft, Social Networking, Sony

redpajama_set_name: RedPajamaCommonCrawl


The idea of a Swarovski crystal studded dog collar may seem outlandish. And gifting your pet one? Well, heights of indulgence. But the, what the heck, it's your best friend we are talking about here. And when it's Christmas, he too deserves to be lavished with the best, it can flaunt. That's exactly why Greyhound has come with a collar that's befitting your dog's affection. Fret not, it's ain't as dainty as it seems. The makers have ensured that the collar while bedazzling outside, is tough and soft otherwise. Thanks to the cleaver use of Ross Nappa leather and fibre glass tape, the collar can take all the beating and bashing with a smile. Of course the real wonder of this well designed collar is the playful use of 200 Swarovski chaton crystals and 15 different colour strass crystal stone that gives it the festive feel. Available in three different sizes, it's a worthy $ 440 well spend, for your pets' sake.
$33,000 Swarovski-Studded Couture plays showstopper at New Zealand Fashion Week!


Mother Nature has blessed Western North Carolina with beauty and abundant outdoor recreation opportunities. We are fortunate.
However, there are some who have neither the time nor the resources to travel to a national forest, state park or greenway in S.C. For them, easily accessible parks and greenways could offer the same opportunities.
The benefits to both physical and emotional health which come from outdoor exercise is beyond doubt. Weight loss, lower blood pressure and stress reduction are all documented results of active time spent in outdoor open space. Exercise is one of the least expensive ways to stay healthy and prevent chronic illness. Studies also show that proximity to a park or greenway determines how often one uses the amenity. The closer the park or greenway is to a neighborhood, the more often residents will use it for walking, biking, strolling the baby or active family time.
As a member of the NC Parks and Recreation Authority, I have had the opportunity to visit many counties and municipalities around the state and talk with Parks and Recreation staff about current and planned projects.
The enthusiasm and vision of professional park personnel is inspiring and is driving a strong movement to provide active park use and greenway development for their citizens. In fact, visionary leaders in other counties see that providing quality recreation infrastructure is a truly egalitarian use of taxpayer monies – providing outdoor recreation to all citizens regardless of age, gender, income level, athletic ability or race. Noted landscape architect, Frederick Law Olmsted, also embraced this thought.
Dollars spent on parks and recreation represent an investment in citizen well-being. But currently, the investment for Buncombe County citizens does not compare so well to other counties in North Carolina. Per capita spending is about $11.50 per person in our county compared to $16 to $25 per person in many other counties of similar size. The 2018 county budget for Parks, Greenways and Recreation was less than half of 1 percent of the entire budget. Up until 2014, there was a citizen advisory board for Parks and Recreation. It no longer exists, and there is no formal process for citizen input to this important division of county government.
Many relocating businesses are searching for communities where quality of life amenities are available for their workforce. If economic development is a county priority, as it should be, then leadership must address more than tax incentives and available real estate. Businesses that are being recruited should see Buncombe County as a place where individuals and families can recreate together outdoors in safe, accessible and inviting open space.
In our rapidly developing county, preservation of open space for public use and enjoyment is essential. So, what are our recreation priorities for Buncombe County? An up-to-date Parks and Recreation Master Plan, developed with citizen input and which promotes wellness and quality of life, would create a shared vision for future recreation opportunities for citizens in all corners of the county.
Ann Babcock is a member of the NC Parks and Recreation Authority and a board member of Connect Buncombe, a nonprofit greenways advocacy group.
Original article courtesy of Asheville Citizen-Times.


White chocolate dipped pretzel knot decorated with snowflake sprinkles is packaged in a snowflake patterned cello bag, tied with sheer ribbon. Perfect promotional handout during the winter months, these chocolate pretzels makes a nice Christmas party favor for corporate parties and events.
Change out the decorative ribbon and customize by imprinting a solid color white ribbon with Silver Foil in a continuous loop imprint for a set up fee of $16 and an additional $.10 per bag.


