Blogia

inf802-pao

Free Full Chinese Portrait openload Torrent putlocker9 no login

Free Full Chinese Portrait openload Torrent putlocker9 no login Rated 9.3 / 10 based on 292 reviews.

⇩⇩⇩⇩⇩⇩⇩⇩

DOWNLOAD

⬆⬆⬆⬆⬆⬆⬆⬆

 

 

Average rating: 6,9 / 10 stars
runtime: 79m

year: 2018
38 vote
Hong Kong, Color, Creative Documentary, 79 min   我的镜头 / Wode Jingtou  SYNOPSIS What if you were a passer-by in the Beijing streets, a peasant hoping for the rain to fall, a steelworker in disappearing factories, a tourist on a packed beach, praying in Ningxia or Qinghai, a construction worker after an earthquake, a fisherman repairing his fishnet, or a dancer waiting to get on stage? A personal contemporary portrait of a country, a population and a society by Wang Xiaoshuai.   FESTIVALS, selective list  - Busan IFF 2018, Wide Angle - Taipei Golden Horse 2018, Chinese Global Vision - IDFA 2018, Master Section - MoMA 2019, Doc Fortnight - True/False 2019 - Thessaloniki Documentary Film Festival 2019 - CPH: DOX - It's All True International Documentary Film Festival 2019, International Competition - Dok. Fest Munchen 2019, Main Competition - Sheffielf Doc Fest, UK 2019 - Melbourn IFF, Documentary Visions - Vladivostok IFF  CAST & CREDITS Director             DoP Editing Art Director Sound Design Sound Mixing        Producers in Association with Executive Producer Production Support of International Sales WANG Xiaoshuai WU Di, ZENG Jian, ZENG Hui, PIAO Xinghai Valérie LOISELEUX LV Dong Mikaël BARRE Isabelle GLACHANT, LIU Xuan LIANG Ying QIAN Yini Front Films Co LTD,  Chinese Shadows Vision Sud Est Asian Shadows  AWARDS - EPA CINE 2019   Jury Special Mention.

Free full chinese portrait 2017

39 Best Chinese Portrait images, Chinese art, Chinese painting, Chinese. Popular chinese portrait of Good Quality and at Affordable Prices You can Buy on AliExpress. We believe in helping you find the product that is right for you. AliExpress carries wide variety of products, so you can find just what youre looking for – and maybe something you never even imagined along the way. If you are interested in chinese portrait, AliExpress has found 10, 369 related results, so you can compare and shop! Try finding the one that is right for you by choosing the price range, brand, or specifications that meet your needs. Our selection of brands is always growing, so chances are your favorite is on AliExpress. You will find a high quality chinese portrait at an affordable price from brands like GATYZTORY, AZQSD, BLINGIRD, PENGDA, HALFLEMART, qunexc, Artsailing, BANMU, CLSTROSE, RELIABLI ART. We also know that personalization is in the details, so we offer many different chinese portrait Form like Flat, Separate, Three-dimensional, Multi-picture Combination, Combined, Three-picture Combination, Two-picture Combination, and others. Looking for something more? AliExpress carries many chinese portrait related products, including paint picture on wall, modern paintings on canvas floral, painting the walls home, abstract oil painting color canvas, oil painting kitchen wall art, painting on the wall brand, old abstract wall art, art canvas painting unframed, number watercolor, painting the walls home, new modern painting, abstract oil painting color canvas, abstract modern canvas wall, modular wall art dragon, canvas wall art romantic, art canvas painting unframed, canvas art city night, wall decor statue picture, abstract painting colorful canvas wall pictures, picture the city. Quality service and professional assistance is provided when you shop with AliExpress, so dont wait to take advantage of our prices on these and other items.

Free full chinese portrait clip art

Free Full Chinese portrait gallery. Free full chinese portrait patterns. Free Full Chinese portrait social. Free Full Chinese portrait de ce compagnon de la libération. Free full chinese portrait studio. Summary: From acclaimed director Wang Xiaoshuai (Beijing Bicycle; So Long, My Son) comes a personal snapshot of contemporary China in all its diversity. Shot over the course of ten years on both film and video, the film consists of a series of carefully composed tableaus of people and environments. Pedestrians shuffle across a bustling Beijing From acclaimed director Wang Xiaoshuai (Beijing Bicycle; So Long, My Son) comes a personal snapshot of contemporary China in all its diversity. Pedestrians shuffle across a bustling Beijing street, steelworkers linger outside a deserted factory, tourists laugh and scamper across a crowded beach, worshippers kneel to pray in a remote village. With a painterly eye for composition, Wang captures China as he sees it, calling to a temporary halt a land in a constant state of change. [Cinema Guild] … Expand Genre(s) Documentary Rating: Not Rated Runtime: 79 min.

If I were a song, I would be Bagdad Caf�, for the emotions. If I were an artist, I would be Giacometti because human is fascinating. If I were a color, I would be yellow and shiny no matter what. If I were a spice, I would be bergamot which ennobles its life in sweet meat. If I were a sport, I would be swimming or skydiving, fish or bird. If I were a historical year, I would be 2020 because Carpe Diem. If I were a writer, I would be Jane Austen for Pride and Prejudice. If I were my favourite dessert, I would be a plantain tarte tatin. If I were my favourite meal, I would be a boiled egg with truffle. Being a yucca swigs I would dive in with pleasure. If I were one of the seven wonder of the world, I would be the hanging gardens in Babylon, green, in the middle of the desert. If I were a movie, I would be sci-fi because fiction opens up on another reality. If I were one of the 5 elements, I would be win which comes from far and goes somewhere else. If I were a sin, I would be greed. According to my job, not being greedy would be a professional fault. If I were a fabric, I would be natural cotton which let you breathe. If I were a verb, I would be to discover because I'm curious. If I were an adjective, I would be generous because giving brings me a lot. If I were a jewel, I would be a wedding ring for the story that the ring tells. If I were one of the 5 senses, I would be the taste because It is what characterize me. If I were a country, then I won't exist because I don't have border. � Back Have fun with � If I were. �.

Free full chinese portraits.

 

Free full chinese portrait photo

Welcome to ESL Printables, the website where English Language teachers exchange resources: worksheets, lesson plans,  activities, etc. Our collection is growing every day with the help of many teachers. If you want to download you have to send your own contributions. Conversation worksheets: Loneliness Level: intermediate Age: 18-100 Downloads: 20 Conversation Questions for Elementary Students Level: elementary Age: 10-17 Downloads: 2161 Let�s talk about TELEVISION Age: 8-17 Downloads: 1884 Let�s talk about ENGLISH Age: 12-17 Downloads: 1230 Describe a picture Downloads: 1180 On the Phone Downloads: 982 Let�s talk about YOU Age: 7-17 Downloads: 856 Let�s talk about EXPERIENCES Downloads: 804 Let�s talk about SUPERSTITION Downloads: 748 Describe a photograph Age: 14-17 Downloads: 725 Let�s talk about the PAST Downloads: 721 Let�s talk about �WHAT IF� Downloads: 617 Introduce yourself Downloads: 599 Let�s talk about WORK Downloads: 582 Let�s talk about BEAUTY Age: 13-17 Downloads: 560 Let�s talk about MONEY Downloads: 547 Get your class talking - THE LIFEBOAT 1/4 Downloads: 495 AT THE RECEPTION - useful phrases Downloads: 500 Let�s talk about HOUSES Downloads: 506 Let�s talk about CARS Downloads: 493 Live Worksheets Worksheets that listen. Worksheets that speak. Worksheets that motivate students. Worksheets that save paper, ink and time. Teaching Kids who Can���t Read? It���s Easy with Kiz Phonics We offer carefully designed phonics worksheets, games, videos and flash cards you will find on our site. Everything you need to help a child learn to read through phonics: decodable stories, listening exercises, you name it. Visit this page now! Advertise here Speaking worksheets > Conversation > My Chinese Portrait My Chinese Portrait This is an activity based on Chinese portraits. Each student has to find a word which describes him or her best and explain from and template by Borna.  Level: intermediate  Age: 10-17  Downloads: 56 Copyright 02/10/2010  Pascale B. Publication or redistribution of any part of this document is forbidden without authorization of the copyright owner. see more worksheets by pascy Share on Facebook Share on Twitter Share on Pinterest Preview: Comments: Hazza           posted by thanks for sharing! Sharin Raj Thank you so much for sharing dear friend. Cheers.           posted by Nani Pappi Excellent!           posted by misschief Lovely worksheet, thanks for sharing it! Tanagotchi Thanks           posted by Aurore Thank you so much!           posted by very nice.

Free full chinese portrait photography. Free Full Chinese portraitiste. Free full chinese portrait template.

Free full chinese portrait painting

Free full chinese portrait images. Free full chinese portrait pictures. Free full chinese portrait online. Free Full Chinese portrait de famille. Free full chinese portrait designs. Free full chinese portrait free. Watch'Chinese'Portrait'movie'watch Streaming Online free OnLinE streaming, Watch Chinese Online Hoyts…. Publishing History This is a chart to show the publishing history of editions of works about this subject. Along the X axis is time, and on the y axis is the count of editions published. Click here to skip the chart. Reset chart or continue zooming in. This graph charts editions published on this subject. Editions Published Year of Publication Subjects Portrait painting, Chinese, Catalogs, Chinese Painting, Painting, Chinese, Human figure in art, Portraits, Biography, Chinese Portrait drawing, Exhibitions, Figure painting, Nanjing bo wu yuan, Painting, Portrait drawing, Chinese, Portrait painting, Accessible book, Armed Forces, Art and war, Arthur M. Sackler Gallery (Smithsonian Institution) Bochen school of portrait painting, Chinese Landscape painting Times Ming-Qing dynasties, 1368-1912, 20th century, Song-Yuan dynasties, 960-1368, Meiji period, 1868-1912, Qianlong, 1736-1795, Tang-Five dynasties, 618-960, Three kingdoms-Sui dynasty, 220-618, To 1868.

Free Full Chinese portrait photo. Free Full Chinese portraits.

 

About product and suppliers: 1, 182 chinese portrait products are offered for sale by suppliers on, of which painting & calligraphy accounts for 56% metal crafts accounts for 1% and display modules accounts for 1. A wide variety of chinese portrait options are available to you, such as sculpture. You can also choose from modern, antique imitation, and folk art chinese portrait, as well as from patriotism, sports, and letters chinese portrait There are 1, 109 suppliers who sells chinese portrait on, mainly located in Asia. The top countries of suppliers are China, Hong Kong S. A. R., and Taiwan, China, from which the percentage of chinese portrait supply is 98% 1% and 1% respectively.

Free full chinese portrait software. SPONSORED Hand-painted Original Oil painting art Portrait Chinese Girl on Canvas 24"x40" C 530. 85 Buy It Now +C 50. 56 shipping From China SPONSORED Dream-art Oil painting female portrait Chinese Dunhuang fairy playing canvas 36" C 159. 64 Previous Price C 212. 86 or Best Offer Free Shipping Oil painting portrait Chinese Minority girl dressed in costumes Hand painted C 99. 77 C 133. 03 Oil painting portrait nice nude naked Chinese young girl sitting Hand painted Original Oil Painting art Portrait Chinese nude Girl on canvas 24"x36" C 663. 89 Old Vintage Oil Painting Impressionist Art Portrait Chinese Girl Child Asian C 166. 31 +C 70. 67 shipping From United States Customs services and international tracking provided Pair of Vintage Chinese Hand Painted Ancestor Portrait Paintings C 279. 39 +C 160. 40 shipping Beauty portrait huge Oil painting Chinese Dunhuang flying sleeping girl 24"x36" C 106. 42 0 bids ANTIQUE ASIAN CHINESE EQUESTRIAN PORTRAIT OF WOMAN ON HORSEBACK WATERCOLOR SILK C 1, 190. 75 +C 159. 65 shipping Beautiful Oil painting portrait Chinese young Minority girl dressed in costumes rare Chinese Double Portrait Miniature Painting 19thC C 731. 75 +C 26. 61 shipping Chinese Qing Dy Original Hand Done Ancestor Portrait Painting on Silk C 848. 16 C 997. 84 Shipping not specified Beauty portrait art Oil painting Chinese Dunhuang flying Court dancer canvas 36" Antique Chinese Ancestor Portrait Painting Watercolor Ink Gouache Rice Paper 29" C 165. 02 shipping Hand-painted Original Oil Painting Portrait Chinese Male nude on canvas 24"x40" C 651. 92 Hand painted Original Oil Painting Portrait art chinese girl on canvas 30"x40" C 649. 26 Art Oil painting Chinese Qing Dy noblelady portrait with fan standing on canvas C 149. 66 C 199. 55 Old Chinese Court Figure Warrior Bureaucrat? Gouache Portrait Painting On Silk C 133. 03 +C 86. 24 shipping Estate Chinese Court Figure Or Bureaucrat Portrait Gouache Painting On Silk Art Oil painting portrait Chinese Dunhuang fairy playing Pipa canvas 24"x36" Oil painting female portrait Chinese ancient beauty Dunhuang fairy playing 36" Original Oil Art Portrait Painting CHINESE CRESTED Signed Artwork PUPPY DOG C 126. 39 +C 21. 29 shipping Hand-painted Original Oil painting art Portrait chinese girl On Canvas 24"X36" C 516. 21 Hand painted Original Oil Painting Portrait art chinese girl on canvas 24"x36" Oil painting male portrait Chinese leader Mao Zedong by the Yellow River canvas C 129. 71 C 172. 95 New listing Antique Chinese Ancestor Portrait Pair Early20C Rare Blue&White Ceramic Original C 2, 647. 60 Chinese Boy Portrait Oil Painting on Board possible Illegible Signature C 211. 54 +C 57. 74 shipping Framed, Portrait of an Ancient Chinese Lady, Hand Painted Oil Painting, 16x20in C 113. 02 +C 105. 45 shipping C 598. 70 Hand painted Original Oil Painting Portrait art chinese girl on canvas 30"x30" C 619. 99 C 662. 56 Original DAVID CHENG Portrait of a Young Chinese Boy in Traditional Hat 1962 HK C 399. 07 Chinese Girl Portrait on Glass 13 ½” x 9 ½”, wooden frame(BI#MK/18 0720) C 266. 02 +C 106. 37 shipping Hand-painted Original Oil painting Portrait art chinese girl On Canvas 20"X24" Hand-painted Original Oil Painting Portrait Chinese Male nude on canvas 20"x24" C 306. 00 Original Portrait Oil painting Chinese art nude girl on Canvas 24"x36" C 397. 80 C 596. 04 Qing dynasty style Chinese painting: Hand painted Draw - Portrait of Ladies C 1, 327. 79 C 252. 79 Hand-painted Original Oil Painting Portrait Chinese Male nude on canvas 30"x40" 200 cm” Chinese Modern famous art painter Shanxi old man Portrait of characters C 269. 28 C 306. 00 Hand-painted Original Oil Painting Portrait Chinese Male nude on canvas 30"x30" Hand painted Original Oil Painting art Portrait chinese girl on canvas 24"x36" C 492. 27 Dorothy McVey Cother -Portrait of a Chinese Woman wearing a Wedding dress C 7, 184. 43 +C 332. 61 shipping Jiang Tie Feng Original Gouache Painting Signed Modern Chinese Female Portrait C 8, 375. 19 +C 159. 59 shipping Original Oil Painting Beautiful Miao Chinese Ethnic Girl Costume colorful asian C 1, 317. 15 +C 266. 09 shipping LILIAN SHAO-Chinese Artist-Origina l Signed Acrylic-Large Art Deco Style Portrait C 5, 985. 70 +C 420. 89 shipping Hand-painted Original Oil Painting art Portrait chinese girl on canvas 30x30" Hand painted Original Oil Painting Portrait art chinese Tibetan woman on canvas From China.

Free full chinese portrait ideas. Free Full Chinese portrait de ce compagnon. Free full chinese portrait photos. Free Full Chinese portrait. Emperors, literary figures or simple villagers: Chinese portrait painters depicted people from all walks of life. Artworks spanning five centuries are now on display in Europe for the first time. "Faces of China. Portrait Painting of the Ming and Qing Dynasties (1368-1912) is the first exhibition in Europe to focus on Chinese portrait painting; most of the more than 100 exhibits are on display for the first time on the continent. The curator of the exhibition, Klaas Ruitenbeek, became director of Berlin's Museum für Asiatische Kunst (Museum for Asian Art) in 2010. He spent four years preparing the show in cooperation with the Palace Museum in Beijing and the Royal Ontario Museum in Toronto.  DW met him to discuss the traditional art of Chinese portrait painting.  DW: You once said that preparing an exhibition in a museum compares to telling stories. What are the stories revealed by Chinese portrait painting? Klaas Ruitenbeek: I've always been fascinated by the fact that half of the paintings created in China were traditionally not recognized as art. They were not exhibited or collected — they were meant for one's family. They were the portraits of parents and grandparents created to be worshiped through rituals, year after year on holidays. Mainly, these are the stories of regular citizens from all parts of society, real portraits of real people, including the faces of villagers who lived 600 years ago. Of course, the exhibition also includes imperial portraits and paintings of writers, artists and famous women. Read more:   Germany opens massive art show in China Dutch art historian Klaas Ruitenbeek heads Berlin's Asian Art Museum Who commissioned these portraits? And what led regular citizens to have their portrait done, too? Families would want for example their grandmother to be painted because she was old and might not live much longer. In China, it's important to have a portrait of your parents and grandparents. Your family is part of your identity to a much greater degree than is the case here. The second important category of portraits we show in the exhibition are informal portraits of senior officials and literary figures who commissioned paintings, as well as self-portraits painted by the artists themselves. Did the painters have names, were they cult figures like some were in Europe? The caption underneath some of the paintings reads: unknown artist. Every Chinese person has a name, every beggar, orphan and painter. The names were known: People would go to Liu the painter and ask him to paint their grandfather, Wang. He would come to their house, make a sketch, and return to his workshop to paint a formal painting, complete with a beautiful robe. The names have been lost, but back then, everyone knew them. There are no anonymous portraits in China or in Europe; the difference between Chinese and European painting is that paintings, in particular those of ancestors, were not signed. Read more:  Leonardo da Vinci unveiled his enigmatic 'Mona Lisa' 500 years ago The exhibition of paintings from the collections of the Palace Museum in Beijing and the Royal Ontario Museum in Toronto spans more than 500 years. The early portraits have small, flat faces, a style that changes over the years. Is that due to a European influence? Chinese portraits of writers, artists and the educated upper classes usually show the entire body, with a rather smaller face. Classic European portrait painting ­— we have a van Dyck on display to show the difference — focuses on the upper body, the face is almost life-size and the background is uniform. But every culture is open to interaction. Many of the works are on loan from the Palace Museum in Beijing. How did that cooperation go? It was great. Of course, we've long had personal and scientific contacts with the curators there. And not only did they promise us almost all of the masterworks we wanted to have, they also gave me free reign to arrange the exhibition. I was able to make last minute changes, and such trust is not necessarily a given. They also waived lending fees. Instead, we agreed that in about three years' time, a major exhibition from Berlin's Staatliche Museen will be headed to the Palace Museum. The exhibition "Faces of China. Portrait Painting of the Ming and Qing Dynasties (1368-1912) is open through January 7, 2018 at the Berliner Kulturforum.

