text:
xers-20220511
☐000186709600018670962022-05-112022-05-11
Pursuant to Section 13 or 15(d)
of the Securities Exchange Act of 1934
Date of Report (Date of earliest event reported): May 11, 2022
XERIS BIOPHARMA HOLDINGS, INC.
Delaware 001-40880 87-1082097
(State or other jurisdiction of
incorporation) (Commission
File Number) (I.R.S. Employer
(Address of principal executive offices, including zip code)
Written communications pursuant to Rule 425 under the Securities Act (17 CFR 230.425)
Soliciting material pursuant to Rule 14a-12 under the Exchange Act (17 CFR 240.14a-12)
Pre-commencement communications pursuant to Rule 14d-2(b) under the Exchange Act (17 CFR 240.14d-2(b))
Pre-commencement communications pursuant to Rule 13e-4(c) under the Exchange Act (17 CFR 240.13e-4(c))
Title of each class Trading Symbol(s) Name of each exchange on which registered
Common Stock, par value $0.0001 per share XERS The Nasdaq Global Select Market
Indicate by check mark whether the registrant is an emerging growth company as defined in Rule 405 of the Securities Act of 1933 (§ 230.405 of this chapter) or Rule 12b-2 of the Securities Exchange Act of 1934 (§ 240.12b-2 of this chapter).
Emerging growth company ☒
Item 2.02. Results of Operations and Financial Condition.
On May 11, 2022, Xeris Biopharma Holdings, Inc. (the "Company") issued a press release containing information about the Company's results of operations and business highlights for the three months ended March 31, 2022. A copy of this press release is furnished as Exhibit 99.1 to this Current Report on Form 8-K.
The information in Item 2.02 of this Form 8-K (including Exhibit 99.1) shall not be deemed "filed" for purposes of the Securities Exchange Act of 1934, as amended (the "Exchange Act"), or otherwise subject to the liabilities of that section, nor shall it be deemed incorporated by reference in any filing under the Securities Act of 1933, as amended, or the Exchange Act, except as expressly set forth by specific reference in such a filing.
Exhibit Number Description
Press release issued by Xeris Biopharma Holdings, Inc. announcing first quarter 2022 results, dated May 11, 2022
104 Cover Page Interactive Data File (embedded within the Inline XBRL document)
Pursuant to the requirements of the Securities Exchange Act of 1934, the registrant has duly caused this report to be signed on its behalf by the undersigned hereunto duly authorized.
Date: May 11, 2022 Xeris Biopharma Holdings, Inc.
By: /s/ Steven M. Pieper
Name: Steven M. Pieper
Title: Chief Financial Officer
XERIS BIOPHARMA REPORTS FIRST QUARTER FINANCIAL RESULTS AND UPCOMING EVENTS
Launched Recorlev® and Gvoke® Kit
Achieved Q1 net product revenue of $21.9M - a 33% increase from same period prior year on a pro forma basis
Ended Q1 with $132.1M in cash, cash equivalents and short-term investments
Affirming 2022 guidance for combined net product revenues of $105M - $120M, $50M in synergies, 2022 year-end cash balance of $90M-$110M, and cash flow breakeven by year-end 2023
Hosting conference call and webcast today at 8:30 a.m. ET
CHICAGO, IL; May 11, 2022 – Xeris Biopharma Holdings, Inc. (Nasdaq: XERS), a biopharmaceutical company developing and commercializing unique therapies for patient populations in endocrinology, neurology, and gastroenterology today announced financial results for the first quarter and recent highlights.
"We had another very good quarter in 1Q 2022 with continued increases in patients on Gvoke and Keveyis. In addition to this growth, we launched Recorlev and Gvoke Kit, and we added considerable cash to our balance sheet during the first three months of the year," said Paul R. Edick, Chairman and CEO of Xeris Biopharma. "Our first quarter performance gives us confidence that we can achieve our 2022 revenue and year-end cash guidance and achieve cash flow breakeven by year-end 2023. We look forward to continuing our steady and strong execution across our commercial products and advancement of our development pipeline."
First Quarter Highlights and Upcoming Events
•Gvoke®: First quarter 2022 prescriptions topped 30,000 for the first time, growing more than 88% compared to the same period in 2021. Gvoke's market share of the retail TRx glucagon market grew to approximately 22% at the end of April. In March, Xeris launched Gvoke® Kit, the first ready-to-use liquid glucagon in a single dose vial and syringe kit for rescue.
•Keveyis®: The number of patients on Keveyis increased 12% from the same period in 2021.
•Recorlev®: In February 2022, Xeris launched Recorlev and is exclusively available through a specialty pharmacy. The Company has established Xeris CareConnection™, a comprehensive support program, which includes $0 co-pay for commercially insured patients, one-on-one support and education for patients, and reimbursement and access support.
•In January, Xeris entered into a Securities Purchase Agreement with Armistice Capital Master Fund Ltd. for $30.0 million and the issuance of 10,238,908 shares of common stock and
warrants to purchase 5,119,454 shares of common stock at an exercise price of $3.223 per share.
•In March, Xeris entered into a senior secured term loan agreement with Hayfin Capital Management LLP to provide the Company with $150.0 million. At closing, Xeris drew down $100.0 million to repay its existing debt facility of $43.5 million with Oxford Finance LLC and Silicon Valley Bank and provide additional working capital to fund the Company's business plan. An additional $50.0 million will be available for the Company to draw until March 2023.
•Xeris will participate at the H. C. Wainwright Global Investment Conference, May 23-26, in Miami.
•Xeris will present data at the AACE Annual Meeting, May 12-14, in San Diego and at ISPOR 2022, May 15-18, in Washington DC.
Net product revenue increased by $13.9 million or 172% for the three months ended March 31, 2022, compared to March 31, 2021. The increase was the result of higher sales of Gvoke and sales attributable to the products, Keveyis and Recorlev, that we acquired in Q4, 2021. On a pro forma basis, net product revenue increased 33% or $5.5 million for the three months ended March 31, 2022 compared to March 31, 2021. This increase was driven by higher sales of Gvoke, Keveyis and the launch of Recorlev..
Cost of goods sold increased by $4.4 million or 244% for the three months ended March 31, 2022 compared to March 31, 2021. An increase in sales and product mix comprised $3.1 million and $0.8 million of the change.
Research and development expenses increased by $2.2 million or 55% for the three months ended March 31, 2022 compared to March 31, 2021. Higher pharmaceutical process development and clinical service costs accounted for $2.0 million of the increase for the three months ending March 31, 2022.
Selling, general and administrative expenses increased by $16.8 million or 88% for the three months ending March 31, 2022 compared to March 31, 2021. We incurred $11.5 million of increased commercial-related costs, including an increase to our sales force and increased commercial support for Gvoke, Keveyis and the launch of Recorlev. In addition, $2.3 million of the increase related to the acquisition of Strongbridge, primarily restructuring and related employee costs. The remaining change was due to an increase in general expenses given the growth of the Company.
Net Loss for the first quarter ended March 31, 2022, was $33.7 million, or $0.25 per share, compared to a net loss of $18.4 million, or $0.30 per share, for the same period in 2021.
Cash, cash equivalents, and short-term investments at March 31, 2022 was $132.1 million compared to $102.4 million at December 31, 2021. Total shares outstanding at April 30, 2022 was 135,530,756.
Conference Call and Webcast Details
Xeris will host a conference call and webcast today, Wednesday, May 11, 2022, at 8:30 a.m. Eastern Time. To pre-register for the conference call please use this link: https://www.incommglobalevents.com/registration/q4inc/10525/xeris-biopharma-first-quarter-2022-financial-results-conference-call-and-webcast/. After registering, a confirmation email will be sent, including dial-in details and a unique code for entry. The Company recommends registering a minimum of ten minutes prior to the start of the call. Following the conference call, a replay will be available until
Wednesday, May 25, 2022, at US:1 929 458 6194, US Toll Free: 1 866 813 9403, UK: 0204 525 0658, Canada: 1 226 828 7578, or all other locations: +44 204 525 0658 Access Code: 723527. To join the webcast, please visit "Events" on investor relations page of the Company's website at www.xerispharma.com.
Xeris (Nasdaq: XERS) is a biopharmaceutical company developing and commercializing unique therapies for patient populations in endocrinology, neurology, and gastroenterology. Xeris has three commercially available products; Gvoke®, a ready-to-use liquid glucagon for the treatment of severe hypoglycemia, Keveyis®, the first and only FDA-approved therapy for primary periodic paralysis, and Recorlev® for the treatment of endogenous Cushing's syndrome. Xeris also has a robust pipeline of development programs to extend the current marketed products into important new indications and uses and bring new products forward using its proprietary formulation technology platforms, XeriSol™ and XeriJect™, supporting long-term product development and commercial success.
Xeris Biopharma Holdings is headquartered in Chicago, IL. For more information, visit www.xerispharma.com, or follow us on Twitter, LinkedIn, or Instagram.
Any statements in this press release about future expectations, plans and prospects for Xeris Biopharma Holdings, Inc. including statements regarding the financial outlook for the full-year 2022, including projections regarding year-end 2022 cash estimates, the Company's expectations regarding its cash flow breakeven projection, estimates and projections about the potential synergies in fiscal year 2022 resulting from the Strongbridge Biopharma acquisition, the availability of up to $50 million of additional funding under the Company's credit agreement with Hayfin, the market and therapeutic potential of its products and product candidates, expectations regarding clinical data or results from planned clinical trials, the timing of clinical trials, the timing or likelihood of regulatory approval and commercialization of its product candidates, the timing or likelihood of expansion into additional markets, the potential utility of its formulation platforms and other statements containing the words "will," "would," "continue," and similar expressions, constitute forward-looking statements within the meaning of The Private Securities Litigation Reform Act of 1995. These forward-looking statements are subject to risks and uncertainties that may cause actual results to differ materially from those indicated in the forward-looking statements. Such risks and uncertainties include, but are not limited to, reliance on third-party suppliers for Gvoke®, Ogluo®, Keveyis and Recorlev, the regulatory approval of its product candidates, its ability to market and sell its products, failure to realize the expected benefits of the acquisition of Strongbridge Biopharma, the impact of the ongoing COVID-19 pandemic on Xeris, including impact on access to health care provider facilities, changes in global, political, economic, business, competitive, market and regulatory forces, future exchange and interest rates, changes in tax laws, regulations, rates and policies, future business acquisitions or disposals and competitive developments and the other risks described in our Annual Report on Form 10-K and other reports we file from time to time with the SEC. These forward-looking statements are based on numerous assumptions and assessments made in light of Xeris' experience and perception of historical trends, current conditions, business strategies, operating environment, future developments, and other factors it believes appropriate. By their nature, forward-looking statements involve known and unknown risks and uncertainties because they relate to events and depend on circumstances that will occur in the future. The factors described in the context of such forward-looking statements in this communication could cause Xeris' actual results, performance or achievements, industry results and developments to differ materially from those expressed in or implied by such forward-looking statements. Although it is believed that the expectations reflected in such forward-looking statements are reasonable, no assurance can be given that such expectations will prove to have been correct and persons reading this communication are therefore cautioned not to place undue reliance on these forward-looking statements which speak only as at the date of this communication. Additional information about
economic, competitive, governmental, technological, and other factors that may affect Xeris is set forth in Item 1A, "Risk Factors," in Xeris' Annual Report on Form 10-K filed with the SEC, the contents of which are not incorporated by reference into, nor do they form part of, this communication. Any forward-looking statements in this communication are based upon information available to Xeris, as of the date of this communication and, while believed to be true when made, may ultimately prove to be incorrect. Subject to any obligations under applicable law, Xeris does not undertake any obligation to update any forward-looking statement whether as a result of new information, future developments or otherwise, or to conform any forward-looking statement to actual results, future events, or to changes in expectations. All subsequent written and oral forward-looking statements attributable to Xeris or any person acting on behalf of any of them are expressly qualified in their entirety by this paragraph.
Allison Wey
Senior Vice President, Investor Relations and Corporate Communications
awey@xerispharma.com
CONDENSED CONSOLIDATED STATEMENTS OF OPERATIONS
Product revenue, net $ 21,910 $ 8,051
Royalty, contract and other revenue 163 144
Total revenue 22,073 8,195
Costs and expenses:
Cost of goods sold, excluding amortization of intangible assets 6,273 1,826
Research and development 6,250 4,032
Selling, general and administrative 35,913 19,077
Amortization of intangible assets 2,711 —
Total costs and expenses 51,147 24,935
Loss from operations (29,074) (16,740)
Other expense (5,048) (1,671)
Net loss before benefit from income taxes (34,122) (18,411)
Benefit from income taxes 408 —
Net loss $ (33,714) $ (18,411)
Net loss per common share - basic and diluted $ (0.25) $ (0.30)
Weighted average common shares outstanding - basic and diluted 135,032,782 61,245,220
CONDENSED CONSOLIDATED BALANCE SHEETS
Cash and cash equivalents $ 103,771 $ 67,271
Short-term investments 28,377 35,162
Trade accounts receivable, net 23,383 17,456
Inventory 16,872 18,118
Prepaid expenses and other current assets 5,147 4,589
Total current assets 177,550 142,596
Property and equipment, net 6,291 6,627
Goodwill 22,859 22,859
Intangible assets, net 128,739 131,450
Other assets 2,184 829
Total assets $ 337,623 $ 304,361
Accounts payable $ 11,091 $ 8,924
Other accrued liabilities 34,358 49,088
Accrued trade discounts and rebates 14,993 15,041
Accrued returns reserve 5,431 4,000
Other current liabilities 619 1,987
Total current liabilities 66,492 79,040
Long-term debt, net of unamortized debt issuance costs 137,639 88,067
Contingent value rights 25,347 22,531
Supply agreement liability, less current portion — 5,991
Deferred rent 6,942 6,883
Deferred tax liabilities 4,534 4,942
Other liabilities 214 1,676
Total liabilities 241,168 209,130
Total stockholders' equity 96,455 95,231
Total liabilities and stockholders' equity $ 337,623 $ 304,361