It's a stormy day here in Massachusetts today, complete with thunder and lightning. It seemed the perfect day to break out the Jo Malone candle that I was sent to review. Jo Malone, known for their luxurious British lifestyle and fragrance brands and Farrow & Ball, makers of fine paints and wallpapers, have teamed up to produce a limited edition collection of candles.
Five of Jo Malone's scents were matched with coordinating Farrow & Ball colors to create the candles. Grapefruit in a F&B Cream No. 67 holder; Lime Basil & Mandarine in a F&B Breakfast Room Green No. 81 holder; Wild Fig & Cassis in a F&B Pelt No. 254 holder; Pomegranate in a F&B Eating Room Red No 43 holder; and Blue Agava & Cacao in a F&B Oval Room Blue No. 85. And, they say you can mix and match the scents as well.
I've been burning the Lime Basil & Mandarin candle for several hours and the scent is subtle and not cloying at all. I have allergies to many scents and can rarely burn scented candles, but so far so good on this one!
The candles are available at Farrow & Ball Showrooms and stockists, Jo Malone Boutiques and specialty stores like Bergorfs, Neimans and Saks.
Hope you're having a great weekend! Happy Mother's day to all the Moms!
Trends: Too much of a good thing?
I love the joe malone scents. I actually wear lime, basil and mandarin so I'm relieved to hear it didn't smell too bad. lol.
I'll definitely be giving these a try, thanks for sharing!
These candles sound wonderful, the scents must be divine!!
Lime Basil & Mandarin is one of my favorite scents by Jo Malone. What a brilliant marketing move by F&B to pair up with Jo Malone. I wound up purchasing two. They are the perfect accent for our bathroom.
First off, I think Jo Malone products are wonderful. Second, what a cool concept?! And last, that fragrance sounds delicious….lime, basil, mandarin?! I'm sensitive to many scents so I'm glad to hear this one didn't trigger any allergies for you. Keep us posted if you try out others (or if you have an allergy attack!).
Love these candles! Love them. Hope you are well. I'm taking it you've been as busy as I have. Talk soon.
Great Tip Linda… and by the way, congrats! I just noticed that you are the official blogger for New England Homes! (This may be old news and I'm just cluing in – but you're perfect for the job!).
Stunning Photography. Cannot keep my eyes off!!
What a great partnership between the two. I wish I had some of those gorgeous candles to make me smile…I am in Venice and it is thunderstorms wheather here also! Fascinating lights in the sky though. Ciao.


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Q: Htaccess to change URL displayed in browser I am trying to prevent xyz.com from appearing in the browser address bar but still direct abc.com traffic to the xyz.com site.  I was expecting that to happen once I removed "R" from the [QSA, L]. However there doesn't appear to be any change.  Is there a different HTTP header or connection variable that I should be using?
rewritecond %{HTTP_HOST} ^(www\.)?abc\.com$ [NC]
rewriterule ^ http://xyz.com/?snack [QSA,L]

A: This is a big confusion in people's mind that by removing R flag URL will never change and it will remain an internal (silent) forward.
Fact is that if your changing domain names in target URL (by using http:// etc) then URL will change and it will be an external redirect.
No URL change  (Internal Rewrite):
RewriteCond %{HTTP_HOST} ^(www\.)?abc\.com$ [NC]
RewriteRule ^foo/?$ /?snack [QSA,L]

URL will change (External Redirect):
RewriteCond %{HTTP_HOST} ^(www\.)?abc\.com$ [NC]
RewriteRule ^foo/?$ ttp://xyz.com/?snack [QSA,L]

PS: Only way to avoid URL changing when going to a different domain is by using mod_proxy which is considered somewhat a security risk.