See portrait for more about the general topic of portraits. The official Chinese court portrait painting of Empress Cao (wife of Emperor Renzong) of Song Dynasty, 11th century Portrait painting is a genre in painting, where the intent is to represent a specific human subject. The term 'portrait painting' can also describe the actual painted portrait. Portraitists may create their work by commission, for public and private persons, or they may be inspired by admiration or affection for the subject. Portraits often serve as important state and family records, as well as remembrances. Historically, portrait paintings have primarily memorialized the rich and powerful. Over time, however, it became more common for middle-class patrons to commission portraits of their families and colleagues. Today, portrait paintings are still commissioned by governments, corporations, groups, clubs, and individuals. In addition to painting, portraits can also be made in other media such as prints (including etching and lithography) photography, video and digital media. It might seem obvious that a painted portrait is intended to achieve a likeness of the sitter that is recognisable to those who have seen them, and ideally is a very good record of their appearance. In fact this concept has been slow to grow, and it took centuries for artists in different traditions to acquire the distinct skills for painting a good likeness. Technique and practice [ edit] A well-executed portrait is expected to show the inner essence of the subject (from the artist's point of view) or a flattering representation, not just a literal likeness. As Aristotle stated, The aim of Art is to present not the outward appearance of things, but their inner significance; for this, not the external manner and detail, constitutes true reality. 1] Artists may strive for photographic realism or an impressionistic similarity in depicting their subject, but this differs from a caricature which attempts to reveal character through exaggeration of physical features. The artist generally attempts a representative portrayal, as Edward Burne-Jones stated, The only expression allowable in great portraiture is the expression of character and moral quality, not anything temporary, fleeting, or accidental. 2] In most cases, this results in a serious, closed lip stare, with anything beyond a slight smile being rather rare historically. Or as Charles Dickens put it, there are only two styles of portrait painting: the serious and the smirk. 3] Even given these limitations, a full range of subtle emotions is possible from quiet menace to gentle contentment. However, with the mouth relatively neutral, much of the facial expression needs to be created through the eyes and eyebrows. As author and artist Gordon C. Aymar states, the eyes are the place one looks for the most complete, reliable, and pertinent information" about the subject. And the eyebrows can register, almost single-handedly, wonder, pity, fright, pain, cynicism, concentration, wistfulness, displeasure, and expectation, in infinite variations and combinations. 4] Portrait painting can depict the subject " full-length. the whole body. half-length. from head to waist or hips. head and shoulders. bust) or just the head. The subject's head may turn from " full face. front view) to profile (side view) a " three-quarter view. two-thirds view" is somewhere in between, ranging from almost frontal to almost profile (the fraction is the sum of the profile [one-half of the face] plus the other side's "quarter-face. 5] alternatively, each side is considered a third. Occasionally, artists have created composites with views from multiple directions, as with Anthony van Dyck 's triple portrait of Charles I in Three Positions. [6] There are even a few portraits where the front of the subject is not visible at all. Andrew Wyeth 's Christina's World (1948) is a famous example, where the pose of the disabled girl – with her back turned to the viewer – integrates with the setting in which she is placed to convey the artist's interpretation. [7] Among the other possible variables, the subject can be clothed or nude; indoors or out; standing, seated, reclining; even horse-mounted. Portrait paintings can be of individuals, couples, parents and children, families, or collegial groups. They can be created in various media including oils, watercolor, pen and ink, pencil, charcoal, pastel, and mixed media. Artists may employ a wide-ranging palette of colors, as with Pierre-Auguste Renoir 's Mme. Charpentier and her children, 1878 or restrict themselves to mostly white or black, as with Gilbert Stuart 's Portrait of George Washington (1796. Sometimes, the overall size of the portrait is an important consideration. Chuck Close 's enormous portraits created for museum display differ greatly from most portraits designed to fit in the home or to travel easily with the client. Frequently, an artist takes into account where the final portrait will hang and the colors and style of the surrounding décor. [8] Creating a portrait can take considerable time, usually requiring several sittings. Cézanne, on one extreme, insisted on over 100 sittings from his subject. [9] Goya on the other hand, preferred one long day's sitting. [10] The average is about four. [11] Portraitists sometimes present their sitters with a portfolio of drawings or photos from which a sitter would select a preferred pose, as did Sir Joshua Reynolds. Some, such as Hans Holbein the Younger make a drawing of the face, then complete the rest of the painting without the sitter. [12] In the 18th century, it would typically take about one year to deliver a completed portrait to a client. [13] Managing the sitter's expectations and mood is a serious concern for the portrait artist. As to the faithfulness of the portrait to the sitter's appearance, portraitists are generally consistent in their approach. Clients who sought out Sir Joshua Reynolds knew that they would receive a flattering result, while sitters of Thomas Eakins knew to expect a realistic, unsparing portrait. Some subjects voice strong preferences, others let the artist decide entirely. Oliver Cromwell famously demanded that his portrait show "all these roughnesses, pimples, warts, and everything as you see me, otherwise I will never pay a farthing for it. 14] After putting the sitter at ease and encouraging a natural pose, the artist studies his subject, looking for the one facial expression, out of many possibilities, that satisfies his concept of the sitter's essence. The posture of the subject is also carefully considered to reveal the emotional and physical state of the sitter, as is the costume. To keep the sitter engaged and motivated, the skillful artist will often maintain a pleasant demeanor and conversation. Élisabeth Vigée-Lebrun advised fellow artists to flatter women and compliment their appearance to gain their cooperation at the sitting. [14] Central to the successful execution of the portrait is a mastery of human anatomy. Human faces are asymmetrical and skillful portrait artists reproduce this with subtle left-right differences. Artists need to be knowledgeable about the underlying bone and tissue structure to make a convincing portrait. For complex compositions, the artist may first do a complete pencil, ink, charcoal, or oil sketch which is particularly useful if the sitter's available time is limited. Otherwise, the general form then a rough likeness is sketched out on the canvas in pencil, charcoal, or thin oil. In many cases, the face is completed first, and the rest afterwards. In the studios of many of the great portrait artists, the master would do only the head and hands, while the clothing and background would be completed by the principal apprentices. There were even outside specialists who handled specific items such as drapery and clothing, such as Joseph van Aken [15] Some artists in past times used lay-figures or dolls to help establish and execute the pose and the clothing. [16] The use of symbolic elements placed around the sitter (including signs, household objects, animals, and plants) was often used to encode the painting with the moral or religious character of the subject, or with symbols representing the sitter's occupation, interests, or social status. The background can be totally black and without content or a full scene which places the sitter in their social or recreational milieu. Self-portraits are usually produced with the help of a mirror, and the finished result is a mirror-image portrait, a reversal of what occurs in a normal portrait when sitter and artist are opposite each other. In a self-portrait, a righted handed artist would appear to be holding a brush in the left hand, unless the artist deliberately corrects the image or uses a second reversing mirror while painting. Occasionally, the client or the client's family is unhappy with the resulting portrait and the artist is obliged to re-touch it or do it over or withdraw from the commission without being paid, suffering the humiliation of failure. Jacques-Louis David celebrated Portrait of Madame Récamier, wildly popular in exhibitions, was rejected by the sitter, as was John Singer Sargent 's notorious Portrait of Madame X. John Trumbull 's full-length portrait, General George Washington at Trenton, was rejected by the committee that commissioned it. [17] The famously prickly Gilbert Stuart once replied to a client's dissatisfaction with his wife's portrait by retorting, You brought me a potato, and you expect a peach. 18] A successful portrait, however, can gain the lifelong gratitude of a client. Count Balthazar was so pleased with the portrait Raphael had created of his wife that he told the artist, Your image…alone can lighten my cares. That image is my delight; I direct my smiles to it, it is my joy. 19] History [ edit] Ancient world [ edit] Roman-Egyptian funeral portrait of a woman Portraiture's roots are likely found in prehistoric times, although few of these works survive today. In the art of the ancient civilizations of the Fertile Crescent, especially in Egypt, depictions of rulers and rulers as gods abound. However, most of these were done in a highly stylized fashion, and most in profile, usually on stone, metal, clay, plaster, or crystal. Egyptian portraiture placed relatively little emphasis on likeness, at least until the period of Akhenaten in the 14th century BC. Portrait painting of notables in China probably goes back to over 1000 BC, though none survive from that age. Existing Chinese portraits go back to about 1000 AD, 20] but did not place much emphasis on likeness until some time after that. From literary evidence we know that ancient Greek painting included portraiture, often highly accurate if the praises of writers are to be believed, but no painted examples remain. Sculpted heads of rulers and famous personalities like Socrates survive in some quantity, and like the individualized busts of Hellenistic rulers on coins, show that Greek portraiture could achieve a good likeness, and subjects, at least of literary figures, were depicted with relatively little flattery – Socrates' portraits show why he had a reputation for being ugly. The successors of Alexander the Great began the practice of adding his head (as a deified figure) to their coins, and were soon using their own. Roman portraiture adopted traditions of portraiture from both the Etruscans and Greeks, and developed a very strong tradition, linked to their religious use of ancestor portraits, as well as Roman politics. Again, the few painted survivals, in the Fayum portraits, Tomb of Aline and the Severan Tondo, all from Egypt under Roman rule, are clearly provincial productions that reflect Greek rather than Roman styles, but we have a wealth of sculpted heads, including many individualized portraits from middle-class tombs, and thousands of types of coin portraits. Much the largest group of painted portraits are the funeral paintings that survived in the dry climate of Egypt's Fayum district (see illustration, below) dating from the 2nd to 4th century AD. These are almost the only paintings of the Roman period that have survived, aside from frescos, though it is known from the writings of Pliny the Elder that portrait painting was well established in Greek times, and practiced by both men and women artists. [21] In his times, Pliny complained of the declining state of Roman portrait art, The painting of portraits which used to transmit through the ages the accurate likenesses of people, has entirely gone out…Indolence has destroyed the arts. 22] 23] These full-face portraits from Roman Egypt are fortunate exceptions. They present a somewhat realistic sense of proportion and individual detail (though the eyes are generally oversized and the artistic skill varies considerably from artist to artist. The Fayum portraits were painted on wood or ivory in wax and resin colors (encaustic) or with tempera, and inserted into the mummy wrapping, to remain with the body through eternity. While free-standing portrait painting diminished in Rome, the art of the portrait flourished in Roman sculptures, where sitters demanded realism, even if unflattering. During the 4th century, the sculpted portrait dominated, with a retreat in favor of an idealized symbol of what that person looked like. (Compare the portraits of Roman Emperors Constantine I and Theodosius I) In the Late Antique period the interest in an individual likeness declined considerably, and most portraits in late Roman coins and consular diptychs are hardly individualized at all, although at the same time Early Christian art was evolving fairly standardized images for the depiction of Jesus and the other major figures in Christian art, such as John the Baptist, and Saint Peter. Middle Ages [ edit] Most early medieval portraits were donor portraits, initially mostly of popes in Roman mosaics, and illuminated manuscripts, an example being a self-portrait by the writer, mystic, scientist, illuminator, and musician Hildegard of Bingen (1152. 24] As with contemporary coins, there was little attempt at a likeness. Stone tomb monuments spread in the Romanesque period. Between 1350–1400, secular figures began to reappear in frescos and panel paintings, such as in Master Theodoric 's Charles IV receiving fealty, 25] and portraits once again became clear likenesses. Around the end of the century, the first oil portraits of contemporary individuals, painted on small wood panels, emerged in Burgundy and France, first as profiles, then in other views. The Wilton Diptych of ca. 1400 is one of two surviving panel portraits of Richard II of England, the earliest English King for whom we have contemporary examples. At the end of the Middle Ages in the 15th century, Early Netherlandish painting was key to the development of the individualized portrait. Masters included Jan van Eyck, Robert Campin and Rogier van der Weyden, among others. Rather small panel painting portraits, less than half life-size, were commissioned, not only of figures from the court, but what appear from their relatively plain dress to be wealthy townspeople. Miniatures in illuminated manuscripts also included individualized portraits, m usually of the commissioner. In religious paintings, portraits of donors began to be shown as present, or participate in the main sacred scenes shown, and in more private court images subjects even appeared as significant figures such as the Virgin Mary. Renaissance [ edit] Partly out of interest in the natural world and partly out of interest in the classical cultures of ancient Greece and Rome, portraits—both painted and sculpted—were given an important role in Renaissance society and valued as objects, and as depictions of earthly success and status. Painting in general reached a new level of balance, harmony, and insight, and the greatest artists (Leonardo, Michelangelo, and Raphael) were considered "geniuses" rising far above the tradesman status to valued servants of the court and the church. [26] If the poet says that he can inflame men with love… the painter has the power to do the same… in that he can place in front of the lover the true likeness of one who is beloved, often making him kiss and speak to it. –Leonardo de' Vinci [27] Many innovations in the various forms of portraiture evolved during this fertile period. The tradition of the portrait miniature began, which remained popular until the age of photography, developing out of the skills of painters of the miniatures in illuminated manuscripts. Profile portraits, inspired by ancient medallions, were particularly popular in Italy between 1450 and 1500. Medals, with their two–sided images, also inspired a short-lived vogue for two-sided paintings early in the Renaissance. [28] Classical sculpture, such as the Apollo Belvedere, also influenced the choice of poses utilized by Renaissance portraitists, poses that have continued in usage through the centuries. [29] Leonardo's Ginevra de' Benci ( c.  1474–8) is one of the first known three-quarter-view portraits in Italian art. [27] Northern European artists led the way in realistic portraits of secular subjects. The greater realism and detail of the Northern artists during the 15th century was due in part to the finer brush strokes and effects possible with oil colors, while the Italian and Spanish painters were still using tempera. Among the earliest painters to develop oil technique was Jan van Eyck. Oil colors can produce more texture and grades of thickness, and can be layered more effectively, with the addition of increasingly thick layers one over another (known by painters as ‘fat over lean. Also, oil colors dry more slowly, allowing the artist to make changes readily, such as altering facial details. Antonello da Messina was one of the first Italians to take advantage of oil. Trained in Belgium, he settled in Venice around 1475, and was a major influence on Giovanni Bellini and the Northern Italian school. [30] During the 16th century, oil as a medium spread in popularity throughout Europe, allowing for more sumptuous renderings of clothing and jewelry. Also affecting the quality of the images, was the switch from wood to canvas, starting in Italy in the early part of the 16th century and spreading to Northern Europe over the next century. Canvas resists cracking better than wood, holds pigments better, and needs less preparation―but it was initially much scarcer than wood. Early on, the Northern Europeans abandoned the profile, and started producing portraits of realistic volume and perspective. In the Netherlands, Jan van Eyck was a leading portraitist. The Arnolfini Marriage (1434, National Gallery, London) is a landmark of Western art, an early example of a full-length couple portrait, superbly painted in rich colors and exquisite detail. But equally important, it showcases the newly developed technique of oil painting pioneered by van Eyck, which revolutionized art, and spread throughout Europe. [31] Leading German portrait artists including Lucas Cranach, Albrecht Dürer, and Hans Holbein the Younger who all mastered oil painting technique. Cranach was one of the first artists to paint life-sized full-length commissions, a tradition popular from then on. [32] At that time, England had no portrait painters of the first rank, and artists like Holbein were in demand by English patrons. [33] His painting of Sir Thomas More (1527) his first important patron in England, has nearly the realism of a photograph. [34] Holbein made his great success painting the royal family, including Henry VIII. Dürer was an outstanding draftsman and one of the first major artists to make a sequence of self-portraits, including a full-face painting. He also placed his self-portrait figure (as an onlooker) in several of his religious paintings. [35] Dürer began making self-portraits at the age of thirteen. [36] Later, Rembrandt would amplify that tradition. In Italy, Masaccio led the way in modernizing the fresco by adopting more realistic perspective. Filippo Lippi paved the way in developing sharper contours and sinuous lines [37] and his pupil Raphael extended realism in Italy to a much higher level in the following decades with his monumental wall paintings. [38] During this time, the betrothal portrait became popular, a particular specialty of Lorenzo Lotto. [39] During the early Renaissance, portrait paintings were generally small and sometimes covered with protective lids, hinged or sliding. [40] During the Renaissance, the Florentine and Milanese nobility, in particular, wanted more realistic representations of themselves. The challenge of creating convincing full and three-quarter views stimulated experimentation and innovation. Sandro Botticelli, Piero della Francesca, Domenico Ghirlandaio, Lorenzo di Credi, and Leonardo da Vinci and other artists expanded their technique accordingly, adding portraiture to traditional religious and classical subjects. Leonardo and Pisanello were among the first Italian artists to add allegorical symbols to their secular portraits. [38] One of best-known portraits in the Western world is Leonardo da Vinci 's painting titled Mona Lisa, named for Lisa del Giocondo, 41] 42] 43] a member of the Gherardini family of Florence and Tuscany and the wife of wealthy Florentine silk merchant Francesco del Giocondo. The famous "Mona Lisa smile" is an excellent example of applying subtle asymmetry to a face. In his notebooks, Leonardo advises on the qualities of light in portrait painting: A very high degree of grace in the light and shadow is added to the faces of those who sit in the doorways of rooms that are dark, where the eyes of the observer see the shadowed part of the face obscured by the shadows of the room, and see the lighted part of the face with the greater brilliance which the air gives it. Through this increase in the shadows and the lights, the face is given greater relief. [44] Leonardo was a student of Verrocchio. After becoming a member of the Guild of Painters, he began to accept independent commissions. Owing to his wide-ranging interests and in accordance with his scientific mind, his output of drawings and preliminary studies is immense though his finished artistic output is relatively small. His other memorable portraits included those of noblewomen Ginevra de Benci and Cecilia Gallerani. [45] Raphael's surviving commission portraits are far more numerous than those of Leonardo, and they display a greater variety of poses, lighting, and technique. Rather than producing revolutionary innovations, Raphael's great accomplishment was strengthening and refining the evolving currents of Renaissance art. [46] He was particularly expert in the group portrait. His masterpiece the School of Athens is one of the foremost group frescoes, containing likenesses of Leonardo, Michelangelo, Bramante, and Raphael himself, in the guise of ancient philosophers. [47] It was not the first group portrait of artists. Decades earlier, Paolo Uccello had painted a group portrait including Giotto, Donatello, Antonio Manetti, and Brunelleschi. [35] As he rose in prominence, Raphael became a favorite portraitist of the popes. While many Renaissance artists eagerly accepted portrait commissions, a few artists refused them, most notably Raphael's rival Michelangelo, who instead undertook the huge commissions of the Sistine Chapel. [38] In Venice around 1500, Gentile Bellini and Giovanni Bellini dominated portrait painting. They received the highest commissions from the leading officials of the state. Bellini's portrait of Doge Loredan is considered to be one of the finest portraits of the Renaissance and ably demonstrates the artist's mastery of the newly arrived techniques of oil painting. [48] Bellini is also one of the first artists in Europe to sign their work, though he rarely dated them. [49] Later in the 16th century, Titian assumed much the same role, particularly by expanding the variety of poses and sittings of his royal subjects. Titian was perhaps the first great child portraitist. [50] After Titian, Tintoretto and Veronese became leading Venetian artists, helping the transition to Italian Mannerism. The Mannerists contributed many exceptional portraits that emphasized material richness and elegantly complex poses, as in the works of Agnolo Bronzino and Jacopo da Pontormo. Bronzino made his fame portraying the Medici family. His daring portrait of Cosimo I de' Medici, shows the austere ruler in armor with a wary eye gazed to his extreme right, in sharp contrast to most royal paintings which show their sitters as benign sovereigns. [51] El Greco, who trained in Venice for twelve years, went in a more extreme direction after his arrival in Spain, emphasizing his "inner vision" of the sitter to the point of diminishing the reality of physical appearance. [52] One of the best portraitists of 16th-century Italy was Sofonisba Anguissola from Cremona, who infused her individual and group portraits with new levels of complexity. Court portraiture in France began when Flemish artist Jean Clouet painted his opulent likeness of Francis I of France around 1525. [53] King Francis was a great patron of artists and an avaricious art collector who invited Leonardo da Vinci to live in France during his later years. The Mona Lisa stayed in France after Leonardo died there. [53] Maarten van Heemskerck (1498–1574) Family of Pieter Jan Foppesz, prior to c. 1532, considered the first family portrait, in Dutch portraiture. [54] Baroque and Rococo [ edit] During the Baroque and Rococo periods (17th and 18th centuries, respectively) portraits became even more important records of status and position. In a society dominated increasingly by secular leaders in powerful courts, images of opulently attired figures were a means to affirm the authority of important individuals. Flemish painters Sir Anthony van Dyck and Peter Paul Rubens excelled at this type of portraiture, while Jan Vermeer produced portraits mostly of the middle class, at work and play indoors. Rubens portrait of himself and his first wife (1609) in their wedding attire is a virtuoso example of the couple portrait. [55] Rubens fame extended beyond his art—he was a courtier, diplomat, art collector, and successful businessman. His studio was one of the most extensive of that time, employing specialists in still-life, landscape, animal and genre scenes, in addition to portraiture. Van Dyck trained there for two years. [56] Charles I of England first employed Rubens, then imported van Dyck as his court painter, knighting him and bestowing on him courtly status. Van Dyck not only adapted Rubens production methods and business skills, but also his elegant manners and appearance. As was recorded, He always went magnificently dressd, had a numerous and gallant equipage, and kept so noble a table in his apartment, that few princes were not more visited, or better servd. 57] In France, Hyacinthe Rigaud dominated in much the same way, as a remarkable chronicler of royalty, painting the portraits of five French kings. [58] One of the innovations of Renaissance art was the improved rendering of facial expressions to accompany different emotions. In particular, Dutch painter Rembrandt explored the many expressions of the human face, especially as one of the premier self-portraitists (of which he painted over 60 in his lifetime. 59] This interest in the human face also fostered the creation of the first caricatures, credited to the Accademia degli Incamminati, run by painters of the Carracci family in the late 16th century in Bologna, Italy. Group portraits were produced in great numbers during the Baroque period, particularly in the Netherlands. Unlike in the rest of Europe, Dutch artists received no commissions from the Calvinist Church which had forbidden such images or from the aristocracy which was virtually non-existent. Instead, commissions came from civic and businesses associations. Dutch painter Frans Hals used fluid brush strokes of vivid color to enliven his group portraits, including those of the civil guards to which he belonged. Rembrandt benefitted greatly from such commissions and from the general appreciation of art by bourgeois clients, who supported portraiture as well as still-life and landscapes painting. In addition, the first significant art and dealer markets flourished in Holland at that time. [60] With plenty of demand, Rembrandt was able to experiment with unconventional composition and technique, such as chiaroscuro. He demonstrated these innovations, pioneered by Italian masters such as Caravaggio, most notably in his famous Night Watch (1642. 61] The Anatomy Lesson of Dr. Tulp (1632) is another fine example of Rembrandt's mastery of the group painting, in which he bathes the corpse in bright light to draw attention to the center of the painting while the clothing and background merge into black, making the faces of the surgeon and the students standout. It is also the first painting that Rembrandt signed with his full name. [62] In Spain, Diego Velázquez painted Las Meninas (1656) one of the most famous and enigmatic group portraits of all time. It memorializes the artist and the children of the Spanish royal family, and apparently the sitters are the royal couple who are seen only as reflections in a mirror. [63] Starting out as primarily a genre painter, Velázquez quickly rose to prominence as the court painter of Philip IV, excelling in the art of portraiture, particularly in extending the complexity of group portraits. [64] Rococo artists, who were particularly interested in rich and intricate ornamentation, were masters of the refined portrait. Their attention to the details of dress and texture increased the efficacy of portraits as testaments to worldly wealth, as evidenced by François Boucher 's famous portraits of Madame de Pompadour attired in billowing silk gowns. The first major native portrait painters of the British school were English painters Thomas Gainsborough and Sir Joshua Reynolds, who also specialized in clothing their subjects in an eye-catching manner. Gainsborough's Blue Boy is one of the most famous and recognized portraits of all time, painted with very long brushes and thin oil color to achieve the shimmering effect of the blue costume. [66] Gainsborough was also noted for his elaborate background settings for his subjects. The two British artists had opposite opinions on using assistants. Reynolds employing them regularly (sometimes doing only 20 percent of the painting himself) while Gainsborough rarely did. [67] Sometimes a client would extract a pledge from the artist, as did Sir Richard Newdegate from portraitist Peter Lely (van Dyck's successor in England) who promised that the portrait would be "from the Beginning to ye end drawne with my owne hands. 68] Unlike the exactitude employed by the Flemish masters, Reynolds summed up his approach to portraiture by stating that, the grace, and, we may add, the likeness, consists more in taking the general air, than in observing the exact similitude of every feature. 69] Also prominent in England was William Hogarth, who dared to buck conventional methods by introducing touches of humor in his portraits. His "Self-portrait with Pug" is clearly more a humorous take on his pet than a self-indulgent painting. [70] In the 18th century, female painters gained new importance, particularly in the field of portraiture. Notable female artists include French painter Élisabeth Vigée-Lebrun, Italian pastel artist Rosalba Carriera, and Swiss artist Angelica Kauffman. Also during that century, before the invention of photography, miniature portraits―painted with incredible precision and often encased in gold or enameled lockets―were highly valued. In the United States, John Singleton Copley, schooled in the refined British manner, became the leading painter of full-size and miniature portraits, with his hyper-realistic pictures of Samuel Adams and Paul Revere especially well-regarded. Copley is also notable for his efforts to merge portraiture with the academically more revered art of history painting, which he attempted with his group portraits of famous military men. [71] Equally famous was Gilbert Stuart who painted over 1, 000 portraits and was especially known for his presidential portraiture. Stuart painted over 100 replicas of George Washington alone. [72] Stuart worked quickly and employed softer, less detailed brush strokes than Copley to capture the essence of his subjects. Sometimes he would make several versions for a client, allowing the sitter to pick their favorite. [73] Noted for his rosy cheek tones, Stuart wrote, flesh is like no other substance under heaven. It has all the gaiety of the silk-mercer's shop without its gaudiness of gloss, and all the softness of old mahogany, without its sadness. 74] Other prominent American portraitists of the colonial era were John Smibert, Thomas Sully, Ralph Earl, John Trumbull, Benjamin West, Robert Feke, James Peale, Charles Willson Peale, and Rembrandt Peale. 19th century [ edit] In the late 18th century and early 19th century, neoclassical artists continued the tradition of depicting subjects in the latest fashions, which for women by then, meant diaphanous gowns derived from ancient Greek and Roman clothing styles. The artists used directed light to define texture and the simple roundness of faces and limbs. French painters Jacques-Louis David and Jean-Auguste-Dominique Ingres demonstrated virtuosity in this draftsman-like technique as well as a keen eye for character. Ingres, a student of David, is notable for his portraits in which a mirror is painted behind the subject to simulate a rear view of the subject. [75] His portrait of Napoleon on his imperial throne is a tour de force of regal portraiture. (see Gallery below) Romantic artists who worked during the first half of the 19th century painted portraits of inspiring leaders, beautiful women, and agitated subjects, using lively brush strokes and dramatic, sometimes moody, lighting. French artists Eugène Delacroix and Théodore Géricault painted particularly fine portraits of this type, especially dashing horsemen. [76] A notable example of artist of romantic period in Poland, who practised a horserider portrait was Piotr Michałowski (1800–1855. Also noteworthy is Géricault's series of portraits of mental patients (1822–1824. Spanish painter Francisco de Goya painted some of the most searching and provocative images of the period, including La maja desnuda (c. 1797–1800) as well as famous court portraits of Charles IV. The realist artists of the 19th century, such as Gustave Courbet, created objective portraits depicting lower and middle-class people. Demonstrating his romanticism, Courbet painted several self-portraits showing himself in varying moods and expressions. [77] Other French realists include Honoré Daumier who produced many caricatures of his contemporaries. Henri de Toulouse-Lautrec chronicled some of the famous performers of the theater, including Jane Avril, capturing them in motion. [78] French painter Édouard Manet, was an important transitional artist whose work hovers between realism and impressionism. He was a portraitist of outstanding insight and technique, with his painting of Stéphane Mallarmé being a good example of his transitional style. His contemporary Edgar Degas was primarily a realist and his painting Portrait of the Bellelli Family is an insightful rendering of an unhappy family and one of his finest portraits. [79] In America, Thomas Eakins reigned as the premier portrait painter, taking realism to a new level of frankness, especially with his two portraits of surgeons at work, as well as those of athletes and musicians in action. In many portraits, such as "Portrait of Mrs. Edith Mahon" Eakins boldly conveys the unflattering emotions of sorrow and melancholy. [80] The Realists mostly gave way to the Impressionists by the 1870s. Partly due to their meager incomes, many of the Impressionists relied on family and friends to model for them, and they painted intimate groups and single figures in either outdoors or in light-filled interiors. Noted for their shimmering surfaces and rich dabs of paint, Impressionist portraits are often disarmingly intimate and appealing. French painters Claude Monet and Pierre-Auguste Renoir created some of the most popular images of individual sitters and groups. American artist Mary Cassatt, who trained and worked in France, is popular even today for her engaging paintings of mothers and children, as is Renoir. [81] Paul Gauguin and Vincent van Gogh, both Post-Impressionists, painted revealing portraits of people they knew, swirling in color but not necessarily flattering. They are equally, if not more so, celebrated for their powerful self-portraits. John Singer Sargent also spanned the change of century, but he rejected overt Impressionism and Post-Impressionism. He was the most successful portrait painter of his era, using a mostly realistic technique often effused with the brilliant use of color. He was equally apt at individual and group portraits, particularly of upper-class families. Sargent was born in Florence, Italy to American parents. He studied in Italy and Germany, and in Paris. Sargent is considered to be the last major exponent of the British portrait tradition beginning with van Dyck. [81] Another prominent American portraitist who trained abroad was William Merritt Chase. American society painter Cecilia Beaux, called the "female Sargent" was born of a French father, studied abroad and gained success back home, sticking with traditional methods. Another portraitist compared to Sargent for his lush technique was Italian-born Parisian artist Giovanni Boldini, a friend of Degas and Whistler. American-born Internationalist James Abbott McNeill Whistler was well-connected with European artists and also painted some exceptional portraits, most famously his Arrangement in Grey and Black, The Artist's Mother (1871) also known as Whistler's Mother. [82] Even with his portraits, as with his tonal landscapes, Whistler wanted his viewers to focus on the harmonic arrangement of form and color in his paintings. Whistler used a subdued palette to create his intended effects, stressing color balance and soft tones. As he stated, as music is the poetry of sound, so is painting the poetry of sight, and the subject-matter has nothing to do with the harmony of sound or of color. 83] Form and color were also central to Cézanne 's portraits, while even more extreme color and brush stroke technique dominate the portraits by André Derain, and Henri Matisse. [84] The development of photography in the 19th century had a significant effect on portraiture, supplanting the earlier camera obscura which had also been previously used as an aid in painting. Many modernists flocked to the photography studios to have their portraits made, including Baudelaire who, though he proclaimed photography an "enemy of art" found himself attracted to photography's frankness and power. [85] By providing a cheap alternative, photography supplanted much of the lowest level of portrait painting. Some realist artists, such as Thomas Eakins and Edgar Degas, were enthusiastic about camera photography and found it to be a useful aid to composition. From the Impressionists forward, portrait painters found a myriad number of ways to reinterpret the portrait to compete effectively with photography. [86] Sargent and Whistler were among those stimulated to expand their technique to create effects that the camera could not capture. 20th century [ edit] Other early 20th-century artists also expanded the repertoire of portraiture in new directions. Fauvist artist Henri Matisse produced powerful portraits using non-naturalistic, even garish, colors for skin tones. Cézanne 's relied on highly simplified forms in his portraits, avoiding detail while emphasizing color juxtapositions. [88] Austrian Gustav Klimt 's unique style applied Byzantine motifs and gold paint to his memorable portraits. His pupil Oskar Kokoschka was an important portraitist of the Viennese upper class. Prolific Spanish artist Pablo Picasso painted many portraits, including several cubist renderings of his mistresses, in which the likeness of the subject is grossly distorted to achieve an emotional statement well beyond the bounds of normal caricature. [89] An outstanding female portrait painter of the turn of the 20th century, associated with the French impressionism, was Olga Boznańska (1865–1940. Expressionist painters provided some of the most haunting and compelling psychological studies ever produced. German artists such as Otto Dix and Max Beckmann produced notable examples of expressionist portraiture. Beckmann was a prolific self-portraitist, producing at least twenty-seven. [90] Amedeo Modigliani painted many portraits in his elongated style which depreciated the "inner person" in favor of strict studies of form and color. To help achieve this, he de-emphasized the normally expressive eyes and eyebrows to the point of blackened slits and simple arches. [91] British art was represented by the Vorticists, who painted some notable portraits in the early part of the 20th century. The Dada painter Francis Picabia executed numerous portraits in his unique fashion. Additionally, Tamara de Lempicka 's portraits successfully captured the Art Deco era with her streamlined curves, rich colors and sharp angles. In America, Robert Henri and George Bellows were fine portraitists of the 1920s and 1930s of the American realist school. Max Ernst produced an example of a modern collegial portrait with his 1922 painting All Friends Together. [92] A significant contribution to the development of portrait painting of 1930–2000 was made by Russian artists, mainly working in the traditions of realist and figurative painting. Among them should be called Isaak Brodsky, Nikolai Fechin, Abram Arkhipov and others. [93] Portrait production in Europe (excluding Russia) and the Americas generally declined in the 1940s and 1950s, a result of the increasing interest in abstraction and nonfigurative art. One exception, however, was Andrew Wyeth who developed into the leading American realist portrait painter. With Wyeth, realism, though overt, is secondary to the tonal qualities and mood of his paintings. This is aptly demonstrated with his landmark series of paintings known as the "Helga" pictures, the largest group of portraits of a single person by any major artist (247 studies of his neighbor Helga Testorf, clothed and nude, in varying surroundings, painted during the period 1971–1985. 94] By the 1960s and 1970s, there was a revival of portraiture. English artists such as Lucian Freud (grandson of Sigmund Freud) and Francis Bacon have produced powerful paintings. Bacon's portraits are notable for their nightmarish quality. In May 2008, Freud's 1995 portrait Benefits Supervisor Sleeping was sold by auction by Christie's in New York City for 33. 6 million, setting a world record for sale value of a painting by a living artist. [95] Many contemporary American artists, such as Andy Warhol, Alex Katz and Chuck Close, have made the human face a focal point of their work. Warhol was one of the most prolific portrait painters in the 20th-century. Warhol's painting Orange Shot Marilyn of Marilyn Monroe is an iconic early example off his work from the 1960s, and Orange Prince (1984) of the pop singer Prince is later example, both exhibiting Warhol's unique graphic style of portraiture. [96] 97] 98] 99] Close's specialty was huge, hyper-realistic wall-sized "head" portraits based on photographic images. Jamie Wyeth continues in the realist tradition of his father Andrew, producing famous portraits whose subjects range from Presidents to pigs. Islamic world and South Asia [ edit] The Persian miniature tradition avoided giving figures individualized facial features for a long time, partly for religious reasons, to avoid any hint of idolatry. Rulers in the Islamic world never put their images on their coins, and their appearance did not form part of their public relations effort in the way that it did in the West. Even where it is clear that a scene shows the court of the prince commissioning the work, the features of the chief figure have the same rather Chinese-looking features as all the rest. This long-lasting convention seems to derive from the start of the miniature tradition under the Mongol Ilkhanids, but long outlived them. When the Persian tradition developed as the Mughal miniature in India, things rapidly changed. Unlike their Persian predecessors, Mughal patrons placed great emphasis on detailed naturalistic likenesses of all the unfamiliar natural forms of their new empire, such as animals, birds and plants. They had the same attitude to human portraiture, and individual portraits, normally in profile, became an important feature of the tradition. This received a particular emphasis under Emperor Akbar the Great, who seems to have been dyslexic, and could barely read or write himself. He had a large album ( muraqqa) made with portraits of all the leading members of his huge court, and used this when considering appointments around the empire with his advisors. [100] Later emperors, especially Jahangir and Shah Jahan, made great use of idealized miniature portraits of themselves as a form of propaganda, distributing them to significant allies. These often featured halos larger than those given to any religious figures. Such images spread the idea of the portrait of the ruler to smaller courts, so that by the 18th century many small rajahs maintained court artists to portray them enjoying princely activities in rather stylized images that combine senses of informality and majesty. Ottoman miniatures generally had figures with faces even less individualized than its Persian equivalents, but a genre of small portraits of males from the Imperial family developed. These had highly individual, and rather exaggerated, features, some verging on caricatures; they were probably seen only by a very restricted circle. The Persian Qajar dynasty, from 1781, took to large royal portraits in oils, as well as miniatures and textile hangings. These tend to be dominated by the magnificent costumes and long beards of the shahs. Chinese portrait painting [ edit] Chinese portrait painting was slow to desire or achieve an actual likeness. Many "portraits" were of famous figures from the past, and showed an idea of what that person should look like. Buddhist clergy, especially in sculpture, were something of an exception to this. Portraits of the emperor were long never seen in public, partly for fear that mistreatment of them might dishonour the emperor or even cause bad luck. The most senior ministers were allowed once a year to pay homage to the images in the imperial gallery of ancestor portraits, as a special honour. Han dynasty (206 BC–220 AD. edit] During the Han dynasty, the rise of Confucianism, which regarded human as the center of the universe and society, led to a focus on psychological study. In the meantime, Taoist scholars started the study of physiognomy. The combined interests in human psychological and physical features caused a growth in biography and portraiture. Portrait paintings created during the Han dynasty were considered prototypes of the earliest Chinese portrait paintings, most of which were found on the walls of palace halls, tomb chambers, and offering shrines. For instance, the engraved figure of a man found in a tomb tile from western Henan dating back to the third century B. C. indicates the painter's observation and desire to create lively figures. However, the subjects of most wall portraits are anonymous figures engaging in conversation. Despite the vivid depiction of physical features and facial expression, due to the lack of identity and the close bound to narrative context, many scholars categorize these Han dynasty wall paintings as “character figures in action” instead of actual likenesses of specific individuals. [101] Jin dynasty (265-410 AD. edit] The Jin dynasty was one of the most turbulent periods in ancient Chinese history. After the decades of wars between the three states of Wei, Shu, and Wu from 184 to 280 AD, Sima Yan eventually founded the Western Jin dynasty in 266 AD. The unstable socio-political environment and the declining imperial authority resulted in a transition from Confucianism to Neo-Daoism. As the attitude of breaking social hierarchy and decorum flourished, self-expression and individualism started to grow among the intelligentsia. The Seven Sages of the Bamboo Grove and Rong Qiqi is a thread-relief painting on tile found in a Jin dynasty brick-chambered tomb in Nanjing. The relief is 96 inches in length and 35 inches in width, with more than 300 bricks. It is one of the most well-preserved thread-relief paintings from the Jin dynasty which reflect high-quality craftsmanship. There are two parts of the relief and each contains four figure portraits. According to the names inscribed next to the figures, from the top to the bottom, and from the left to the right, the eight figures are Rong Qiqi, Ruan Xian, Liu Ling, Xiang Xiu, Ji Kang, Ruan Ji, Shan Tao, and Wang Rong. Other than Rong Qiqi, the other seven people were famous Neo-Daoist scholars of the Jin dynasty and were known as the " Seven Sages of the Bamboo Grove. They were eminent intelligentsias accomplished at literature, music, or philosophy. The relief depicts a narrative scene of the eight cultivated gentlemen sitting on the ground in the grove performing various activities. The figures were portrayed in a relaxed and self-absorbed posture wearing loose garments with bare feet. The historically-recorded name inscriptions next to the figures cause the relief painting functions as “portraiture represents specific people”. [102] In addition, the iconographic details of each figure based on biography renders an extent of individualization. For instance, the biography of Liu Ling in the Book of Jin records his obsession with alcohol. In the relief paining, the figure of Liu Ling sits in a casual posture with a curving knee and holds an erbei, a vessel for alcohol, while dipping the other hand into the cup to have a taste of the drink. The portrait reflects the essence of Liu Ling's characteristics and temperament. The figure of Ruan Xian who was famous for musical talents according to the Book of Jin plays a flute in the portrait. Gu Kaizhi, one of the most famous artists of the Eastern Jin dynasty, instructed how to reflect the sitter's characteristics through accurate portray of the physical features in his book On Painting. He also stressed the capture of the sitter's spirit through vivid depiction of eyes. [101] Tang dynasty (618–907. edit] During the Tang dynasty, there was an increase of humanization and personalization in portrait painting. Due to the influx of Buddhism, the painting portrait adopted a more realistic likeness, especially for the portraits of the monks. The belief in “temporal incorruptibility” of the immortal body in Mahayana Buddhism linked the presence in an image with the presence in reality. Portrait was regarded as the visual embodiment and substitute of a real person. Thus, the true likeness was highly valued in the paintings and statues of the monks. [101] The Tang dynasty mural portrait painting values the spiritual quality—the “animation through spirit consonance” ( qi yun shen tong. 103] In terms of the imperial portrait, Emperor Taizong, the second emperor of the Tang dynasty, used portraits to legitimize succession and reinforce power. He commissioned the Portrait of Succession Emperors, which contains the portraits of 13 emperors in the previous dynasties in chronological order. The commonness among the selected emperors was that they were the sons of the founders of the dynasties. Since Emperor Taizong's father, Emperor Gaozu, was the founder of the Tang dynasty, Emperor Taizong's selection of the previous emperors in the similar position of himself served as a political allusion. His succession was under doubt and criticism since he murdered two of his brothers and forced his father to pass the throne to him. Through commissioning the collective portraits of the previous emperors, he aimed at legitimize the transmission of the reign. In addition, the difference in the costumes of the portrayed emperors implied Emperor Taizong's opinion on them. The emperors portrayed in informal costumes were regarded as the bad examples of a ruler such as being weak or violent, while the ones in formal dresses were thought to accomplish either civil or military achievements. The commission was an indirect method by Emperor Taizong to proclaim his achievements had surpassed the precedent emperors. Emperor Taizong also commissioned a series of portrait paintings of famous scholars and intellectuals before he became the emperor. He attempted to befriend with the intellectuals by putting the portraits on the wall of Pingyan Pavilion as a signal of respect. The portraits also served as evidence that he had gained political support from the portrayed famous scholars to frighten his opponents. During his reign, Emperor Taizong commissioned portraits of himself receiving offerings from the ambassadors of the conquered foreign countries to celebrate and advertise his military achievements. [104] Song dynasty (960–1279. edit] During the Song dynasty, Emperor Gaozong commissioned Portraits of Confucius and Seventy-two Disciples ( sheng xian tu) on blank ground with his handwritten inscription. The figures were portrayed in vivid lines, animated gestures, and the facial expressions were rendered a narrative quality. The portrait of the saints and his disciples was found on a stone tablet on the wall of Imperial University as a moral code to educate the students. However, scholars argued that Emperor Gaozong's true purpose of the commission was to announce that his policies were supported by Confucianism as well as his control over the Confucian heritage. [105] Yuan dynasty (1271-1368. edit] The Yuan dynasty was a watershed moment in Chinese history. After the Mongol Empire conquered the Chinese mainland and ended the Song dynasty, the traditional Chinese intelligentsia were left in a dilemma situation of choosing between reclusion from the foreign government or pursuing new political careers. Portrait paintings of “men of culture” ( wen ren hua) at that period reflects this dilemma. For instance, the Portrait of Yang Qian depicted him standing in a bamboo forest. While the bamboo symbolizes his moral rightness, the half-enclosed and half-opened space in the background alludes to his potential of choosing between reclusion and serve in the Mongol government. [106] In terms of imperial portrait, the Portrait of Kublai and the Portrait of Chabi by Mongol imperial painter Araniko in 1294 reflect the fusion of the traditional Chinese imperial portrait techniques and the Himalayan-Mongol aesthetic value. Kublai Khan was portrayed as an elder man while Empress Chabi was depicted in youth, both wearing traditional Mongolian imperial costumes. Araniko adopted the Chinese portrait technique such as outlining the shape with ink and reinforcing the shape with color, whereas the highlights on Chabi's jewelry with the same hue but lighter value proved to be a continuation of the Himalayan style. The full frontal orientation of the sitters and their centered pupil add a confrontational impact to the viewer, which reflect the Nepali aesthetics and style. The highly symmetrical composition and the rigid depiction of hair and clothes differed from the previous Song dynasty painting style. There is little implication on the moral merit of the sitters or their personality, indicating a detachment of the painter from the sitter, which contradicts with the Song dynasty's emphasis on the capture of the spirit. [107] Qing dynasty (1636-1912. edit] During the Qing dynasty, the eighteenth century European masquerade court portraiture which portrayed the aristocrats engaging in various activities in different costumes was imported to China. The Yongzheng Emperor and his son, the Qianlong Emperor, commissioned a number of masquerade portrait paintings with various political implications. In most of the Yongzheng Emperor's masquerade portrait, he wears exotic costumes such as the suit of the European gentleman. The lack of inscription on the portrait painting leaves his intention unclear, but some scholars believe the exotic costume reflects his interest in foreign culture and desire to rule the world. Compared with the Yongzheng Emperor's ambiguous attitude, the Qianlong Emperor wrote inscriptions on his masquerade portraits to announce his philosophy of the “Way of Ruling” which was to conceal and to deceive so that his subordinates and enemies cannot trace his strategies. Compared with the Yongzheng Emperor's enthusiasm in exotic costume, the Qianlong Emperor showed more interest in Chinese traditional costume such as dressing as a Confucian scholar, Taoist priest, and Buddhist monk, which manifests his desire in conquer the traditional Chinese heritage. The Qianlong Emperor commissioned the Springs Peaceful Message after he inherited the throne from his father, which is a double portrait painting of him and his father dressed in Confucian scholar garments instead of traditional Manchu robes standing side by side next to bamboos. Scholars believe that the commission aimed to legitimize his succession of the throne by emphasizing the physical similarity between him and his father such as facial structure, identical costume and hairstyle. The bamboo forest in the background indicate their moral righteousness proposed by traditional Confucianism. The portrait depicts the Yongzheng Emperor, who is in a larger scale, handing a flowering branch to the Qianlong Emperor as a political metaphor of the imperial authority to reign. The Qianlong Emperor also advertised his filial piety proposed by Confucianism by posing in a modest gesture. [108] The Jesuit painter Giuseppe Castiglione spent 50 years at the imperial court before his death in 1766, and was a court painter to three emperors. In his portraits, as with other genres, he combined aspects of Chinese traditional style with contemporary Western painting. Portrait painting of women from the Han dynasty to Qing dynasty [ edit] Court portrait of Empress Renhuai (1016–1079) wife of Emperor Qinzong) Song Dynasty Portrait painting of women in ancient China from the Han dynasty to the Qing dynasty (206 BC – 1912) developed under great impact of the Confucian patriarchal cosmology, however, the subject and the style varied according to the culture of each dynasty. In the Han dynasty (206 BC - 220 AD) women in the portrait painting were mainly a type rather than specific individual. The major subject was idealized exemplary women ( lie nü) with virtues prompted by Confucianism such as chastity, three-fold obedience ( san cong) to father, husband, son. Gu Kaizhi s handscroll Exemplary Women (lie nü tu) which was created shortly after the Han dynasty represents this genre. In the Tang dynasty (618–906) palace women ( shi nü) performing daily chores or entertainment became a popular subject. The feminine beauty and charm of the palace ladies were valued, but the subject remained nonspecific under the painting name “Palace Ladies”. Characteristics encouraged by the Confucianism including submissive and agreeable were encompassed as standards of beauty and emphasized in the portrait. Painters pursued correctness and likeness of the sitter and aimed to reveal the purity of the soul. In the Song dynasty (960–1279) portrait paintings of women were created based on love poems written by court poets. Although depicted as living in luxurious fashion and comfortable housing, women in the painting were usually portrayed as lonely and melancholic because they feel deserted or trapped in the domestic chores while their husbands stayed outside and pursued their careers. Common settings include empty garden path and empty platform couch which hint the absence of male figures. Common background include flowering trees which were associated with beauty and banana trees which symbolized vulnerability of women. In the Ming dynasty (1368–1644) literati painting ( wenren hua) which combined painting, calligraphy, and poetry became a popular trend among the elites. Most women in the literati painting were abstract figures serving as visual metaphor and remained nonentity. In the Qing dynasty (1644–1912) the literati painting gained more variety of brushstroke and use of bright color. [109] Three Beauties of the Present Day by Utamaro, 1793 See also [ edit] Hierarchy of genres The Portrait Now References and notes [ edit] References ^ Gordon C. Aymar, The Art of Portrait Painting, Chilton Book Co., Philadelphia, 1967, p. 119 ^ Aymar, p. 94 ^ Aymar, p. 129 ^ Aymar, p. 93 ^ Edwards, Betty (2012. Drawing on the Right Side of the Brain. Penguin. p. 292. ISBN   978-1-101-56180-5. ^ Aymar, p. 283 ^ Aymar, p. 235 ^ Aymar, p. 280 ^ Aymar, p. 51 ^ Aymar, p. 72 ^ Robin Simon, The Portrait in Britain and America, G. K. Hall & Co., Boston, 1987, p. 131, ISBN   0-8161-8795-9 ^ Simon, p. 129 ^ Simon, p. 131 ^ a b Aymar, p. 262 ^ Simon, p. 98 ^ Simon, p. 107 ^ Aymar, p. 268, 271, 278 ^ Aymar, p. 264 ^ Aymar, p. 265 ^ Aymar, p. 5 ^ Cheney, Faxon, and Russo, Self-Portraits by Women Painters, Ashgate Publishing, Hants (England) 2000, p. 7, ISBN   1-85928-424-8 ^ John Hope-Hennessy, The Portrait in the Renaissance, Bollingen Foundation, New York, 1966, pp. 71–72 ^ Natural History XXXV:2 trans H. Rackham 1952. Loeb Classical Library ^ Cheney, Faxon, and Russo, p. 20 ^ David Piper, The Illustrated Library of Art, Portland House, New York, 1986, p. 297, ISBN   0-517-62336-6 ^ Piper, p. 337 ^ a b "Leonardo da Vinci, Ginevra de' Benci, c. 1474/1478. National Gallery of Art. Retrieved 16 April 2019. ^ John Hope-Hennessy, p. 209 ^ Simon, p. 80 ^ John Hope-Hennessy, p. 54, 63 ^ Piper, p. 301 ^ Piper, p. 363 ^ Aymar, p. 29 ^ Piper, p. 365 ^ a b Bonafoux, p. 35 ^ John Hope-Hennessy, pp. 124–126 ^ Piper, p. 318 ^ a b c John Hope-Hennessy, p. 20 ^ John Hope-Hennessy, p. 227 ^ John Hope-Hennessy, p. 212 ^ Mona Lisa – Heidelberger Fund klärt Identität (English: Mona Lisa – Heidelberger find clarifies identity. in German. University of Heidelberg. Archived from the original on 2008-12-06. Retrieved 2008-08-29. ^ German experts crack the ID of 'Mona Lisa. MSN. 2008-01-14. Retrieved 2008-08-29. ^ Researchers Identify Model for Mona Lisa. The New York Times. Retrieved 2008-08-29. dead link] John Hope-Hennessy, pp. 103–4 ^ Piper, p. 338 ^ Piper, p. 345 ^ Pascal Bonafoux, Portraits of the Artist: The Self-Portrait in Painting, Skira/Rizzoli, New York, 1985, p. 31, ISBN   0-8478-0586-7 ^ John Hope-Hennessy, p. 52 ^ Piper, p. 330 ^ John Hope-Hennessy, p. 279 ^ John Hope-Hennessy, p. 182 ^ John Hope-Hennessy, p. 154 ^ a b John Hope-Hennessy, p. 187 ^ Families in beeld - Frauke K. Laarmann, Families in beeld: De ontwikkeling van het Noord-Nederlandse familieportret in de eerste helft van de zeventiende eeuw. Hilversum, 2002, Verloren, ISBN   978-90-6550-186-8 Retrieved December 25, 2010 ^ Bonafoux, p. 40 ^ Piper, pp. 408–410 ^ Simon, p. 109 ^ Aymar, p. 162 ^ Aymar, p. 161 ^ Piper, p. 421 ^ Aymar, p. 218 ^ Piper, p. 424 ^ Bonafoux, p. 62 ^ Piper, p. 418 ^ L to R: Louis' aunt, Henriette-Marie; his brother, Philippe, duc d'Orléans; the Duke's daughter, Marie Louise d'Orléans, and wife, Henriette-Anne Stuart; the Queen-mother, Anne of Austria; three daughters of Gaston d'Orléans; Louis XIV; the Dauphin Louis; Queen Marie-Thérèse; la Grande Mademoiselle ^ Piper, p. 460 ^ Simon, p. 13, 97 ^ Simon, p. 97 ^ Aymar, p. 62 ^ Simon, p. 92 ^ Simon, p. 19 ^ Aymar, p. 204 ^ Aymar, p. 263 ^ Aymar, p. 149 ^ Bonafoux, p. 99 ^ Piper, p. 542 ^ Bonafoux, p. 111 ^ Piper, p. 585 ^ Piper, p. 568 ^ Aymar, p. 88 ^ a b Piper, p. 589 ^ Piper, p. 561 ^ Aymar, p. 299 ^ Piper, p. 576 ^ Piper, p. 552 ^ Simon, p. 49 ^ Portrait of Gertrude Stein. Metropolitan Museum. Retrieved 26 August 2010. ^ Piper, p. 582 ^ Aymar, p. 54 ^ Aymar, p. 188 ^ Piper, p. 646 ^ Bonafoux, p. 45 ^ Sergei V. Ivanov. Unknown Socialist Realism. The Leningrad School. – Saint Petersburg: NP-Print Edition, 2007. – 448 p. ISBN   5-901724-21-6, ISBN   978-5-901724-21-7. ^ An American Vision: Three Generations of Wyeth Art, Boston, 1987, Little Brown & Company, p. 123, ISBN   0-8212-1652-X ^ Freud work sets new world record. BBC News Online. 14 May 2008. Retrieved 2008-08-29. ^ Andy Warhol Portraits That Changed The World Forever. Widewalls. Retrieved 2018-03-27. ^ Andy Warhol. Marilyn Monroe. 1967, MoMA. The Museum of Modern Art. Retrieved 2018-03-27. ^ AnOther (2011-06-15. Warhol and the Diva. AnOther. Retrieved 2018-03-27. ^ The Andy Warhol Foundation for the Visual Arts – Andy Warhol Biography. Retrieved 2018-03-27. ^ Smart, Ellen S. Akbar, Illiterate Geniu" pp. 103–104, in Kalādarśana: American Studies in the Art of India, Joanna Gottfried Williams (ed) 1981, BRILL, ISBN   9004064982, 9789004064980, google books ^ a b c Seckel, Dietrich (1993. The Rise of Portraiture in Chinese Art. Artibus Asiae. 53 (1/2) 7–26. doi: 10. 2307/3250505. JSTOR   3250505. ^ West, Shearer. (2004. Portraiture. Oxford: Oxford University Press. p. 17. ISBN   9780191518034. OCLC   319070279. ^ Fong, Mary H. (1984. Tang Tomb Murals Reviewed in the Light of Tang Texts on Painting. 45 (1) 35–72. 2307/3249745. JSTOR   3249745. ^ Qiang, Ning (2008. Imperial Portraiture as Symbol of Political Legitimacy: A New Study of the "Portraits of Successive Emperors. Ars Orientalis. 35: 96–128. ISSN   0571-1371. JSTOR   25481909. ^ Murray, Julia K. (March 1992. The Hangzhou Portraits of Confucius and Seventy-two Disciples (Sheng xian tu) Art in the Service of Politics. The Art Bulletin. 74 (1) 7–18. 2307/3045847. JSTOR   3045847. ^ Sensabaugh, David AKE (2009. Fashioning Identities in Yuan-Dynasty Painting: Images of the Men of Culture. 37: 118–139. JSTOR   29550011. ^ Jing, Anning (1994. The Portraits of Khubilai Khan and Chabi by Anige (1245–1306) a Nepali Artist at the Yuan Court. 54 (1/2) 40–86. 2307/3250079. JSTOR   3250079. ^ Wu Hung. Emperor's Masquerade – 'Costume Portraits' of Yongzheng and Qianlong, Orientations. Retrieved 2019-05-09. ^ Fong, Mary H. (21/1996. Images of Women in Traditional Chinese Painting. Woman's Art Journal. 17 (1) 22–27. 2307/1358525. JSTOR   1358525. Notes The New Age "Art Notes" column of 28 February 1918 is a closely reasoned analysis of the rationale and aesthetic of portraiture by B. H. Dias (pseudonym of Ezra Pound) an insightful frame of reference for viewing any portrait, ancient or modern. Further reading [ edit] Woodall, Joanna. Portraiture: Facing the Subject. Manchester University Press, Manchester, 1997. External links [ edit] Joanna Woodall lecturing on Trading Identities, the image of the merchant at Gresham College.