text:
Q: i am getting exception while sending sms package hu.ozekisms;

 import java.io.*;
import java.util.Scanner;

 public class TestTcpSms {

/**
 * @param args
 */
public static void main(String[] args) {
    try {
        Scanner sc = new Scanner(System.in);

        String host = "localhost";
        int port = 33049;
        String username = "admin";
        String password = "abc123";

        /**
         * Connect to Ozeki NG SMS Gateway and logging in.
         */

        MyOzSmsClient osc = new MyOzSmsClient(host, port);
        osc.login(username, password);
        System.out.println("SMS message:");

        /**
         * If logged in send "Text message" to number "+00112233"
         */

        if(osc.isLoggedIn()) {

            osc.sendMessage("phone number", "Test Message");

        }

        sc.nextLine();
        osc.logout();

        /**
         * Receiving message:
         *
         * If you want to receive messages you can use doOnMessageReceived in MyOzSmsClient.java
         * That's an event, which runs automatically when a message is received.
         */

    } catch (IOException e) {
        System.out.println(e.toString());
        e.printStackTrace();
    } catch (InterruptedException e) {
        System.out.println(e.toString());
        e.printStackTrace();
    }
}

}
package hu.ozekisms;

import java.io.*;
import java.util.*;
import hu.ozeki.*;

public class MyOzSmsClient extends OzSmsClient{

public MyOzSmsClient(String host, int port) throws IOException, InterruptedException {
    super(host, port);
    // TODO Auto-generated constructor stub
}

@Override
public void doOnMessageAcceptedForDelivery(OzSMSMessage sms) {
    Date now = new Date();
    System.out.println(now.toString() + " Message accepted for delivery. ID: " + sms.messageId);
}

@Override
public void doOnMessageDeliveredToHandset(OzSMSMessage sms) {
    Date now = new Date();
    System.out.println(now.toString() + " Message delivered to handset. ID: " + sms.messageId);
}

@Override
public void doOnMessageDeliveredToNetwork(OzSMSMessage sms) {
    Date now = new Date();
    System.out.println(now.toString() + " Message delivered to network. ID: " + sms.messageId);
}

@Override
public void doOnMessageDeliveryError(OzSMSMessage sms) {
    Date now = new Date();
    System.out.println(now.toString() + " Message could not be delivered. ID: " + sms.messageId + " Error message: " + sms.errorMessage + "\r\n");
}

@Override
public void doOnMessageReceived(OzSMSMessage sms) {
    Date now = new Date();
    System.out.println(now.toString() + " Message received. Sender address: " + sms.sender + " Message text: " + sms.messageData  + " at: "+ sms.receivedDate);
}

@Override
public void doOnClientConnectionError(int errorCode, String errorMessage) {
    Date now = new Date();
    System.out.println(now.toString() + " Message code: " + errorCode + ", Message: " + errorMessage);
}

}
    java.io.IOException: An established connection was aborted by the software in
    your hostmachine
    java.io.IOException: An established connection was aborted by the software in
    yourhost machine
    at sun.nio.ch.SocketDispatcher.read0(Native Method)
    at sun.nio.ch.SocketDispatcher.read(SocketDispatcher.java:25)
    at sun.nio.ch.IOUtil.readIntoNativeBuffer(IOUtil.java:233)
    at sun.nio.ch.IOUtil.read(IOUtil.java:206)
    at sun.nio.ch.SocketChannelImpl.read(SocketChannelImpl.java:236)
    at hu.ozeki.OzSmsClient.run(OzSmsClient.java:87)

can anyone fix this error?
I am sending sms through Ozeki NG SMS Gateway.

A: I think you didn't pay for the SMS gateway, that is why it doesnt work http://www.ozekisms.com/index.php?owpn=27
Am i right?
Another reason is that you maybe gave wrong sending parameters:
osc.sendMessage("phone number", "Test Message");