redpajama_set_name: RedPajamaStackExchange


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Hank Zipzer #3: Day of the Iguana
By Henry Winkler and Lin Oliver
Read by Henry Winkler
Henry Winkler Listening Library (Audio)
The Hank Zipzer Series: Book 3
It's science-project time in Ms. Adolf's class, and Hank is in the doldrums. He loves science--the experiments, the labs, the equipment--but he hates the report part--the hypothesis, the methodology, the conclusions. Hank turns to TV to take his mind off things, which becomes another annoyance when the program directory scrolls by too quickly for Hank to know what's on when. So he decides to take apart the cable box to try slowing down the crawl. And it'll make a great science project, too! But Hank wasn't counting on his sister Emily's iguana laying eighteen eggs in the disassembled cable box! How's Hank going to get out of this one?
Author Bio: Henry Winkler
Henry Winkler is an actor, producer, and director, and he speaks publicly all over the world. In addition, he has a star on Hollywood Boulevard, was presented with the Order of the British Empire by the Queen of England, and the jacket he wore in his television role in Happy Days as "the Fonz" hangs in the Smithsonian Museum in Washington, DC. But if you asked him what he was proudest of, he would say, "Writing the Hank Zipzer books with my partner, Lin Oliver."
Author Bio: Lin Oliver
Lin Oliver is a television producer and writer and the executive director of the Society of Children's Book Writers and Illustrators. She coauthored (with Henry Winkler) the New York Times bestselling middle-grade series Hank Zipzer: The World's Greatest Underachiever, and wrote the series Who Shrunk Daniel Funk? Lin resides in Los Angeles, California.
Publisher: Listening Library
Audience: Children (8–12)


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>Stage Performers
>Roddy Mcdowall - HFSID 270894
RODDY McDOWALL - DOCUMENT SIGNED 11/27/1978 - HFSID 270894
RODDY McDOWALL Roddy McDowall signs a document waiving compensation to appear on KABC Radio as a guest on the Michael Jackson program. DS: "Roddy McDowall", 1p, 8½x10. Los Angeles, California, 1978 November 22. Waiver for McDowall to appear without compensation on KABC Radio as a guest on the Michael Jackson program.
Condition: lightly creased, lightly soiled, otherwise fine condition
RODDY McDOWALL
Roddy McDowall signs a document waiving compensation to appear on KABC Radio as a guest on the Michael Jackson program.
DS: "Roddy McDowall", 1p, 8½x10. Los Angeles, California, 1978 November 22. Waiver for McDowall to appear without compensation on KABC Radio as a guest on the Michael Jackson program. He was interviewed from 12:16-12:57 p.m. Ink notes (unknown hand) at lower margin: "He stated that he never knew he was going to be a famous actor. He stated that he starred in My Friend Flicka and The Planet of the Apes." Additional information filled in beneath signature (unknown hand). Matted to 20¾x14½ with photograph, color, 6½x9¼. Minor crease at upper left background. In the year he signed this document McDowall appeared in four feature films, Laserblast, Rabbit