Free full chinese portrait movie. Free full chinese portrait video. China, 2018 Documentary 79 Synopsis A film portraying Chinese people and spaces during a period of upheaval. While traveling all over China, the movie takes a moment to notice a space. It captures a variety of people, and calmly reflects the characters and spaces behind the scene when the development was successful. This film is not currently playing on MUBI but 30 other great films are. See whats now showing Show all (2) What are people saying? Renton47's rating of the film Chinese Portrait The effect of having one or two people pose for the portrait while having life continue around them makes for an unnerving feeling of infiltrating a private moment. The few of these structural pieces that I get to see each year from around the world are always welcome, here inviting us to consider the human endeavours that fuel tradition, labour and industry. Lynch/Fellini's rating of the film Chinese Portrait In merging photography and cinema, Wang Xiaoshuai creates a haunting portrait of the conditions of modern China, and reminds us there are people forced to inhabit these areas.

 

https://kisekiyoko.themedia.jp/posts/7723981

seesaawiki.jp/goronte/d/Download%20Chinese%20Portrait%20Without%20Paying%20Torrent%20Watch%20Here%20123movies

https://seesaawiki.jp/geinoki/d/Free%20Chinese%20Portrait%20mkv%20no%20sign%20up%20Online%20Now%20Solar%20Movies

https://seitahoe.localinfo.jp/posts/7725050

https://seesaawiki.jp/zuikeza/d/Movie%20Stream%20Chinese%20Portrait%20amazon%20Online%20Now%20Full%20Length%20Pirate%20Bay

https://seesaawiki.jp/enyume/d/45pgcr110T29x2k

https://seesaawiki.jp/kirian/d/Watch%20Full%20Chinese%20Portrait%20openload%20Online%20putlocker9%20China%20No%20Sign%20Up

https://seesaawiki.jp/tenmora/d/Retrato%20Chin%26%23234%3bs%20Download%20Full%20putlockers%20Torrents%20no%20sign%20up%20Torrent

seesaawiki.jp/kaitoki/d/Download%20Free%20Chinese%20Portrait%20Without%20Membership%20HD%20Without%20Registering

www.goodreads.com/group/show/1071505-chinese-portrait-watch-movie-for-free-dual-audio-no-login-youtube

 

 

[mac] Burden writers Andrew Heckler official 28

⬇⬇⬇⬇⬇⬇

WATCH DOWNLOAD

Server #1 Here

⬆⬆⬆⬆⬆⬆

 

 

Genre=Drama
writed by=Andrew Heckler
director=Andrew Heckler
When a museum celebrating the Ku Klux Klan opens in a small South Carolina town, the idealistic Reverend Kennedy resolves to do everything in his power to prevent racial tensions from boiling over. But the members of Kennedy's congregation are shocked to discover that his plan includes sheltering Mike Burden, a Klansman whose relationships with both a single-mother and a high-school friend force him to re-examine his long-held beliefs. After Kennedy helps Mike leave behind his violent past, the Baptist preacher finds himself on a collision course with manipulative KKK leader Tom Griffin. In the face of grave threats to himself and his family, the resolute Kennedy bravely pursues a path toward peace, setting aside his own misgivings in the hopes of healing his wounded community
country=USA
release date=2018

Mac burgundy nail polish. Mac burgundy x 9 tutorial. Explore Marketplace Format Vinyl 37, 121, 050 CD 13, 998, 901 Cassette 933, 979 DVD 361, 925 Box Set 328, 990 Genre Rock 19, 034, 366 Electronic 16, 224, 426 Pop 9, 604, 552 Funk / Soul 5, 654, 039 Jazz 4, 356, 341 Style Pop Rock 4, 332, 272 House 3, 806, 971 Disco 2, 878, 516 Synth-pop 2, 687, 047 Soul 2, 291, 970 Buy Music All Items Items I Want Purchases Cart Record Store Day Sell Music List Item For Sale Orders Inventory Billing Community Groups Forum Blog Friends Community Guidelines Database Guidelines Register Log In Label: Format: CD, Album Country: Released: Genre: Style: r3814249] Release Statistics Have: 5 Want: 11 Avg Rating. 5 Ratings: 0 Last Sold: Never Lowest: Median: Highest:.

[mac] burdens. Jeremy burden mac and cheese. MAC is easiest to detect in the blood, although doctors generally believe that MAC in blood is just "spill-over" from infection of other parts of the body. Traditionally, studies of potential treatments for MAC focus only on MAC changes in the blood. This study compares MAC changes in blood to those in bone marrow, which is another tissue where MAC is often found. Patients receive both clarithromycin and ethambutol for 48 weeks; those who become intolerant to the study drugs may receive suggested substitute drugs (azithromycin and rifabutin. Patients receive a bone marrow biopsy at baseline and at either 4 or 8 weeks. Patients are evaluated at weeks 1, 2, 4, 6, 8, 12, 24, 36, and 48.