"phone number" should be replaced with some real phone number

redpajama_set_name: RedPajamaStackExchange


text:
Tag: Eisner Awards
Your 2022 Eisner Award winners
Barry Windsor-Smith, Phil Jimenez, James Tynion IV and more take home awards.
The winners were announced tonight in San Diego for the 2022 Will Eisner Comic Industry Awards. After two years of filmed ceremonies due to the COVID pandemic, the awards show returned to its traditional, multi-hour live show hosted during Comic-Con.
Barry Windsor Smith took home multiple awards for his graphic novel Monsters, including Best Lettering, Best Graphic Album – New and Best Writer/Artist, while James Tynion IV received awards for Best Continuing Series (Something is Killing the Children), Best Limited Series (The Nice House by the Lake) and for Best Writer. Other multiple award winners included Phil Jimenez and You Died: An Anthology of the Afterlife.
Inductees into the Hall of Fame included six chosen by the judges: Marie Duval, Rose O'Neill, Max Gaines, Mark Gruenwald, Alex Nino and P. Craig Russell, and six chosen by voters: Howard Chaykin, Kevin Eastman, Moto Hagio, David Mazzucchelli, Grant Morrison and Larry Hama.
Several other awards were presented during the ceremony. Bob Bolling and Don Rico received the 2022 Bill Finger Award, while Annie Koyama received the 2022 Bob Clampett Humanitarian Award. The Spirit of Comics Retailer Award was given to Books and Pictures in Portland, Oregon. And Luana Vecchio won the Russ Manning Most Promising Newcomer Award.
Check out the winners in bold below.
Continue reading "Your 2022 Eisner Award winners"
Author JK ParkinPosted on July 22, 2022 July 22, 2022 Categories AwardsTags awards, Comic-Con International, Eisner Awards, SDCC 20221 Comment on Your 2022 Eisner Award winners
Bob Bolling, Don Rico will receive the 2022 Bill Finger Award
The awards will be presented at Comic-Con International next month during the Eisner Award ceremony.
Comic-Con International has announced that Bob Bolling and Don Rico will receive the 2022 Bill Finger Award. The award recognizes creators who made lasting contributions to comics that went largely "unsung," as Bill Finger's contributions to Batman went unsung for several decades.
"We're excited to be back presenting awards in our original format," Evanier noted. "And we couldn't have better recipients than these two men, whose work in comics never received the recognition it deserved. Too often, they worked in utter anonymity, creating work that is fondly remembered even if those who enjoyed it were unaware of its authors' names."
Bolling spent the majority of his long career creating comics for Archie Comics, including stories featuring Pat the Brat, Little Archie, Life With Archie, Betty, Betty and Me, Sabrina and more. he also drew Wally the Wizard for Marvel's Star line. Rico, meanwhile, wrote stories for Marvel/Timely back in the 1940s, working on Captain America, the Human Torch, Sub-Mariner and more. In the 1960s, he scripted the Iron Man story in Tales of Suspense #52 that introduced Black Widow, who he co-created with Stan Lee and Don Heck.
Continue reading "Bob Bolling, Don Rico will receive the 2022 Bill Finger Award"
Author JK ParkinPosted on June 16, 2022 June 16, 2022 Categories AwardsTags awards, Bill Finger Award, Bob Bolling, Comic-Con International, Don Rico, Eisner Awards1 Comment on Bob Bolling, Don Rico will receive the 2022 Bill Finger Award
Nominees announced for the 2022 Eisner Awards
Winners will be announced at Comic-Con International in July.
Comic-Con International has announced the nominees for this year's Will Eisner Comic Industry Awards. This is the 34th year for the awards, which will be given out at this year's Comic-Con International on July 22 — a return to a live awards show.
In terms of publishers, DC received the most nominations, followed by Image, Fantagraphics and IDW. Creator-wise, James Tynion IV led the pack with five nominations. Hall of fame nominees and inductees were announced earlier this month.
Check out the full list below.
Continue reading "Nominees announced for the 2022 Eisner Awards"
Author JK ParkinPosted on May 18, 2022 May 18, 2022 Categories AwardsTags awards, Comic-Con International, Eisner Awards1 Comment on Nominees announced for the 2022 Eisner Awards
Mark Gruenwald, P. Craig Russell + four more inducted into Eisner Hall of Fame
Judges chose six individuals for automatic induction and 17 for voters to choose from.
Six individuals will automatically be inducted into the Will Eisner Hall of Fame this summer, with four more to be chosen by voters before the Eisner Awards ceremony at Comic-Con International in San Diego.
Those four will be chosen from a field of 17, which include many names that make you stop and think, "Wait, they're not in the Hall of Fame yet?" It's a loaded field, leading to some hard choices for voters: Howard Chaykin, Gerry Conway, Kevin Eastman, Steve Englehart, Moto Hagio, Larry Hama, Jeffrey Catherine Jones, David Mazzucchelli, Jean-Claude Mézières, Grant Morrison, Gaspar Saladino, Jim Shooter, Garry Trudeau, Ron Turner, George Tuska, Mark Waid and Cat Yronwode.
The judges chose the following six people for automatic induction into the HoF:
Continue reading "Mark Gruenwald, P. Craig Russell + four more inducted into Eisner Hall of Fame"
Author JK ParkinPosted on May 1, 2022 May 1, 2022 Categories AwardsTags Alex Nino, awards, Comic-Con International, Eisner Awards, Hall of Fame, Marie Duval, Mark Gruenwald, Max Gaines, P. Craig Russell, Rose O'Neill1 Comment on Mark Gruenwald, P. Craig Russell + four more inducted into Eisner Hall of Fame
Simon Hanselmann, Gene Yang, Junji Ito and more receive awards.
The 2021 Will Eisner Awards were presented in a virtual ceremony earlier tonight on the Comic-Con@Home website. You can find the list of all nominees below, with the winners marked in BOLD.
Author JK ParkinPosted on July 23, 2021 July 24, 2021 Categories AwardsTags awards, Comic-Con International, Comic-Con@Home, Eisner AwardsLeave a comment on Your 2021 Eisner Award winners
Sunday Comics | Ty Templeton, pandemic dogs and Eisner noms
Check out webcomics by Sarak Mirk, Simon Hanselmann, Alec Longstreth and more.
We'd like to extend our best wishes to Ty Templeton, who recently revealed he has been diagnosed with stage 3 colo-rectal cancer in his autobiographical webcomic Bun Toons.
"So, I'm going to be having the fuzzy, floppy-eared, FUN kind of Cancer. I've decided," he posted. "I'm not looking for sympathy — my experience of chemo and radiation (so far) has been quite tolerable — and I'm fairly confident I'm coming out the other side of this, alive and hopping, later this year. But I wanted folks informed, so they don't wonder why I got SUPER-lazy this year, and just stopped drawing Batman Adventures Continue (and why I missed a couple of deadlines late last year too!)."
Continue reading "Sunday Comics | Ty Templeton, pandemic dogs and Eisner noms"
Author JK ParkinPosted on June 20, 2021 June 20, 2021 Categories Sunday ComicsTags Alec Longstreth, Batman: The Adventures Continue, Bun Toons, Crisis Zone, Eisner Awards, Genius Animals, Isle of Elsi, Jun-Pierre Shiozawa, Sarah Mirk, Simon Hanselmann, Sunday Comics, Ty Templeton, Vali Chandrasekaran, webcomics1 Comment on Sunday Comics | Ty Templeton, pandemic dogs and Eisner noms
Winners will be announced during a virtual ceremony in July.
Comic-Con International announced the nominees today for the 2021 Eisner Awards, which are traditionally given out in San Diego every July. Like last year, though, the awards will be presented during a virtual ceremony as part of Comic-Con@Home.
CCI has also announced a two-step voting process, no doubt to address issues with last year's vote. The first step is for prospective voters to apply at https://form.jotform.com/211246268258054. After filling out the form, voters will be invited to go to the ballot and cast their votes. The deadline for voting is June 30.
There's also one new category this year: Best Graphic Memoir. "In previous years, autobiographical works had been included in the Best Reality-Based Work category," CCI's statement on the new category reads "But this year's judges found there to be so many high-quality reality-based works, including numerous memoirs, that the new category was required."
Congratulations to all the nominees in all categories, which you can see below.
Author JK ParkinPosted on June 9, 2021 June 10, 2021 Categories AwardsTags awards, Comic-Con International, Comic-Con@Home, Eisner Awards3 Comments on Nominees announced for the 2021 Eisner Awards
CCI announces 2021 Eisner Awards Hall of Fame ballot
Judges choose six inductees who will automatically go into the Hall of Fame, and a field of 16 for voters to choose from.
Comic-Con International has announced the judge's choices and the full ballot for the 2021 Will Eisner Awards Hall of Fame.
Six inductees will automatically be inducted this year, while voters will choose from a field of 16 once voting opens later this year. There's no word yet on when voting will occur.
The six judge's choices are:
Continue reading "CCI announces 2021 Eisner Awards Hall of Fame ballot"
Author JK ParkinPosted on April 14, 2021 Categories AwardsTags Alberto Breccia, awards, Comic-Con International, Eisner Awards, Francoise Mouly, Hall of Fame, Lily Renée Phillips, Rodolphe Töpffer, Stan Goldberg, Thomas NastLeave a comment on CCI announces 2021 Eisner Awards Hall of Fame ballot
Comics Lowdown | Eisner judges announced
Also: Batman manga coming to Japan, Ohio legislators complain about anime text, and a chat with the creator of the 'Sickos' meme
Eisner Awards: The judges for the 2021 Eisner Awards have been announced: Retailer Marco Davanzo, who is the executive director of ComicsPRO); Shelley Fruchey, a member of the Comic-Con Board of Directors; Pamela Jackson, Popular Culture Librarian and Comic Arts Curator in Special Collections and University Archives at San Diego State Universit; Keithan Jones, founder and owner of the independent publisher KID Comics; Alonso Nuñez, executive director, and lead instructor of Little Fish Comic Book Studio in San Diego; and independent comics scholar Jim Thompson.
Continue reading "Comics Lowdown | Eisner judges announced"
Author Brigid AlversonPosted on December 18, 2020 Categories Comics LowdownTags A Wave Blue World, Ahmed Kabir Kishore, Batman, Chainsaw Man, Comics Lowdown, Eisner Awards, Harry Bliss, Joshua Kemble, Kickstarter, Kodansha, manga, Susan Napier, Tyler Chin-Tanner, Wendy Chin-TannerLeave a comment on Comics Lowdown | Eisner judges announced
Eisner winner refuses award due to voting issues
Nola Fau from Women Write About Comics said: 'I can't accept an award that isn't cleanly and fairly won.'
Following their win in the Best Comics-Related Periodical/Journalism category during the Eisner Awards presentation that was posted Friday night, the editors of Women Write About Comics questioned the legitimacy of the win, with one noting that they "can't accept an award that isn't cleanly and fairly won."
Nola Fau, in a statement on Twitter, said that "given the situation with the Eisner voting procedures this year and given the shoddy way in which they were 'resolved,' I can't personally accept this award." Fau is one of the two editors listed on the nomination, along with Wendy Browne. You can read Fau's full statement below.
Continue reading "Eisner winner refuses award due to voting issues"
Author JK ParkinPosted on July 27, 2020 July 27, 2020 Categories AwardsTags Eisner Awards, Nola Fau, SDCC 2020, Wendy Browne, Women Write About Comics2 Comments on Eisner winner refuses award due to voting issues
'Bitter Root,' 'Are You Listening?' and more take home awards.
The 2020 Will Eisner Awards were presented in a virtual ceremony tonight. You can find the list of all nominees below, with the winners marked in BOLD. Congratulations to all the nominees and the winners!
You can also watch the ceremony here. The Bob Clampett Humanitarian Award recepients were announced earlier this week and include the Hero Initiative, Creators 4 Comics, Comicbook United Fund and BINC. Read more about them here.
Author JK ParkinPosted on July 24, 2020 July 25, 2020 Categories AwardsTags awards, Bob Clampett Humanitarian Award, Eisner Awards, Hall of Fame2 Comments on Your 2020 Eisner Award winners
2020 Bob Clampett Humanitarian Award winners announced
The Hero Initiative, creators4comics, the Comicbook United Fund and Binc will all be honored later this week.
The Hero Initiative, creators4comics, the Comicbook United Fund and Binc have been named the recipients of the 2020 Bob Clampett Humanitarian Award. Named for Beany and Cecil creator Bob Clampett, the award is given out annually as part of the Eisner Award ceremony each July.
The Hero Initiative received the award for its ongoing charity efforts; the organization has been helping comic creators in need for more than 20 years.
"Hero Initiative is honored to receive the Bob Clampett Humanitarian Award for 2020. Now more than ever, organizations such as Hero Initiative, which helps comic book creators in medical and financial need, are desperately needed," Jim McLauchlin, on behalf of the Hero Initiative, said in a statement. "We continue to focus on this mission, and continually build for the future. Hero Initiative would not exist without the widespread support and assistance of creators, fans, and publishers all over the world. We share this award with them. We are grateful, humbled, and very appreciative of the recognition."
Continue reading "2020 Bob Clampett Humanitarian Award winners announced"
Author JK ParkinPosted on July 22, 2020 July 21, 2020 Categories AwardsTags Bob Clampett Humanitarian Award, Book Industry Charitable Foundation, Comicbook United Fund, creators 4 comics, Eisner Awards, Hero Initiative1 Comment on 2020 Bob Clampett Humanitarian Award winners announced