Test, The Cat From Outer Space and Circle of Iron, and he was seen in two made-for-TV movies, The Immigrants and The Thief of Baghdad. MICHAEL JACKSON, who was inducted into the Radio Hall of Fame in 2003, has hosted his talk show for over three decades at KABC in Los Angeles, where he was frequently voted Outstanding Radio Personality of the Year by the "Los Angeles Times". The recipient of a host of awards, Jackson has a star on the Hollywood Walk of Fame. The arrival of London-born RODDY MCDOWALL (1928-1998) in Hollywood came when he tested for the juvenile lead in Fox's How Green Was My Valley (1941), winning both the role and a long contract. McDowall's first adult acting assignment was as Malcolm in Orson Welles' 1948 film version of Macbeth. The actor spent the better part of the early 1960s playing Octavian in the mammoth production Cleopatra, co-starring with longtime friend Elizabeth Taylor. An accomplished photographer, McDowall was honored by having his photos of Taylor and other celebrities frequently published in the leading magazines of the era. McDowall's most frequent assignments between 1968 and 1975 found him in elaborate simian makeup in the Planet of the Apes theatrical films and TV series. Shortly before his death, the Academy of Motion Pictures named its photo archive after him. Lightly creased, usual black marks from photocopying. Three file holes at left margin. Mat, which is lightly soiled, is creased at corners. Fine condition. Matted, not in Gallery of History style. Not reviewed by us for conservation integrity. "As is" matting purchase.
HATTIE "MAMMY" McDANIEL - BOOK SIGNED WITH CO-SIGNERS - HFSID 284293
RODDY McDOWALL - AUTOGRAPHED INSCRIBED PHOTOGRAPH - HFSID 255504
SCAVENGER HUNT MOVIE CAST - AUTOGRAPHED SIGNED PHOTOGRAPH WITH CO-SIGNERS - HFSID 216099
RODDY McDOWALL - INSCRIBED LOBBY CARD SIGNED - HFSID 284262
RODDY McDOWALL - AUTOGRAPHED SIGNED PHOTOGRAPH WITH CO-SIGNERS - HFSID 102610
RODDY McDOWALL - AUTOGRAPHED INSCRIBED PHOTOGRAPH - HFSID 37879
RODDY McDOWALL - AUTOGRAPH NOTE SIGNED - HFSID 270240
RODDY McDOWALL - AUTOGRAPH NOTE SIGNED CIRCA 1979 - HFSID 270241
GRETA GARBO - DOCUMENT SIGNED 09/08/1944 - HFSID 350557
GARY COOPER - DOCUMENT SIGNED 07/31/1947 - HFSID 172733
LOIS BUTLER - DOCUMENT SIGNED 06/04/1947 WITH CO-SIGNERS - HFSID 288933
DAVID McCALLUM - DOCUMENT SIGNED 09/13/1965 - HFSID 176317
LEE SCOTT - DOCUMENT SIGNED 01/12/1956 - HFSID 282445
THELMA RITTER - DOCUMENT SIGNED 08/01/1960 - HFSID 262481
ELIA KAZAN - DOCUMENT SIGNED 08/19/1959 - HFSID 173275
CISSY WELLMAN - DOCUMENT SIGNED 09/04/1963 - HFSID 282170
ALBERT NALBANDIAN - DOCUMENT SIGNED 05/21/1956 - HFSID 282421
PAUL SORVINO - DOCUMENT SIGNED 10/24/1990 - HFSID 173160
Stage Performers
Photographs (10971)
Contracts / Documents (1515)
Checks (350)
Applications / Resumes (2063)
Signatures (2087)
Notes (1407)
Programs (197)
Sentiments (855)
Pamphlets (13)
Questionaires (13)
Typescripts (57)
Magazine Covers (42)
Scorecards (1)
Show Bills (172)
Lobby Cards (96)
Unsigned Lobby Cards (9)
Media Covers (40)
Sheet Music / Lyrics (52)
Record Albums (40)
Stock Certificates (1)
Pick Guards (1)
Guitars (8)
Album Leafs (9)