ARTHUR FROM PEAKY BLINDERS. Mac burgundy palette. [mac] bardenac. %PDF-1. 7%���� 1 0 obj <>/Metadata 1835 0 R/ViewerPreferences 1836 0 R>> endobj 2 0 obj <> 3 0 obj <>/ExtGState<>/Font<>/ProcSet[ PDF/Text/ImageB/ImageC/ImageI. MediaBox[ 0 0 612 792] Contents 4 0 R/Group<>/Tabs/S/StructParents 0>> 4 0 obj stream x���m�ܶ�������U��fRZ��; e'>K���F���坽�l��� 1t�o��y�;��� b��8��>�ޟ���~��tڽ��_ }�����go{�? �iwsw�;�y,w��������ϓ�߼J�}��Nn>}���zr��������R�I���������. ���*T������L*���ɋ�N���Փg�����W�7��? P���i)Y@�˷��k�(�fe������UR�ISViU'o��, ���}ӡ�Y��WO��I�O���'�BFiӅ�? ����x���t:��;���pꝷ�qU�ݖ7iіC��T���] PY�ڀڢַ���:��˴��FUi�D��L8���, m��38�, �W�h;���Y�P;��'g[ ��o��ǯ��A���y������R���1<�nD��y�]nѥ��x7�������W��w��ik�T��F? �fj�7�f���n�A���<�K4C�fն �Y5^˒֨��. S�x0F��5ɳ�������o�l�T�Cv��[�LK3���n��TYݨl��M�ӟ� ���m��m����Ƀo���x8߬����U����k��4�nR=�̶���J�߶��? �O��vsXϼ��v�����T4�M���>���V�Z��PT�E����O��n�r������ӧ2�ɜ�9۳=yڵ��ݦ�Up�eO�����P�q[m�a�ӿ�o���Mr���~Վ�e�� �Iv��O]�җt�c�d�^C��f�v�m�ٝ�=�, 6�X�t�. ���+��KOW�AQ������-�:��gwܯ�J�ʬ�T}ЃT�9�]����^���T]�_ޣ������s�����xw�xC�,3�Y���Nh��~ u�^N�cߊ���J�m��O ���~U�VJ�; >�x��6�L�^ M��, ���g�B�t����ݝ��p�kڨJXf1f����4m��χ��T�#؇���4��p��_ql��N���ٝ�m�)�pm��OЄ�tϓ�eʳ����Hh��4��SWC�? �盖��� �j Z-��uJށ�ǣf�t��•��c8�[�z�j/T&4V�6�_�k�h��{���8����;�u�qA�o<��ԙvp�2 ��p���A�n�<��q{���? ����0��[���؃, , �M��`�X1f��XOS@�ao�� �q�~�m֞���K�3� ���w����a�}�ڜ�u�Za3�Ծ^2����1yx<>p�1 ��4���Os�. ��6����W�6�Py Ådžp'� R� O0_ �ϰ�������#v(��X�9� �,��xS ���}N�ǰH8�7ߔEZ��絲N��s8��Dt�C߿`qw�l �Z�Ϊ�e]����i�pzB�����a��u�9ly�6"��^Ʊ~ �;�3���KpOY5i��a�Y��m���_��} aGߓӪ˄��x���2mkNϻG; cVaIV0Wmڲ^ ���u'U�����{��[ �DK0_���8a4^ol�sH݆���V E��q�� R�'_v�"b�^Qu���+��s�A�*̥���� 0��>�W��B�6�e}���i�E�)��Uf�,�'��y-6)A=��>ܡ �uKkg�0KD(y ������5VV�g�,2w��{c1���t<�75WE�*6l���%������B, �OL�����ҽ�k/��eM�,�f��! �i�7+ M��CH�EE�h�����} �_�B����YV5��W�[�q�? ���_�����Z��W�F������ ��+S�~ ���_�Ϡnk �Ċ���U�l�5j�Pi-��zPj �J�8�'s��IY�GZ�5: I�As�`0ؓ�2JA�Wd �~a, �����d@ �Ǩ�"�A��3���PU�C�XQ��k�Y�i�(FF�י�u:>���LAM+M�3��� �<�? U ������, �U1M=���>3� ��p1�:�z��v# �@�NTU c�EB �� �@X��h`��Zp"խt��W�:��? �A��֌ʯ��`�=���U��؞�9�ݯ��֎�0��ve�Ҏ��a�F���&������F�68 ��Üd�;ğ�K�; YoT� ��L�[���a�I�Umſ0-��_�*�y�q�0�6g�ޔ�� �0VTU[��z���? �kx# ��P���_dj�Dŵbo��۽Js�P�x͝��;b����ӏ�o�� �! ˯m�S�B�=���ʞXzd��H��v���6������7C��HQ�Dm��������8 (K6, �ʋ�4. t`�� d��փ��aqn�y��ֺ���������,�ު���& oVQ^vm��������޽���V����O/��秓f�{ g�� �E� �A0&�L<�iũy�H �;jD����v��HL����͐�e��i�q慢B+ �T;��Ӣ��" ��mhuC�B' Qȡ� `�F�tL�h��^ n��%c���1U�'N̓�UM�ֹ�W� l��U���1u�@ r��, te=�*�`  GJ�����vI�/<�V��, �4ƗÛ/�_X��S�) �SW%YZ��CO1hćߍ*�LL_i���JQ� - ��"��B೼�@���S��-���2m1Y��Q��{�&�A�-t�]� ��˙;>@����Ҫ�wA��� Q�C�X�����u�+/�Pb���K��E����H��D���0'Vf�m:��YK#�Hy��ܳL��TZM�Ha�# S��X���Ũ��ڸ�������,Y�0ׅׄ4�L�PQ�Ң(Z�E��MPdr2�N�+գ2��e������m, RUL jx������N�oL]�V=���vY8���^������^���W} ��z4� COc���l id} �&w}���"�a[Ք�M��>x����v�Yc� 7��>���b����+x� �A�. �7m�9e�﯎���zp�Ә�_��N���å���܉��. ���Nj���IN��t/ ����` �z�{���0��� �O��^�E�O�qa= o4�2om�By�����wo,^��+�昨_�������_���TX����(�K ������������ӽ�7���+�? �슲���ذ? ��UhÈ]7]�^ ҩ��H? үUy) �� ��B����c�T�p�e! �]aj�@��q��^�����=Tj������D�;�(�ꗢ@0�(. م�c��s[ ��C<�w�- o[���- �7�n��` �˘��bʋ"癌���V<����D�T�ϥR�h���) �1K�IcxJ�i R�ժ��bHu��&����#l�߬��t��� n�����D�O��0���V� dz5g�3�԰et�O�d K. �3, T�-m�GZv�4OM;�! �GMP"�JQ��I�*�0^�m1jLY�������ʨ�J�H��T�e3z4f�]�G)�<�'A��ci��ȃ DyR���R�G�KSTd���B�L�ɱ45�ɽ21���R����Ν8`�R. M]��Z)��B�j��G5P���u�`���p�; b=�A���B�By����ʋK��j�0*���Yq��Q��8F��8F奏QR�(Fy������4����)���h�E(z�j��, ���8T�UR�(Ty�, T��CP5�'Y}2T�>T U�P�YڰP5OM;�! YLPF���J���! �L A��؉ʨ�CU�C�T7 U�� U���� T���UT U�g�1��X��"��X���P5���ʴL��^�UF�U�Q, TQ@�P�]�7��n�]����P�a��"B���Fm�˻K��jƠJ��z1C�%�<%q�"uq�*2���Q��l��`O! H^�����8{��"3�/q�" q�*�OVR�(Yy�� �z��&��rˠO�"��J��[� ,a����ʟA��2,�>�9�aL��(�( ��F)˳�_�-SC�5�! v�2ꢔU�>eIu��5�%���� e�yd�. �P� �_��#v� r, eQ�e r, e rx��H�eZ&SV/J�, J�, �(��(�x����]��[� �Y�ꋰ�� �(��������, �f����t�]��yJ��, Q�2�FPV�Q�X7FY��ڛ�o�2٫�ƣq~��j�~8G�S,e����W��Wb]���K[�a"�Pk�N�ML�G��Z��ZR�X˷�_�, S�I�)1�b4�W��WR�^���^�T�x5�! fʲ�xUf^�ucx���. ���j�O�x�u�}VT ��J�b�D�Y r, Q��>+A�ūA��j#�2-��Y���}VF����5��ge��+����u�`���s�ë��WgBD�����xU^�) ֌�U[�=������������_�F�ʳ�w8����k�g��t+�? N�E�G��YL������Pf�����ʠOĩ��H�� Zz�9�V�TR�j�s, ����U鿪"U���g)�,p�B� ��b����IA�E+�V�6��1h5�' �*�]�3W�������kR, g�9�L9s%�1h��a3W�! se[ f�QR�ʊ�2WgFq�+P}�ܻcl{ ���l뽡��+��uK_��Sƴ�S^9'�&�o�AX�[�Ś1��UU���Wb�S' R7���-�b�(ay��%���o���! 2��p�1�hpp��8�3�or�{�ź�lօ��Gc�t�l��X���U��ܥ�Q�������4�5�9nL������KU���Y�q��! ���;�uQ���=�b�( y�, �c�k�O���o_5����2�̖�_�t̉�ْ�X��"rfK�c�k��f�1Bf˶L�l ��̖%e�Όb3[P,f��now�:��n=7g3[ 6�� 3[��3����t��]1��3`Cq��"5��<5q�"���>���GjG ̳���m������[3u+���)��C��}��,�Ԏ�. ��2] �dO��g<�, ����Y���F�L, �[g�4D6�? �q} �u��{�j쉤o)�/l�J=Lp�e�1 ����R�XnL? ��H%�Ʀ8�"�Q%��ߋ/֍�䝂����* ��uO���N������v1IJ��U�z��]L�c�����Ir �9r��b�a��m��]l%m����bgFq��L@�D�]�7��n�]����D�a��"�&�,�+���^ �f����q,,�BCd ��Ad��,�n��<[�0v{o>�q��c��W=��o�m��Y�(�K;�upH� �7�u�@ �U���e: �M�ŝA� d��}�j� �I��L��~���#l��˒�m�W9����߶, �ͲE� �& ��, ��8���'2�r��I�X���B=����X���2��T7��R�i��Ej�J�r�w, ��! ���m�R�(����d�T&��;�u#����/V�1���Q��T&� ��U�v�ɨ@��)�"����E&�X&�"&�X&��L6���̴Lf�^��dF��d�Q, �Q@�L�]�7��n�]����L�a��"2Y�{٘=�*���/V�1Y�3�ag�B�d �0��d�. ~�r�� Ɣ��_����]l�Jc�c�ƄkƔ��_������H��� ޱ��Q�1�o�+�`Lt{ �L����'cU޿~dY��+��#KAJ����t� ���<��X��, 1�#K�2��e/J,diD��, ��G�P<�q���[s׭��, ��EXs��0���c���/U������ٙC��)40v�p ���0�;���Q�}�-7�3�y�N��k�Ο��6�o���~�r��&��2���&8��͠/�b�-�B�(���a�-r�J�b�c�Ƅk��{���Q�ó�, ���&x��iF� l�*�XLrO�t�e* ���O�Ŋ. ��o�6. H��+��� Dz��� Dz� �g�A��b�e2���D3�Ds�bY�ʲ��j% �� ���1[�zo(��Z9�a_�<#�Z� JTƑ���/U�! ��`��d��P8�H��;���Q�ŝ���/����e�=��*�el˧9����gy` �T9���3�G��z�Y��X���H��� u�H&���G�Y* �M�e�Q����Q����y* �M��ڌ�8���R�ة�c:�2=t��h�9 f��W/PR��JA���-��JA��0*y@ ȱ6��Pb���e��^���҈P�F�( ���w���u0w�zn�����"lN�"��2=��y�R��>~�j �4��M�����P8�H� l�*G�3rb���E�;Ȍݳ�5K��� ��8�� �]�-�R�hNL ��? 9x�N��� K4����� u�{�=S�T�25�g�G, Ř�CW`ӾP7]����f�4�5�;v3���U6�K�cy0�=�W`��4y��� ��r�5J*Ƀ R��l}�R�c���D�`��_�>6���`�er�%���(1����(�x����]��[� ��K�x���. 7�U#��Z���3���SH�u�pu#���7틕c���_pD��S��@ � ��] ���I�2Pc􍠰�ߦ/V�Q�H�. ��:�¦8� ��O���߲/Ս��D�N�Z���`S�cdžk�� ˾T7Fdr��Z�SID6�;ff��F��e_�! 29x؃-f�"� ��YϾ&2*! 2A����U��9�ȨH��9��9<� b"3-���%�%�kGd&�,b. +�ۯ�% Y�"��uN�3/���g�z��W��W��:��ĝ���;G�dzN��. �<14m>;ET�[��6)zϚV�8��e��U���q�Ie�! ��i�͒Z�l�<0޶��,��Ҍ��9{� _R�>��q�ǥ՛=�b�l~���? m��[�m��������=������q��M�����x(�b{�� ���(z��A�? �B(B��g��R����e? ����? nU�����z � �/�� (1R�[�����c���! ��6���D��S, ��؟gZ�jQ�;Ll��U�&9��P��'��pF2}�r�I�A������o��֜�I��g�R�l�Մs��- �/����J�7���,��:���������x�۸ZGR�U�/��BUx���&�a�܃ "�u�f���O�h1�F�=s�@h�T��ݶ�O�AWo؇̇z ���x�? ��9��j�>�������2����ڴ:O�r���#k=a~�'5g:������]��L_�`�o�;��>���~���`�ꝙyL0�"�S<�-�8g������6��z�����/�D�> �ݟ��O8C�T��)��4y{�' �6�E��} N��&�*������p�̍y�g�}�=H�CG��&V�i�v ���CnO! �CEt;jNN�+�zg7k�nP衶��DB����3 ��Y�V�n����6�����)�ouKj u0,��B�J�y� �3���; ���)�Gt}�E�}��y�W/l'��i�� ����_ �3, �+x N�8���ê��! 8�����ɵ=�:��Ct4�Oh���=�C5�#��&l�'M��Q�P�1��) �#u9l>6��M_�:xQ�ok����߃s�1T@�~ t�[< �W��� R��[;�NZ_� �������&7x��m�p:�Ή. �p��������Vӡ, ��, �=��#�ä�bi��>ou`������^ ��BK�阚�G�}�Ԃ@���OM��Xut�h_�S��ų~�V �����,ú����r�u�싷�-�-Ӑs�&3�7����RQl��l�ӓrQ,Q������V���{���FDQ�%l�e���S �Ϸw4�U8Z��N��aHn`�ѝ�ɾ�xc��! �t����? �ZT endstream 5 0 obj ����JFIF����C   . (7) 01444'9=82<. 342��C  2! ! 22222222222222222222222222222222222222222222222222����"�� ���}! 1AQa"q2���#B��R��3br� . 456789:CDEFGHIJSTUVWXYZcdefghijstuvwxyz��������������������������������������������������������������������������� ���w! 1AQaq"2�B���� #3R�br� 4�%�. 56789:CDEFGHIJSTUVWXYZcdefghijstuvwxyz�������������������������������������������������������������������������� ? ��(�� (�� * ���y8׫1��;X�,��N�q�3�������,M: �d�j;�����Gl�d��y����Z��-u<�YC�q�~��yI, �X��y�MKkwqe8��V�A�O_���. 9���%�*�����. �c-�! u�d��y�s��kfu_�����] �"����0{0�P{֘�l�E���S���Ǫ�E뛅Q@Q@Q@Q@Q@Q@Q@Q@Q@Q@Q@Q@Q@Q@Q@Q@Q@Q@Q@Q@Q@Q@cj�#���>u���S��{T-����#�<�3���0z��"I4�#Vy�d�^f7*R�pZ�Ԩ��z��w�K��L�~T*�I�跚���6��+ ��&�����/��O�����8�(�8�Q` ��0����"4�����h6zRf5�& �AT5� �y�k-�Oԯ�7�WIEz��R�=����j�<�����s �M����=j���%�B��1ug��o�=���C����`1]D{��jᵏ]i�����Ü��/�Q�W�[W��꿭�yS�5Gm�j���>e��������r�� ��fY����z2��=>g��mf����:�5�`��5%�5�S�r�Q]ơEPEPEPEPEPEPEPEPEPEPEPEPEPEPEPEPEPEPWW�ZMs) 8Q�rx&���X������׿�]����_�׆W�����E��C�ͳ�I�4��z��, �z��~��4��? ��5į���P��<����_�@�A�>���������Q����ϯ�����, �z��~�t�H�Ē/�p} y'� ^ ��h�����zŪ4V��� ����Ō�B�^�W���]���r��9mkhћ�*m^���P, �������} D�ң�)�R>i[�? �+F��=�=�����ʯp��+R��(��(�{X��魶�qׁ��v�����{ 6� 1�8Q�j��h�s��d���:��k�Y���b�*�9? ��Ͱ񖑩_Egm�iI 2L�J���E��_ ��p� ���O�y��^�N�Ue{�����kQ�„mgoŞ�EW�{�Q�* ��gdj]��MIT�_��׼�� �yLݢ�0��`h? ����k�i�H ��# ���rk����b�mG�W�%�'<~ ����QpQ{��&Y�W�F��W���3#����'�'f�y�X���~��"MK��ee9��cGԍ��~�s��<���m �] B����X��s���J�v���z��v'9*��y[�h�E��QEU-GS���YnKf�6�y���x��A�����e5�"��I�;�f����%�O����f���Ş��}�ؘ�2�ymmx^��z�JN#��M���q^U ʤ�(��f�۳=�(�l�+ A�Z��� p2Nk+��'���ߺ����m�����_ι��Y���p���y�jVG���喩3El�Yqܸ⴫��G���? ����~��RS�������+����(��(��(��(��(��(; ��wS��I�^^�Ȼ��פ��� �{ �%�,���Ǽ��RW�'Ļ�E_�� �i��n����5���M��Q�, �o��g��v��i�3F��>I���f�:�ֹ;���ih���2FX9��@��P�N�_���'�Z) e��N����H<, ������#��,A���"��y�%��. �e_x�D��į5�S�` G�H��^ m}qmmqm, ��. ݵ��u�c� ܅��ߐ�, �JMՕ�C͎q�����3��. R�� ��ysF�. ����gj~ �t�1�]�������߈���=�i�D ��"��s倸8�j��m ��l���K4����氡�����v�׊�jBj��O������? �c���W�{��Y��/ �5�~�t��d�~V����b�O˪�/�� ��Wwi�j�T�����WC�} X���Te���~�b`�_���g��X����th���0���s>>��Jt{9, ��:�y迗'�. I��=V�[J�������>3�4�7�3H��wc����;�z�m��? �, c��5��N�{�] ��-�Y� �&��>j h�m�@>� �kҞKܩ-O�c�W��*k����#oǗ0��F9��Iby ��<��#v����&�]��� ���J ��2:0�W��#v����&��AQ��)�Y�GLS���Q��S^w=���_�Z1�yt�q ����P�[B�Um��e�+y�V��y<1]jW�k�37�1�3������{y�l���4���~ ���mɴ�x���5����֓V�մ �lnRe>�8+��+��ᶢ����)��-���;�7V���~b2 �R0G�X�B�aj;Q���W�c�ǛO����cW�#�v�#�*� >� �����'�p? � Vn�ȽC>v����2�8������Mo��j�r��, �^�j����QaR��-r��pè�7�ߕf5qn~�%km�M4�[���"� �����ߏ�+g*�MpG��̑��Iq�_6��3���ُ��M���l�s�4q�B���q���8 T������¦k��Ut�P���Z#������8Wy���h���I�����e�D�7WF�? �yv���. �K�k�u`��ͬ�댜�xC�R�ڒC, ��3�Y������D�4��u0ҽ�, �B��������� � j�m{ h��c�<�T2�DeP�����^�^e���C����� ���M�-��E, k�g�x�宼Q�;6vJc�~ �Z~�h`�M0J�˼�v���m=�+7Ŷ�k�A`<�A���]��=��[5��o"rU��C���V����u�ǃAb^ j���������? ����3��W5�o/�� �Y���B���� �v9�������)���e�W�`�(�g�I��է�s�t�*s����<ε7 ��_ �1~���� ����? �j�5k����. ��3��+�4� i��Md�+��m�O�y�j�Z�� ����G��Z��z�q�8z�,*s�����X%��-� <ˌ��ל� ������<�RQ���r���𮦼lR��. m�}6��i�mdq? ����a� �H���o���? ���6���7��k����F�0���#��Q��? ʹ? ��ݧ���� �c ��svv>s��Hrw��n]��;K�s'l0�����k[᥂{�2��DHqӻJ���j���g��<*A���:���S�+��:F �bH�܎����iT���'e�(�f��wv�G��i��~���X̑�FQ���k��5X������d1D����ּZ N�y7����F~�k;�/ �? �����A��y��A���ױ�oO��9��U�_����(�ko9C���ϱ�? �k���,Ol�^� �G r~ �L���{ZW��G>S��1�����VS�����rh��l�5�����? �L���������l�y�%�pv������]VFVY�z��K��[��I�㌔e�Y����&c����U�l�0A����W���< �Z�����)���m�ᛠ�ݞP�Q�O��:��XQ�a(�Ӌ_שՉ˳ KJ���O��; �V. ��[�f��o� �������m-b����DQ E��W=��[��o����f:3kc�, ���� ��������,ac�� �۶�� ��C�W5�/�`�u��^�4I "k~VͶ�����<~��u{�kW��Ksr�d���z�� ��~�����kV�EӴ���� �? ��? KZP��r<�^��U�} �"����B���K����=Ͽ���, �5K��*�h�r�t#�*�(�6�&t��X���l:�=���~���Y_ �B��g�e�#���k��:��凷F��ŋ��x�+ѵ ���. �ciW����U �O��8�GA���'��0����B��xp�1�[����_�������W��G��{�W,�#v����&�z[I�>�-�Mn0E�:qU���Y�{ >�)S�F�D�Hʜ���q�r)B�*Fw���W{�,W� K�����/ 纟c���s�^�Y ����e#���ʧ�i����lp �}�V<{����1�V* ����0����0��He `<��ߦ+ �&�*����tR��0���:��/���&>�g��m>�����[E`�(�}kw���֌5���qumM[�t�g�W��� �? ���j��#z/��? � 2�c(T#v�a��G�ekyf[<"�4���,�^�h�&�2�V�ApF*��#z'��? � 5P�@ �–7B�*��+�g�rsi�Ǐ����4��I���[�{�} Ś����`��J��} ��״2�R�) � a�x;A�r梨��bb���<��& 79kd�! W�a'��� y��n��͎�a���H��O�Rx&�W�WY��h�ԁ<�2�}�k���^����t�f�8�ء��(cX�Q�D�R���n�Z��G)�ʲ���{vo���1��[��o���OP��[ݠK�RU:��:��Zn ���]X�� ��������j��cm(� Hc�te@ ��, ��QS�������ʿ��G�2�o���[�Q��u�� ��[�: ��B����1�) �r��X�ٖ6��Ż�lP3��sb=����:W�1b�����s? λj�saix��6�JT`Pq]X�. �'��w�? �'q����, w�P� C(�u��+��������Q1% ��T2�`<{�:�_�d�T��Vy���^i�Z79dq�O�^��n�w�1;� ���I��o i�f�Uc��+����EӬ ��+��r�~ ����h���i}2����s �V@*z���w����F�9�� �ZY�! �F�̀�SAo �^Thv�����B���)���! �I�>�f����5����厣w��d���? xu ����w�鷬Z{D. z��I�GZ��{s����J���q�x�U�=�H��V�9�j �Wɨ}��V̀�����k�_ ����)lv26? �j���k�o D����K ���u'��Nw�d�QEz��EPEPEPEPEPEfkZ��m�����yk����Y�g���WP��=e�! � �ϵt�R� �p�T�+�`����c��n�z. �s! ��@F}��~����;�(n���́�p����kŚn�x���s#�Z0I�ƀ7h�, �㿲����w �U�-�} �n����v �N(�������w�~���� C������@}OKԠ��语��e����G�����L�o͝��B�����AEGo2�E ��ۿ��? ƶtO�x�. ��P:��ڀ5�����h�u��r��������:��QQ[�մW���@�}A-W! � C������]E��7�P��يd����@�Xzߊ���; �4��� �}�/���z�H, ���M��@3�_zܢ������{�s��H�FN��ch�. �u��ih����01��@�S%�a��l�E, q�+J񞗬� ej�W���gր:(�^��zN�y5��Wi4M���? ǥuTV�]�Eq ��U�;�����m:�k9L�M��h�q�������asm�7�H���0�>�֥��(��(��(��(��(��(��(��(�#�o��- ���ej�w�O���A����; �Ez? ���Z����k��M�OÛ{�=���? �1��Z@w^ ֣���_B��J��������W��N����#�����h����Q���s�q���~5��4i6�-����wbrߩ�D����o�q�,O�����ro�]����T�눮3�x? �y�&���? �Q���o���#�Ft��d�m]ǂ%I, c��(Xz���5��E��;U�)+���tѼ3�"ƙ�^�����&��o�^����z�����n�f��j+�~ ��o�^����` �? �, i���ʬ�ze��b�wA�. A! �����4���O�Z�����_M���y�Ew�co}�`��O�_�t�sG���i�� ������&������SR,3��n�����@J] �4�:�J�ⲵ! �;C�I'���-���# ���]�"���# �����G��l? ��? �W��L�������Cz�#�@�����+��&��o�^���� mž�Ѭ�. e��B� �@���hZ. ��E7�cIH�,����]y���CP���#��T�0ꭻ »� �h:A��X�s+>��= �wZԓH��>@ ��G��������9t��L����m�/V��iQ� ��q��G�? ��mĚv��˭. �k��l�ø�����Y��U�^�%���-������J����#��dx��fm��,�}6����� >z�'�v�ݵK=Z���ڗ�4y��{gܣ������? �0Gu�X���XeF�����]x[Y��s�*Kn���ߘ��Kw&��k�b��7������5����CW����� ��4�9�j� �h# Ԍ���� ��5y�^��0��_��oT��I�^o���Fw��g�k^���ȷ�פ���7�o�# �׳�5�Q���u��r�kɼ�#u����&�f��A�_�����&������I������ �{���ə�L�'������R@ �A��h3�H��݋e�Q�C�)n����Ӽ ����3�ݩkkw��ϙ' ��+ĶP��"���B�,��? ״i�,^� ���8�Ԟ���H tQE0 (��9/i����m����>�T�6�<'�Ξ��u3ȥXr����� �? RO[����m��b�1����6��_Y�����F��v9���V/�v�Zxr��x�r� ��5S�~! Ӗ4uK�IhY�s�c��V���ҼW���[ �1n��f ���/{E�F��^���Ion[t�)�䞣r}Mz��Q8�B��(�<��z�YY�4kl�YG�c��W��L�L�, Q R8�aQ' �5��. -Ve� ��7���mڸ䞙�ttP%��6�S�m���y�g�ʝ��Rx N��4)ίxk�p�ԍ�3��h����������- e�#��2+�� �do�g�U�VS؅�Ǻ���Mee, 񭲡e��8�Ez-���-��� � K ��� V�8RpNjZ(�. <9��~ k�� ���p]�"g� �/�D����U�Eyo��t������Dlc�n�~��k�4 /��~� �t��@�Ig�֕� ������ ��b�U�v*qS�����z���e�1�l�Ï��)XX�sY�>�L�"�Mo�E��G��+�&��j�R���4U���+�h�f. 4-B���[H���%H�_�:������Xb02�a�r+�(�/���Df����x���Mi0����GG�����^�EyE����W�,�"��p�c<��z(�)�W�5��^�[i�I �*��+ը�� (��? �� 6 0 obj 7 0 obj 8 0 obj 9 0 obj 10 0 obj 2! ! 22222222222222222222222222222222222222222222222222���i"�� �yp�ЇP -�j�R�? �����eVt��'f�t�rI���%��i����/��O֨Q_ �������; �;��%��i����/��O֨QG��;�~ �=�;��%��i����/��O֨QG��;�~ �=�;��%��i����/��O֨QG��;�~ �=�;[V� �i���f��i��)>�ER�����(v4��f��i����7��Oֳh��������eƗ�����? Z? �f��i��mmc�����C����7��O홿�~��E�X�����P�il��<���:�������F�G��? �~ �=�;�s�(�Z? ����Q���E? ���������ۛ�yG����7�����(���������cO�no���G�����? ֳ(��k�? ���? �����s�(�Z̢�����{ v4���Q��������f�Jes�s_���8�5����Q��oO�<��k*���w���{8�5����Q��oO�<��k*�? �1���������ޟ�yG����? �����(��������cW�z���H���gʏ���k��k7�_����lj�Cq� �~������#���%�����4�]w�>�~���hb�9����]w�>�~��G�%�����5�QG��'�Ù��%�����4�]w�>�~���hb�9�s_���ip������ �ݎs���. �g����������e�F����#K�竫�9kU�ed�K��Ѭ�6���? �s�� ����Ƽց^�թ)���������l�����ˬ�6����Z��j_�ާs���rj�� ����Ɣ,c���c����y�8>�K�C���zP�ū��:���_� ������7� V�����w=���@�/��i�o�������Ƽ�S�V�����w=����@�/��iG��[���_���םR��j_�ާs��nj������Ɯ>-j����ǿƼ�4�4}Z�����z ����υ��=�5"�T�� ���� 6����� �SCQ�j]����w��~��>6�������������������Gթv�����f�_��i���8,Kԏ��Z���� >�K�{z����N��>V�����������������K�Ի�����dj? ��k��������ǿƸ�����. ���;�������s��ǿƗ�&��>v�����*U4}Z�򇷩����- �˝��=�5*x����%��_�P5"�* �a�z���x���������� ݠ��~���pI դ�=3ǥf���R�>�T�4�^���ƚ ��Ϲׯ���������M�n]�M�# ���#z e��O�5��*5���mk�Mp��h9횶�nFJ��+ �� E_2��b��N��Bٿ8� MmBA��G�6�z`�Opo^��r ����q��Z_�G�v'�s���rFM q��;�_�#ڝ%���w "����� ����v�, ��V�e5gcX;��QPXQEQEQEQEQEQEU-S�=�����]�Z��{ ���������4dQE���Q@Q@Q@ ���U, �v��baER��(��(�n���ҁ ��)�(��(��(��kt�Sۥ2���aEU(��(��)��i����㸞�tQEl@QEQEQE����{ �ei�{�QT ��(��(��ݧS_��[��GEV��Q@Q@Q@ ���U, �v��#��� (�����(��(��Ju5�S[��2�(� (��(��(���,k� �]�����? ��e�F�����? ܾl��- k�0�)hR�IK@�O��j�}14�^���S% �܌�ð<���Uk��, �4�w7�E��? �J�xۚ��W��y�2I5��k�. ��-�&ۜ�����Y���ƣ�1X������������a�m; k�CP�qgv���I? Á����y��nZS; ���fN�t��F�商2�% �I��G���M_��}��z�YN^k ��)�<7���}�= h��זV`��`z0�? �v�p��u�-ў"�+�Ŕ8�1����Z�, rܶ�H*��h��p54���������+��O�B <�p5�@�p54�hPj@jj@i��_i�V���r�l�B��=J���-D�c�ЉA*�pz���r6t^A�k)�H���� ��*e�P�׵r�R��hfg�� ���K��@F�����<���^>NZ�f���e��X�q�i��. s�U�9��9�j�X�c�S5_HI�Eu5�x`cT����������QX�Q@Q@Q@Q@Q@Q@R�? �����ڥ�Dz��? ��;7�q��iK�FEQ_��QEQEQE�>�ER��j*�&QE F�KH�(�(����(��(��(��Je=�S+Xl&QEP��(��(���v�M�N;��GEV�Q@Q@Q@ o�L��ݦV�؇�QEB k��u5��5���tQEjHQEQEQE�>�ER��j*�;�p��*� k�S_�5���(����(��(��(�wƟ�����=�B�����v_�kϫ��s����*�QE- �! KEZZJ�����p�y>8��Sڦs�4�Q���. M4V�4�:�k՚�M��+��� ��. ߼����^ �jaqx�! t�? �ֺ�+���k@RAظ�Nx��S��? �1y���L�����Mw��f�+�k�Z6���o�u? xz0 �#��؊Κ@��K#8�����3����~X�w����A�g, m����, ���7�lC߻} �8ة(�s[M�%ְ���V5�H��S#���rMu�, �I���l�+����dI��@Ǧ�#Ϧk������qE �. ��s�UY� z���}v�����څρ�ٴ��F�& �V�. I����鮯�7�ψt���R�B6(��. �}�rW�w)8�e������n�+K(�˷9�c�u�*լ�^���9hؘ�S�);O��ߟCY� �-<]�kX��Bn<��,�Og}x=sN�����&��W�L�d�Ǚ9W^���zW��f�QfR��K��ԁ����8 "�(x�O�"U���#�75�&��<֚ѓ�f��(&i���(8jx54�hph�F:�� D)�% 5�f�n�Qf�v:����U��ej�4Y�B X3��5Ije桤Rl��5(�W�jZ*�ƥIH�٧��hw. +s�H���V��­��8�Y�Zf���,���u5��ZB�������-u��_�;�? p(����(��(��(��(��(��(��*�������F��-S�=�����yٿ��OCJ_2(������(��(��(���j*�O�QT10��)QEQER7JZF�@�QE�QEQEQE5�S)�ҙZ�a0��*�QEQE����k��q�Ob: �� (��(��(��k}�e=��2���=Š(�QEQES_�ө��i���#��+RB�(��(��(���j*�O�QV���[�QTHQEQES_�:��)���EU�QEQEQEs�4�������y�z�? �? ��. ��_6qW�—R׾` Ib��I�^�� ,ۇ�? �G�o��~I��� (�l������r�1P���ލ �vE��u���b�v82���SKa��m�ݟ6c�������+, c����9��V������b�Yݞ�. 1A�5i�D�'O��5��k7��6�L�@���s��ҟ��K#�h�j'�b9c��R��&b� ���W ��ψ#���&�G�, A�(�=�A��5�k �Erl�o, ��K)c�U�� 5Տi:>���jQ�j�q�d�, �N1܅�ߧq���9��>����]9�ՙSq! xPF�8�8�-�������]�ͧNF�6��)�"A��k�<��� u���x�O�����+��߁a�4�{h�h�G^ c���L�[�yy��궗1�%��v�, 1. ؂���H����� կ��m����ztN�O/ Q����S�{q�g� �J�mUdH����Pv! n7�2,a�buZ��{I��n��n`�7�G�y��㹇%��`��O5. J�. 1m��>i�;�NU��2y{������V��,7�t7� ��kw=�u'�8B�V�K#�h�vM�����? �5���t�Z�۟2=�E����. ���o j �" ��JI��&�c�? ���A�5��H�z�vRkv1�u��(�=��>�g�k��53�X��g�B� vYA/� ��U��f5N<�>w0�:r�E�i��8�O(�S�����)˜)���Ӂ�� �ERH˷�֢ܿ���#c95qh�ܿ���r�x~F�����I��? F������. -�����4n_�������_�. �����5�q���i�����I��? F�����i���-�����4n_�������I��? F������. -�����4n_������=�O����ןW�xՇ��g����y��QZ�e�� �ܟA�k�xw����g}gdY���r�͐�M�; �����. �u�1[ �? 