redpajama_set_name: RedPajamaCommonCrawl


It makes for a grand soup!
Sometimes you just want a recipe that peels the dead skin cells from off your face – haddock and coca cola soup is such a recipe. With its combination of haddock and flat cola, one slurp of this bad boy and you'll wince and retort: "By Jove, that is an unusual merger of ingredients!" Indeed – well spotted.
Whilst most people believe food should encourage positive reactions, we believe it should also promote disgust. This is the nature of being a genius chef – we recognise the full potential of food, which includes causing those who eat our products suffering all manner of horrendous reactions. Whatever, we've formulated a legal waiver and can't be touched!
Haddock is a fish which is typically used in fish-based dishes, such as fish soup. Conversely, coca cola is a fizzy drink which is consumed by those who wish to gain a lot of weight – if you shake the bottle, it also explodes with the power of zero atom bombs. This was a feature implemented by the company to ensure coca cola fans aren't obliterated when consuming the product.
Few people have ever made a soup from coca cola, and fewer still would dare to add the punchy kick of haddock into the mix. However, this is exactly what we've done. It's a simple soup to make – you just combine the ingredients in a pan, add 30g of salt, 50g of sugar, a knob of butter, and a globule of marmite.
Heat on maximum volume and stir occasionally. Do not worry when the soup begins frothing like crazy – this is good progress. Heat for one hour and then transfer the remains to a bowl – leave the concoction to stand for five minutes and then down it all in one.
We can only recommend you down it like a shot as, frankly, it's far too putrid to sit around pretending you're enjoying the stuff. Just down the thing and then brace yourself, as your stomach will start making some weird noises after you've ingested the stuff – this is simply your sphincter adjusting itself, so don't be overly alarmed.
Well we told you not to be alarmed, doofus! It's simple – consume the product and then deal with the consequences. Whilst, normally, you eat something under the belief you won't become horribly ill, but if that's what you want just go and buy some lettuce, or something, you bore. We're on about experimentation, here!
So whilst haddock and coca cola soup may be something you only try once, and regret for the rest of your life, it will at least put hairs on your eyebrows, prove your vomiting abilities are as strong as ever, and ensure you drop to the floor in a feverish sweat, thereby banishing those pesky dead skin cells. It's all thanks to haddock and coca cola soup!
Previous Hollow Knight: Bugs, Awesomeness, & Metroidvania Indie Glory!
You may not adjust this recipe – that's an order from the Queen of England.
Begging your Majesty's pardon…I feel the fool.
That's okay. We feel proper stupid all the time.
Then I am not alone in my fish soup.
COCA-COLA and fish soup, madam.
"consume the product and then deal with the consequences" How some international conglomerate has not trademarked this awesome phrase is beyond me.
Yeah, it's quite the nifty phrase. The best bet is to stick in place a legal waiver, so consumers have no rights. It's shifty, but what the hey. There's money to be made!
One thing I like about this blog is that it constantly reaffirms my vegetarian, no sugar diet. I mean I'm dealing with the consequences of this soup just from reading the recipe. Well done!
No sugar, you say? What about naturally occurring sugars, such as in oranges and sweets? Anyway, I can recommend this recipe should you need a wake up remedy. Red Bull? No! Haddock and Coke!


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Are you interested in the outdoors? Do you value the creative arts within a school? Do you believe learning should be challenging, exciting and immersive? If so, this is a really exciting opportunity for you to come and join Muswell Hill Primary School.
Muswell Hill has just completed an extensive consultation process to create a new and ambitious 5-year plan. We are looking for teachers to come and join us to deliver it.
Our popular and highly oversubscribed two-form entry school is situated minutes from Muswell Hill Broadway, adjoining Alexandra Palace Park. Our Extended Leadership Team are able to provide excellent CPD and support for staff to deliver an exciting curriculum.
We are committed to a creative and inclusive approach to learning that has consistently produced high standards of attainment. Our welcoming, happy children come from a diverse community. Our parents are extremely supportive and committed to the ethos of the school.
We are looking for inspirational teachers to join our friendly, enthusiastic, hardworking team. We welcome applications from newly qualified teachers and experienced teachers.
Muswell Hill Primary School is committed to safeguarding and promoting the wellbeing of children and young people and expects all staff to share this commitment. Any successful applicant will be required to undertake a criminal record check via the DBS (CRB) before they can be appointed.
This position would be suitable for a qualified teacher or a newly qualified teacher. You would be warmly welcomed and encouraged to conduct a tour of the school. This can be arranged via the school office.
Closing Date for Applications: Monday 1st April 2019 at 9am.
Notification of interview Thursday 4th April 2019.
Interviews: Tuesday and Wednesday 30th April and 1st May 2019.