text:
package com.hp.autonomy.frontend.view.idol;

import com.autonomy.aci.client.services.Processor;

import java.util.Collection;

public interface ViewServerService {

    <T> T viewDocument(String documentReference, Collection<String> indexes, Processor<T> processor) throws ViewDocumentNotFoundException, ViewNoReferenceFieldException, ReferenceFieldBlankException;
}


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Chad Jones	0 comments	BroadwaySF, musicals, Sting, theater review
Sting (center) plays Jackie White, a shipyard supervisor in the musical The Last Ship for which he also wrote music and lyrics. The show is part of the BroadwaySF season at the Golden Gate Theatre. Below: Frances McNamee as Meg Dawson and the cast perform "If You Ever See Me Talking to a Sailor." Photos by Matthew Murphy
When a show flops on Broadway and then undergoes serious re-tooling, you hold out hope that lessons were learned, wrongs righted and mistakes corrected. The debut musical from rock icon Sting, The Last Ship, fizzled in New York, but that didn't mean dry dock for this vessel. No, Sting continued to work on it, giving it a complete re-write (with director Lorne Campbell), shuffling and re-shuffling songs and characters and setting out on another voyage, first in England, then in Canada.
The former Police man must be pretty happy with the results because he's now starring in an American tour (before heading to Las Vegas for a more traditional rock 'n' roll residency). The show pulled into the Golden Gate Theatre as part of the BroadwaySF season, and though the cast is able and voices are strong, the show is mild entertainment at best. Though the story takes place in 1986 as the Northern England shipyards were closing, the clothes look like 1973, and Sting's score sounds like 1873.
Sting himself makes a disappointing impression as both an actor and a singer. He's hard to understand both in volume and intelligibility. Some of his songs give you that old Sting frisson, but those moments are too few.
I will say that this show, for all its melodrama and righteous sincerity, has a few high points that hint at the way its creators would like us to be inspired by the strength of the working folk and their (temporary) rise against oppressive economic and governmental forces. But again, the highs are surrounded by doldrums. There is, however something remarkable: one of the worst death scenes I've ever seen played out on a stage.
I reviewed The Last Ship for the Bay Area News Group. Here's an excerpt:
The bad news is that "The Last Ship," as well-meaning, and mildly entertaining as it is, will never be a great or even very good musical. The whole enterprise is mostly grim and dreary, with competing plot lines involving soapy melodrama, economic downturn and labor strife. There's even a character with a cough, which you know means that person won't live to see the finale.
The story about how the shipyard men and the women who love them fight against the forces that are putting them out of business is meant to celebrate the indomitable human spirit. But it all comes across as a shallow gloss on how the downtrodden can fool themselves into a happy ending if they speechify and sing in beautiful choral unison while stomping about in a robust Celtic manner.
While the book never makes a convincing case for any of its plot lines – the wayward teenage love story, the shipyard closure, the family medical drama – there is some pleasure to be had in Sting's score and the performances, especially by the women of the company.
Sting's The Last Ship continues through March 22 at BroadwaySF's Golden Gate Theatre, 1 Taylor St., San Francisco. Tickets are $70-$275 (subject to change). Running time is 2 hours and 40 minutes (including one intermission). Call 888-746-1799 or visit www.broadwaysf.com.


Home LISTEN!	SWTOR Escape Pod Cast 50 – GTN Tips and Tricks!
This week @AIESema, @MaxTheGrey and Astromech EPC-50 talk about the Galactic Trade Network or GTN. This player trade marketplace is the heart of buying and selling in SWTOR and we talk through some of the quirks, tricks and pro tips for searching, buying and selling. We also cover news for the week from SWTOR in general and from our guild, Alea Iacta Est in SWTOR. Of course, you'll also hear what we have been doing lately.


The system in which financial transactions of and organization for a particular period are recorded to know the operating results and the financial position of that concern to analyze and communicate the same to interested users is called accountancy. What we all should understand here is that economic profit is a concept related to management accounting which involves keeping a record of all sales, expenses and operating costs for the benefit and reference of the company. I have worked with clients who, before my creation of a decent accounting system, were in the dark on a lot of important areas. Experts should do it. You can talk about fees with these professionals, but never attempt to do accounting procedures on your own without needed assistance. Accounting is the same for both countries, as we follow AICPA as a matter of policy.
There are CPA's who concentrate on small business start-ups, and set-up the accounting system for small businesses that may include licensing. Book keeping generally involves only the collection of business transactions (transactions) and is therefore, just one part of the process of accounting. About the accounting, this involves the complete accounting process, i.e. identification, measurement, collection, and communication. The basic aim of accounting is to give information to the interested parties to enable them all to make important business decisions.
Therefore, communication of information is the essential function of accounting. Accounting information is communicated in the form of reports, statements, graphs and charts to the internal and external users who need it in different decision situations. Accounting records relate to the transactions that are completed, which provide fairly good account of the transaction of the business organisation. You can use the idea of accrual accounting to pay reoccurring bills that aren't due every month like your car insurance.
Financial accounting makes provision for financial information but it does not provide non-financial information such as behavioral and socio-economic. If the objective of accounting reports is to influence the behavior through decision-making then it must provide the data concerning the behavior and outcome of human activity to facilitate performance evaluation.
Therefore, the accounting information does not fully meet different types of information-requirements of varied decision making situations. Essentially accrual accounting is recording your income and expenses when they occur, while cash accounting is recording your income and expenses when money changes hands. You can see the advantage of using accrual accounting to keep track of your credit card expenses; In fact, you may even be doing this already.