1=��=����ഘY銲�7ߝ�B�����������Ϊ+�� & ��s�9g��{��8�VҨDUU �`8��]�ǩf�����Ü�7v{0�`�E, ɲ��pX�Tosof�}���T �o@ �P�՝��-P�����s�N܉�QEB�#1o�_��_�7�ҥ����~�6������ǭF�"M����e#�o�ҡ�c�5o��f�բ���w: j}��֦kkM�V{a��? ����Z�m�c��z���ږ� ��Y��-r�DC%�G ��玛F���c�yȾB��/f��q) �3����}sυu�M���, �֋1���G�4��oQ�OGN��HN��5 j���^ı��%��Ys�/ dcs�9�Z��t�i}�d�b�d<%�Fs�c� s���{k=��%���-�- 1fFB? �JA�TW�= ��:�>5����ٔ ��ee�ޣ~ �� �Ԥm,I���{e���H8�? ���,ֵ���j6�y�c ��! Q���T� ��IS�����k���7�-“�B��+z? L����5K[�Ѓu��N? �x��W>&�, yWS� K�ݎ����G�;�iOơ�t�&y8����P:�} �=6s�? �t�OĚ��Gq�GnOI�q�n;����. �1�����>�XnAʡn l;��=�:��,B�E擫[�2m��w�ނ�����z���ž! �����yW����C���BXy)�n�gD �C��{k�qydŭ؅*O11�߮p=r�V~����O:��K�o�i~��mO�}��]B(�N��zH����v���b�"g�b�Ό��3N��]� jx5���p54�h`���i��` �. j, Ӂ�D��� � V�J�ju5, h�MJ��O P��N������r�4f� i�V�W��ED�U��G5-����- �p? ��kg�@�Ԕ���K]�y�����aEW9�QEQEQEQEQEQE��Ǣ�A��hV~����]�5���5} ���(��O@ ��(��(��F�L��Je10��(QEQER7JZF�Mn'��(�� (��(��(��l�v��d��m �aEU�QEQES[�ө��i���EV�Q@Q@Q@ ���U, �v��a��(���Q@Q@5�S��Қ�Oa�QEhfQEQEQE6O�QT�}ڊ�;� (��AEPEPMn��kt���mQZ�Q@Q@Q@��+ϰ�c����s���dӯ59�{� 琘���;W���ChI�"u+����^v�[ o�? 4�q�oS�W���5��i�vva�A�w������i� ��E��>�wM��O��wJ�����ڭGDL�Y��c�i���KNTvF,�qh�p8�6��} ‹o 2�������;)r��-N�M7�ͳ���k��v  �}j8̲� JY����g� �d ݐt���} n�ly�*kvV���썣d#�����D�}��d�����n,��A�H��� �no����L�Z*�]�t��u�5k2�6���<�Fw�d���^ �<�Z^1�}�mI�{ W�X�:�OZ��e�H�S _ؕ�SN��������j��7��=��-��:H�����=�c=y��H�6y��Quco�js������e�œ@dž������N�+�"�������1jz{����d��T�Â��B�� _�u- ���? x�? ��@����8�x���x4�gX�آ6֒��V�. ѥ'��>[�x<�e ��WTӦ�޷nt�b4�@3��? 6�B�_�����W�X[ a�, �)���k����g�P�Gmh���,�g[І���B�G�^��L�;v= N�����ZI#n�9 ���S��󓌊¿�5���i�e��k�gYI�Lobr3�+�]�#��+�ՠ����H����ٹ<�����c�>�Tg�5+MCᗌR���KI hY�K�# ���5���ZIo0m�� ��fb+����ԭ5P��YE�Q���: O��>�W����G�g����˞��t�xIZ&B� �Hܘd� ��#ӟJ��)�4�BO jJc�? ew? rC�2zmn1� w� ���tK��w�O����)�<"5�4�����/ G2��ه? Q��K �xj�OK�����Wk[� �AG ӅT�5���`u `��"��� ���B�ƍXՂ�O��Mӓ��Q���jfI�p5i٠ A�n�sN���4�ji��a�R)��ҰPԠ�u5*���N��� + �x5����R�j5*�C'�V�W NR�I�W��:������K]�p� m����������ח��! ���QEs�EPEPEPEPEPEPY���z'�t�օg�����# nq��W _1(������(��(��(�n��{t�S (��Q@Q@#t��n���{ ��+B�(��(��(���j*�O�QV�ؖQEXQ@Q@5��:��v��Oa�QEj@QEQEQE�>�ER��j*�-Š(�QEQES_�:��)���EV�aEPEPEPd��K'ݨ��/p��*�QEQE��N��Jkq=��E��QEQEQE����? ov �e�'���1��k��mc8. F ��z �O�֭y��Vۛ�, ރ ��! �8"H�P�� {x {��an��Kڛ���4�x�u���XW�7@���ޯjW���A,���Aֹ�, �2l�����Ԡ۹�j�h �m#�, �Y�ސ����4�6��:�v���J�/ 0 ��, Ğ��V��I 0-��׀��Z)�a` ���*�G��ps���һ% �qEuGw�ZZj���� �m�X�c��, i���1�z�f[6�쯞i�&�C ��e�ו�׮���^2�f�, �kt��dgK�8����q�� �ͥ�(��m�>aH�*�� ��, OS�y���RV1�qw9�w� �ӵ�b��^ �ZF}�, ���V �8��e�tr���]b��[Ӥ[Ґ� ,��D�Pq�)�@ Fץ�,�vW/��P���Vܱ'i��m ��I#��j�̴����=�L�9�������[��h� ��qB���_��>���֬�Mkm-��, L��D9V��O���, �ف��q�? �. ��F�>S������ƮU�U��B�H� ǻ��Ev9��Y� Q�솛�ZYc�0ݏ'�&����W�T������b��rH^q�^ �S��7 �j��m�x��)rHq�8oN zc��� �՝�N��M�����[fdu ��޾�����O�n]�ǘT䂏vr� �EW�{�QT ��(��(��Ju5�S[��6�(� Š(��(��(�s�������;��z���? ��# w^��_3��� wֳ��"�����} �҈ �Ұ�e3* ���=3�� �iC��iV,� �4�ҳ���]�Y��:�{ `��O����饕��? �=Jl1�;�FoV��֮�n����, ch�dWG� ͯ���㱊(G�m�֘�����-VӼ>d�8�,�"D���� �k�, �m�=�巌+Cm܁�1�S���J�{�g+ ���<)�-ͻ5��<�_�̇��zg��l�ִ(�ϭŇ�4�` ��̌�7z��[������հI~I�* 9_op} �I5_ �iR5���:�0FS�pwB�SVgY, ���[��A�c��! �G�<��8�T�= K�Y��^ �H�ԙ#h�? ă��+��9Ղ{ ZO��1���� /�U����ǡ�? El�Ȇo����;���]�pH�����`ְj{��8Z�G��C}�MP�7�I%���#�C2'�`~����LQ���d�7�X���p����}�<� "�)dg�; ��~c߯S�G�����w-��"�*���"��t�i�祀�5Nk�{����摹)�=�^ ���. =s�Kź4�vW7c�%���{Z�0�*��7;��~a�j�#9=��uK�g���7�����5��#jN]�0���9��cѮ. _��]9����8�ֱ, k�O 鰕ۘ�bMl�Ҽʒ��=XG�  pz���w��������& �n�)�‹��Ρ�L�! O�X��ZSҜߡ�MjAz��ճ���=���<�+��B? տ����� Ӌ����,M/��Y�o �1I��;�kq���;��R���U�)�ly���;�,9�F�}jH�'��rc�s��U�k����e����7�L-�I�y�1�Ǹ�? �¸��լ��n. ��磁�ߡ��+�2�r�g-���1�`�9s�b���Ӆ{g�8�TB���RzQHd��*5� e��5gg�B�Ig;����֭x�8SdHGaު�^�l0�=rMeɩ�L�&cU� ��? �V��62�G�xK3˪ȿ, D���,��)�ս���%�3Gb��n,x���u�x+��2i_ٷp�m��. ��ϞH���4�+��Ťc�c��C]L�] 2�l s�rk;X�-�x s,�9�P9C��1�j�'�@ յ}�N�zF��^9#���m�M������6�����a��U�a�� �;�Q�)�ñ�T�V�����Gs �9�H�}��k�����/��UV��LQ��G�o�򋃺: 5fl�<6�}���+ �^k�`C �y���2y�ױ�gNW��, ��A��}�c��Ҽ�������O��t��ԭeͨ�����_ճ�s�=�s�@���޼, Ni(���S僓} F �v�G����x�X����*�=���=�eR�S��7Z��N�����<��U���zpx>�E� &Ok�P����2Aa�s�P@Ϫ���P����/�v�*�� �q���{W��7��Tڻ<)euW�(�Wu]6. �Ky@�Ov#����T�z��F����ԧ*rp��QN��*�)��hAN4�sH  ���a{#���: ��o�{������8�+����[�����C�ye��G���O�_�! ��2����V����/���G'ݨ����<3e�_��������]�_���=�����-�QG���O�_�! �,���Z����/���G Mn��QB��{����k�pWE_���O? �"�8 +����w��~�C��(���? ���y��s����(�W����9�=���U��U. ��'���+�qEz=��? ����W<��z(���������W��G��<�? ��8��J�)����~�A���L����<�? �c��L���/�y�� gEzea����X�: �(�� ��~�Bǘ��j*�: �Io�y����W��O�����r�YEz�b������Q^�Eؿ��? �)���^�E5������Q^�E? ����I�~g�Q^�E����? ���<���z(������=���W��G�? ���! ������,��ז]ɟ�~5�}݇�����E9�G��������Y�z��'�吕�צ���+�J+���ʌڻ�>! Ӵ���. �l/��c, �����Q�G�O�z7��; mBx��i�)����>���n+�z) 8��#W��+�_�ZE��wx����A��g���z�A�@�e�� ����of����k��JjV� ������, I���W�TV�������2I&��5��a����, �����t���l��5]�,��KXa��6�1FH��߮�ʽ���+˞��_��Ԇ9F<�? ���t�QM �)��o. 5�6;��W��R��u����� 4�����K�0jV�, ��Q�zr���k���b�' ɲV��? ���{��Z��[��? e. k�zS��� �h�/���~�N��w���p���;�/��T�s�jSÁ^�IW�/��su����? K����u�[ Y�3��5�M O T�S�s��W�QP��o/���oh�i��������, ��>���5�[ �? Jx���? �cR�? ���5�"�_�f���1�8lr�مy ���:�hz� wf���{F����_T�V��� �+�gS�Ԕl��>"҆���w�7�3���W��=���9�ӏ�+�JZ��V�. �_u�m8�d��g͂�_H�^������? ���>n�4�k��(������>����� 󐧭}E�_����? ���>y����_�? ����? ���>,���TQ������}C�߇���J {�h�w���P����� i��? ������{���y�������տ�4�K���W�Ϛ�:���q�Š(�MB�(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��(��� 11 0 obj 12 0 obj 13 0 obj 14 0 obj 15 0 obj 16 0 obj [ 17 0 R] 17 0 obj 18 0 obj 19 0 obj 20 0 obj 21 0 obj [ 22 0 R] 22 0 obj 23 0 obj 24 0 obj 25 0 obj <>/ExtGState<>/Font<>/ProcSet[ PDF/Text/ImageB/ImageC/ImageI. MediaBox[ 0 0 612 792] Contents 26 0 R/Group<>/Tabs/S/StructParents 1>> 26 0 obj x��=ks�ȑ�]����*2%A�^W[�����g�*u���HK�ʄ��8����g �)�����9@����{z... ����꺉����i����"���S���O���n�VUsW�. >n����e�X�_��^�&���c�<�,����I����, ��w���Q&d��2Z/ ������B�(1�O�XG��E�Kg����. �}�n�i�}�7�־�4oIF����y歈��}�lގ�Q���q�E��{��� ��c��&�/ �<����>���ş�K��&T'r��N�X�l�̠�O��Jx�u�4��0;���ƳÑ˥�8����%�����<���t���sz8�L�, c�rH��Dr)�)6��j����P�*x0���K�MRQ�df�(�`�������B�l�L�f)�. ��f~ ���鬙��ٝ�����Y5j�e~��3�m. �Վ�0�, �! �^Eo���# � �` �d�I���0�V��+� �S�� l��? �)�E� �����/>�́�Ӹ��? ��EIa, �-��5�uQ�e@�������` ���X� �! �E��"��, �� �Q`�D��T��4��P���ȋX��>�ܮ�. �����w�G�3�%�l�U�2����b�����rfv߼�]���Yu? � ÞA� �]d�[9[�b�s#��#�dz����gX̬����! �, 6B#�a9�4M�f�j��I, � �8���������, �[ ���P���L�8�����ɷtR�X�! �g�#�~���ӝ���1? �E������(F����, ��#ѭ���������_07� �w�����`�ї�,��ƽ �4�-�G�� ���: �k�2��*�#��2��pM�[}2�����c����� ~ ��w,��`�H��&��j����8�h�t! Z�'Oʸos��w��v3Q��jx�W�qn5�t ��2��� ��nI`��3<���W��f�0q�V��*D_�5�F+�s��)�6�W�t� �? �"���q��(2DZ��k���AF���V�lm��r? Y��y��{���掦F���lU�۪�����e�8�(�jSp��_ �n�3W#p�t�X��tz+>������X `���"aW�@ �X�� ` �w���(��n��90:���4��� ak@�3j4��*��L��1 �j����j��H�f���~pT�{G. ��_��;�#n���)MƬ{6�4? ॆ��Ui��20AR5��`����^��B[eq����BI����� UX�� C���sɇl�Ub8^�m�V�t �p̂T2��+�^�anAlwl�~�E�N���qE�H�Z��H�HO���4�� p�H2���o��cd�0 S��k���A��������U! � �ě�eC&5�~B��I�cpʸP����zu���6���z�6��A�-Z����MIc� fR���� �ih�ޣyV���U�G���zQ]ݓ`�@�V)��Slcc�P��hњW������e�*�'��< ��O^�: ����1Hc-�ᩡ�b}�+�f��R��(��c�Mƅ<�� Hg! 8(���[�����0 I] A����ۈݠ'�0�m��ڧ Dp��Q% ��~Ny! �t�>�. S*N�I[��-a���R̦�2; �p:��HcU�&N�����5�2,�XS�,���h�YYK�(s4Ѵ�7�^x{��Y��c+�v[��cq`̍6����p�_x�{�C�8Ӑ;Cfuڳ���l]�%��ѽ�! l��� �Z�k� ��W��6N�� �0�&��{ �p&��&�8 "tf�pEld��@���P���=Ļ ��[ C���:/P2 �S=���# d����a�p�b3B@�GN? 8�ۑ&��o�����Z��1����+F�>�1��g�' i�Y��FvZDW��(�oú�, D�h�࢟����_���? �O�/��_ �o���k@�7"�=�8lU�>��[�! ��V�6�)l���kӢ�j�@ 泋9m��h��)���`����8�XY�n�LȐ p�� 0Ӧw*�fA�P��knUQ�8Aj�XeS �@ C��! d��LC1N �[ �īh]���6���櫚o��9��( �hcyMk�e���4p�ܡ�U@�@߆���t#���q4}��q�[k��` H? ����4HѪ�3�Q��6���Y6(c�c�<�fZ�Ax�O� ���O;M�7��8� ����~ ë4�}�! ��qه�V�n�4�fA�q��2�! ��nt��ƈ7������P��m�l�؆k��ڙ�6�A����. l� _�Z��J�,���D���( �v�+ �* � �t Q�j�"W�k����6�j�u�Z��Qe1��, p������)j�������*��,ܫ�G�T��k�_�gBJ( ���1H�)���_1�N�y� ����Gn�=�Rzd��MG��. ߛQ��Q����ZQ����! k�6�u���� ��ʂj�H�F �� �%g�U�D# i������N�� <�_�Bo}���T��ۅ}uE�R���9�p G, Ț#c��x��R_�_�(�(���f�U�o7kX Z1J8����G��Sq. `����k[�9F��x��-�Y��(al:�ù���r�a���)q��;�I��)9�! �kle�JA�X��s���]ͪ���m5>���m, ��V��U����̹S��� �R~E�Eg��YK8��cS~膵����n�, Yn�_�������_�#�[2+�� ��d�6F �e�+L��u:cbk�s�s�J�! ܓOR(tSp. A��w6w΄, OTK�E,2�O����-���,�N����>gA��NK�. �GQ�쬧3L�,Ut��L�? ��. ����0ɲ�`qW_b�D�z& ����w� �+���^Aރ� �f� v�������9kpEjh��,��t辐� ����G! d ucw�����U�խ3䒌�U��g�~�T���2�_�W‰@uz�JU���, ����ɇ���>v�mPt]� ��g�����L�톳웜��9�z) ar�`��rI���, �*4yku=X�5Xg���U�i�HC�0@ׯ�ENj"���g�Wh~uf`jaܦ2�ehn�� ��(8�;KF�&�q�����Bܸg��P5} ��U��x��+� ��� yV�,�f&m�����:��&�uyƜ�. ��8�b�T��1Ǫ�����/�F`5H[G�*t�Y �8�]I�O��s'E(Ѕ�/ ��ӝ�i. MmU�����x�'2��e, ��� n#2 �L�q��,w��(�R-��&Lj�, ��tp�؈/ �;��؊�i�j9�=�3�? �3������4��9��5� ���UKbC�o�( �b ���P��2�1'��� M�q8,<��Ip�8M. �(��:Y,��*Rw&uK�tҫlV��2�N# �#�i JN��*��4 �qϖa-lς`��ȼW@�g@�q��9}�, ��K��X�F���# 8����2�! s*���9j>���� +o�C(�U��h�������8�Ɔ�: ���s(}�VNY�l�2������4�� {t�U[�k3��H���l�p���mP��P�D��S, ��}k�I��I rv��"�s�#�-��`�1�+�K��Rd:qR ���W�R��y�ïC* �O�z�z��A����^��Ȁ�+�W��#���pס(F@p�6YCm� �3�;I+E8p�0��o��%����? i��w. ����w��h6�ѻƫ�! �;e! �1! ���ö, C, ��, ����VCt��N�Tp�W��wI�&���a~ �#7�R�O�,��o�Nk�Y��<�߼�w����D�5�ޘ�Ϳ�,��, ٫0��Iײ��չ{���܍��_i�ѾB����שzu^ G�#�f�ۄ��b�m@Bw���2� f��܎Ӡ_�� ��j�ӑ>g�0? 5�+�A�>�k��'�*4D�sf�M��1�7x�uK�Yϸ�c c�+ B�R�n���NOxY ��� ����8����'��Tĺ� QNx����O�b��`����«�NIQP��+ ��m̽J�`�x3�n}4��QOm/���U������c�+t��p�e�s��7:�R)� 7b̘H�7ݪ�^3G�Xp3 (��X�����̈v *�k�HcW� 1��˰҂��Ӓ�s`fMǀ�іA=r^��r]ᢽ�1l��_��DqwN]���Ꮵ�Pi�5MI��ױ���:�y����dX(�q� ��A�0��������u͢Es�'����Ub���W� �����j�, �5P5�c���P'�v�xB�y�x�"e%���p�5u��އG�՘�# ޭ�k؎_���(��#wO���L�7���]�=���Y�I? �Y��pB0M8MǗ�����GA�sh��, 0��g��:��&�{ ��y��3�u` �b� �_Z�1�1o�8���~�? 2�kV�q<��7�C��j9�_ �G�`x0�c0����w�bN����A �����rB�`�]Υ����, pg��Y5�R<��" c�ˢ�e�. �;�' ���Al�����yI'�Y��jKZ}��"�ǡ%��;��7gG�@���#�TB��=�r�, ��. 0��]ـ�P34�9�H2d� ��#UVB�( �? L��NJt�����UE���#�0VL�ߎ<�1���w�q8h3r���( �)�,H�%�! ���t� �w(f���Hw��c�� �%t. c/��dZt�� �c�iA0܍�K���F�u�! Y�  �p�9�kI�1`R�B�򈜤�k[��n����! ��X�BB ܑ*����6{�V��7w���&zm�2���<��I� ���e[<���(�%b����c^��׸� 1`S9~��zM���Q�L� rG��d] e]�� 5W��*�v8�l em�� ��_��r��F�D��1�OZ�B�r��^2ڬ�}�%� "6��1��:w�#�[��{ ����C�J�! ����oq��x�%�Ĉ^ ��� Ǘq�T�L���gÇ�K Y��� 3A�����V44���vHh��Y�η��5���O��]�AD' 2��_�. ����ȏ�c, ���8��1Ē[cu���h3�K��! �����cI1���Gw2? ��T=�! �)D�0�~2�'��i챵���:՟�. �z�_�P��fZ�@ݝٓ:j�8�T@���@��Y�9w D����;7@ 1E=��N= ��[0�q�:��p�0�)�#�A g _�p]�9I��� QI(�ٛ&�֚J���G#v�p���w2�õ����&����7�t�����WM�p4j�7����in)9��}��X! � �g��ݚ��ݳ�! n���{6�G���X�L��٧p-�^�i1�O��Qh������c�s&����v��o��7Rp~2lw% x���{�"�>�NL�G 5R�s��ڗGA)�M +j �n[W���;�섭�]s��n+�, h�Sgp�9�q����6u���SφmN)A�O�Gɠ�{L��j����)E����Ujh�N= a����:<#qc��ϣ�U�E'M[��m豉, 39�;I���烓x^wo��ڵF�'ӹ �î�xM'����M����k'�ԚJSoj��dgn¿jҮ�Q;��i�:�_�+71�T�* S���X! �tvk*G�r�����cAD:v1! �f����;�:c�`�Ih�Q'��c�`f���=8g�w�u����4j�Oͮ3f�MA��7���:cvoK��ƙ���[� ���s�u���f�? ��� z��r���x����y���! �/ �(�23��Π���l)�@���pW�EHgo�fy���ʐ 2�������5����Z��nA���x��1��S��U�bd*���7�3J>O���E9��D�����R�5j�K�R�^T5�8;Z`? ��x74�i��-�/��IK1B#�í�� A45^�c�r ��@�����[�ۓ��m �op����#�MeJ� t8�N��nW>Ʈ%��Gﺴ�=�ܹۛ��(G�zb<����IJm�nO*���S�. �XT�P-� 8E�k�1) ���r�ؾx���(��it}�? ���t�N:V�`w]<�������v����J�%c�oT�O�ovz���������! �:w�P�9��, �� �QD~��m�w���� i�rQ�v�oz��<��k�! �[zی��P4^iR�eF�m��>��5�s��t�, �~7��B�r���3���(����C���5` C��t �l��������j̿�u�#so{Xb�/��r�am -�6x�Պ��M����Ѕ�oa[P�ᾰ! ���! >�z0�۲� P�R�7k9�E�/X-�Lw�. ��K�{� �+'2g�q` �A�N)��f]�&��Q�]�s^� ����j�! �u��nl�FK8���c>�" �! ���Y��c�Qώ���]D����= ���� 47��j���iwK�kh����K�0[gpo׀���t6�@ ۆNQ���á5B�a�F�6���I���S���z1r��^6Mu}�D? ������O���n�VF׫����>z[�f���q����Ҧc�y"��6/�Ʈ�h��uf�ڢ? ��}��[�����@�y{ ��G! ������P�����p�J�G�B��B��a� �]�>�N#�n, # 碤��9�sl� D��H�A<�"i��i�����D6F��KP2)�kG��8��������z������&�Y�k�Q3/�(�5�2���_ll�Bo~9, �c�N���عoq�K;��{�����<�? �@ p-���H���=c���G��S�- �+ F����y�C� ��8ڹ �'���gƕ��#���U�: ���������, t����U}�������~����C��p�����mDϳ�� �����m���'��{<֍C}0���. �ۻۄ��w�X�E( ����Ӗ��{ZFX ��, ����, �}1o�g�i�A/�^�;�? �6 �dVb�G����%� . ʘ���(I1 27 0 obj <>/ExtGState<>/Font<>/ProcSet[ PDF/Text/ImageB/ImageC/ImageI. MediaBox[ 0 0 612 792] Contents 28 0 R/Group<>/Tabs/S/StructParents 2>> 28 0 obj x��] o7�~7����}�, �v�M�r�8���qvO, �}hiZ3�(ӳ�{s~�aU�/3%Ů��Y���X���嫮���7��꫗�����6k��˫��W����7�}����������}S�����7߾/�{�����g�~��2MR�_��VZK-r�DQ)�5ϟ��b���̤H��M�had"E��7�? ������1��V�~����~J��o��1B�����~ �F�B�����~n*6��{ �pS���g? �տ��ϟ��~�g��������)U��{gw2r�i���= ޴m? ��ܮ�J �� �"�J��. ��tX��^�Ҋ���%�ß��s�F�H.  3O�x����quY^ܭ�E���;����R�z%���W�~~����U��i��GF�{�9޳��UÞM���H�ˆ�p�tVٿ�Ei�T�ϟ, �د�Aՠ4Žˎ�������8s8�& ����Y%�qrl�����w��. ފ�:�I�vpF�4�B%RG����(���(�ZU)LM����9�z8疝! dJ�K�d�ϙ�, ��"ޣ� �F��ܗw��~ �? �, �A��>[ռ�ᮟ��O~��1��T1���m�߯. � �o�? u/�7�;�Mm���m, 2˓, �O�}{b0��Ω�������"`P�'�n�w,����ѭe�R�e���jv p� �=��&ɫ��d�hé�ڠҋvo��w0�vuY] �q7U��l/q*��&���%M��[�L�DE�嶵+lU# �lA, �*�����1# �*����X�Q�H:�L/j�; ���? �,�qv���sԦ"�:tvHR] ߁����;B�z���0�H���,������-���m���w+���t���? ��[�TBp, �Ӳ���Q�J��c ��ö�,Sx�h ޯCc���Uߑv,i��? V9�sR�I˰�p�5#����7 u�J�Q�< �z���F �D ����7}��o���Y,�U����:�}I7����h�[U&Et���9���9���AԌ{������}g�׼e�, � ������x����� ��-�~ �f-����% �Ͱ���E���` �ڙ�� ^�w��8�T@iO�U��kk�4A���VԎ�H}Ij��H��) �_5�=V���+7�(�(n�t��a��Y�%iY�-��f;�}�װ���O>>��dd��4-����T��5�A���w�-<�b�ݮG����_W��9���e��} ��( �22>��(�tfQ�D�)��CE����ӅL��ʚ. �/�H�'Ļ�[ϲH����Q��]S3�? RY�>� ܂QCZ�{��F� ���4& ڮ�7��:Ao�} ��`���s? t o =g��G87ӓ�0>)J�s���G�Ij/��89���~�Z�6�+���'T(����0�-�%�%��*M��_��. �� ϝ���~�^Xi�n��a, �21@JFJ���i%�0I�ֲx�x8�b��=��H ��HB�= p�����%���Z]�D �O�� ���:z� ���l �T�د��L��S�Ğ��, ����yV�}F��t�����p<�*�. ������ź�v&���=�Fk�n� ^�#�C* ��D2��*��m1[������6���8�fP@�c��⁆�~�7��X��A%�������j� @���~ n�:GЊE��j�q����:�0�B�ie,�i����d�@mڕF���9���9�<�<�7~�F��#��#u�����S�����1�_iwH�9P�s�GgV�� ��F�? ����jrF�_0o�뻁ʙCb��gG��sd��R. ��*�S, �� ���c�o�xX� �E�M3���m�� �Ί���R�Ql�s D�d�>�����(i'���nv�]��Z��� q1xZCsS� ��5? �Jp�xW�z��. =�kq�Sp�IuHz�# �f ��0�03�j�, ���. �^mC �X,�U vY��e�ok����"�ѵ� � '��o'���v��;� � � ���'k��" ��i, ��a�93Y%2[ ���IY�pZtb���c�O�3u��"j"�h&�2Z�2�� ��v���3%�����G�������>�EW�D�8/EW���'�fV�eK�8Wx���,sDZi���y; ��a4�<�VO�3̖��K��� hAF� ��ݢ4B6�L*��, : ��ߔg��b��,S�' ��' �&o�33���a� 2�"K7W,h����3o�G�K�*��z>SJi���. 2��EpN��;�Yl��Fj24���FR��~�n�SYl2�� i������HfδO�����! �@ a3�` �@6,����"�������Ri�Ll:5g�����@u��_e4�hG �f �H���ͥ�9�Q�ӗ�o��0ѱ�,O���'�= f��4{��C���U���H�5ILg�SV�#�, L�D��y�L�3��ނ�8D-w? F�WNڛQ����aR~��r��I�F)�:��́K'O d? �&� JZ�= ���d�U��p �<��N�}���S��X~�=]�WvN��h��h��(��ѝ=����2炣�@Yq����bX�Q�I:��K�2i�z��+l� ��#8���`�*e��Ⳓ���-J�1�S�E{6! ��28N(3�/�L* N��`�Y�ޠ;����TE���6���e����n%���B]1 _��}���6k�, 0���^ �7D�<�d���kƀ��Gh��<#h ���LJ����������a�&�{EՔl]�,9)���N��K���Md4X�K �! u����4�6�n �~3��Nq�9���:��A�0�s? 5�wx� Zs���ƍ����I �9�. n�+3H�->ɬ�'�����4@4]�Rc�_���(�Z�<0�,��/ F�WH��L�ezSB ��Z����i�T���P�y���3y�=�:z�f77C�z�̑��~���VH Z������i�b��� ���´'ˣ�)V���8A� 6���d5����)��ڞ;�6�Xo�ӧ�N����ũ�H�[�*�M�1h� ��a�gt���t,�tV���%�>Q�J����j)���S�W9ޛ���D-�b��f�a�*xƫ�YB�ŗ��Z�)��"�ݠ��}u��H�/>A��T�/��. �6��zc�'c 5" �{���;�y��o������<���" cplj�{V���_�A ��k�8J�pưP+ ��O������ �;��<:5F�U&2��, T�"����f��. �p��z��0���C�3���@�fd�4, T�. >? ��R�2�Ҿ-�w�pn'y>�����eI����'���S-y���ZB�F�2G! ƙm���3K� =f��<���3Tr��l(���'̮ΓO��G_Cd����`����lv>3��Gq�Z���I:U�p*�GK'��x? ��' rF{����<�Pc�+�؉�#���NӐ, +�ҫ���V�� �#���'�(sH� ύ���! �Xk�Ug#8�ۿ6�Ew������σ, Ȯc��Sj��p5 �8��P������2��. ˉ�:���� �p�#�"������`���y�l�IT�Nx��(u)�EBB�5+�b�ؼ3� �Ig5E�cŞp���2�1��, E�6S��) �g�b��(檢��! w ��S�`ƽӐ�%첚�8�����C�8��"�3������=�<�n��o9�gc�"�f u��k7S����L��'�� 5Iq��? �:���"�/��? ���ʰ���a9�, {�2�9�+ ��<��ra�(��% Ej 8)g]9 ލ�yF/e�� "��ɉg��j�3u�h5�u��zJꞖSp�` ��즎^ʺKB�Pŏ��Ρn]ƹȅ�9 �z5o}��CTƚ�%��O����� ������ٟ/x�M d�98VY�k���SsnpUJ�yÐg8�O0@�~x��-����% Y��, ���O�á�6��Ēb8 ��AvM%e�ͥ��x����v=zQfu�ڑ* ��:iO�, ը>������h�����a7�O�5�ĨAi�W�3�������T�v�[��C]�f8��Ą! K�P��s��>>��K������}Y�2=��Tf�՟ǻ;�z=�f�. �Y���"�K��X��#�# <� ��*V_�5qr�c�3���V%f��h�]e������(o:�;�h�n��1Qo���Hvh��X�D�F��Q��6�DN���� ��Xı�NɬQ�z�0vF�׃. ĀZtS�B��� �����;E�9��Z3��1�g��̥��Q� ƞpRc�������+�g�OΕ< i�5ĥ�M��&u��p; 7�������{�OU�OVU? �q��,r���Y�1��SsChM���B,YG�(�a<N=��8Ď��& ��٠5�7c! z��ѐ��UZ� 3�����p�]E�E. �5Nr�? �1e7��S�NL��RK�� @�nn*��, �4�+k�O�By��JJ�GTZF��3� c���/��<��'�� �1�[ r. ��^�� F� H�%o�*d��l�Z�0i���~d ��ؑ43C�ƌ�����T -C��c��6g'�2��ׇR^�r�ʹ�N�&�� �: �� e���7�f`�9k�B%���Lu� R��@���NuߙK���E�K��7���2{K+�tҙ���8�E*�KSA��? >�� 8����w��. l��M=��T2�q �lI����0#�+�Y�U*Np��U�&�����*��t��. �Ol�ׇ(1ƚ�H#-q�X�����R�2����3��5�b:PV����d*� U3o���:��1)����%pb�gn����;* G�Ȯ�S���'������C������:��M�CˍH, ֿ����A��G��B[΃�k��K E=%i��̨I襽�L�! �! t�"�{Y�#D��w^N��Π~� �9p�[tKBZv`l�, ��ĂE? d��N/9��. �K�{ V�P�ν�,l���� 1`�����J��3��? d�B*n�y�Ŀ+f}9�b��3Մc�H���8�j# �d� �FC���9]4�, ��%gV�IP���. 4���K�s��K��, C�cn�4c�#�AY, ���O�ub� T�;�@����* �=hF����A������c`��s⡹�+Ta]�q ������ m� �՚���3K{��>K��R֒����@�I����Yn:�w�/���-Rሲ�U γ���1cn�ɚ��, �ߎ- x/�TP"F�o�@��! ��O{T�bl�~fo�����U}��I�>��8]��k��"�J��Y"�&��f��Ejf�����e��I�b�us�}2�Ce�)z��I8_�_ �IK�reh�^�[Ms�,�&��%gSbMB��5�D#� A�u_3�d�) 5@��o������9գ# ��eC7c������ũ�"N�* ��� �[�z^�SsZ�Vi�O�5� �,���_ ÇY����7��S����q�γWΓ�o0�߅��ٖ�ڌ��ϼl�A�Y�����k�dq��/ �mح�12�3_Y���q��I^ �����Yt ���>'���S�0tj��rj>�c� �7�̧, sP��"fe���Q��* s���M�7�@�����6QaM��j�܉�]�E�U�gm ���: S1�ϲ�UG M3��� `OE��n�i. �ýAS�Hn��2����Q/�tp���t�G��vd�iE��x�j�J䩭�0�, ����֯��5��h�? ��>�;M;e�����gs��bL ��xh���E�dX(����T��hb�{ &0�"�A��3�9���*�{ iX˘�Q���N�+ ��Bd���bd�o�܁��J�*4��wq�c�0����*yAP�C���P�Gc�. C�x���, �ډ�u�. �����#�? P3S�9>>"�徊�y�k�c������b�w��DwӞ@o����d�*pm)—3�, �, R�<? xK�&�PҔ���H�%� �5+�#��m쥂B�S����n�+����ԇ}����/ f�]�B3�- ��&�p�_�bi��PyZ�c���i)�(� �I�P}�-ԥ4�#��͸Ev_m]��j�%�d��ث�����f��v4D�! ��ݨ�����@����X��LYv �Y���� [1S9�{��Ia�1�? ���Ehvd�]vC��S1B�Hz]�Gu3����c�I�. ��C����Q��C��o���X�Pk� =r�, O�TGv���? i�� 29 0 obj <>/ExtGState<>/Font<>/ProcSet[ PDF/Text/ImageB/ImageC/ImageI. MediaBox[ 0 0 612 792] Contents 30 0 R/Group<>/Tabs/S/StructParents 3>> 30 0 obj x��=io�ȕ� �? ԇ��H4��d! ��� � � �A>PjJ����Ҕ���>�( �>'�Ȓ��z��^ t��m}ӫ? ���E��7�f�~y�}�狷�=6/�Z�����=��z���W��Ի��ӟ��W���OW��{����>v�& �/� E��S�6��������ux�L[�R�/K�2�hU������g/ W�5�zժ��k�[ xKy�˷�7���:I�z{ o�wk�9U�, �r�ޛ�;x𧫊�����? �e���To���ُ�m��&�(�eEb 1@��� �� Zx��}��49�n�~��. �sk"OWtJ�2�i�;re��>�̤I� 2�Z�l��⤀�� `�-9:�~Ih�Ė2+����r��, 0I �̚�ʕ. A���? A��熃��H��3OB ���r�= 7�l�o�����ݞk����n�m�-��m�uk߹�L���+D����yz/�X! �h��z"M�L}Dbs���򢄯��`�����ed���u�:�ϟ]�Α���4��] ���X���9�����v 0r���#�<G�m� �hwbHh�Ł�> �l�M�[��� ` d=�{�G�q�i����Fe��H,�%��Q/�������W*�Jc 6��}�ռʑ׏W��V��o�ͦQW�E��t[�y���u��x�_�%�������} �o]��b��J��EѾ�:M�oAb���L�Ĥ�c�(PW��hi�> f @��r�~ �mZJ�شO��,Q�Q� ~�F�E����בU���L ��8�O)���on��������8C`dE��5,�զ�` ��,�7T{�D�o��Ow�������F�ب~��Q�]mZ��+ ��! z ��AY~��5��W3�nPnvM �]s���b̀x��Q��-ȶ���� �, �Ct��Z���eӷ�r��������. ����2�0�? �o 2��H�X L! Y���vD��p#�Q�D���_�Bh;�������~ ���edo� �T�� �(�( ����/ e! Z� X�7d��J(��5<�H��D�% x��%R���r8t�H�, �! �E�k�Q�� s�M݁��+m��ߓ6�MX^7��D��"�d<��ܐ��~��wDϿ J"KF��L���J��v����۫3! ��Gt[���S���f���9�F�? �K�>��? �7HO��� &�WVHsh4t-ٔ��������=�y�? �ۑ���. ����:y�K���. �pdQ�U! �@�B��s��B Gl& �iYP�UB` s�_,�����8C���j;��g�ժw` ���m���_h��#ݯdW�. �e H�5��2�za��O, K*`͚�)bֻAAH��ڒ�. �� �( �FPi��, �֑-�6�"�啺�Y������ (H����Y&D�;9ܚ��+�p��`3"S��! �à=�閝��2VN؃��? ����nGJ�^tG"c�v��X��O���`�~B[˛]��. I����@Rd8A��T�4��1��X2yR�^�(A�% �{�����i��, ��1��! MBqNU����3oU� ƋH��[�YF��xs��u���,����A�V) F���XH��r�6`��u�or��U� f�F�1���C������LT6�r�Z 18�T���E��% ���,�p��� �b�ŁRM���n�'k�z;h? �? �6 8�8�˪��x��H_��YR����h+��*� , ��I1���H� �R*�]�w?  ���u]�q�+��� `��P�+ 䂺��d���! y��=R8�L�Zk��]qOlc��a���k�P��-���L�� ��PZ/��� ��br��2@M泴 ~C����A�? g���Y����X�X�WV� �KE��} ���<���m>F@�(>�F�>Q�v7���Aڞ��S;���E��iٌ ��"�����X�2/D�1��J? ���@j^��6���Ȧ���J�h��`���&>��F�,�l͓�e�����c�����;��#w/k�(Ue��o ��R'Q�~9[�� 5�`73;l�0l�%X�B8�d,�B�kRYA�~ W<��j���<~ � ��t�u�[� t�� 4`3��r���]l���=�. "�j, �l;U��W�x�>��/��� �P, K9"����� ���? z4���ھ��Nk4�BDL���b�. ��#�ίV%lA����h��=UFL�ז�4I)4�9�{A�6Xm���3������Sg��R�uw���"��뙟��ays&*�+c��vW���c � �k��bՍiC�! �=��;2vƺ�z(Z� �D�G �҂��Q�p�l>�H��pI�#��! C�AV���? ��t�M�H@ �b4zM��9�;2�XK ���3@d���A��q��. ��Sg^���~ܣ�@��g�B� w;�* z'� , �(e�ȕ��~ w�1~ "O�jAP� ���AZ��H�jn��{��Z����Ժ{���L ��fY[��mQfc#�S; ݀��%ĝ�� �N��V𒭶QL`a��k��, ��`΃% � �`����E�N0nFG������;5T�r���{�Iz�fQ���O�2:�v���-���^_ �, 1UJ�� �������TFh�N�Xk,f�g*�{�ϧ�6��`>6�B�po��` ����~NG�gD�� �@�4r]�P�g�9%amǬdj�&i ĕ �L A�{�q��;�M�������H50����wk�����}kd��������, �5���V5ܰ�Ӫ2������jd���� �� ���+�E� F���3b�c��-K��Nԅqydcg=7 �tC� �j? ��X��9y�% ��, �]���9�-eՈ�>�ڎ�2�_ ��fγo��ۡ��' ���? �Iv�R�1%/ZV����#37�^h�D١. 69E[S��b�C��� �㍲ ' X�XOrj�Xj�W! �^̱. qA�<]��/g����. O� �)4���9ɢ�JG�(g� �wED[G5�! �y��X��'��c���x���y�L�[ �f���, �E, �`koEY�1�����b���1��F�4�rJL��=G%�n��E�:z[���4�c��Fo�z�# 3�����I����� ����0= X�iS� *��Z�� A�X�i1ǣ�ݖ+1E���[���n�#�)B��I���լ3��lU�:x��"�zr��VJ论+N� �� MU k? 2��8D�fµ�~�! �*FQ���g���-��x��Ts�A��'�}f[ R2(�y��H ��T� W. 鬂A��e1XR) �m�*1:Xڊ�G�=�1d��� 3���5�����6�E&ˠ3�͍��� ���(�B7���m@أs�mE(h��2�*�2���4)q�󪼂Bɜ�J�` �RQ)��s:��ɩ�f6ɢ����L-)K2�W r���0ԧ����s̊�w���<�7��h�0�qJ�p������̖������"d @ �&�a�. �M ��J, �H���ER. f4a W�-��C�bk ��a�m�-D�n2���#9�E�X,. P�z;g���y���! �WdP�ĞKɁ� ���Z? �ڭ, k��J�*� dj��� ���������}e���S! �h�Ba��]Q` ��m'W�`��CP~d�[A0Ł�! �}s�}4+@����]�������ŏ��^� �)���q. E�,�ğ���+�1�B�Zr�iI��,&��m�Sԥ��U��������>�? ��0 � �t)�b ��t�=��Ȳ3= Y%>X s�v, ���4���J/S�C�w�', �+ �r��eMr�@n��>Ć�8��c��n&���Pi���4��c�CΆ~l�G��U��fk��f� ���U��V�@�Q��ƀ����B}�00�涜)�L����rj�Xu[ Q�. ��C^�3}Yͭ. �6�W��Sqhf� 93�a�/���S x3q˼�w, ��� �9��ꕠcJ, CSEo7L E/ٝA��! hA�f�*@ P� �r�U��� @̃Q4�_�<�i�� �F��%�t�*xJ���oڸ���W�;��p1�}T7�&�`�`�} �p��O�� >0FPsSD���i��L�CU�&zI�b��>���oզH�ݠއjIn� �9�›��4U�c����,d�A�zTxl=�U�a��. #�/�A�h=C#��ܖ1:C�b=��,Y�ؑ~6A�D��U%d��X r��%Z�&g^٪�o(0��}˷` ��"���F�:��, �ʝ��]Fw�N���yM�. T�Ԑ,�S? �+�� ��p�jV` 6Bǝ��e�]���EB��`�yS����b�1:��. =F��we���LifIbE͉Qn��C܂����k�W�Q�q�R{����{��C���<� �G�k�ά��n��06qqg0t%���*��. ���I� ��x�ޯ��ڛt�����%��! �H�4U��K��8��6�nQ�= ���pc��:mAW. �i<��+�����k�;��֌�6�@�5�K*��G���*�� 3A(�? *�j��yl�A�KTB'��,�J'ض��5�K���؎iR��}�� ' W�P�b��)�. ��S��npF��z)�E. �� �mN9�Ϣ! Mt"�����D,A���,�,O�� T���t��r�G;�R-����>4��ַ�c�H0�C? 7��r� ���U�/9m4�ha�����f���i��� ��fh�A��ݜ / O�, �cM^Un��P��8�o��;��H��&fً3 x:S>%8+�����Ƅ�cL_�H�x�K�^��Lo›�`�, v+��"a��p��t�ԭ����' ����, l�g��0�Dg ���� �)�wp�ߥ9��VX�>����A��X��m�SY��f*v�M��R��s�޻�2������1Bx��os��6���h�X���أ�2W��#��#��ҋs���n? . �����f� 0��A6�c��>f�[jy�T�+�H n���! �ĶC! �M�s�t�K� ��<���)u����(�0�IS���zMc{g��dI, +r7��0��c�[Eğ�m�R �� ���4 B���zz. y�i�I�Ofm�} 3���s? ��f��{5�{�>1�Q��^�p�U><����g}<�m<��@ ri���% K+z���G�}�Ga�dd�{ �n. 7/�{�~�y��J�P� hk� S7] 31 0 obj <>/ExtGState<>/Font<>/ProcSet[ PDF/Text/ImageB/ImageC/ImageI. MediaBox[ 0 0 612 792] Contents 32 0 R/Group<>/Tabs/S/StructParents 4>> 32 0 obj x���m����� �wh��b&�FM�s'ٖ��t糄 ' 6�J�;I�V�����͙bU�9�s��J�⿺�M��fu? rw����}�. r�������/o��������Woo>^���~ ������? w}����l�~�U���c�����x��Q{h��85�w���oF��i������]���թ�5��C� ꠚIw��y������z{ 4_�6�� �. ��6S�ӗ��j�:�}���խ��o�~8 c����6oM�o_ �ݶ��ჟv��o��. ���L5� �V#�� ��t��ńL����Jm�������9<���������-������]��^HO�t�����? ��Π��8^XH7˱��ZRd���,�! ��D�r����PO�n��'lwQ>t������: X�FͦcӍ ���bi9��[dT�����G��^ͻ��G���~������˛�#�����}�? �ܿ���+��ڙʸ6Z�ͳ�W�. �� yٓ���8�����6��[���i6? �����6��w�`ph0����������m��6��AM�V� ���T��u�8d�E��϶%���6�]�:�ITO*�V�қ��T��e��SS�ǂ4�Q�]�%ϭ;Q�toG�b�s�FM��6Ew�(�]�<���/Ͽ����K���}�q�~��7�~���n���, ӛ��-���. Ą����T�, lJ/M�<��ٓ�n���, ��G���^w;�GV;1�󥜸���`z>B����&�(�VL����滛��l[��dֽ��F���뛫�͏����TJ�Ca���e�L�Ԧ�3Cɡ������,<�w�Z�����{b8�:���FS)m�-؅;�qW���*eAp����v�Gwc��aM�y�4�o��[bJ7�v:̋�w���4E��Γ����(� LO����+3�)cܙ� ya�� �ugn8R�i�i~ �. �)�mC�[�c��0Q�� ��6r�4��^7q���~�Ƒ�o��S�uhk��x� ��k ً���+ۣ�? Zv��Ƶ�G���jw�5��=4] 6���n{ ����s@���r lJ&����&�JQ�����n�������mo��f�,�gk��w�AWwI��2x����<�� �Gq0���@�P���[9���^:�s{z�C��SdK{ܛy��P�vm�C���ʠ����6X�^ ��- u�{�§�/�]���v�Օ��o�` ����qC�ڻ������x���h{t �. a�����Z�Q�ݔطXP;�H���; �o��Z�� �-���* pt�7���q5@Kp%BC8*0����ZŴ, ��p% ��~�Ft���p)���<���XSU@ �* XL8�Xĝ�Q��I���,�TB�I[f�Ƙҳ6�-G���-�u�Ȩ�;LyZF+ ����r���@�" ���WN�s�d��Ŵ�����n�l[���n! �ǻ%�=�-D�n���w]�-P��,�ۣ&��+u�u=n�8. Ε�Ε�Ε)���s= r�3�i���? ��9�S�g0��ҧ���92�g@ r����Vc�㞁�W���/�������>���H��#�ćŭ�n������i��5�)驶�`��� eB��l�0�-�^S%��'�T���s��, Gp����: ��h�Ɇg�W�4;��m�T z���d�S�S3Gs����N����]�� ��޶�eS���� a. B3��q���v�OQ! ��,���5�8�(�4FyJ1��W���� �Y�hi�d���IPL��T- �����p�TXCVs2e; ���Q�R��t�J���(Y�Qs2�K���Ԕ��՜N��B ���"������f� ��E����X�. �LU�c���0E�tcOei�S*�Lo^e �2�Rd��� *�-�I&�P H�Ddsb2��c*�t�g�i�]��� �/ ��ӯ�[Ҫ�1C{��<2�99ѴˆF[�����6�d� �F1ږȄN�_�ϴ�,Ƙ�x�c�#��x��9�@g�À���Lw�hK��ph��f�g� U@� �ͩ�d�{Lf��f���0�� V�<���Y5w��Us�<��v�y�'W�] f՜� �7u�9�A2��Us����;v���W� ��8 a��I�" �(�@�p�PB�+e�2�t�LW���Wj����I�W52�����W^��F X��HX��? �RvWx�i���~�} k���Z������5�Wu��ڴ����2��P��W�Y��~��Y�7lhp��z=�K'̥�����L[L��n NR�Ő�t�h�يlJ�gt+���a�&����x�D: 0�2�"���X�j9�:G�tC��� �]fg+*�`�2s����D-�QQ��0�? �@ UA2��5��k ��" �R^S�^���x�L�z��*SG2�5����W} ���:_���JU�b��h0E�c[ ��ck���������q���z�ZkT�������dh�2;88[ZO] W��ԯo̯�S��ˀu�n*�! V�yx9���LRc*�֩��'z;(��nmM�Õi��1mq�"m��ۑ��*I����@����Z���Z(6�#�/�# �jT���C�W+ ��g+�V6@ ��'@�0By�R��d8�g8�� �b�q���H��E΢���! ��Y�q��+�9��# �+�qV���, �h΢�C���gQU@��* L8�XD�a��8kB�řJ�5����i�9*�����YA���f�Y���Y���݇U��}c�C�k�o־7��%��Ť�#6, � AN���g*�r��D�o��S��%4�o�+ �V�"�bm%���qO]� ΂W�ϒ ��! ��9 �z�`�3�` �f(�W�`kCx�x�d��5�-�V�-��D�/��JY[���V�n3��V�d[da�� �. ����h�z���: �q:I�l1^�9C����-����i [�ڣ-�9� �Hh@�t��@�e �������e��e�2 a0��e��qg*2��ە��&�3�sdt! ����L] �B`mE�B�>�C�}K1V����-cm�p��! �����Y�SOYhʪ� ��%8�[�Ő1 '��"f�YK�ͤgigm�pK�A 'p�"h�� q�@Z5�@Z��� P '��"j��������Jc���a�( �,���5q* �PW&� ��I>���Σ8GO, �, x��1�e���"w�'4�I>X��B�"���p1���YD�����ӍE����� c8��3alX�rdr�= ��C*2�y5����ڊ0�,��k���W��T��_ ��� fu��Mv[B����l����e��2. �� �%8�� �B�'��"����/��C>l��. ����e�;�LE. ��)�Y� �q���6���V�2�>. Od�� V�<�M*f����qz�� �zUH�����E�P�^#���'r��E0΋8�Pkzsn��# �J�s�`k%�"�o/4pQ�! ��q��* L ��k, �R�����X����wV���L�V�J�- Ӗ+�-�������<������[y hݿߏ��7���׆ A���d���K���� e 4e�(�����! 3�=ϙ��E��o��w�9�@X���� o�g, E�w+�� x�! 0~95��F�o�3�">g��* P�����h�3dE��Y����I���V� UĹ��3�I��=���1f%g���! ����fy ��qʵ�����x�d)��]D�. ' d���aH_K��[��E�ҋ��Jr7��,�'� ��@��6�Â�� �"V! �۔Ϋ�G��ݐ8U�jn�Vo��^q�:Hx� k+����տzo? pc�������ԲR~X�׷�*t1AO�� o��L%HÞ&�F'G�IzH��q�Ő! o�gm%H��� M�/��� ��%>a4=��}�T��Lt�=����*�i[� Wix�>k+A"6��<]i�1�C��;�,Ҙj����H[�� ͗�! ��(�`�N�4ޣd&�;���`םi�*�B���t�p9�d* I� [I� [ ��ZFN��gm��Y ���LEV�{�H��� TI��H�����Ym�[�Y[�Ր�? ����b_gq}��v���iT�S��w�)��'�ڌw�s�"�! O�P�J2�ږ�� CD���gmET#��Q�V8GPmC, ���j3��ϙ����S�j5��j���dT��N~�VD5�. ���*u���(�jv�P-aQ��&�����àZ(Ţ�Q2�QM�(��H�&Ԕ`��jkU, ��fE�����b�ǩ�4� �S��)����i�tX v��x�? g*2���N��ȯTI��H�0��+ 4��ڊ��, b�����7����_T���3�#�[��Lg8�3� y����, ��m N�1�Ő� ���"��q -���:M�� �a �t��8S��pt�U�sd��6F7/ �ق3X[���! �K��t���(Ogf����,�Θj�Ip7Ht���љ/���Q2����x��)H7t�ה�z7Ht�b��7+�Ψ�p1���QU@�* L8�XD���;��Lg N"�LE:����oݯ�: �, �3/ �قs X[�ΐ������w�G�)���E�Z��ro��/�g��Hj �*�LERC�&�6ѤV%HmKpB�. �Hj �' mER#�����7��i�m� AO"�gp�"���X �_�UF��jd��6F: W@j8���I �h]G�߈Q�H�4FyR3�` ����T�L��I"����, ����YV? I��{�LG�I 5�����I"�XKj�YѤF���'I����Taa����"2�u�. �N��38S��̹tEj�{����NKH����`mERC���ݒ� ;��} �5Mhuڃv���a����ɀ�8S � �1:��m N�4õM�8s�5 ����3�4��6���'�jq�g+ O_�Ҳ*Y@� �! ��Ɉ�Z�;����c�I���F+ R��LG6�o�pc�)��"� ��ឮ&N�uH��vT(b�N��r�ܼQ��� ��Q�_鐭�P� ֣8�kB�i�#lM��u��{Z(B�NOK���͊f4�8��8�hT=�  SN7�Mw6�"��6�<�؊��K�������H;�, �4/ C�j3���Hi��L���Ƣ��4�}����J? ���ݸ�չ3��! v��x=��T�I' lEtC���[�d@�-�}i���'�Et#��>�� A�4�6F��'�[ ���� ���jd�6DF>/W�n���XD7�uym�ѭN7�[i���֭��)t��4 ݘj��8t�v�S��%YN�1ʼndq��{' I� �n,M��� ݺ�����fE�u. �z�D7� �S��)�����΅��% lEtS-�n�W��NK������p�"�! g������[Kn7�L�l��7�� m_ٽl�H��s͌���G耼��q*�j�؊�M0��1�J2`ܖ�~5 �T&׀31���@��Ui�m�AO�8�I6`lE���Y1N�W# �! B0 z��S�l�X�8��l�:݀q�A�c�^��SOIu��F= e��3fH�➒꣭��SR�d@QOI�� 2�����Gq����POI��"ҧ�'�S�X���7+ �Lb(Y. �Z�N% �r�@l�2pұ��ڙ+��*��8[��:��@f���� 4w*Y@sA���p�k, �v��+�qzw������k��*e�7o Q�b����V5�j"��:Ij���{N����Xc Ԩ���l-���N3�ږ���dP�y��j�������n�*�j[ ƹ Wj'���eb�>*�*u=�)j���/ƒSM�O���Á�/Ń�Q�fM��{�#� j,MڧP�Uq����F#9N���U��qU��pE��E���n�CAZ��8� ����% dP% �v"YBh^���4N= �EBC��ྺy��v�~ �E��;�mn�ۏݓ�V�˴�qS�����m� p�"�! W˸�J2pۖ� WC�6��Xc�ۈ�t��9��m�Dn�8 ��� ����jd��6D�˕pNC`�En�b�/�U�n+ R�ۺEnj? ��B�۸j� Y��,�ےzn �Xn�<��. ��n<���fE�&�^ ����U����m�q��q�ۨ* zL��n, s��ǂ�Q�qg+r�8ؓ�s[f�=G��D��ۼ ��D�X�6��W��{q��ϫ�vC��P)<��)H x�F�i�-� ��߄�X�wzԉJ���m��! SZ�Xc�Ґ���q�O�i�m AO��' p�"���ؕ��`7[�, Pچ� �� (�É��Hi��<�� �V�<����EC�Ҙj� q+ �&�p��K��x�̱Z)YT�(���B��PSB쭔, �V�R�oV���jɇ��Hj��Ir��I�j�H�g���Q���, ��Q'��N*? �"�@椒"�I% �Z�Fʈ%E��OS�Ԏ��龜ZȦ^V��ǽ� f`���(m����������cc7 �r'0�6U-a"2�[�m�' ��>�'��G���^ ��j�]�_�? �r]v�uL��[�D�5�]���[�6�X��G�7�F�ˉ������&3�ȝ߭9�7��. ���n"s��uc/�[�. b�^�{ �����jw��3�^�? �a��ˇIO�a�0en��r7�i(��� �8oc�9�! �{��b��iB:�. W! 8. Z_��Fe_�}��>��#�d�^a��n��l�G3 ���݅���6`��7������-�k���ڡtʙv8ll�&������s�󃝩^>h�, �N���� 33 0 obj <>/ExtGState<>/Font<>/ProcSet[ PDF/Text/ImageB/ImageC/ImageI. MediaBox[ 0 0 612 792] Contents 34 0 R/Group<>/Tabs/S/StructParents 5>> 34 0 obj x�ŝے�Ƒ���w��. �78 g8�`���vl8,��irfIuS��ڧ���*�Bfh��K� ��/���:/>;�^�^������g������. �Nj���������_��{�p؝��/o��o������>�����/��͇O���ɳ�N�eYE�s��&�J�FU�F��'�����g&3Qb��H�<*Ll�*��2z��'�^ ���;�� ��W����s[�, YWy���3 >��J+���7�ui����i���Bi��Y��"�Z"�� 4J������0��^�b���uX��6�چ�, ��22� lid{[�Nq��#M�4q��C,�5��q{So�m��y{�o���7&��&������o`��֘�]Y��آ�L A�}u,��au]l 㲃���H⪈>Be˳��VV��7���h�m��'zV �Ed�e��~y�ɳ�x�P���N��&6U�K�F3a�. �C�]�,�j���Ȼ�Q, S����bX���6v�*��pk�i�k�)�yo�@ Ks�i'�s7��c��؎�(�V����w_ �e�̄% h���M m}X�? m�Ϳ�7���a[mn�7 Əs? e �M��? no��G�d�4:����M��`�l_Ch�h�l���ݭ����=��nRc�~����a�pj(ѯ�[�D�v���5�%�e��wpk��5���c��-��U>:���: �<�>@z�_�/������9��8͸{�[Q��X��� �<� �霏V�# ��}��g�v�C׷l���M= �ƪ�1G? ��, �{��u�a0��YQ' � s�����d�mG���&z��@�`g:Gخwm͎�M�N�/���vG��W+�i2���q���(�Q,z=����b豣��� ԏ���nK��E�0���u�+��wZ��1:�{�+z6K, s��Ez+�! ��S�A>��8? �? ���T����� ���W�� 0. �=vBoN��yoK�u�V�v�P<}E� �U�3��]5R�aR��;��Ao4�'��+��JK������L���? ��zS�q��I����5����z] �ǵW,zM�#3�b׎iV��/ձ�����%�o�0�Po�"�K z`���#��s����X�? �L���� ��bu�Ħa���! �;T��{�~ C��r��~ �! . �b��Z����#�qԦ! �]��E�ofE��j��Q,�+V5��EgB? �<�U6t����d%8���g�. �9� �q( ��;�8⎺vw<�Enߟ�������;h�w�� ���q�{�4rs�)�i�8T�q����`I]Sv�����&6�����f�����4�xߡ�x����b��֘I�Y, �����̉�gMp��}��'�����d�4����ͤBǨ םW0LYwZV��i� ��Z~��)F�C��P�@��WDFc�ݜ �;�����Ō�o����,�ӻ�z���C�'��q�_t�Y��1m��+o�����C��eO�, M�uD�! ҭ�2;����� 8���9�g�zx�cNz�v�i�hG^����`�%� [�`yŽ��+N��忡n�s�1��T�X��Ǖ�1���}��� �����*���D���q�c���u��㗛�"�;�i@��e�"U�, ����,��)��7�H긩8q�R�%�ɫ�7~��f>? 56����L�€��Jy���wܡ��6F� ���^ �k��[�~� �W��i���W�"�]���S�WaV��/��c��><���N�<- d#m�r�� p; �-q��O7n�w�+΀�#���R�:�>x� ~���O1x*k�����+�¾��hT��I���z=L����ҘN��8�ix�B���CDxo ����~�Bs��T�u��R��Tq%t˔nu�� Q�`a���F(WY��r���L�ū٦�b��Uq�p:*���>G�&t��U����ļα�~�{�K즙�B���X�-�h� �h��G���j�i{�2<~����? ��i����v��x�"�#�(v�z�'��屇��Z^ ڌ� ����8sFF��E �e��۲��&S���0W<]G��`�����[��gh Q���#���E�J�c�w�:q��g۴������ �1�jg1̘M���*� R�����^oz���Ј��0����VJF`T���S�� T50j�R�rw��&t����^��{���4y�� �: ��ȻX4����}�6x��! �% lYi���<& ��Oɶf�cI �5�9Sg�;���! ��p4R���z��y��' �K�x/ ���q蚫3� >�7>�^�f�oҐ-��< Y�F/��2MU#2���ݺj�։ 75��#9��YȨRZ����e�c;��c`@Ig��f��<ő^Kq���<��,9��������9���v������9��d����Ij= �U��)���sU؜�ԩ�l��ۡ���f�h��}W�y��nQo����w���aH��! �p�=����t�=s�"�xrL��-�pԒ7V�Uj)jR�+��9�Mt�{H�C�E* �Q��! ���, �YĤ�UXR��5oc��`�B)mA��<+�t����t����� o,��. ��c�I���*�j�s��vrp� pCL˗զ���, ����O�*�Hc�*Lhס��pzi�I@BJ��e��r~����<��ӄo��F��@j�go��t�HMbZao~C��X�WS�[��Ӭ ؊3��{qӴ3=�� �����9]��>���O:�I7�taԲ�O;�A�v����#C����X��Zu3OF-Z�Y��'�j�s�Od��>]yR�9����SK;ఌ���,ܻ�a�d�"���v:�A}5*��i�e,J˪�[ �����a��e���e�cY�X& U�, i�e��^p�L���f��<Ӑ�J`i��T%����l��#�9�q d��w�`�n���'�2_� , ��)U&���鷾��F�1Y��2��L���Ť*�%� >�A�Ƞ��p�LΪ����Wnx�����t{ Rt�5�7. 4���^y�]L��נ���k��g�� ���` ���dP�����_��&�8�H��@ ��*� �:X�l�ŷ�T=������٠ϧT l����d�o�_��l�g<ѐ�N`��} �F` ��%0~ �2MG`љf{8>�#02�L���(&�����9벑�����FV2��9y# ��ڜD�:�w�? ���qw�%0��;E0q7�Z���pRE#�bd�>�R%0����P8B�F�X����V���*�%�,�w埏���2IG^3����U�l�����t���E����8�F��ɫ٘/�U�kP����z��! O3������,>�J^㕇�F����%���fxƓ �M ����RZ���� ��F��3rp�:�:��`5g�����Hg"��2��E&��H)�v�Wv�Oe��]h�Je�� �1+O^d%�Tr��EV���. '�h�)�����Q�ם���, y &�)�����B%����Lߘ_��yeu�k}���"�PE# 6�����bR��’~�S��O"���B�<��Y�qA�ɩ�U�{�ښcX�Ok}�q�"�9�� �E'�sWn��j�5, �%w�#�:W�:��! �2NO�2܊/�Ըk��tk�e8�~�"q��8�qj:w��V,1��]���s�k�&q�Ps&w%݆k���� �]B&���I�.! �v��;�qWr���㮤r��. 9+�]�? h"p���箤=��sWr�/��. W�8�b/�G�_ ��s�%�8�H&�廭��]U:���p��R�*D���_��+PQ���t�*�=�bR����v���5�/� ��p�[X�2�Ou�q�'��1, �v/ ��’N��Z&I�_��㨆�&pX��^L�rؠ��翖�z��! �6��rX��^H�r�x�����s�����Cj8, �w/�U9L�; k��i:��Q��n5���L��G)�a�D^y��iG���? ��c/a��Y�+�JV�Ü�����8�Y�+�]N�ʣ�S��#��u�0x��΀=)�x�H6�[�HdVT�˩�� �bZ�! ֵm����yIn��g�4�? U9Ԝh7�CU�% I�BZPڿ��'��˓� B��? ��=�/v? xe�j;���H�Hp�w��pワX�I J;e��RM7�6�C. Ē�O�;���*�I�Q�ÿTד�? y: E�CFU��_L˗��g����u�M�<� ��,�� ��+�U�+M�i����zt��㺁�L���*t(56��L��5)�ud"ϯI���Ks�uc�k�l��5g%ϯ)Yy�# q~M��sY��k]N��ժv�, ���`��`�<�Y����kB��w�h�n����5�, O�B�E��R�h�f }G�Ev� `Gb��[����P��LJ��h�? B~�q�2�2ױ���Y�*��/ U�- �d[��m�o�9}ҭ ���iUX��k�T=�����&��p���R�4�;M¾�b�������Cj��[n�Ӫ�f�ְ�. _���l�9� [a<# τL<����gB>��Md<벑��<���xFV2��9y<# �ڜD<�:�. r���`�;w���O��;E0�����gZQ���7�)U K�� ��o�_��l�8�HL�:��/ U�. ����? �v��;�P��q��*���X���(�t�-Rt(6�7. N���bu��_L���ԴD[��Ql��<ܐ��b��! ��b�w�5�k4���GR��b� 1��b�� Ϡ�R؅���3Q�vuI! ��H( d�Q�L�� �BA�.  ��JA19+�bd%����G1��Q��ID1�S, �q���`�;w�YL�Sw����b���_�# ��*�Y��}� ���%���P��&�Xx@J��XP�/��%M����{ ��h�t� c� ��Bz*�5#g��*�%�t& ��c�9�q���tkF�HiU�ږx& ��g��tCz�5#g���^���tgL�N�k�^���dCj:�5#g��*��T��'�e����3I��tF~ �3��� �x#e/��OoDh��`�������M�ʓY�{��<������I܋Fu�%1��u���:Kb��w�`�n��PI, ���߂ g��*�% 1Cb�;��(z(���tk��bR�Ă��������f����[�P�����q��, NO���d��T����S&Ɩ) ����Nn��Ĵ*�I�K�[��al���8=�ƒBJubL�Nݰ��]��&�f���S��c��1��c���j �j:h��1��f��<����cB&��D�1! �ޠ0m벑p�����8FV2��9y# �ڜsu��1��{�u�q�:�c��s�dB7�Y�8f��3Ix@H��XZ����_��xl�8��HL�1��Ĵ��E�r�K��Ť�-�ė��q�G�S9��)�baQ'��"E�Y�qXCr:����/ �HLlX"�-Ru6�E�mHO#1���������+v�r�&���x�! 5�Ln�k, �� P���I�:Mb���<���o�fX̙, e�X̙�, ������{�, �dS�r, �DSrr, �D�rY�ꔇ��&�? ����3`�i�6�3�����D? ���5�@E�p#��TE�*�1Hƾ���G���#�)H��ӪH��# 1)��P��,LP'2қ@d��} �JdAQ'�"EGds��b%�M! �p���X%2�]�D�H�� y�! ��L��_H��螺b��H�� �x�! � Df��bb���x"c_ٿP��@s&��L4" �ȄL<���BdB>���Jd]6���BdrV���J&29'Odd%Y��HdT���1��u���. �x�&�f[ v���(��b&��/UQ�( ��A1���K=� '��M@1��Ӫ(��ۛ�lv[�o>��Jx��� l����#X���ôe�� �>��0��24�P�ue�}5&���4�. 3*�Ѥ��� �CHi�…E�}T�. ��v��n�w�Cr�ք' ��*�J��Ӳfw�-S�p;�E�IO���H��Tۆ�T�Uɣ�Eچ7�5�Im چ' ��*�u�é��j:�h�D[� �p�3NDH�x�%�D��O;ʮ�C�Ǯ��1�r�Ѫw�,h�♘�G[�OD(9y�% �DD��t"��)m���Q�ם���, � &�)�����BG۬�W! hh���h�' 2h�~ a��Gہ��%�)h��Ӫh�/ǭ���3���7{8k�{v-xY)�U���� ��x��G��*�E���e���xDžN���gixHBL���ڤ�. S�x6�E�xHOų4. U�l��<Ǚ�= �H��� �x�! � x�����*��'�ga�N���@s&�i{0��32��L����(x&�ӎ���<�g]6����grV��J�39'�gd%�Y���gT�X<�. �G�^w>x&�x�&�f[ �Ҍ" x������x�� ���QX���l�8�Hl���A)��gAQ��ߝ�Agq<�� �-S- ��Y�a��&���! ��u�J�"E�<�9. R��9. ViLj�J�"UOc3���t9&�'UW�E���7o��[ ���7�6��F�IH�U�42�z��㱩籬j�'r � i�{�}��"Mi3�㙇�& Z6r�BJ�B��% �" �߹Z�� m�9��n�<iiw4! i�? �&A��O; ��� -�ؑ�AZ�? ��A�����ԟ M��CZ���! �8M�A��S=��8h *��O0�ʑTZ�` ��"��Մ����P��Uz��t���M5�&Մ(ɵ6����I��RI���,MN*�&�j#�b�I%U�IF�. �~o��Fh�_c�S���[5�H��c�����ޕi�8��a���i��}��r؆� ��r{�o` ����i�&�z=x� Pp��] ����/����/��_���K g����֓�Hܬ(QCzһ� �jB��>�r�U�k�ˏ[z��p��kz�����q��Ո�}%���ꄳ������w�ݗn{�⤹��B��`R�&�A0���&om^x��6)�9��WTh�C�ŕidRw������M<���mҋ% �e# ��񈂽�@�)I]�8% ����9I���gU܌(����S�{�3����lD81t���1���~ Gb� ��O����_ ��7�DA� ��im�g��-�F*��G q Sb�;D{�G�Y�Tf��ٲ�O��d���d����k֝���aV'0����m�h��B�. �Q�^�=��? ��L3zH����{ �s^��� �Y��չ��2���. >��'8y�; ev����Պ`����s�W��M)wma�(�RŦ�Yׁ�eX: ���)�)���RC��n:څ�"�ӿ�����ݶ&����, F��~��k��]�A���G��,�o�ݢ���۽o���5&��q�� � ����9�/��߀�? �&tS#��Yڰ����-�f��W̵S. k~p�� 35 0 obj <>/ExtGState<>/Font<>/ProcSet[ PDF/Text/ImageB/ImageC/ImageI. MediaBox[ 0 0 612 792] Contents 36 0 R/Group<>/Tabs/S/StructParents 6>> 36 0 obj x��Z[o�6~7���Gi�i�"Q��, d���P�A�U۫#e6ݬ�~�J�Ef�&�Z��e�߹~�! ���֮? �s�^��Y[�WՂ}�^4��_���r��K�n��li��oU����^���6} ��r7�3M� , 3����B�LHf ɶ�x��V�GB ���4ᚥ� f���_�G�7W�R��6�Z�]��e��_����'�] ��iq�R͌Ny�� X8aKx��� {�z<���#�x;� �<M��'r�H��K b��C* �p�X����il_�L�*���gO���, 5��t�A�,�T&<�IV�IO� &H �QOH��%5*�Q��09�R�>z R�5l������)K~pX���D5+2���V� tK� EDT ���f�[T���pS. �U�X� ���;l0V}q*�. N_�ls���Y�` m�o[G�e� �e��5;2�]�I�-�� ����]�[ ��z�g�W�*�a{5�P+ ���We_����p�r�wa��? ӼW�vm��"Z�x��9�U�B]�ذ-��jokv�p��[�' �%p�'�(�)P�A9����]g" �dH�<���00��˞��P�vj��3��mU���)R! � lJ�� �TEϭ�j����mC��x�b�ݰ����lF��6[���, d�۝1��� k=���� m��"蛀�n���òJ*�@�E����������S�(Fs����yX����]�3�#����y�@��i��˙�&z�¬�̂�@�� ���' �d�� �{ ��4� ;����͌���Q��p<��� �����q�9�S�4�Q�%���N <>�. V�V[i1��D&���G ��D�Tt�J�9�b�-� ��4x�Zawg���;�mB_����7�X! a���L�Y�2�6�8��r�rQ���f���E��<* ����M��n����m�2���� "hޅ��@�]��M�����U �����w�Z{pb��q�BY'B�'�E��w��i�����j_c���? u`��n��t﨏f�U���t�Vt�g�- �F7�v_�ݺ�zuj�Q�sR���`����~c�5<���ç�G����1�{ �2��{���ԁ��C��E��M�q8��! �9 37 0 obj 38 0 obj <>/ExtGState<>/Font<>/ProcSet[ PDF/Text/ImageB/ImageC/ImageI. MediaBox[ 0 0 612 792] Contents 39 0 R/Group<>/Tabs/S/StructParents 7>> 39 0 obj x���o�-�q�� �w8o ���f�=�����q6���6���ci����j��e7�lv�&9�Qd�b=<�:�9l�'��y���7/����O>}yy�懧o/�����㓯����'x��ͻǗ7��>��ß^��꟞�}z��p��ן_>��W����? ��? �衹6����tY���{�_F�^���������w�wd:si��͵� �j. S�]��7? ��'������������ݒ��zi�>�ڶ���sm����Y�os����a�,m�6���o����6��~���. ��q���? ����J5� צe��/�ӵ�^M�]��;�B., ��������y~ �P9�,���o<3���j'�t�� ��F����� ms�Wj/�^d讍(r{ �۫G�i�6Z��g�3a; ����N�V��? ���ʺ�:�s�[ �O��M���Od4�~�1�+����v����v��~�{����������w��������[�������V���خ�B�w��<���W�] i�×,��Ds���_�d����q�����_Zm۱�{�hX��6l�l? �? ������o���p�������L��X�إ�f"�t��e�OZ2���%G޲�(S�ګ�EE�h�*���E��~�k��f��L�F�M=��ݺ�B��˓��Jͷ1�����; ��5�O���^���w��4��d����>Du����r���l��a�g{���[7�=���. ���h��ܽ���W�KtǴ�k�J] ��t:t>}E��}ZJ:�m�����5w_�? L. �? ��ל; �_>����)���R�e=g���7�{���4[�2��>YZ�]o�w��ݟ֟�_ ���:��G�gK�G;�f�{z���~��8h�������<[4�. _����w/K��g��[��{����n�Y���n6@gM�o�h, ��y ��k8��m��o�. �_�rչ���x����Ҿ���ډS�! l�5�3�N�B�gĭ�hiv�2�Qs���kg �m�ĉ��n]<�R��dV��>ۺ�F3�qhjd��:ȲWZM3 ��k�y��mA:�R������7����e~�eI�e�x�I�&�}���b���v�. ��-sL�1�I�F�m��4��2��Ƌ�ı~���۰�h)�v�>�U�~yTW[UW:��� ��* ����֮<��������/O�*u�5%ic'�y�5o��>Dys����3 פge�yٱ����(��� �*�&����{wӲ��_��ަ� &�� ��p? E�@�߽���͵��ӳ�}M�xV�] ���[ ;H�4~�, ���a�9���SbG��vn����L�֨�Ms;I����}��G����ս��qZ�5T���� >)�Cߌ���� m��3M�T0��`����_�( �y�����& u=h��q:�׻uo�e�6*���~�tj�_��u��҇�����~Ԧ��>u 2�����ӵQd��/ �jHC��%��, Xoko���}���i�͇���vWu�Y6q�6�}�6 ��j��A�⊞ ��3�x��g�? � ��:Z7�'����, �����R�}LK��������Ac���ނ֝;�ִ׹�;�W �s���h`G��a'<'�7��, ����t���Un�#˴5���lrG����e�d��%�3q��3�A�q„�å��I��x�ϗo�3�C+��#�q&>�Ȅ�L�o�3�&�-��Θ�Wa����؁��K҆]��9�M4Q�w/o����w˿>Jv%��i�? w0Uu�nU��;�i�Vh)�s�]o-���� �)�H�y���*�vRPd � �[��l�E�D��a�Fqh]ӌ����n8iZ����=팹�s���xT�X � ����TR��[ rK��v��u8U, I���[�> 3"��gS���͒1�^�Mۉ �"�偔�U�q����0rK���m3�p�Q��E���R��S��v�d�] E��K�� �:6ܗ�������������~ �tea /u" ��1w��+ ��^Sl� dX<����K�, �P �P�,�e I`A�����Y�@�{rlb�/����� �j�:�f�)����e}��fAX~8�Fv��tV�W�;���_aS�_�=�/U�`s�CS��{c��j ����TI:�� ��u#9�Lf���F�����[��blNL�1�% N��a��j �M��e��ds�CO�� ���eI, �c��N��lV,���T�m[F�������M������I�l�-O��� F��YDP� n<��fo�ml�I�P�]XM6���x�� �r�i���(Ptֱ���R� �=�U�T�:�*��ފVI����M�? �ɥ ���� �. hĐ  dB! �. t��������6�C��ێ11j�2�4��K���"���吚E�qyŨ5w��2. 