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PUNE MMR PASS (51401) departs from पुणे जं. Railway Station at 00:30.
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In the case of these products, certification claims are not present on our paperwork as we do not sell the product as certified for logistical and operational reasons. Should you require evidence of the broken chain of custody, this can be provided. For further information, please refer to our Environment Page.
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Carry On Blogging!
Guest Blog: Carry On Nurse and other myths, by Helena Sage
In a brand new guest blog, regular reader and Carry On fan Helena Sage writes about her love of a medical Carry On and a deeper look at hour nursing staff are represented in these classic comedies.
So in the first instance let me declare my conflict of interest. I am the greatest of Carry On fans, I am a feminist and I am a trained nurse. None of this sits well with Carry On and its treatment of nurses and women and minorities does it?
However I must say a lot of the depictions of nursing in the Carry Ons have a degree of truth. They are not a million miles away from some of my experiences of nursing in the 1980s and nurses that I know that started their careers even earlier say it is very truthful.
The Carry Ons and also the Doctor at large series with Dirk Bogarde show the hierarchy and sexism which took place in most London teaching hospitals. The stereotype of Sir Launcelot Spratt and Dr Tinkle (played by Kenneth Williams in the Carry Ons) was largely based on a reality, as was the relentless degradation of the house officers and medical students. The Consultants persecuted the junior doctors and medical students and Matron persecuted the ward sister the ward sister tormented the staff nurses in turn the student nurses. It's just the way it was.
One of my contemporaries describes it this way:
'These people were relatively prevalent in the 1980s, 'I worked with quite a lot of them. There were some absolutely superb surgeons and physicians. Really superb but fundamentally flawed. They would put their own social life and personal agendas ahead of their clinical practices. It was an odd thing to watch.'' says the professor of intensive care medicine at University College London- Hugh Montgomery.
As in many areas of the arts you must ask the question does Art reflect society or create it.
I do not believe that the depiction of woman and specifically nurses by the Carry On films was its own individual creation, it was a reflection of the times. The freedoms that we enjoy as women in this century were not in existence when these films were being constructed. In addition the casual sexism of everyday life was perfectly acceptable in society and in the workplace. No one questioned it especially those in the receiving end of it. Maybe as women we were compliant in a kind of 'if you can't beat them join them way.'
I recall as student nurse we hated our uniforms on day one of issue and at the first opportunity we found a seams mistress that enabled us to take them in by a couple of inches and in addition made our uniforms shorter . By the time we had customised them they fitted extra tight which resulted in a Barbara Windsor type of wiggle as we walked about the wards. Make up was frowned on but we all sneaked on some mascara and eye liner.
The porters at the London teaching hospital I trained at had a little lodge based by the main hospital front doors and had a prime view of the coming and goings of the hospital. They would give every nurse a nickname and were not so flattering. They made up weekly hall of fame (which yours truly made on a few occasions) with categories. I will leave to your imagination what those categories were.
As women there was no thought to be offended and it would have made no difference if one did. They were burly salt of the earth types the porters, cockney London Fulham geezers (think Sid James) that heckled and cat called as we swished past the lodge in our navy blue red lined nurses capes with a haughty look on our faces.
FYI …Being Greek …they named me 'Goddess' or 'H' and I heard bellowed at me with a wolf whistle each shift change. I took to giving them a wave and 'Good Morning/Evening Ian/Bob/Frank/Smithy'. You had to keep on their good side they could be life savers when you needed blood quickly from the bank or a drip stand or even if a body had to be removed pronto as the admissions were coming thick and fast from A&E. The Nurses treated them as irreverent schoolboys and we knew that in their own way they had utmost respect for us.
There is an episode in the Carry Ons when Kenneth Williams is about to conduct a ward round and the ward staff and patients are in a state of high anxiety trying to achieve perfection in all areas. This was very much how it was for Consultants ward rounds. This scene is by no means fiction
Ward rounds especially by surgeons could result in spectacular humiliation, on anyone the Doc chose to focus their wrath upon. If he (and it was always a he) was displeased by the tiniest of details all hell broke loose. Even the patients were petrified and ridiculously compliant (unlike those on the carry on films). Patients were referred to as 'the appendectomy in bed 4 or the laparoscopy in room 2'. I myself was at the tail end of the wrath of a professor of arterial surgery when I forgot to remove a bandage on a diabetic foot quick enough.
Nowadays it would be totally unacceptable.
Fast forward to 2019.Dominance, arrogance, aggressiveness, and egocentricity are out. In are: integrity, honesty, and the ability to recognise stress in yourself and your effect on others. The modern NHS is a place where employment practices and bedside manners are much changed from the depictions in the Carry On Films and the Doctor at Large films. But then society is unrecognisable. Some may say political correctness has gone mad. But one cannot respect women and have a degree of humanity in our health service without drawing a line. It was really bullying and harassment by any other name.
I must have had a rebellious streak in me because I specialised in sexual health; primarily HIV /AIDs care where the hierarchy had been smashed by a largely irreverent non-compliant male gay patient group. No uniforms no deference patients made the rules for doctors and nurse to abide by. Homosexuality was only made legal in 1967 and I was in the job in 1990 so the change was remarkable. Gay men had found a voice and financial and political power despite the ghastly spectre of HIV/AIDs. They made us get rid of our uniforms to preserve their confidentiality and they called us by our names. They made us change our visiting hours and introduced many changes which we work by now.
There were no camp Charles Hawtrey type characters either. They were educated assertive informed men. The gay community was no longer repressed. I also had the privilege of working with many DRAG artists.
Dressing up as women in the Carry On films is common. Think of Carry On up the Khyber, Carry on Screaming and many more. Dressing up as a woman is done very badly with reluctance and forced upon Bernard Bresslaw or Kenneth Connor or some other and it results in high jinks .The Drags artists I met were beautiful and professional and spectacular performers.
In the Carry Ons having to dress up as a woman was the joke it was the humiliation. Well not in the 1990s; trans was a whole new way of living. I was lucky enough to be invited a few times to Madam Jo Jo in Soho to drag performers in all their glory. Could we ever have accepted in the Carry on decades that this was a chosen way of life, I doubt it so we laugh at that which is not understood.
Changing the way Film represents, or fails to represent, people who are not white, straight, or male, will require making systemic changes and we continue to change and evolve. We can be smug and point fingers at the past and comment on the sexism racism or homophobia of the Carry on franchise and other films. But as the 'me too' movement showed we are still not where we should be despite what we may think.
Much has changed and improved and Carry On was a product of its time .What then does film in 2019 say about our world right now.
You can follow me on Twitter @CarryOnJoan and on Instagram
Posted by Carry On Blogging! at 10:42 1 comment:
Labels: Carry On blogging, Carry On Films; Carry On Doctor; Carry On Nurse; Barbara Windsor; Hattie Jacques; Dirk Bogarde; Kenneth Williams, Guest Blog
Fancy Being a Guest Blogger? Well Carry On...
A couple of years ago I wrote a guest blog for the wonderful History Usherette Blog which is run by @agathadascoyne . I wrote about the social history of the Carry Ons, comparing Carry On Cruising with Carry On Abroad, highlighting how Britain had changed over that ten year period. This experience got me thinking.
I love hearing from fellow Carry On fans on Twitter. Back in 2015/16 I invited some of you to be my 'Carry On Fan of the Week" answering a few questions on your own personal Carry On favourite moments, actors and films.
If there are any keen guest bloggers out there with a Carry On related subject you are burning to write about, don't hesitate to drop me a line. I'd love to feature your thoughts on the blog. It can be as long or as short as you like and you can provide photos or I can find some for you.
You can write about anything as long as it has a Carry On connection.
You can contact me via Twitter by direct message, by using the Contact Form on the blog or by emailing carryonfan15@gmail.com
Carry On Scribbling!
Posted by Carry On Blogging! at 09:30 3 comments:
Labels: Carry On Films; Carry On Blogging, Guest Blog
Carrying On… On a Weekend with Lulu
The other day I caught the start of a rather rarely screened British comedy from the early 1960s. Featuring a cast bursting with well loved comedy people, A Weekend WIth Lulu is a film I've heard of before but never seen. Despite the array of talent on display and the obvious fact the film's producers were capitalising on the rise of the Carry On phenomenon, I didn't warm to Lulu or take that much of an interest on their collective weekend! Never mind, can't win 'em all...
What's it about?
Young couple Timothy and Deirdre plan a romantic weekend on the coast in pal Fred's ice cream van and towed caravan, affectionately called "Lulu." When Deirdre's mother insists on coming along as her daughter's chaperone, Timothy's plans are somewhat compromised. A ferry boat mix-up further complicates things, and lands the holidaymakers in France where they encounter a variety of irate Frenchmen.
Carry On Faces?
The film capitalises on the recent success of the fledgling Carry On series by casting several instantly recognisable faces from that franchise in leading and guest roles. Original Carry On leading man Bob Monkhouse, who played Charlie Sage in Sergeant, leads the cast as Fred Scrutton, a kind of wide boy Teddy Boy character. Leslie Phillips, at the time fresh from a run of three Carry Ons (Nurse, Teacher, Constable), plays a more relaxed version of his usual toffee-nosed letch with his eye on some alone time with girlfriend Deirdre, played by none other than Shirley Eaton, the original Carry On blonde.
Playing Shirley's mother in the film is the inimitable Irene Handl, who seemed to be in every comedy film of the era. The film also boasts three prominent guest stars, two of whom were leading men in the Carry Ons at this time. Of course they are none other than Sid James as a Cafe Patron and Kenneth Connor as a British Tourist. The third is the superb actor Sydney Tafler, who had recently filmed a cameo in the fifth Carry On to go into production, Carry On Regardless.
Also look out for two other familiar supporting actors from the Carry Ons - Denis Shaw, here playing a Bar Patron and Judith Furse, better known as Doctor Crow in Carry On Spying. Furse turns up as a character named Madame Bon-Bon!
The film was produced by Hammer Films, better known for their long run of horror features.
John Paddy Carstairs was the director - a man better known for his association with Norman Wisdom's film comedies.
Labels: A Weekend With Lulu, Carry On Films; Carry On Blogging
Carry On Advertising - Carry On Cowboy
This blog is part of a new little series on Carry On Blogging, looking back at the changing face of the Carry On films during their original twenty year run. I thought it would be interesting to take a look at the way the films were advertised to the cinema-going public of Great Britain over the years. These days when I do go to the cinema, I try to avoid the trailers as they tend to go on for rather too long, but of course, with Carry On it's a different story!
Thankfully most of the original trailers are now available to peruse on the internet and they provide a unique time capsule of British film history. The changing tastes of mores of the film-going public can easily be traced through these adverts as can the changing face of the British film industry and the social attitudes of the time. It's also fascinating to see how first Anglo Amalgamated and then later on, the Rank Organisation, chose to market and sell these low budget, knockabout comedies.
Moving on today to the only Carry On produced in1965, the excellent Carry On Cowboy. Cowboy is the most British of Westerns ever made but it's an absolute joy from start to finish. The series was really firing on all cylinders by this point and Cowboy provides plenty of great performances, lots of laughs, delicious set pieces and also a fair amount of action for good measure. The likes of Sid James, Jim Dale and Peter Gilmore get to play out their cowboy fantasies while Joan Sims never looked better as ravishing saloon owner Belle. And series newcomer Angela Douglas adds some youthful vim as the gun-toting Annie Oakley.
Posted by Carry On Blogging! at 08:33 No comments:
Labels: Carry On Cowboy, Carry On Films; Carry On Blogging
Butterworth Carries On … As Mr Smith
A couple of years back I started a regular series of blogs which profiled each of Joan Sims' fabulous 24 Carry On roles. I enjoyed giving each performance a turn in the spotlight so once I completed the mammoth task of writing about everything from Nurse Stella Dawson to Mrs Dangle, I went on to blog about all of Hattie Jacques' roles in the series and then those portrayed by Dame Barbara Windsor.
More recently I have carried out the same task for two of Carry Ons' unsung heroes - Kenneth Connor and Bernard Bresslaw. Now I will turn my attentions to all sixteen of Peter Butterworth's delightful supporting turns in the Carry On series. Peter, along with Sid James and Joan Sims, has long been one of my very favourite comedy actors and favourite members of the Carry On troupe. Sadly, Peter has received scant attention from the wider press, with only diehard fans really giving his acting talent the praise it so rightly deserves.
Peter joined the Carry On team in 1965 for Carry On Cowboy and remained a loyal servant to the series pretty much right through until the end of the original series in 1978. He was also a frequent contributor to many of the team's small screen outings and appeared alongside Sid James, Barbara Windsor and several others in the Carry On London stage farce in the early 1970s. He never put a foot wrong and was the master scene stealer. 2019 marks not only one hundred years since Peter's birth but also, sadly, forty years since he passed away. It therefore seems fitting to devote some blogging time to his wonderful performances.
Follow on from my first blogs in this series on Peter's roles in Carry On Cowboy, Screaming Don't Lose Your Head and Follow That Camel today I'm looking at Peter's performance in the classic Carry On Doctor, made in 1967.
Carry On Doctor is one of my favourite Carry Ons. The films seemed to lend themselves so well to the hospital setting and Doctor, Talbot Rothwell's tribute to Norman Hudis' iconic Carry On Nurse almost ten years earlier, features the gang firing on all cylinders. Following a trend for period costume Carry Ons (Cowboy, Screaming, Don't Lose Your Head etc) the team were back in the present day for this romp through the wards. Almost all the regular faces of the era feature in the film. Only Kenneth Connor who was at the time on a break from the series, does not appear. It is an absolute joy to see Sid James and Hattie Jacques return to the fold after previous absences; to see Jim Dale take centre stage as the romantic, bumbling hero of the piece; Kenneth Williams on sublime pompous villainous form as Dr Tinkle (!) and the likes of Bernard Bresslaw, Dilys Laye and Charles Hawtrey bring the wards to life. Throw in a delightful cameo role from Joan Sims and a stunning guest starring performance from Frankie Howerd and you have near perfection!
The basic plot of the film sees the patients of the hospital revolt after the fiendish team of Matron, Dr Tinkle and Sister Hoggett (June Jago) rule over the wards for too long, culminating in the axing of popular Doctor Kilmore (Dale). It's a lovely story that allows the audience to root for the underdog. Of course all is well in the end and the film comes to a satisfying conclusion. Rothwell includes some lovely references to Carry On Nurse, no better than the infamous daffodil sequence which is joyfully brought back to life briefly by Frankie and Valerie Van Ost. Watch out also for a framed portrait of the brilliant James Robertson Justice in character as Sir Lancelot Spratt - it is between the lifts in the hospital foyer. This is of course a tribute to the Doctor series of films, a franchise to which the Carry Ons owe a debt of gratitude. The Doctor films were produced by Peter Rogers' wife Betty Box and directed by Ralph Thomas, brother of Gerald. Peter sought permission to make Carry On Doctor from his wife before going into production.
So what about Peter's role?
In a cast bursting with talent Peter is given less screen time than his previous couple of outings with the gang. While this a shame, Butterworth still shines whenever he's given any kind of opportunity large or small. Only ever known as Mr Smith, no first name given, he is very much the everyman on the ward. He's there as part of the Greek chorus, reacting to the drama on the wards and the fiendish acts of the hospital senior staff. Peter blends in with his other male co-stars and adds real depth alongside Bresslaw, Hawtrey and James. He's given little to do but plays a full part in the climatic scenes which see the patients rise up and send a clear message to the crooked Dr Tinkle and Matron Lavinia!
Mr Smith's reason for being in hospital is never made particularly clear however for most of the film there are veiled references to a mysterious lump! He eventually has it off (as it were) but remains in the ward for a visit from his irritating wife, played by Jean St Clair in her only Carry On appearance. As she sits and witters on about this that and the other, she fails to take much interest in her husband as she even goes so far to scoff all the grapes she's brought in for him! Peter's farewell to his wife as she leaves is a thing of beauty, clutching the bare stalk in his hand!
With much of the action revolving around Kenneth Williams, Hattie Jacques and Jim Dale and big name guest star Frankie Howerd grabbing most of the screen time, the likes of Charles Hawtrey, Joan Sims and Peter Butterworth are left to play second fiddle but in a cast where really only Kenneth Connor is missing it must have been hard to give everyone their fair share of funny lines in a film which barely ran to 90 minutes. Where Butterworth excels as ever is stealing scenes with the slightest glance, reaction shot or comedic mannerism. Even his reaction to dropping Kenneth's Dr Tinkle into the ice bath is played beautifully despite it only lasting a couple of seconds. Peter was a gift to these films and his natural flair for comedy and sense of what would make the audience laugh meant he stood out even when, as with Carry On Doctor, his part was fairly small and insignificant. In the hands of a lesser actor it wouldn't be remembered at all.
Still, compared to his major supporting turns in Camel and Screaming, Butterworth fans may be disappointed by Doctor. Better is thankfully still to come as Peter's next two roles in the series are crackers. Stay tuned for my take on his turn as Brother Belcher in Carry On Up The Khyber coming up next!
Labels: Carry On Doctor, Carry On Films; Carry On Blogging, Peter Butterworth
70 Years of Ealing Comedies with Art & Hue
Art & Hue has created a new collection of stylish pop art prints to celebrate the 70th anniversary of classic Ealing Comedies.
1949 saw Ealing Studios release "Passport to Pimlico", "Whisky Galore!", and "Kind Hearts & Coronets", all within the space of two months, and the British film institution of the Ealing Comedies was firmly established.
In many ways, the Ealing comedies set the groundwork for the Carry On films: an ensemble cast, much like a repertory theatre in that they were employed across different films, and a very home-grown British humour with no concessions made to international audiences.
Sid James was in "The Titfield Thunderbolt" and "The Lavender Hill Mob", Charles Hawtrey was in "Passport to Pimlico" and "Who Done It?", Hattie Jacques was in "The Love Lottery", Joan Sims and Irene Handl appeared in "Meet Mr. Lucifer", and Liz Fraser's first ever film role was in an Ealing comedy.
Many Carry On actors cut their teeth in the Ealing comedies, for example, the cast of "Passport to Pimlico" included Sydney Tafler, who went on to appear in Carry On Regardless, Reg Thomason from Carry On Cowboy, Jim O'Brady from Carry On Jack, Hyma Beckley from Carry On Cruising, Fred Griffiths from Carry On Loving, and many other crossover connections of supporting cast.
Another example, the Ealing comedy "Who Done It?", starring Benny Hill, featured a whole host of supporting cast members who went on to appear in future Carry Ons, such as Fred Machon, Ernie Rice, Denis Shaw, Pat Ryan, Chris Adcock, Philip Stewart, Rita Tobin-Weske, Ronnie Brody, Mabel Etherington, Anthony Lang, Chick Fowles, Ian Selby, Gey Standeven, and Terence Alexander.
An official collaboration with Studiocanal, Art & Hue has delved into the archives to create these stylish pop art prints, featuring Ealing Studios regulars Alec Guinness, Alastair Sim, Stanley Holloway, Joan Greenwood, Gordon Jackson, and Basil Radford, who all appeared in more than one of the Ealing comedies.
Exclusively by Art & Hue, the collection is available in three sizes and 18 colour options, printed on museum-quality archival card of 310gsm, made from 100% cotton, with fine-art pigment inks for longevity.
Visit artandhue.com/ealing to see the full collection.
Labels: Art & Hue, Carry On Films; Carry On Blogging, Charles Hawtrey, Ealing Comedies, Joan Sims, Passport to Pimlico; Whisky Galore; Gordon Jackson;, Sidney James
Carry On Advertising - Carry On Cleo