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Review: Uptown (2009) [Reviewed By Clifford Kiyabu]
Directed by: Brian Ackley
Written by: Chris Riquinha & Meissa Hampton & Brian Ackley.
MPAA: Not Rated
Released: 15 July 2009 (USA)
Starring: Chris Riquinha, Meissa Hampton, Deirdre Herlihy, Derek McAllister
Plot: Two wounded hearts; one lonely, one lost, come together in the uptown side of the big apple to find that something missing inside them only to fine more than either expected.
My Thoughts: Love is a tricky thing, it can make you do some crazy and unbelievable things, things you never would think of doing that would even question your very morals. But we do them anyway because we are blinded by love, and when it comes to doing it all for in the name of what lies within our hearts we will gladly walk off a cliff for it.
Uptown is the debu t film of actor/director Brian Ackley and is the second installment in the One Way or Another Productions "Naked Series". Ackley is an actor who also co-starred in another film I reviewed not so long ago called "Cookies & Cream", and now he has taken a step further and leaped into the director's chare alongside director Princeton Holt to produce a film about finding new love in the big apple. Uptown is a titillating film about a guy name Ben (Chris Riquinha) and a girl name Isabel (Meissa Hampton), two people who met online as friends and decided to take their friendship a step further to meet and make it a night out on the town with their newfound friendship, it is only than that secrets about each other are shared back and forth. secrets that neither would have ever expected about the other, Isabel, who originally set out to be just friends reveals that she is newly married but has a lonely heart being married to her husband, but Ben, who is a lost soul in the game of love originally set out for finding something more than a friend in Isabel, but is shocked by this reviling bit of news by her, but decides to continue being friends with her regardless, through this though, exceed much more than that of a friendship between the two of them and begins to manifest itself into something much more, but is the risk worth the cost of their friendship or Isabel's marriage?
The movie has a touching story that those who have experienced the sense feeling lost in finding the right one will relate too on so many levels that; we as individuals feel what these characters are feeling, the wanting what you cannot have is undeniably heart wrenching, it reminded me of a quote I once read that said "A woman never forgets the men she could have had; a man, the women he couldn't." I feel that to a degree all men can relate to this quote as do the main character, Ben, who is falling so deeply in love for Isabel, but knowing that he cannot have her because she is unavailable only fuels the need for her to replace the emptiness in his heart. The film projects a great deal of promise for Brian Ackley as a filmmaker, he manages to capture the essence of the out of synch emotions we feel when we want someone so badly, and though it has a few flaws here and there that I honestly feel if worked on could make this film truly an incredible slice of satisfaction. It does however still make up for itself with gorgeous cinematography work that makes you feel like you're right there in the film, the score was outstanding, it really carries a set of emotion of its own onto film that works well, but the most impressive part of this film would have to be the ending. Because it doesn't try to sell you short on a predictable ending most films in its genre receives, instead it gives you an ending that is more fitting to reality than anything else, nor does it try to sell you a new method on how to live your life or a message from some brilliant anecdote, no sir, it's only moral to the story is simply showing you the realism of life in the real world with real people in it, and, even if you don't agree with the outcome, life goes on and you must take a deep breath and just deal with it. I must say though that with time Ackley could become a name many will come to know by one day. Like all new filmmakers out there whom I've had the pleasure of seeing their works, I'm honored to have enjoyed the experience that was Uptown and look forward to Ackley's next project.
The story is about: Ben has been single for a long time. For his part, he is a loner but as well a romantic: he enjoys the solitude of his simple being but appreciates intelligent and witty company just the same. By yielding to both extremes, Ben remains caught between reason and arousal. Isabel has been married for a year. The passion that had once carried her 5-year relationship has lost its pulse. Passive, protective, and without poise, it now threatens to claim hers. Waiting in abeyance, Isabel is lost between loyalty and loneliness. Uptown is where they come together.
As for the actin g: all the actors give it their best in Uptown, Chris Riquinha does a great job in the role of Ben, he gives the character a strong sense of realism that is both provocative and impressive. Meissa Hampton was wonderful in the role of Isabel; she gave the character a unique style that was very enjoyable, I feel the raw tension between her and Chris Riquinha characters, plus I enjoyed how she played the character off as naive and sometimes bashful, every time their characters would hug or got really close I would be at the egad of my seat ready to yelling out "kiss each other already!" [Laughs], and believe me when I say; if two actors can get me that wild up than it's something I really enjoyed because actors and filmmakers who can make the viewers feel that involved in a film is a rare talented indeed, it's a special kind of talent that doesn't come by every day. Derek M. McAllister does a nice job portraying Kasheem, Ben's good buddy, I enjoyed the scene's was in and only wished he was in more of the film. Deirdre Herlihy did a fairly good job, I liked her style of acting, would be nice to see more of her in more films in the near future. Overall the cast was great, I really enjoyed their acting skills that were projected on screen and showed they have a very decent set of on screen chemistry which was nice to see, far too often do we see good actors with bad on screen chemistry which proves to be tiresome to see as well as ruining the film overall, but this is not the case with the cast of Uptown.
Final Say: I had a great time with Uptown, and despite some minor problems I had with, none of which will stop me from seeing it again someday. I recommend it!
On a side note; the film is currently running on the festival circuit. But you can however purchase the "Naked" release festival version of the DVD by clicking here
Labels: Movie Reviews, Theatrical Reviews
Review: The Spirit (2008) [Reviewed By Clifford Ki...
Review: The Video Guys (2009) [Reviewed By Cliffor...