7�_k�*;5�۞�1j���ړ�J���,h � _�, �W�,���B;��;w}�D��E>h�]�ɬ�. ���� p�L,L� E, �Ȭ L�;��{ �v c]�Te��, 0w��g���, ��I��. �"����3 qQSq=݃�V��q3��' ��Bn�r�MUȅ���~��rs�C3�&�i��8梶*����r�:M�܌���KHV%yz��� �0: ��J�H7#8��y:y��E�Q�'�sU�ĺ9�! pz*�v#�]��e=�? �*�42���Z�f��}�ws! ��@�+u"�qX�`�t"Z�7#D�Z�. _EF�#Z� ���9�י�>h�]�Ɉ�. ��� p�L,L� E, �Ȉ L���љu4]L qQSq�qY���w�-߭/�=����%�-���˴U�ur'X��X5UY����#�oZVI�f��XNOgݙ�. h��. ��Y�H�X7'84orW���. j��. ����:Mb݌���LHV�<�� ������rt�����,�N���n�@z�E��y��i��ć��马�w�uASuc&}�J�vv�'ɽ��^Q�{������W�R�;����W�D�a�{k��B���֐�h=k�{k�G��:Q��T�{����4�. �d��>�Wr���A&>�Ȅ"Ld�&�m��*� [q�����*�v�:��������. �����K! Qo��1fyu����#���40�ōU�=�v�ٷT��7#D~�r�O�! 9���*���JQb�Ѵ� ޴4�8��*� ��o�*�pF��s'���H7��J�(F���T�g��? V3i�D8���a�/nU��D���)n�)ih8��*��΃ԉ� Q�����R ���e����H)0�� t ڮ���V�db�E������a��u��� � �h�]�y���l47 ������Ə t��, ��. yꍍ,t������Ħ�`��*�������߬�6,���#n��M��U�����C˰5U���S f� �3���, ��nb�T�a�^��"I����t���=���(�ڪ �“:R�I��� ɪ��! 4UF���UIg�? FO'���h =�����_�I�b��n_�T��̙�J���lp��ka������b#ߝM�K��^f5{���w6SI�v-�覇��^�C�Ҿ�/ �ExE+�6��ag1�-�NE����p8X��T����px�4q�)�o���ǒ? b�� `�C�L(t�D�=& ��y��, 2l�r�. w�ƀ�澿{�����0޽[�6{ Y�����c���M�@Ce�;����aS�=�o�Jw�J*g�f5�SQyl*��* ��t�M�IB�ฉ:�ô3�ʰ���0w+�*MB����gKV%yZ�ʨ���0:��ge���������*� �Ge����N�P9'>�HOE�g������9-WI*� N���Z`Q�/�, �}���2��E�E;���t(Z�ws�o��/Bq���/��P �&��pX. H�e��BM�Y�! �tz* O��2h��2�����, �N �,  �e�����a��0, �E{�Ue��E���(�������%�OѲR�TD,��`��, �(M ʰ�. ²�p�G��#]0�a�`yj��f: O��-l����. K����ZH��ܪ�����Z�Y �"ac�k��U٩�<�ڶ�� ȇ�j;�U����s��Sy�dQS�Qp��*I�����)���* ���'� 5 �3��9! Y���:QS�a�g�� �3������n, H�p�oX+�@Ή������DMU@��o. �@>� ���0+dg����3Rt(�c�&�q�’�y€�]����r�����D� ��]A@vV��'J��2 o���, ��#��&>�ȄBLd@&@�߿�2�&���lE���_ ����d����T����l,c��`S��=�? ���U�����Ә�S����ɡ�*�ऎ�H��f�M�͍���mU6F�1���*Mb����MHV%yx�9�Tec�˒OZIg�? AO'/2W6���Qx��4��s�CX��T6��:s����0y�C�e���g��d�q{�J`�1~�]b�q�ʔ��c����ƠC~�v&��q���6Ư�Jl�]��? 9��ؓ���Ny�wo�Il ��%~Ā? �ć�P肉�w Ll��p�B ˗ �Q[�mT�ݻ��������{�nyA����b^��Y�� U�����Ǧa��` �]��WI gD��eNOd��zw��J�( F�A. �BΉ�ϛ���w����(>��9u����O���Z��w����0<��yE�����O����Kޕ ��d���BM��8=�M�kޡ�* ���U�D�g����7 ��, J��JvF%��͌�S2�PX���+%cWa���d�)�'Q��yW����d����L���" K. ��~��12�����ɞ������ea1�Hɰ�F��<-�����? ��b�X�Lp�yH�i,Ljg���ȃm5>>vU;X%��8' 4��� >�5�P[��qtw3�H:>Ί���#9p /�k, ���C������fKW% ����j,�Ӈ! ��t,�z�f�/�W6��ǹ? �:M��Yrd@z:^ ����G>� ���tt�,lI�_ ���] �^ ��'���rt(��0���CѢߨ�W`W��h�W`O�RR�Ty� �* ��v}��҄�S���s��E4b��2�C��D�cdr�c��ۙ�+�a5�` ��ݳ#����ݷ����q�y�M��y��mye��? 魽�����Q�٩�g�*���*8������pΈ�'Q�������P[�atģe��9�! ��4��u�`c�a,ij�����UK^R�U��'A>U����z>}x5����� �#n, j8��H������Bz�� �0<�k ��F'� "��Z ��������08�E{�r��ҡh7�ծ�PE+�V��B��1�NE�ת�Z�g����O���Ep��. �HbdB� &28�8���g^�3-��۪�<ޖ�N�����7���? �? ��R���� B/��-��v����2�e=2�3�=R �ɝ ��mU�>tu�@��A�tFt�<��t�ny5>�V%h�R�2I"���ܽ�)��r,��J�0>b9�BM"��'RHW- x=>�V%h���kU�D���O���� � �'h��lU�D�9"vpz'�W�CmU�F�I�~���>�A߶�����/�K}۽R%�- � h h��S. �P:m t����h �)�_ ��Ŧܩ;�� ���=Q���� z�hɅ1�0�! F&�` 409��, ��iYQ>��J�Cwmvk���l9�[oM~X/�{��. �[�6+B��? ���. � mA�Ψ��" �cE���*D��? C'��(%�Έ����ƥr�: ��VQ�HF�BQ���4� ޴D�x�>�� �(J�[�+U �3��Q! y�T��pk�a*�e�KE �3b��9�� �������*�uN�, ��ƫ J��n�"6 Rb�N� �l���=n�n �=�/�K�=�^� {�_Q� t(��'�q����~� ��V���@6��G�NE��O*d��˧dcO�. C= =������s ��q�n��@ llDa Fឌ�#74: w7^�S��+�۪��ݮ�n��/��/��nM? �w�? ��%e���֩�髌��NlRw��l������rU�D�����7�; ��U�FG>]I���79e����`c@��:Ή��Ӆ:�"��)�� /�����DxWŻ��dn�Ĝ��g��4�y����i9�; �. �����YA! pz�t�K���*���. �6>���~�7����ƛ���Hac h���6�q��M�^݀Ʈ��r�m@cO�rR�Tu���0cO�. � ��sqZr�G ��#L,�� �. ������­��37˙���mUn�k��7�_� K�[87ka. ���{���? �rw��i�kwKH����Npw� ��:����C�u2��d�O�NNG� Dmj�Wӝ H��,������i��+��* �Ί�:��8�������҄�DmU�f]��z�^gD�? �ϧ �X6,�OĤN��: N�^���-��ɵ=v5Q �Ffa��N���:��fg� �� �3R�t(�l�&�q��~��� �h�� RcOa��:� �H�0RcO�. e��>�Zr�G ��#L,�� �. ��H LHme�S�����l�"us[VBG��� �{s �;MG��3��y袾;�K�������N ����V���i�9# �sz:�� j�n5���[�E��՜��79r^ 6V�odfO�&����t�҇�DmՃ(<�x�s��Ȉ���O^ �l(�� �>b-�BM:�� ����������vtnxji;�lt���6����P�ys��)�:�-V�θCa�� "DŽ���w�YY@�VC�cW���_�*�D�&4�;�ʼ. j��2���m �P9+ n���4��ac �a,�[� 5*��= �*�3�ʀ����0<�+ӫ*�D����g�ˆ�P����7 5*g�A��<�ڀ����8}�s�e��OG'��ͰL ����ʛ���HAe ����`T� �� �2v����ATƞªu*�wQ�YaTƞ�P~��. ���F ���@ bh�B�����L� ���e���򏞐�Z��2���! �#��W&I���������� ��ΌO�&m�� ���x<�2���! �“(T%I�g��D�i{�����Rsx�/�J��%����v�I��:�X4�W���:���[sI@��5q��/�q�S���;�^s,/� +�f�*  �'J���s��cl�R�� ���r�G��8C `� wW�, 4�����l��AfV��U��_��Gd^ �{��Wͤ�#�*9�����~fea[��]�. ���~Έ���� ~�eQ[��atj��s�C3�&�Ѝ���U~F�I���~���tU������* ���WI? gD�? cϧ/X6���a,���2M��98=��o� j��3�u%nӫ�~>�? DP��Y(�����~��:T~��6t~Ʈ�����S����9����0? cO�. ���sq�Yr�G ��#L,�� �. ��[����͝�N��¸�2�����]�D5����r�r��/�̧���u��@fP��ɝ�+�۪�,����ŷ � �3��5����CmU`��I��V#I����79�xx�? �X����`���t�҇��CmU`� O�sFt�C�,���eC��'u9Z�&sN����3/��ڪ���cd. �`>�0[40fg����3R�t(��0�̸C�. ��4`Ʈ���`ƞ���ܩ����z �� 3�Di��S��s�%~Ā? �ć�P肉 ����f��N]t1���� �����^��ק�����ޘ���j~��㭿S�������W����N�;Ϭ�l�Mf]��v�ɬG�3�'5'����k�����d�U� ��qG�s"B��&�0������* :��? ��D��� �R���Cmգɬ�exM����G�Yg�{ u�hrNP�� �u�P[�ѯ(��b�����Q�>��횈�1eg�S�܀c��H9�:�Z��rLw(Z߷��c��U�ng�2���NE<��n�HSvV��2�Di��SF��s�%~Ā? �ć�P肉�����MkߧP�U�mU��D^���X�} �g�~��5ۄ�J�N� ���}���s,��~J�, �������I��(�6�Zj��0�j�J�*��9��y���6�6l��0ʘD1�:MB��GNHQ-exU>�V�-�? �xE��gD�? Fϧ��W6�~��'�Z�&�����驈l]sDmշ�XW��"e2���و����9@�bg�`��`�3R�t(ک荂ŸCњ�7cW�Z�7 cO� R�T�v�- ; ������O���E, ��. �HbdB� &2�=�;�g��kVi�հx�v�"��炙�=w��q�����X�x�,9���[���t6MS��(��tJnVw��(��U��*IG�9ѡ9��NP2����j�+ t��VI��Y�q�v�! ��kČ�G, R��9' �4��UK^��Ո��o�VI:bΉ=aϧ����ʆ���G~��P�sV�7��N̆��Cm�M����t�ʧ����f{�J��& M^��f� �@�M�J�DϠCasý �w(lį�J�]�%��r������D� �{�L��&zOT�g�ɥ �H���=�. t��H���@�S{�m̶�LÊ���* �1n�. �ۡ��<ŷ�, �i�A��J˫^D� P�n����� ��, �*rb�s�ۘĄW̃�UJ>tV�i��L� Qg �Y� ���Z� z����@ ��z9q��UO^C6�W�Ί�ȅ:�tENP ��^�P��d�V<��I�9"fpz�Fr˫꡶* ���(�I9��N�����Brv 9on9; ��A��n�j��w(l8O�����jv_�3���S��+H�� �3�Di��S�H�>7�%~Ā? �ć�P肉�� L�ܷ׮? C�-��۪�l g`��^�����It�l��e-WV�ة��cVS�U�x�S��*Eb��񓙓;�Ƽ�j���؈��)�>rFlhz��4����`c�At����χ�? rB�*���jz���� 8��������? DO�N�k镍�d�:���*I���89�; I�U�8/u���O�& �ø�@p�, 8��8vF ��}���1�PX�;O����:v_�1�֑�S��+�� �1�Di��S���s�%~Ā? �ć�P肉 ������:� 8�X=�V��v^�4: ������ş�����A�"uc�k�W٩��UԃmU@>tu�M�#�P�9# Jsz: w��j�"2��,آH�9' 4Mor��R{�� �0>b��BM����OHW- x�=�V�d��H�qrFt��,��{eC�AƇ�h��R� a��;�ʼj��2 O�F�Ib��I�r�^x�`�Y(�����X �� �eܡ��w�0, cWa���e�. Q��yW���e���� ���" K. ��~��12������헳? ��ܳr,�� ������������Í�# �,�����֝V����%r. ���7�yWTtvr' g��` �]�n䬒tΈ������= χڪ茢�( X%I���79�}z^�6V)��ʛʅ:�rFP��'���2�j��2�AɸI���H=�2�_�Pz���ͪ�� ����q��%�P[�ax�E���g����v���B��� �eg��2�P��XM0. ��=� �2v����Aƞ��u*0�wq�Yaƞ(M ʸ�. ��p�G��#]0�q��qy��Ss��E�J���. ϳ]�0 �{EEV` Z������HYGLk� x� �I�, �Z,���Ǯ��2��/ , �D��7�;˼j��2�N�A�����) �S�g��`cm��'u5H���g� =��tU�g��P[ �ax��8�D����k�%�3�,�}�BM�Yr�@z:8�j��3�}ė��8��N�Mx�J�f�" a��߭��Do�K�, w&��P��Ý��� 㰣h����D K������^�P�qyA)�r�Dʢ (䂆�Pt����f"�22ٓ���O�������)������Ƿ��+�P��˿HG0ʤM3, �si��I���l����TI:6ΉMc����������H:6Ί���#9 nx�=�Xcc�Įi��c��CgKW- x�=�Vcc�>,W�JұqNt�Q��>��^�P�ƧNӱqV�"����# ���jl��#�)�tl. 6��ז�e��t���0�m�� d�Cۂ�Yq�-��/�(Y�- A�6�k� �LV��O. M. �Zo�s9�t �oz�E�w� =�'���7- �f+�V�͉��j0���fs"�}Q�C����/9�elr���6as��CV���6�v�j�����Q� 40 0 obj <>/ExtGState<>/Font<>/ProcSet[ PDF/Text/ImageB/ImageC/ImageI. MediaBox[ 0 0 612 792] Contents 41 0 R/Group<>/Tabs/S/StructParents 8>> 41 0 obj x���]�ݸ������9AZ-Rߋ �؎�3�lll. ��{l�n�ng���X�(��J�d�}�,K�:��jJ����Ӈ_n? ��曧�ۻ��o��o�<~��͛������On^�������o������/ 7߾�w_�]����uUV�? ���uӨ��. �Q��]��w�ó+U��2��U��*U��슻�Ϯn��x��������~���tSmt���i�JJ�US���t? u���)��-ۮxc:��w������oU,����Sq�[��gW2�d���- �/ Դ}��� ��O? ���������G:. �,��z, ���-���i�. ݛ��@�:���uZ]�]wa! �K��. +Rd���p�! ��D�ry�? 꾬��x�N���U�/�`��Z�cW��Ll�0K�qV�k�b�+ҩ��3fW��tV����z8�znOO��������jN�gU�>��������JmD-��V�:�C+�P�z������Wa[vu�] ��o�����ԣ�S��Wm~���6����j'6���e��? �����t�6��r���X���� �"m�;�C^PD��d3���#���8���R5�"N��*���I}O��4e��l����J�֍]iw����Ҧ��=ڣ�5�O�Y�u &��a, kӅj��{Z���~�~z��ˢ�gI�ap�N�qW�y7�r������tw�nO����������:2Pfb�) b�1��m�[7�L��+�! ��Ao�Z�͍1(���,R=�P����8��H��lh���? " �HnH��U�vO�:��V���! �r�#ɁM�:��ܒ��L�. �T�8H9�jtm�T7�Y�������MlH�j&������`�ɐ &��! j�εۗH��-Io����)K�i�E�P��X�i����(HbC�׶j�, Ǩ�p�2dUk6v�! ������ԠkK�e}� 7, l! �t��w��Ӻ�>�uyi`��FGT��0�V���V�;S�N���>�L���i��:���uiQ7�޲����2`G�w�Ul�ai��. ס�~���+g��ji��/���. {�q � ����؅, � �� c�, 8��t� �c���b���as-E��{릛 f�������_l}�����St}H�1�����l= ��Z2���y9ZS, P��f����X��D�1G3-�nJU� G��XvmZ<�@g9�uT���k��ـ��B��ӗ: G �u��`"ʉh���̏�E�LT'���^ʀ����#���D��:������d#�ͨ>`�]�є:Nb*Յ� t��ǔ3���U��v��7VU�h�k*�jWN�a����T���a�/�Y��? S�zH��G�+r��Qn�rMEP] P�zPe�����S1Uu�S��"���? �Sq���hg5@zL� ���tuY�Õ� m*c�Fz1]E;Z{qÖS�1=E�? ک��W�[�Va�d�&��m"�cz�4q�� ��(f����-ى4�? ���3k 6�s#�fõ������0�T�Ặ��5 [�-�ת: c~�p� ���ӱ�yb���o�����*sM�3�+O��M! �1I8�? �9=�� C2�T<��g� k���M Lܳ�p�Wad�ڊ�̅G�U�&0sB,�j�UH���i*B3��! K�9! 8~�ݝ<5��C鱙 �ڨyfi7������7���"8�Ƀ��, I ���Dg`�����s7: ���†�μCQ@Fg��h�, �3�S�Ô�9tŢ���љ� ���. �? ��T~Ę. �H0&>Ĝ �. ���c�d�̪��T��! 3�TDf5ؒ? ��/�Q�{���HR>�R�y*�H�NN&�C��5���S,�N��T@N���ǜ� �=�c��XAF��w��q%䔀�t<� L3` �ڊ'x��x���q'xb�ו��B������ �_�, 8���<�M����{h�� �I��'xSb��a�Qv��� ^�) >'x�dp��. ��1w�a�:��, �3���P�[M�3�aw��`�<0��M�����G�鑎��g� s��Fޥͬ���R]�aa��AgL,L9�X0���1Y1ker�6! �R֪��I��>���ӭ�Շ;���L��`��cz�� wD~��d,mj��LK�λ�sYP�gs�̛? Mr"�6 Y��X�e#��� E��Df�&�J���i*Vx�&K � ���R! m:��tK��˅f���9�P�M��_C��M�����. wIBi7%8��� ��]��Ⱥ�O�! �Q���MԵ�`�t�O9� �)Ν 8�%��1��a�����D���[�. ���������F��o��d��-� ��b4چ�I�% �CAw�#M[�H2(oAC-m�d�v����q �lS�j�az��&��`oO{�by�z��1mx�֖�d�m�5òM%�] ��9K�QlJp` =c[�0�k*q, ��fI:�M ��z#9�IR�, �V��b_� Gu��lJL` �TH�, �T"X6ay��1I��)��er�4�a� �i�L����&�ĭ��'�k�"t�J�= ��pL����l�kU��剃�B8�0w�DpF�AơPJ�L���Ca�]E���"�]����8� �S��qN���P���ɥ �'I�����]��q]�Hp&b�ąn6! ��3Y�����0�T`s-���o�mk�9��_�����U��z��"�:���#�嚊�tT��:K�wh 茉�)g &4�2& �m�}���t��"蚴B��T? ��������nr�����ukmu����]�P�k*���Q��u���OWNNDݮŨ�4Q� MM>��"�nBh`��b�0�rmE�傳q<9KPwt���TH��. �TDݴ��R���j�N���Q��M8�vJ�&Dp��ɨ;b�e����6g)�� �&����A[��Ƿuo�n���g u����Mԥ��*Uǡ. �D�A�:u�N��l�q���m�G"p�:u����M�e���w�9? �! 2 ��@w�G������em n��. k�B^Cݞ�2��llSy��B]�} s�V�}�dc_1����-Ż��}i ����d��ћ�ئ"�<����% ě? m9=y{��5����lp����M �dz�. ��V�^6<�xa�&PoB,�R�UH��5��t��f�C2�����usw�෪<��J�18ِ��' n�ߡ�5O6 O�%'�dl�Bρ���۹ l���Q��[Ɖh. �-�I�o����#�� `:��֙0`��#�R���Ο�5�? L>茉�)g &t �1Y���۴#8�䄁�y&4�V�0�~�n<�n: �����2r��HZ�Z'�"(��3����+o��f��&��O]Nq�E:D�Uh,cpC�) ��"��g�AH��Mh-b. Mw���&D�. u�D�����b�71�2E�̛"��&~���! ��^6�6n��T�roJ��⌚t��+���b�75Fy�P���M<6S���~ ����Px�, 8<���J�{ �D�oW��N�������� G"�%���΄�c�y�t�m5���s�ƈLw�����5��� z�(p�ư��pY�E��Q��+�ئ" ������{n�S�; ���5�? �������� ��� �)�>�}zC��H�Nn�ۃ�[�ئ��ǰ��B�'c�>�? �99�&<���qMEd^y* >4K�9%80W�r,�o�oicۊ�̆�,p�AM@���e(䪐<�=mS�&��˔%5ᄀ�5uw�ෳ<�l�ৠ�i��p�������k*�0��3�Y�*miڄaCz~�„+v3/l"nҋ� ���T����r(�f��K�����-����0�8��*���9 �昞��#�T�,z�Ć�U�e�� �� �� M ҅��s��Lu�G��c�C̙@�]XfL��܌Әɤ<�׹�M%RnƱTm����! d�NJL5��������:7�t���_p,�Uw�p��. 3ڹ˼��L��Wr��WcW�m�H; ��w#z�T�˯=���%��)��U���ň_��5��,p6n�ˑtۋ�ฅ. ��iq�/�c�Jۋ����tۋ����= ��<�uyS� �FG�[�c�����Ƀ_�wl a���g�@q���j��Q��[ ��<����H�N���j���V�@U=�%o�� ���uC? p��npEU�z��! 8L�1��o a��UD��ی�g�h'��JHE0�S����s�"���Τ*wM� sM��<����fN-2aԢ�n���IxN, 2aĢՃ�4�N�jx���J�ڀ����"Fl��4s/���j���h�>Uљ_�Qo�f����a��� �>��o^������M��'�ۨ��:��w���:����Vo�7���W�������}��� ���. u�3��n�Br���ۇ9�ƛo��e�� ��ŤA���b�,UU����rӕu������ˎ� oE^U�ҡ�F�8���"��Xٵ#I������{�tʤ���#m� 42 0 obj 43 0 obj 51 0 obj x��]K�&9R�#�r �J;��F#�4#F�������F�Y̿�_�ޯn�c:W, �Ju} �>v �e�+����OLz&����Rm�X@����q��`���;��r_�W���0���3_�. �? �X(�'W�w�f�OHSɒpX��J��40�9�� �����e`�܅��@ �ȣ`�D���@c�¾��t4�* S H�� z���F ӫњl�/s��&1Bw ����G�l��2��E��gz�Xz^��-��A�z�����" I� ��) 2��[�O &�) LrT! o�B{ o! ����h �z9�Uң'YRV:�ii+A�z�d! �NJ��=���,ӷ�s3U&�7����+ ���L�� ��0k(����`���Jo'S��9��GxOa���Qa�V�s#�]�����L 7��r#2�� ����ȓ+gv��Q+��k��L�{ ��Y�[�C�/k�ɸW��~�i����m[�`�}���1���F(���h�} 2��; �7��wW�TY;��Uһ�O@k�Ŝg���Ɨ7��hU���+ ���Z9[W�}Z̡̝�)���=�c�J�E0`����4�)�H��/�^ې2sȜ�pdfX܋Wzrϫ5تk�Ȭ+�� ��Ν r2���ܩ�J�̏� j^y�'��� + ���V�cϕ"O[��܍�K��`5ae�c�0eeq �w��W�;�T��`��l �i����T鵣rm�dD&����F�a�E܁�Tz-B( ĝ@�6-��0���ޘ9k�>3�g����� c Z���8f �~>�͕ 2���~>�j���/ ��;��u_���w_ ��,�������~��������? �Ǘ�������w�~ o��/��/����%i]0��. �����'�[V�����č�j����a���<���x ��>��޻���o`V� t�yK e���R��]�* ��P������̦��~ X�V7�׳놪�F`b Uſ�x/�L������? �#����l�2U���_f7e�S�JR`�R�Lc�����aZ��E��̴�Q��"�j����Hf�Y��oƺ�h+x�~ eOW]�t���8�[�4#�L. �J�`�Ԧ��S�#�b�U, ����:��S�)3���HV�)c ���߬u������ʞ�66w�RT��i�g�<4�F�*����39�'��ʀ1�IK<���T��l�%7ve��B�dF/�<<��b<�^���{������L[ �OS* ����d� a��Y�s��. A�9K��#C<;Ɖ�D���֟�1Nt ��'����B<{ x@� ��e��1AvL�#��YE��r���bsVq9�����K�؜U�* G�xv�+n�+ G�x���Wt���o/ ��x��DP6ח��eDŽ�cB�1��Y]�* G��1 �6gU���Αx�mΪ>g���1��1�������Wu ��� �:��x��DP7����uDŽ�cB�1���Ϊ:G~�cuh6g5���Αx���Y�嬪sd�gǸ�Ƹ�sd�g믻1�� ��1����3X�g�K�ms}��wL�; ��{���U��~������Rx�9�O��] O~5����1�/�7�#C u� �l�57�M��B<;��w�[������cWG�GG>g�����y�u����p�+�ٯ��[���+f�d���y�u� �8���ӭe������y, v����D>=�F,l��h���[ ����s�8�l��]7����N��� m�� ����2���_9O�. �] �� wI{ ����F�#,z@�����Q��� ������D��O��] �~�<��2������/��% �<��Ā���#��nG hF<��ѹ, ,zL�����Q��� ������H��ωŮ��_CO��/�� �"��E��M��% =�o�Ā����T. �͈'�7�ŏ0. �F,l��h���[ �O^��%���b�+��Wғ�r� �! C���Rz��. �M������KB@��. �G<��Ўx����G ���x񱭣�#�3o}I>y�o���g�b��ů�'��@C�6y����c�u�+�I��uX������F�sY���x񱭣�#�3o ��z�S{�}�Cک�~7�! q�? O˞gϓS���s�~�ωʩ+���. ����r��-��c���_�����=�Sk����f5�D��(uR��ﴹ��? ��? 8K�������������W���y����q^����>��}ʃ>�A���ί�뚓�W�� �M_���I��p�;����#��>꥛c8��Z��ݕ�c_ :꥛u<ߝHu�m%�������#���σ����dA��^������? �� w z=����>����i����êM�ӎ�8? 1�>��1��#���E4n�e�����_n��~ �&5SA~���2v�d�I�:��ψ��7d�Y������O��5����A���B� �O�A" �`͜�/�g#8����_ �F` ���/�g#���������`" �y�~8�������#��}u��_�W�R,Iv)��_�`Y�:nI6��/ �ƈv�^�j����ӣ��2vg! ��z�{�1;��]�cg">���{�MK;�? Z9�: ��+�C��8�������;�E��%y�������I�}҃>�Ay <�S�i��}ƃ>�N�K8@����>�Ay <�S�i��s��u���V�N��#���[ ��O�! u���I��p�o d��k؟��? 2�S{6�� n���Oc�e�'��������,���)YnMwg. ��y��gL�l��, hJe�챆#��,�, �"S9� z���b�? ܧ�g� �`S����6X�_��O=l��1��}ُ�]�, �J�etfn��? W0����l��g�? � *�O �r����ψ�� A��k �� v=�) ��CD'��6bB�8� �a�������6����u��n#�� tL'����F��@4��0�t�, �" L6�T�����#�� ����v^U��,�" ���~���Z�~ ek�����X�_Lֹ���1D�m&�A1Y��DC�6���e��sg��l&��? � 3Ft��c��bD;V��ߢ�Z������-;z? �82:37V� t��#7�! 9L�u�,A��& ��:wƈ6���? ��# z�~��� �5���k! ���D��K��Žޏ6��������v����'7�A&���;�����d�3���! �������! ��G����E�ʼn���� ^ �} ����maG�GGFg�ƪ�O<�Y��jq��Ȼ���h��a���npg�������bpg�X=�5�b�Z�����������>0����������#�3scU>���^�7�A���/�U 54 0 obj 561 0 obj x��]M�-�m���0�o 0� @6�=�� 'd� A�, ��s��x�ͳx��. f����G�C�UW����������z�R��,�>�]9�g����9�R��_eu�Wm��k�@�9����t�}�^c�g�f���_s�g�V��1�t' ��yc����? �J! AXu#��a�v���z�vC�=��aI��h`�� z�X�34/��h�ւ�manZ�,* WN���y ���}�Bsֺ0Ҏ�d�B�r�7�q���^ �aQ֨4ϛ4�N��f����U�-�0�=���B! C�) ���F�^��'��t �[M �Aa^�(��L�;F�k9f3h�/s ����������ݎ(�7��渗����d &��:�tՂ���ZhE)W�� qM�z��U{��=��`��h��g��E� � =�� J��{mW�iT F����m9Q! �ɴ�AP(T�l�tg�9- ����<�9�0A�yG=�i� �m �����Ψ�̴�8f:�V ��3 � ���H���dw̦�-�f��K��rG�u:������n���Y��_ V^=k �7� �m ��z�# ���ԃ��NA���aۨ7���c�c�:�F۷��qG��` �A�^�? � � 9�����ySr�@�^3�vd�L�xd�:2n�DaB��`�Y3������6! �&Cf '�3��h�5�=sP�����[p�Y׺y; �Q�-���Z9�b[�B�0�D^��@Y�z���U �Z�����u`�! �Eȋňʚ�-d�Z�v�<ȋ6�n�<� ���7, JT�Iw)�%�C*��6J�ר��Sj�ej)�ءQ������&�v�uR��m07��ënR�@�Bb� �R*�Nd�ſ6�! �{4ށD�逸! �Ȅ�Q �d4��)�%l0����/��oO�, r(a��F �d�@n� �iҠ��2%�p��L��tDQ��%D����(��=R��� ���, h��1X�favc��'�r��q]��eZ�J�R�����`��& f& d�Cb�, q��� e! QLlH}��"�h��eg3Kg����hKe��XO�, �������{�@���h%kjMdk��V. ��3c��VB' �lC& �m���L;x+����o����yS�� �� #if���f�� >�����. ��dFa�@�Q�Ԍ�P�! 