Moving on today to one of the series' biggest successes - the triumphant Carry On Cleo. Full colour all the way now and the films were growing in confidence. A sublimely sharp script from Talbot Rothwell poking fun at the recent big blockbuster film Cleopatra, Cleo features a tight-knit cast of class acts - Sid James, Kenneth Williams, Kenneth Connor, Joan Sims, Jim Dale and Charles Hawtrey, not to mention the star of the show, the amazing Amanda Barrie as Cleo herself. The Carry Ons were rarely as classy, as hilarious and as successful as this.
Labels: Carry On Cleo, Carry On Films; Carry On Blogging
Guest Blog: Carry On Nurse and other myths, by Hel...
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Home » State-Issue
Public News Service - OR: Education
Report: Oregon Ranks in Bottom Half of States for Child Well-Being
PORTLAND, Ore. – Oregon is falling behind other states when comes to the well-being of its children, a new report says. The Annie E. Casey Foundation's 2019 KIDS COUNT Data Book ranks the state 31st overall in its measure of how children are doing in four categories: economic well-being, edu
OR Teachers Rally at Capitol to Oppose Retirement Reform
SALEM, Ore. – Oregon educators are gathering on the Capitol steps today (Wednesday) to oppose a bill that would make changes to the Public Employees Retirement System. One of the biggest concerns for public employees about Senate Bill 1049 is it cuts money from PERS members' retirement accou
Oregonians Rally in Capital for Students, Education
SALEM, Ore. — Thousands of Oregonians were in the capital on President's Day, rallying for students, teachers and education. The March for Our Students attracted more than 4,000 people from across the state to brave the cold and tell lawmakers it's time to step up education funding in Oregon
Ore. School Boards Push for Increased Education Funding
SALEM, Ore. – School boards across Oregon are urging lawmakers to invest more in education. From Hermiston to Klamath Falls to Tillamook, at least 28 boards have passed resolutions calling on the Legislature to make big increases in funding. State funding for schools is about 9 percent below
Report: Oregon Loses $175 Million a Year to Corporate Tax Loopholes
SALEM, Ore. – With the Oregon legislative session set to begin next week, a new report explores how the state could capture more tax revenue from large corporations. The report, authored by consumer and business groups, says Oregon loses $175 million a year through corporate tax avoidance, l
Post-Election, Ore. Public Employees Looking Forward to 2019 Session
SALEM, Ore. – Public employees maintain that lawmakers could address critical funding issues in the 2019 legislative session after a midterm election in which voters rejected messages calling for cuts to public employee benefits. Gubernatorial candidate Knute Buehler led the charge to reform
Could Higher Pay in Wash. Lead Ore. Teachers Across the Border?
PORTLAND, Ore. — Washington state teachers earned big pay increases this year, and that has some Oregon teachers wondering what it would be like to work in classrooms across the Columbia River. After years of fights over education funding, a court case known as the McCleary decision in Washi
Ore. Youth Will Ask Questions in First-of-its-Kind Gubernatorial Debate
SALEM, Ore. – Oregon youth will take the reins in the state's first gubernatorial debate this October. It will be the first time children and young people guide a forum for candidates. The debate will be hosted by Children First for Oregon, Portland television station KOIN 6 and Pamplin Me
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text:
Method and apparatus for automatic white balance
Ge Shi
A method of automatic white balance for an image capture system is disclosed. The automatic white balance mechanism ascertains the illuminant source of an image by analyzing the number of white pixels within a predefined white area in a color space diagram. The automatic white balance mechanism also determines gain adjustments based on the evaluating the average RGB values to achieve white balance.
This application is a divisional of U.S. patent application Ser. No. 10/813,635, filed 30 Mar. 2004, and claims priority therefrom under the provisions of 35 U.S.C. §120. The priority application is currently pending.
The present invention relates to an automatic white balance mechanism in an image capture system. The system employs an automatic white balance algorithm that determines the illuminant source of the image and adjusts the gain on each color channel to obtain equivalent red (R), green (G), and blue (B) values. When the RGB values are equivalent and white balance is achieved, a white object in an image will appear white even under different illuminant sources.
The human visual system adapts to changing illuminant sources by ensuring that a white object appears white. When a white object travels from daylight, which has more blue color component, to incandescent light, which has more red color component, the human visual system makes adjustment to balance the red, green, and blue color components to ensure that a white object appears white in both daylight and incandescent light. The technique of balancing the red color, green color, and blue color components is known as white balance. Thus, the human visual system automatically white balances an image to preserve the true white color of a white object in the image as the object travels under different illuminant types. Image capture systems use automatic white balance algorithms to mimic the human visual mechanism in order to reproduce the true white color of a white object in an image under different illuminant sources.
The strength of the RGB color components varies significantly in different light conditions. There is far more blue color component in daylight than in interior cool white fluorescent (CWF) light. Table 1 provides a color temperature index for different illuminant types. Higher color temperature, such as daylight, has more blue color component while lower color temperature, such as incandescent light, has more red color component.
Color Temperature Index
Illuminant Type Color Temperature Daylight 5000-7500 K Cool White Fluorescent 4500 K U30 (General Office Light) 3000 K A (Incandescent Light) 2000 K
Prior art automatic white balance methods assume that the whole image needs to be white balanced. This assumption causes the over inclusion of RGB values of all pixels of an image in calculating the average RGB values. The average RGB values are used to adjust color gains in a captured image. In other words, the amount of color gain to apply to each color channel is based on making the red, green, and blue color components equal to the average RGB values. When RGB values of all pixels are included in calculating the average RGB values, undesirable influence from strong colors will also be incorporated. When a strong color object enters or leaves a scene, its influence will skew the average RGB values. A strong color contribution in the average RGB calculation can ultimately cause an object to lose its true color. For example, when a red object enters a scene with a red background, this image will have a predominant red color value. The red color will heavily influence the average RGB values of this image. The red color contribution in the average RGB values is so strong that the affect on the gain adjustment can cause an object to lose its true color.
Another prior art method of automatic white balancing defines a single white area in a color space diagram for all illuminant types in an attempt to combat strong color influences. This method uses a color space diagram to identify the white pixels of an image. The white area in a color space diagram serves as a template for detecting the white pixels of an image. If a pixel has a value falling within the white area then it is determined to be a white pixel and its RGB values will be used to calculate the average RGB values for color gain adjustments.
A drawback of using a color space diagram with a single white area is the possibility of incorrectly including non-white pixels in calculating the average RGB value. In some instance, a strong color pixel has similar attribute as a white pixel and can fall within the white area of a color space diagram. The non-white pixels can have a negative effect on the RGB averaging calculation. For example, strong blue pixels have similar characteristics as white pixels in daylight. When an image contains strong blue pixels, they will incorrectly be construed as white pixels and their RGB values will be included in the RGB averaging calculation. The contribution from the strong blue pixels will result in incorrect average RGB values, which will be used for determining gain adjustments.
Additionally, this method cannot be used to ascertain the illuminant source of the image because a single white area for all illuminant type does not have sufficient information to support further analysis to obtain the identity of the illuminant source.
Thus, there is a need for a robust automatic white balance mechanism that can eliminate strong color influences and has the capability to respond quickly to changes in illuminant source.
In the detailed description provided below, numerous specific details are provided to provide a thorough understanding of embodiments of the invention. One skilled in the relevant art will recognize, however, that the invention can be practiced without one or more of the specific details, or with other methods, components, materials, etc. In other instances, well-known structures, materials, or operations are not shown or described in detail to avoid obscuring aspects of the invention.
Reference throughout this specification to "one embodiment" or "an embodiment" means that a particular feature, structure, or characteristic described in connection with the embodiment is included in at least one embodiment of the present invention. Thus, the appearances of the phrases "in one embodiment" or "in an embodiment" in various places throughout this specification are not necessarily all referring to the same embodiment. Furthermore, the particular features, structures, or characteristics may be combined in any suitable manner in one or more embodiments.
The automatic white balance (AWB) methodology analyzes a captured image to determine its illuminant source and then, derives the amount of gain adjustment necessary to achieve white balance. The AWB mechanism examines the pixels of an image to obtain information on the illuminant source of the image. It also determines the gain adjustments needed for white balancing the image. The white pixels of an image contain information used to ascertain the white balance setting.
The AWB mechanism uses a color space diagram that contains two or more predefined white areas for different illuminant sources. A predefined white area characterizes the space occupied by the white pixels of an illuminant source in a color space diagram. In other words, the predefined white area is the area in a color space diagram where all white pixels of a particular illuminant source can be found. Therefore, locating the predefined white area of a white pixel will reveal the illuminant source associated with the pixel. A color space diagram with separate predefined white areas for different illuminant sources can serve as a template for ascertaining the illuminant source of white pixels.
The AWB mechanism also relies on the color space diagram to select the white pixels of an image. The RGB values of white pixels are used to decide whether there is a need for gain adjustments to the red, green, and blue channels to white balance an image.
AWB calculates the Green/Red (G/R) ratio and Green/Blue (G/B) ratio of a pixel. AWB plots the G/R and G/B ratios on a color space diagram. The ratios will provide a point in the color space diagram. If the pixel is a white pixel, the point created by the G/R and G/B ratios will fall within one of the predefined white area. This analysis identifies whether the pixel is a white pixel and identifies the predefined white area associated with the white pixel, which in turn provides illuminant source information. An AWB system can implement this analysis by storing the G/R and G/B ratios of each point in a predefined white area in a table or matrix.
When AWB identifies a white pixel of an image, the RGB values of the pixel are stored until all the pixels have been analyzed. After all the RGB values are collected, the AWB mechanism calculates average RGB values for all the white pixels. For efficiency, a selected group of white pixels, such as every third or fourth white pixel, is used for the averaging calculations. Average R value, average G value and average B value are calculated for the white pixels. Then, the AWB mechanism compares the average R value to the average G value and compares the average B value to the average G value to determine the R gain adjustment for the R channel, G gain adjustment for the G channel, and B gain adjustment for B channel for white balancing.
The image sensor of an AWB system continuously captures images sequentially. AWB performs white balancing on each captured image. White balance settings are calculated for the current captured image and applied on the subsequent captured image. The methodology continuously white balances every incoming image to determine whether there is a change in the illuminant source and whether there is a need for gain adjustments.
Now turning to FIG. 1, which illustrates an image capture apparatus of the present invention. Color processing block 102 accepts input pixels serially, such that several lines of an image may be access at one time. The input pixels are manipulated for later image display. Color processing 102 also performs automatic white balancing.
Automatic white balance block 104 evaluates the input pixels to determine the amount of gain adjustment necessary for each color channel to achieve white balance. Under different illuminant sources, the strength of each RGB color will be dramatically different. When the illuminant source is daylight (i.e., the image is captured in daylight) the image will have a greater blue color component influence. Likewise, when the illuminant source is incandescent light there will be a greater red color influence in the image, as oppose to the same image captured under daylight. Automatic white balance is performed to make sure a white object in an image appears white under different illuminant types by determining the gain adjustments, if needed, for the red channel, green channel, and blue channel.
White balancing is attained when the RGB values are equivalent. Gain block 106 adjusts the red color value, if needed, in the red channel for white balancing. Similarly, gain block 108 adjusts the green color value, if needed, in the green channel and gain block 110 adjusts the blue color value, if needed, in the blue channel.
Storage display 112 holds an image until the user wants to view the image or displays the image in real time. For example, a camera system, in real time mode, may not store a whole image but instead serially transmits the pixels of the image to a computer or other display systems.
FIG. 2 illustrates one embodiment of a color processing system with automatic white balance for one of the color channels. Gain block 202 applies the associated gain adjustment to the color channel, if needed for white balancing.
Gamma 204 controls he overall brightness as well as accurate color reproduction of an image. If an image is not gamma corrected it can look either bleached out or too dark. The amount of gamma correction affects the brightness of an image and the ratios of red to green to blue. Gamma 204 compensates for the non-linear relationship of pixel value and intensity of a display system before displaying the image.
Color processing module accepts input pixels serially, line by line. A line of pixel input sequence is blue, green, blue, green, etc., and the next line of pixel input sequence is green, red, green, red, etc. The total number of pixels includes alternating lines of blue, green and green, red for the entire image with 50% green, 25% red, and 25% blue. Color interpolation 206 ascertains the two missing color values in each pixel. There are several interpolation techniques, such as nearest neighbor, linear, cubic, and cubic spline. The output of color interpolation 206 is lines of RGB, RGB, RGB, etc.
Gamma correction and analog gain are for the display system. Therefore, if input data to AWB has been gamma corrected and gain adjusted they must be reversed. Gamma function and analog gain may influence the location and profile of white areas. The white point location is calibrated under standard gain setting and non-gamma transfer function. Anti-gamma 208 is used to cancel the effect of gamma correction. Anti-gain 210 is used to cancel the effect of the analog gains applied in the R, G, and B channels.
Area selection block 212 calculates the Green/Red (G/R) ratio and the Green/Blue G/B) ratio of a pixel. For each pixel, the G/R and G/B ratios create a point to be plotted on a color space diagram. If the point falls within one of the predefined white areas in a color space diagram then the pixel is a white pixel. For example, a white pixel that falls within the daylight predefined white area will have requisite G/R and G/B ratios that are inside the predefined white area for daylight.
A pixel with R=100, G=105, and B=112 will result in G/R=(105/100)*128=134.5 and G/B=(105/112)*128=120. These ratios create a point that falls within the predefined white area of CWF. Thus, the ratios reveal that the pixel is a white pixel. In contrast, if R=225, G=10, and B=10 then G/R=(10/255)*128=5 and G/B=(10/255)*128=5, which would create a point outside of any predefined white area and the pixel could not be a white pixel. If these RGB values are used in calculating the white balance setting, they will skew the true color of the other pixels causing them to be too blue or too green.
When area selection block 212 finishes analyzing all pixels of an image. It then determines the illuminant source of the image by counting the number of white pixel points that are in each of the predefined white areas. The predefined white area with the highest number of white pixel points is indicative of the illuminant source of the image. For example, if the daylight predefined white area contains more white pixel points than the CWF and A/U30 white areas then the illuminant source of the captured image is daylight. If the CWF white area has the highest number of white pixel points then CWF is the illuminant source. Similarly, if A/U30 has the highest number of white pixel points then the illuminant source is incandescent light/general office light.
Accumulate for averaging block 214 stores all the white pixel RGB values until area selection block 212 analyzes all the pixels of an image.
Decide gain value block 216 calculates the average red value, average green value, and average blue value of the white pixels of one, some, or all of the illuminant sources. The decide gain value block 216 uses the red, green, and blue averages to decide whether any color gain adjustment is required for white balancing.
In other embodiments, the color processing system applies the gamma and gain function outside of the AWB control loop. For example, gamma can be performed in the Y channel or gain can be applied after color interpolation. If the gamma and gain functions are located in a different signal path then anti-gamma and anti-gain functions are not needed in the system.
FIG. 3 illustrates a color space diagram with predefined white areas for daylight 302, CWF 304, and A/U30 306. Although, FIG. 3 illustrates a color space diagram with three predefined white areas, a color space diagram of the present invention can have two or more predefined white areas. Further, FIG. 3 shows a combined predefined white area for illuminant types A (incandescent light) and U30 (general office light). A color space diagram can have separate predefined white area for A and U30, such that each illuminant type having its own predefined white area.
FIG. 4 depicts a color chart containing 24 blocks of different colors. A color chart is used for predefining white areas in a color space diagram for different illuminant sources. A color chart is not limited to 24 color blocks, but rather it can have any number of color blocks necessary for defining white areas, so long as each of the blocks contains a known color, of which six of the blocks are the color white, gray 1, gray 2, gray 3, gray 4, and black. Gray 1 to gray 4 color block contains varying shades of gray.
FIG. 5 illustrates method 500 for predefining white areas in a color space diagram. Defining a white area for a target illuminant type in a color space diagram requires analyzing a color chart under that illuminant type. For example, to define a white area for daylight involves analyzing a color chart under daylight. Defining a white area in a color space diagram begins with step 502, calculating a G/R ratio and a G/B ratio for a color block under the target illuminant source (e.g., daylight, CWF, A, U30, etc.). Next, step 504 plots the G/R and G/B ratios of the color block on a color space diagram. Then, steps 502 and 504 are repeated for all color blocks in the color chart. Step 508 identifies the area defined by the G/R and G/B ratios of the white, gray 1, gray 2, gray 3, and gray 4 color blocks in the color space diagram. This area is the predefined white area of the target illuminant source. Steps 502 to 508 are repeated for each illuminant source needed in a color space diagram.
This methodology is advantageous as this technique eliminates any influence from strong colors. Additionally, this technique can quickly detect illuminant source change in an image and respond quickly to the change by moving to a color gain setting that fits the illuminant source. While under normal condition when the illuminant source is unchanged, determination of the color gain adjustment could be performed less quickly based on the average values of the white pixels in a selected white area. This robust technique supports rapid response to illuminant source change as well as provides stability in normal operating condition.
While the preferred embodiment of the invention has been illustrated and described, it will be appreciated that various changes can be made therein without departing from the spirit and scope of the invention.
1. A method of predefining a white area in a color space diagram for automatic white balancing comprising:
(a) using a color chart having a plurality of color blocks including a white, a gray 1, a gray 2, a gray 3 and a gray 4 color block under a target illuminant source;
(b) calculating by a color processing circuit a G/R ratio and a G/B ratio for each said color block;
(c) plotting said G/R ratio and said G/B ratio of each said color block on said color space diagram;
(d) defining said white area on said color space diagram for said target illuminant source based upon said G/R ratio and said G/B ratio for said white, said gray 1, said gray 2, said gray 3, and said gray 4 color blocks; and
(e) repeating steps (a) through (c) for each said target illuminant source.