Follow the link below to pre-order your dark themed arrangement for your beloved this Valentine's Day from The Wildflower AZ. Three sizes available, with small wraps available the day of on a first come, first serve basis.
NO DELIVERY. Pickup at Curious Nature on 2/14 from 1:00pm-6:00pm only. Email us with any questions.


text:
The Routledge Handbook of Waste, Resources and the Circular Economy
The Handbook introduces, contextualises, critiques, and discusses a range of perspectives associated with the concept of the circular economy. These perspectives span an array of subjects including economics, environmental policymaking, sociology, environmental science, environmental and industrial engineering, management, international development, and human geography. A fundamental underpinning of the Handbook is that it takes account of a wide range of sectors, as well as geographical perspectives that incorporate both a global north and global south world context. This approach is crucial because it is only within such a holistic perspective that the circular economy concept can truly be examined. In addition, these issues are examined both from a theoretical as well as a practical perspective, using real world case studies for illustration. Given its wide subject, sectoral and geographical areas of focus, the Handbook should be of value not only for those undertaking research in the field of circular economy, but also stakeholders involved in policymaking, as well as decision-making on the front line.
Author Taylor & Francis Group
Publisher Routledge
Authors: Taylor & Francis Group
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The CHID spring Rome Program offers two courses that take full advantage of Rome's unique character as an historical and urban palimpsest with multiple layers of development that transcend but include the preceding ages in an intertextual dialogue across time. The Roma Eterna course considers the historical periods of Rome as distinct "foreign" cultures that help to bring into relief the temporary and contingent character of American, and more broadly, contemporary culture and society. Rome is one of the richest sites in the world for exploring the full span of human development from the iron age hill settlements of its foundations through the Fascist appropriation of the symbols of imperial power and the attempts by contemporary Rome to assert itself as an international center of the arts through the recent inauguration of the MAXXI museum of modern art of the 21st century. The course on Gift and Sacrifice explores in a foundational way the primordial origins of all societies through relations of reciprocal exchange, obligation, and religious piety. These courses are intended to serve the CHID program's focus on critical consciousness through an intensified, comparative approach to historical phenomenology, and to the aesthetic structuring of urban space along with its social, cultural consequences.
In addition to Rome, however, the program will also take students to Venice, Florence, Tivoli and Capri, in order to gain an appreciation of the differences in character among Italy's regions. These are required excursions, and the travel and lodging costs are included in the program fee.
This program is based at the University of Washington Rome Center, located in the historic Campo dei Fiori.
*Please note that this does not include UW Study Abroad (IPE) Fee ($275), airfare (about $1100, subject to when and where you buy your ticket), food (about $44/day), Study Abroad Insurance ($37/month) and personal spending money.
Make sure to read our Fees, Financing, and Withdrawal page for information on paying for your trip.