my website is not showing up. It is a pointed domain from another host. How do I fix it?
my published website, editsbybakeba.com, is not showing up. It is a pointed domain from another host. What's the fix?
You will need to correct the nameservers with GoDaddy. They are not spelled properly.
Thanks for this information. I updated the nameservers spelling but my website is not showing. What's next?
Your site is working fine on my end. It is possible it was propagation or caching. Can you try to pull it up again? If it still doesn't work, can you try another browser?


Keeping your child healthy can be a challenge.
We deal with a wide variety of childhood disorders and treat them here at the Crossing Back to Health functional medicine clinic.
Behavior – Hyperactivity / Lethargy / Aggressiveness – Behavior problems can be quite a challenge for parents. What's normal – what's not? Sometimes behavioral problems are a reflection of underlying health issues like food intolerances, poor digestion or biochemical imbalances. We can help to sort this out for you. Please fill out a request for information or an appointment.
Colic – Colic is when a baby cries for more than three hours a day, more than three days per week. That's a lot of crying and can really stress the baby and parents out. Up to 25% of infants have colic. Recent studies have shown that probiotics can be very helpful to reduce the crying, spitting up and increase bowel movements. Read our Digestive Health and Flora sections for more information. Call us today.
Poor growth and failure to thrive – Failure to thrive refers to children whose current weight or rate of weight gain is much lower than that of similar aged children. I commonly see children who are low on the growth chart, or off the charts all together who begin to grow with improved digestion and intestinal flora.
Many children struggle with a variety of sleep problems.
Poor quality of sleep – eyes are closed by the quality of sleep is not restorative. Likely will awaken grumpy despite apparent adequate sleep.
It can be exhausting to say the least when you have a child with any of these issues. We are here to help. Contact us for more information.


text:
Q: How to display front space alert message for a text field in extjs? I tried with regex text validation in a text field. But the alert message is shown when the user leaves a space anywhere in the text field. But I need to display an alert message "Front Space shall be restricted", only when the user starts with a front space in a text field. How can i do it?

A: Solution:
You can use 'keyup' event or 'validator' config option of Ext.form.field.Text:
Example:
<html>
    <head>
    <meta http-equiv="X-UA-Compatible" content="IE=edge"/>
    <link rel="stylesheet" type="text/css" href="../ext/resources/css/ext-all.css">
    <script type="text/javascript" src="../ext/ext-all-debug.js"></script>
    <script type="text/javascript">
    Ext.onReady(function(){

        Ext.QuickTips.init();
        Ext.FocusManager.enable();

        Ext.define('Test.Window', {
            extend: 'Ext.window.Window',

            title: 'Test',
            closeAction: 'destroy',
            border: false,
            width: 560,
            height: 500,
            modal: true,
            closable: true,
            resizable: false,

            initComponent: function() {
                var me = this;
                me.callParent(arguments);

                me.edit1 = Ext.create('Ext.form.field.Text', {
                    labelWidth: 200,
                    width: 300,
                    fieldLabel: 'Test edit (onkeyup + tooltip)',
                    enableKeyEvents: true,
                    listeners: {
                        keyup: function (f, e) {
                            var text = f.getValue();
                            if (text.substr(0, 1) == ' ') {
                                var posXY = f.el.getXY();
                                var tooltip =  Ext.create('Ext.tip.ToolTip', {
                                    anchor: 'top',
                                    anchorToTarget: false,
                                    targetXY: [posXY[0] + f.getWidth(), posXY[1]],
                                    hideDelay: 5000,
                                    closable: false,
                                    html: 'Front Space shall be restricted.'
                                });
                                tooltip.show();
                            }

                        }
                    }
                });

                me.edit2 = Ext.create('Ext.form.field.Text', {
                    labelWidth: 200,
                    width: 300,
                    fieldLabel: 'Test edit (validator + quicktip)',
                    enableKeyEvents: true,
                    msgTarget: 'side',
                    validator: function (value) {
                        if (value.substr(0, 1) == ' ') {
                            return 'Front Space shall be restricted';
                        } else {
                            return true;
                        }
                    }
                });

                me.edit3 = Ext.create('Ext.form.field.Text', {
                    labelWidth: 200,
                    width: 300,
                    fieldLabel: 'Test edit (onkeyup + message)',
                    enableKeyEvents: true,
                    listeners: {
                        keyup: function (f, e) {
                            var text = f.getValue();
                            if (text.substr(0, 1) == ' ') {
                                var msg = Ext.Msg.show(
                                    {
                                    msg: "Front Space shall be restricted"
                                    }
                                );
                                setTimeout(
                                    function() {
                                        msg.hide();
                                    },
                                    2000
                                );
                            }

                        }
                    }
                });

                me.add(me.edit1);
                me.add(me.edit2);
                me.add(me.edit3);
            }
        });

        var win = new Test.Window({

        });
        win.show();

    });
    </script>
    <title>Test</title>
    </head>
    <body>
    </body>
</html>

Notes:
Example uses ExtJS 4.2, but I think it will work with the other vesrions.
A useful question and answers can be found here.


Hello. I'm using the following code to generate an image of a triangle for a trigonometry quiz.
The issue is that Sage doesn't seem to recognise $\theta$ as LaTeX, even though it's in dollar signs. In the corner of the triangle, it puts "heta". Why isn't this typesetting correctly? How can I fix it?
In the string "$\theta$", the group \t becomes a tab.
You can escape the backslash this way: "$\\theta$".
But it is more convenient to use a raw string: r"$\theta$".
Use this trick whenever you have text containing \, which is often the case if your text is latex code!


text:
Study planned on adapting to changing water levels
By The Associated Press • Mar 27, 2014
ANN ARBOR, Mich. (AP) - The University of Michigan is planning a wide-ranging study of how people in the Great Lakes region can adapt to changing water levels.
Don Scavia of the university's Graham Sustainability Institute announced the study Thursday in Ann Arbor at the conclusion of a seminar on the topic for scientists, policymakers and advocates.
It will be modeled after a broad analysis that university experts conducted last year on the natural gas extraction process known as "fracking."
Great Lakes levels fluctuate with the seasons and over longer periods. They've risen substantially in the past year after a sustained low period, but it's uncertain how long the comeback will continue.
Scavia says that shoreline property owners, communities and businesses need to accept that lake levels will not remain stable and make necessary adjustments.
In Warm Water: Fish & the Changing Great Lakes