1�Q�)��˪D�V2�Q��LF���]�5��ܹ�������A, �Jf,g0�^�m�x�) �u��1kA�����7�B��p�a�@��D+�Ӄ�8�^��J��s�9ҹ��! q�4�烵t�A�t2���q� �Sߢ���A���i��I���Ip. ����T(�J�& ���0�0` 5��X��<�}K�FĊ�&�{2�'���4�3�rk2�碕�s<0��(��ס��ɜ^��1���f^��T�ʖ� u�`��J+��a��y��R�R�;��ub2�9c2�= �o�<>��k�6�>��8�D���8m�p����b�δr�� s��e�JX���t. ߍVr�������rq�,s���. ��AFAE�D_ ���%���b��: � >'J�pA��H˃d! e��{��*k<� ���X�1�K�Z% �R�� h���dA��sb�2�3� ����YЄ����<�4��#c���X������Ȓ�����6��N;x]�m��ږ2%n� �qյ���[ D ���Br�*���G q��)�������(�*چ��l��Lې織-5J�- r UZ! �Yy1����(���F} �a]D�V6�iW#��[Fbp&���D���sm ��y`y��1A7��GK36��9�j�>a�T)Q �'cOI�s������D���cF2A�. �[ H�p��_�;J��! ��. �0됨9�1U�nQ��tn���e�Zx�8�. ��%n3�qR�;wC�zRߤ>fݚ��l/x6��(ݔ��9�} �L�Z�Ө= �Iik�{Y�. �%�p�i�{mJ��D�} D���~��, 7s���}� ���c���. �sj  ky�`IX�#�H>���� Zd�)��[ nL�Q�"7���`X1�y? �i�Z����`��X/3�F k���M �%������- � 봽 '��R`�f �PҾ�=�����Y? �"��fʣ� �q+�� �� ��gcj̽f�. ����- t�)��"�CĸV� 2(��. Vݎ 7 �y-Ss�o��ڷQ7��X�� ia����, �s��. h73~�v R/ �V�V�! X�胸;I�����}wN��: ���P��7���w� v_���? ���? ��������_��Ͽ��O��W��x�����W����w�]����<޶[l�? ߋ�T��M�"�D�o"6��%byq�)뛈�E�/ğ����Z����6G6���F�V5��F����F�E"��<�� �&Ǜ�] �8�DT~�, ��C��e�����Z��GN��lf~7o�����u�;�Ŵ�S0ٔL���Dt�Q0ٔL�� } c�. �. ��%k`wx-D5p��qx-D�# ̇�ԁ�ԁ��7l�l�U�ɺÝ�U�����-�d��Υ�, �"�- ����g26��p�3D���� ��ѯ�, ^ �� �a=u�#���� �#�٪�l����=U>���#J&g���<��g2>�U�g�} �vX! ��3FT~�5p�y-F�k t)�3���ُ�(�X�3��7l�l�U�����'�2�`�, �l���Dg�e�d�̝1��d�f)�3w��E���8^ E, 2r��k! �9a>��,�ݼasd#w��L6�, �N>�dE2�t��љG�dU2�t�3B��VY�Ý! ��c�5p:�"�Xe�, ��BD? r�, O(O�O��O��O���;�d��pg}��M0Y�L���D<�cL��-�;CDQ������Q����^ E �}���Z�(��a>ԧ����^��^<��g������r��[L;� z�]��Ý���< &ӽ��pg�(j��ͧ�! �R8r�"�n��"�! ����n��BH? x”x9 �3��z�C���էtf�o �39D�~�f}Jg�! J�[�ҙEcH�K]ә�B��Wđt��3�Ő�? �~ ���,o�Y��;fiJ�gI? ��c? t�>�3�~�̤OiC��S>�h �S��=���, B���Ⱥ"f��BH�"����p! �������03ߛCl�l�Y�ҲâY? ��o? t�>e�E�~�9D�~��}�����"��} ���—EW��0) b��S�! ���D�����b�dC? c��? ����_O0���qՏ��U? �������;� �L���a>u��Z>~7o��ȏ�L���9_O��0o��歙�̝�:��3ټ%��3wƈ>��[��r��Q�Q�R_μ" �N�J}9�Z�(j`�O, ����6G6r�*�d�̝3��(f�l&�d�̝�:��3�L��ʙ;C��3�̲�3wƈ�����Z�����_�/���j��G, ����6G6r�*�d��ά_��Y0Y�LV�����, �Ɋd��pg�(j`�5�:�" �W��k! ��������Z�(��Q>�<-���� �#�y,U2Yu���W'fLV%�U�;�~�>�`�*��:�"�Xe �w��ʏ_ P�E�}}v��BD���>u�y���ݼasd#w��ڡ%��e1��CL��5�; �yL־vhɏ"��e lwF�]�18���Q�����BD� �=u�y��ݼasd#w��ڡ%�ߥ_���7? uo�9����)z�S��Ý! ����7�� ������Q�@�: wx-DTOu�,x�7<f~7o�����ӽ��p��='Do~��,w���<��7? ��n� E ��q�3DT~���8�"�w��Z���S�(�� O����6G6r�*�d��Υ�OOћ��7? �������{����Q�@ݛw�<�C����Z����w��Z�����'�-���� �#�c��-��. �,z���ҽ�q��o�y�l�ݜ�3D��ws��Q�Q�= ϼ#�5p����b���O? �lf~7o�����vh��w���K�����3w~�x�Gћ_�7? ��#�L���n��# ��8�"�5p��8�! ���O? �lf~7o�����ӽ��p��} Do~���t����K����/�;CDQuo~9�" ��n��kb5Pw�^ �� ��y��D��ݼasd#w��ڡ%�ߥ�O/ћ_�7�������w�pg�(z�+8����Q�18���Q�����B���O? �lf~7o�����xh�����K4�n�Z�B�gRt���Z򣐢 ����. ���� 9��͗�ԯ���31���љ7�F��W��3o�! EE�μq. �,����f�{s�͒ �1닇�,�~d�D�~�v}r>? ��c���Yy��ˬ���/�����+K�:L���_�%A��A�¸��K�:L���� m��W ������t? 9���2��d�@��) >�3�����fM����+�>��q��gr� ��kpΙ����W��5t�L_ �~4E�b1� �W��󚯗 �}����/���"Z��[��j�E�fU�^p>����������eP���� ��ݿ��P�z, ��Z�h�X0F}�ѷ��+�^��r�k�^ ��>O9��y>cn�����g��3�3l�J�;b�n��`�B������g]���J�j���^s}40>L�9L�&��9���s)��:���&�~�{�����c��=��C�0���K�`���~F��w7���w1����`� ��Y�~M�m̦0��oc��_�ySŐ���w1���O�w*K�5V�Y�Y�Y3nv��ya�? a;� 1062 0 obj x��}���r�����y��L��W��l. ��� ol�0�ż�3B�Zt�>��fUQ �����/��e�s}������/ ��)��1>��h��S�ğ�O��? ��pAt��� �x�h����F����eh��p�p,f! �}�� g����73������o��? �V^]���f�5�e3:��a�V���[q��νmŭ:��Z�e1/�y�oW�q�5x����xEL��+�8�X1e�� '�V���. �, Z*W�T�q? u�{������w�>���}��pQw�u �ڮV��h- a�Vl�5>����h! �DP[�Xʌ'��4�P������BD��z���ڎ(�n�W�4^�[�W��" �+V����B+ҩ^_�hu�������-D�4��5��-F����-��B�" Al iJL�MD�X� Wx܄WD_��8ӱDgd�V�����1����(��4�E`�Btq�_ �B��t�<�W�����;����s�v9�Sү����X�ѲO�F�E ��d��(D�{��+�7F! �v�J����X���i�+bm��HNJ��P��g�q��+���r�%�p����hźG�D��h1 1���J���(D��_ k�BL�pF:����+�~���GQbM��yE ��v��(��#91�H�y]K, �y�#J��, �B��NJ���Mx� ����6D��p#�Z�g:8�ƚ��H׸���1��+�t�kz�XV� � ��� ��]� g]��"7�Zɹ�: d�! ������-���-pD �Hv^�vpD���WP18��c�9�M�1(�/ ��V-��b= ��NɺbMd능p5��� ���H����Q��. � w�{���`X�, �`�����QozfP� d�J�uW#/��D�����e���&�. /��G�����q�� 蘘��젏z�`V. ���s�x�;E��2yu�C#0�q��V&Cg����qrfL�:�e�����:�ț��x��ld� �Bӄ�8�. ~Y����x��v��%�UF:�n lBt�S����! N*��b��&���:3 ҃�Q������Ŋh��r�� G�; �sI�=�H+�G3~o���Uh�tA���d�5nD�c��2�J_�{p���ֱ�Hp�9j蛍vOW4��@�:w/��C��9� ���Ŵ�����g>4�Yg�~�̇������1�W�;44� L��߆�r�C;��ag>PQ�����^�vC�:wN �ߙ�y��a�v�G�[c��&C���f�c����ޙA@c>4@����K:�ac�C�V7�t���kA�fMğ��q. ��,hX����p���5��A~��x0Hbp_�0߃���%�3, �5�,� �Y��{R�0����3Hb 3�,��&v� ;�;�@�_����, ��9j`�y�p�1, �y�2a:�. �w> �3, �yO*�jr�5���u�f���Xsww>�56:�, �c3�6�M��u��d5���,�, �Eκ�, ���o��uO*f݋ �&s ��, ք��Cl��;&��s=&���ΰL� ����fX�K��,�A��3, �%�`> �����ޓ�, �E�W���;���������q���=�o%{��Mc4c �D��9�! ��5cxٸߚ o���nĂE�oܯK���Efx�d�� ��,�������� �& �*�� ߕȋ�0�D>`S{�% �D�-;6��b�,�9;ྜT�t U���v�i��, ����M�U܁���U�c`>�#v, � M�{pIli��y/�! DM�%F�m��n����=��0�Ē��Ŗ�n�0ќ��c܁�n�fg�ΗI�l�ɰ�Ğ��q���M��ͳ2, �%�d>D@b�n�«) 5~��-��rS����*1:���gl6c�,���c��! �fl���1�����˰t����D�a�G��! X. � K:�R�T,�p. ���h:s=&�̇��j����,��pv��,�� Qc��· �Ű�ľ��㏽�M�C�ǰ�5�=��hr��5:�M��������;���s��;�6;�����. �a��;�%�bX�%������a��06q�T�. 2ld��w0�. c9r���Fl�;t4��ks g�����&����,� Ds��KM, M�Xn�o�����Fs�o�wR�1�h�{ M��8f2�i*���������h. v�1L惃K��2�. �w4v���r�2n� ��pR�0������U�, 惃5���6��k, �:�����S��;L4�. �_��潹��9�d1, ���[QN����J����fM�C�FlP����& 삏-�+e>�ڌ&�1�m+����ڝ�ɰ8��,0��*t���f�� ��i�oX�. �E�&������? ��s}���_ ��? �����������o���? �������ۿ����7� ����? ����������O�w����o��O�yt��* �~����� �G�L@�]��Q���4��@�� �I���AM��<*��AU" �H��Ae"���럓4�T? �3��Wں-0? ���O���{&��9�̎T�I[�ϡj�C��H��&�uim��A/P��. ���;��������Uh+��HԌO�M#4}�P2�� ԯ�u;a~��I�' �0=3� [ �k��Wں�1? ���O���{&��@�̪�줭�Ѵ�d^�_P��U&��Z[3�� T����5s�@�q�ښY�^�*m=�0dޡ3�:ah���<��+m�. ��l�ɉ'L��=�=� 3>UOj� �Փ2�R;U�i� ��2��U�Oj��I�����례R� z����pY�^��l:�P������n�L�5�ڮ��v ��k(���)F;�PʌK�TD�)GD;QʜK�T��)KD;TQ�lD/P���(e>��2�Z[3#� T�����ItFU' �pY�^�~���3�v)��K)�]J��RJm@nʌѴ/�d��v��Ԕ1�icD� L�T�)gD�ŔJ�& ��^r�j��R��D/PEM�S*�����V;�0d���"��p9�^�~���:�vE��+ ٮ�d����Ȧ<��%�1٩��)�iD�,Lv*�c� a��R�LE/P���. �T2W� TW�������V;�0d��3�:a�� Cf, z�����v��. �d�����J� +���lʚa�%Q27��* ��I��I���d��8�,�K+��[tFU��L�V*������. �T2w� T�����^�Ue��! ��@�F[mil�W�] �v} ���l@6��0m�(���N�L�%L�%J�j�SaSv ��Jf1z���U�X*���������d�Ui��! s�Q� �N2�� ԯ�u�il�Y�]f�v�%�e�l@6e�0�(���Nu�L�&L�&Jfn�S}S� Ӆ�J�4:��JK�+ ��j�U�U�Z*������� Cf6z����p��^�~���Vc�ڒ�jK��-ٮ�d��)�����N�L�&��� a�����7���V���JL�+1������+��k�D� a������& �P3�� ԯ�u�j,�e�]��w] �u�,@v��p효���Ou��& �&j�q�S%�}���r� 1566 0 obj x��M�e�����rfU��f� 1 ��, �v��H�+h�����w��c�x{�0�z�{�D��EJ��VC R[ ���"� =H/Z�1��^͐f�' �^I(b����׫j��u�:׫z�꽅��73����0�}3�b��9���Ab[���50���z��S�&��2��V���A����q�Z�f{k#h�Z��#����? �Y+S鎴���Xo��, ֊v-Ÿ�v-Um�Ee���V���سR��hɚoJ(��搊�V�n1&Ǧ��b��e�s�3�h}nqh�شZ�} 9Y_�5�f4��e�mZ2�6�! ���j+e�V� ��[�x�F��Rkƃ���݄ؒ��c�@k�b�mo�UW�e=�ZZ#OM5"��SK���TI��f�����t�ZʡmTKIK�Ϲ�RM! �v����4�j���F��պ}�U񔱨e�;���j�V����tUҪ��*�xZj������������5Jm���)ê��g��K��* �ӪҰ����Z���HVC��j㪡���IU����j��#���M�mKۛvCGj�S�) �/ ��K�? ��miS��X���ўY�* �K�Z�- �r�5���6�j��m�[ ��m. }Q�ls������&���EgTC����i���z�i�T�= h��, ������l�UV��n]R�j�-Ikw{����7��U��hVCgw�y� s� ��#�Y�ShH���L:j+ ���MY7Ғ��l�lԔ��K:�Qꢦu�I���mIZ? �! ��u�t�٭Vn02F[5��L Z��i@�� 3tU�)ڨ���TA�+�j���Ԓ�hW��lR0E�y��i�bR誎��ʜiVKڞ�NK-̞���9⪡u��O׮�iѓ�m��%Cۘ�3֖N�M�( �npS4���1�(��#�E�Z�&�n�kզ�U3F-� ���0���Y}a��G��Y��7�]�_ ��Mp� ��~�HL���(  ��Z���f��M1[R�qŊsU�vk]մ �e�z� -Z k�����zf�P�! H�Nˌ�3c�, ��&f�j#a�+ ���%��I&�2C�LJKTV7���T��k�b� 2R-�zY�-�jւ��ͦ�%�nS! u�n�6 �7%J� �g m �j�f�j{6�r�j�,��� ��)  ���s{0��6��T���:��{T�OuR=�w:TG���R�QM. ��MՓ��ʳ�z�4,m�'<���i�𵩞�𚪣M׳�6���o�:�Ŵ9�s���Ѱ�0xR�O�uzh8}4�' �z��t��. �_SmU߶�^Su����z��+��:R���K����Tm��G�����l뤹�i�V��[L�s{0�e��>,��'�F���v�x�%�d>�,Bk/a��IJ,R���I瓁'9�:p(d>) �>g�9�υ. �sa� ����>���ϕ}��s�{ ��r��B���o��? ��ąj,>�Qע@CK��f;(����W�ŝ�rI�0+y4���l�ţ��z~6���tQ�<���h��^�K3E�fru�=���C�k��b2m �j�ua hsm�4Nwu�O�� 8��T=���v�<�{4]�Ϧ��Pv�9��%�� 4�N����h���Z'��&�Qv�HN�wM�ӣ�9Js -ߪ��a�h�m��4P���y���-߈�P��聻�C��ZQ9��5Qό׌� ��z2-��^� i�鄂�D��H���N(xM�E���i��ֽ�[F�o{ �������+ Z=�~�脼� ��������gM�E��D�'�vr,6QϚ^셜P𚨧H�W� ^}�5�� =ߺ��a�h�m��4P? BtB�veM���/ �mW �=��^� y��zִ�N� ��z2�5�'�&�Y��*R>��%��)�p)�P�苬)Q�[e �[F�o{ ��� �O�;����@��u�'�W 8<�7]� y��z�tǀ�&zB�K�ӓ�t�i>��5QϚNW�� ��z�4]E* �&�"k�0q�to�Ö����i�. ��� kj�g�D���RN�; �G���RN�{MԱ�v��#zB�k��L{�c�'�&�X�}E:��%Q���) �&�"k�M���1��և-�ͷ=��@ < o� k���... ��~ ��]��ִ��#�:ִ'ך� ^�B�=�ִP�#�:ִ�����A�SàP�#��Ěvn�BϷ�m}�2�,�c9 ���: oOW�4{ �]����聻ٳ�ٵ����AԳ�ٵ�����D=�fך� ^����e�N(xI��2���A;��5їX����{ ��6��XNuA����Y��`qA�����`�iq�i; �5QϚVך� ^�����ִ�P�gM�-�vB�k��"�[턂�D_dMy<��4to�Ö����i�. ���+k�<l. ���+l�5m�5�'�&�Y��Z�~B�k��L���~B�k��5�� � /�z[��2�'�&�"k�Ã��{ ��6��XN�� ���_Y����O�ۯ@�{��O��'�&�YS? Wc�P���~��8��5QϚ�[㄂�D=E� � ���Ț�8rg�Dg�Dg�Dg�DgXc9 ��qB�qeM��~��8! ���YS? Kc�����gM��qB�k��L��qB�k��5�� � ��Z>��� � ���Ț2Y�3g�3g�3g�3g�3, �����< ��tDGtAp���'�: 8�Ԃy@ޏ �X�! �5��&�E�tP�#�:�t�[�A�S�`P�#��Ě��@Ϸ�m}�2�,�c9Ѽ�hj�����} r��;���ޜ ��vᷓ��! �6+���G�5n, ����}��Tz�D��>��W��̫ZO#�U��! ��Ә�c��<,���o�? �񷤎� N���ˈ�0w- �oA5�����8��oQ! �E}8���2�H����F��6�����/����/��/�햌v�-�B̦+8�[ ��)�G�. K. �#ƈ���ցq-�v�oE�c�O: ���jAXH, 0�qW��� N1p? ja�pEl�����@ �,w�������������N���ꕽ N�Ms�ǟ? �����������? ��? j�o���}j�������O�y����߾����������V��? �}����? ���ڃ�x�-�z���-������������훇��=� {����ﭓ������w��_ �������7���7���������w�~�����~w��~��? ��`Ds]�b��b]��Tl]��&f t�ۅ*K�n�Xq]E�E,�����������������&�M1E13q��h�P��;��ù�[ ��,�p�fN�N�<�@���PL�5��N�*��q��O���s�y9��w�8/9w�-����Df��2e��2�v� ��1� �9��iF�2b�s�A�7����������tdY��9l�8=p�=�y������8�pv8�8o� ۀC��P�i�� 8�p�0��_�)���΍� 8]p�)� �� �����/���}n�co? 0X�m��M�}‭ۀ�Ԁ ��=���)l6����wv6������v@�9 b! Z�B{Ѷ��P��F�. 1��w����F;������=�p0����� ������P�~�{���P��t��%��@��=��~O�{B�'�F��v&�=�� �P��脠�{���? �������'�=6`3�� ~O�{���=�������'�=6`3�� ~O�{��`36������ ~O����GG��Xd ���@hd 4����"����2��t�"���`e�m v7; ��:��9~��OQسʞ1���E:r���+۾����E�q�~ �#��E�r���3��E�s���VQ�G)��C% ��PrB�= �ۓ�䄒JN(9a�h��B�% ��PrB� E�l ��€�0�^ �t��� C�¼`a^�0/X(��k ���pa��0_Q���=��r ��sa�0�j�����-������`�o��-�����! �ǘ�;��Sb������Bg� �q�. tȅ��%��B� ��s�~��1z�B�Ŕ( z�B�� t�{�~L1�Iz�B7]�[�[3Ŕ) ��Bg]2��2��2��2Ŕ) ��Z`��A�Ĩ�O=Ƨ�1'Q��ĹLd�D�L1�����k��B? ��L1eN"��Bg]2��n��O�? ��k�R'��}��D�]�� =x� /��N�Ћ��B? �� =y�+ ��μ z�B�]� �t�w. t˅[B�, �n��-�W�B1�����߭R'����? �*�DtÅ~�b]�� �D_ � ��u�? �B~L1�%��Z`��XW�u�b�=s-�Ab] �Ub]��*�T9�* Q%�Ub] �U��RL����`��>�{�����b��D��y+��( �ݽ���7� �������}s�Lx�ﻯ��7��Kb����*���M/ �w��S�d��%�(�F�4J����%�(�F� �EU��G^�x�R��G��^x�N�6��^�x! K�% ���=�e��} ž(b_ް/T��Kvb�N�� �;�, z&B& & &�&�&�&�&h&M&2&&�&�&�&�&s&X& & &&�&�&�& &c&H& �D�}�~~���! �}p{�����} w�݇W���}�s���a�}�o�����} l�ڇ����}�g�هb�A�o���7� H��� 1825 0 obj [ 226] 1826 0 obj x��} �չ�9��[f��0 ��! ���}��� &��I2IF�9�@� 6���ZŽ��0����խ�V�Vl��V��U[r��sB������m���������Ξ�qƘz��bf����;���S3�]�T�`l��)������������ �US�hw���ذ���[Q�W=� c+>a̐������� �? ��epc�Ɔ��~ 1c�a3�� �ѻ��������? ��M-� Y[u�������mu�ꯪ�c, p��! Z�s' ��U�W[-��;N=��9���uD��l;�/ګ����_ U�, c��B�4&�n8�v<���Ω��, 3��? m~ ��a����𹖏L�"ka ��zFv��'�{����=���H�n��8G�E̠�b% �X�Ex��/���l�m��C�u/�� 33�iPE�S����c���{[�LU���# ��5J����Z�� I����t�5�%�>_c���mH�D�ߖ�cY�݆D��'�9���nC" R" R" ��TR���� �iI7���C�! �)�)�)�)�)�)�)�)�)�)��N�8��� #ǵ������;�- �������, ��3���`���}u�h��o���]Ό�# ����JC^��Maߝ��x�? R���3�e;��M�N�m8߬��kN^�jeu����K/Z�`���sfϪ�( �9�7}ډS�L�4q��q%�#� ��zO�d�%����b6 z��YQ���F���D���ٳG��7C`��&��Ty�OT����c= �l8��G��~O�R���#�� �}�ܫ��K��w�{���! M/ >_�8���E �"�����"Z��������٬e޲�ud�g�Aڠ���}�`ׄRP1y����ڨ. �"P]����ܝ�[��X�+j, ���XjH�����+ ���jk �����ꪨ. �J=��������poyt���2��`��[ -�"ؼ��/�QC�˫�,��x���c��3&��b�0�j�����_n�h˹�>V�L�{I�UV�1_IauT�%dI�_�t˒��5�1U5�? �2�ݵ��"���'P�Fu�5�uM��oy9��򪨯����b_i �5�DH Ò�h��=��I0�bB˪�*�jѴ�(���׊�T��v�=5��@˻��~6��ྱ�{�6�U�vD3�0)�=U� QO���A�r�F}��joU�Z̒�~���ި�Bߎ�΢�<�Z��u�b�`P+��9. L��3:s�Z��L��-q�����. �l�(҉�e�ݹչ���I�x� yQ�X. ��D��֦��h�p�"X>���5�����T�X�_�f1��e�. ;6a4���L5��Uޠ�ڋ5�[ �&�Z��y˼󖬬�f;�J���򉔋�ˌR�5XY�Ӫ�gi�������b��읷�G��2;�6�� �;1e, �f%N7oe����ʞ@o_wm�>������i���S��]V5խ�ui��&�6��[>sdΞ�����%�,��e+��w1����*�p��ff���(��_��YaF�QEFDZ��Y�w��c�[ �k- �˙f3Kgu� �Ҧ��'�O���I�l�㸭P���l�nꩩ��e` �G�w�*�i��b�G���̨�;Sا �t��݄��38G�I=5^�SXPU��i)�DH���oyU� �CչXj���UQK! �~C�����yV��. ���U��)oN]5�� �9Q "X��Q�����07�@�~72���hu�xiU�Z[ή(�흌i���,���hmob+X�v��mlYY���e�4H& Z^�EQ]���ֳ�eX�t�Z�d �H��5X��B&��˳9�QK1� b�% y��jj���w��]QZ�. �0: �#ڂ? �T������-�n��"�E2�8�ț��O�m�x'��fqF��1��I�܎q��-��Ż1w@Y�? ��d����Yu���‘E�����cv,s/����Q��O �b�ګ�u�%�υ�&�V)Δ�[�3�8]�-Rl��4)6I�Q� RtI�^�N) RtHq��R�I�*E��R���)BR4I�(E�A)ꥨ��V��5R��b�'K�Z�UR���Z�* N�b�~ �K�L��R, �b���X(�)�K1O��Ȓb������B�r)ʤ�)�) RL�b�'J1U�)RL�b��� �x)�I1V�1R��b��R�HQ, �H)��(�b�å(�b��R�I1T �'H�+�*�G�! R�H�-�[��RdI�)�)2�H�"M�T)R�H��%�S�)Rإ�Ia��"�Y �F) R��I�H��`q���8"�a)���+ ���R�]�/���Ϥ����/R, �'R�Y���8�GR�I�? J�H�)ޗ��R�'�����JqP��H�oK�oJ����u) ��WR�R�W����H�s) ��% ��)���gR<'ųR<#��R<%�O�xR�'�x�Ǥ8 ţR<"��R<ŃR< ��R�Jq��Jq�wK�_�����Jq�wJq��K�W�ۤ�U��Hq�7Kq�7Jq��Kq�{��V�k���WKq�WJ�[�+���ˤ�T�K��X����P� �8_���%�N)Ε�G�Iq�;��. ��R�k��. �. ���py�����嵇�k��. �. ���py�����嵇�k���B����py������������. �? ����py������������. �. ���py�����m�����. o; �v���py������ �[sl�4�̱! 頭�;36d2��rg�bm��f�ӈ6m���m�唁���uRY�rDa2�˙ j'j#j%��f�u�� �)D! �&�F��Xv9(H�z�:�Z�Q �Z�5T�dʭ&ZE��������D~��Dˈ�- ZL��h! ���D����s@s�f��sA��*c�y���{>����h&�͠z>��To DS�s �d�>�h"���D�(�X�1e4�(�R VBTL�F� NT@4�B��Q̡D^�(t. �J� ��? ���} �������{�r���o��% He�! z��o�E�&���kʽN�Zl�I�_�����U2������L. /�H���'��s��, �3d,��)��=I�y>N�Lj=Je�=LƇ�z��~�^�r��Ct7��X�tP, �� ��(JtѝDw�N���X�k~ E� �-Tv3�MD7�@t=�uD{���`�P�]MeW]I��� �p9�. #���*���Dt! �] t>�yD��v�織�! ��9D;������c鵠�����@ �Ό��Aݱt���X�x��D[��f�wѦXz=h#U�@�E����(B�A��T�T��Xz�����g Q3�:�S�BT����Z�@ՃD��YGTK �! ZK��: 2�l5�*��J]M/�" ����^�(ˉ�- ZK��������^K�ZK �O. ����p/�s(7�h+ci��*bi; 屴3@e��n��XJ%h��h:ѴX ~��)75� �B49�, ������Y� ��*��X�J�8*K4&�M��bɢc��d�7K����HzCQ! A4�� #�'ʋ%�QJ䥘'P� �R���C�M�&L�s� ʌ�ր�kAD�DiD�D)T! �*���J"r���F�V2Z��D& y�SOF�Bĉ���Y�8��v�{��� ��l�� �s�3�o��� �>E������! �? ���? �! �����F�<��~ � �A�o�w��� �&��k�u�:�k�Q�_��h������x��B���K��(��-��A? �, �3�S ���A��(�[ �D��l=w�6y�m��n���k;�sp+���f�&�Hύ���Q�:��:ϵ��@���*ĺ�v#��]  �z"�օ��<�Y=��7yvZo��󜥛���'z����g�������? ��m �mqo���- ���ŗb�n�o�w���˿ao��e;kP��M������w�uF:u��{ yy' �� �tu��: ��w� �Yxq�; �D�� sko߁�a��J�os��<���o���omh��&6���6�&���{��uk���5��O���{��ĕ�U{W��'V�O�����������. �/ݻĿh�B�B�L�矿w�����9{g�gM��W��, ە�f�� ����3K�>�A�'n=sG�ܺ�`�`e�3��-��mYgd���sf����2�U:�4�7�� ��t��Q*��C}]����8̾xy���)��E6�g�^V鳍, �d:�rθ �3��n���=��׎ �� ���y�f�t^ԼxU���. KVF��D�媪}��W��+eˣi�_�j��w�b93�Es�U�t{��̬�����t��. Յk: k�#R��A�w��0�? ��ө�Y�w&r��@�Hc�k��'�C7�? �c�3���X�� � tg�[���i�& ����@�Nځ6�h��u�) h� �u@ j����d`5� X TU�I� �, �K�%�b`�X��s�9�l`P T�@0�����4�D` 0� L&���8` 0 �J�� ��`8P �<` �Nr�C� p��, d�@� �ɀ pI��6� X3`�����çP0V�a�G�����W���? ��_��� ����3�1p���G�C�����������������~ ��� �%�*� ������K��� ���π�g�g������OO���G�G���������^�>�^��n` �Q�. �N��v` pp+���f�&�F��z�: p-p �c�j�*�J`7pp9pp)p p1pp! pp>p� � � �? �vہ�Y��n��ϱ�9�? �������c�s���ϱ�9�? �������c�s���ϱ�y��qp�g��qp�g��qp�g��qp�g��qp�g��qp�g��qp�g��qp�g�������c�s�}��ϱ�9�>�����{�c�s����O�? t��S��5���a����,�z1;�u�n<��. v1{���j�6��l���ʢ�1�, �_���# -̮��Y*c} �:r3�kH`��T�z������8��G. �s�5�0�Vס��_��/�����"��vj5>5]s�#�7K�J���f'�@��Y adֱf��Z� ��ـ�Zx�, ��Q�6��Y�u��xڡ;�9Qv���d]x6��l;�mf[�]�e3J6i� ��� �̙l���e;���Y���a? ��܏�U;���<����V���x. da= �. e��+�. �bWg��_ɮa�b͈�Ka�VS��! ������b�jcY�Q���Ҡ�a;�`3z�m@�i���G�t�]�'�� �oPc} ��6xR�e�q#q�@�h�(w����ց��]V9W����P�[�M_�~�x>Ũ u=4�k5=�~M��-��݄��ES��r3�-�'�۷���v Tw�լ���! �Y#���Y�Lu�m��� �) �^P�����l# �b^�8���Kc! Fp*��窙�>Mq��* �gf���`��/��g�Ɵ�k��~�` �7d�(�ݚ w��)>�h��˚ �����e! Æ�_b��(�Ul�, ��S�? ���2hR�����w����Ǹ�U�KƌI3���<9��^��j�&�NJ9� �c8&B�tc�9͓5(7լ���礥I�)Gfqs��������Mj��L �2�������;�>�l7 &�Y���% �I�7Y������G �. p}���! �l�Ԝt, ���C���33+��g�nsO�2I���K, �&��� ~�b��������^c{�n�X}���Jۤan}��3�����I �1����Pb i�^��ᤁC7�h<�63%��h�. ��iC��'�6%g���3k����'���p�m>S�'3KM����,zՄ��+f�������12] V, ض�6��Y�*���! �a: �줩��}�[�'��(%��������96����>��;�k��2����. >�_��^�w_ �b=�����[ y��R87ߙ��IC�2i�tl�'�m����~�, ���k�רܢ-f󠜡�Y��& �)�P�)ك2r���'�8r����:����l�X�i��'��mf����6�Ng����/�ԙ�VK��1�[�>�oְt6�%�c�s/pU��o���F�H�oQ����&���SL�ܜ��v{��I���gx�Œ9��)Ȳ�N�]��n�= O���d�W�r �6��07wd�͖5+� �r��S�ĝ? �5 -ya����_l:Β��l3���d:���i��2s�, �Ȏcl����)�%���:��ri7���=�0���<����(kO�I �z�ShΒ��� K������R�Z? ���2u���8�nb�u ���F����0U�d �=��6�B�^ ����v(W�Ok6~���"�65�5g&ӕq�0�����? f)f��(���ݢ�k���M�8����Mmqma. �ܸ�����6VhY���8�[Ύk�o�>Il��}�7F�-�q&M�L�ƙ4�3i�g��vg�4Τi�I�8��q&M�L�ƙ4��Le�Y)��i����c�����E` Ӿ)J� ��je�(����l)l�� eZ. �{ >��Y�z��-���Z�^�mE��V�����/��낊�]����Z�f��Z�;Q�^��k��-5���;���>�i� j�s}��������˰� U��K�^�GJ���-��Y���]��q��k�����S�32���Z_��si����MmU�fj�6! ���;�- z�3z����5ޯ6mlk5ϣ-�#1j�z��u�k�a�lӢ�h6j������-f����/�O��V�`z��k1��{Cml��t �)=�^� ���F���/��� ��������͕ۨ(��=0��z�"�rB�56Q&���WzD{g���[��ρ�o�{��u���-V. �x+���ڙ�:V���p��k�fiu۴�<��G �. �)��Ա�+�G/�ި��F��툰V1b Z��J=6��7h�Jk�Eƫ��@�d�6�Z #�:����V�>�=�f0��#��a�VW�V��3�u�Jh��kcrtOtſ���-良�� vjcX߿���vm�l��ڵ���W� j�b��oQN;���L��P���ojU�? E��ct4�<�����]w����}�����2`DO�/t�ʟ���^ �Z��+�=�q3������+ҝ����j�k�_�&�Gx6k��f�_�/���5b��_��U;�p�:�t�8uA�. ����Q����m�@��Z��hnV���"��`G0�>X_ hՆCj�C �-m��p��h�PQjP-��jW(Ҥvt�F��j����>��ء��5lA��z��-� w�s"jC0� ;�p0 �"xG]G���@ �� JKgsԎ���-�0<;�- ��nC�E�����KmB��PK{�. ��ZՈ�Z�*js��jkPkC�Z`zQ�! �ʡu�b5��ajK�u�Z׉�S�#Mx�K  p�F�@���. ^����t�6�=҆�] �]�p �K s]S ����K���́p� L��^��Aw�q��3�p�>��=�9: ��va�kC�[C�����u���j}P�nk�4E"�KJ����[d�b��D6��5��MK�" m������ �~��n�ĐlT; �x9��f n E"�z�v�֬ ��( k�O} �DWS��i@ p�����U1b����f�@�U{8�:x[ Ū,w[ � 4 �ԊJGC�J�ol��. �"��#��z��X&2��! �KV쉰X��m]��m��/E��RL<��1�3�������OS����}���f��>���/t�o�����e������)��. /1��{�7�r��v;�_�}�Ϳ���;����������_������_�_��T��k��3~����A��e�`��� ��ey� ���,� �M�����*��u�� ���w4 �8���f�w8,�������j�g��o, �c. �ˎ�m�����E�W��b6s���'nBڽ�l�f�ټ�� F7�v�d�ܬ�T7���ٰg����m�u? �} �K��b�D�! ��h��, �[�! �EİX��~�:�u���g'��[�z�>����1�)�����? N�^ϭ� ��6nu�9P��. T/T{��f����`6��d�x4����6���{ ���٢;g��6o5�M�nQ�&WnE��l�s�1������ؐv�iO�v���ٟL}����כ�����O�,z��'�3wXuHS��q�6��<@ɡ(���0����H���ڣ���k�i��s. +ݚs��2b���_8�Iٳ5gLg(����Z����2��JFk����� ��YV���h�%��! ��X��Y�K���4k���%���O��^�{�KG��E������W�=m����[���n�ݶG�pEI�&>r��goJz�Tk�#����r�ե5S��S��Q���"cN���h‘ik�*MFS�ii�����~Ԑ�la����gTn�G��R3����j*iä�44�����t"��H��! �R�HG�" �Az�fA@�E��4i*� _. ����س'�罓;3w�y��}g�������^����ݓSOY`g�Fd)������)���gA��HϨ���(�*��]����I�CUNUC�c��*��RjGE�P����} ֟>�! �#��q�`) �. ���b��Y�U5? �m�,�oxg� I��9򲋦��afr����m���K�������â��Q�t9��+�O ��z�`l��f�fn�s� ��. �_ ��: ��z�@u 6:��������o��Q��=�! ���, �hlh�T�zvT/��� F *��; ��d�ocF���,0ݾk��H� ��}�4=t#�:X�ڪeC��F �=� �W�S+�֫Y���g��0j�5�d���x�������������Nt��! ���X����,��W�Rs/�����ne q�"�L��b�ڝJ2����6'����,�b��ZBZꗬJ�[�X�*<��b��X�m6b#0Hov�, m�G N`�K�W��Nϱ���: b����j�̤i >�d��,���} ��I�_�Q�����1i��/�V_��E6��LOR���c! vL��y��� �a��t�ͷ�����^�mscsV����9>@m&k�i���=� �W�^���oEoY�����Ql���R. �K��›KR�`��2 Z����j����G� �t�G��=a֢�y*d]� ڄ<����vl1��-�nE���P�RTQ�,WZ�ںz( M4I�hq@��m� I{kQ  Q ������Q���������p��/ ���M����2JIqW���>N�s �)Cyxz� . PL0���/Q@J�ޡ@�}x +�(P�/���G>��a H~pg " c�9բ�ɣ���? ����q��O, Ƌ������z&���%Z�l"UE����9��΃O�T���+�o���&�^e}D�؛ƪ�1tԨ�}��̊1�j�a-��}<��-�. ���9*�:��! ��>�n�g��+ ��-���:�l���&�i��棃��Oa�x"��h;�NS�� ���d��� wM�Xi+��We,d�TeĬ~ Ͻ +�pC��s��^����0���stȝs������G)���S� �B-� O�*3Ui���ԗ�p�]�Lt�o��lAN���K�������U�V�C' ����,UfyKٵ��iY�kL�[��ݹ��Y��e��u��SL_. +��Ys�i��@��C�6} K_ iC������<���Ubu�� �L>v8�Y�d��uF�x��7! �>��. �;�I���m[�����ʍ�����ƺ�s��g ��7�V8f�4�α �/��/R�LJ[ �/ �mX4 ���i��)� �X��5�������Z��)�2�? �����0��F�a��. RC�]���Λ�@������ǞS񜏓���O��) G�%�b��F�����B���������#����' �S�y􊞼b��y�, ��V��yp���Q" �E)�8����������r�� �G=�a��YE��� g��ѹ���c�������LIo�4��m��C�/� KC{�Ր�BuOPMAD>���ذ��@���䊷ɗ6�kՆ����Y'� 9�I��' ��)��:%>+d��(�M�� -��X��G��M�(���_��( T6�z�5������zz9� ����'��N���^H�,�f�qH�g��4��7 ��"�P����&Ѓv^� ��rsP, ��;pou�X y����8�0��ԭ�[��8<�E 9'�󊴼Mޓ#���ޮ( �e+g+�*���x����I��A0�'���O������ʻ���x�0ִ�W[�! G_�V��< ���! Κ�S! �4��y�8��n���G����*��ĩ��4�q6P�Z����Y ��ig��IJ! �+�����h���7 �dbW �qGx�= �2埊�^ ��c�ɸ� �J,�#s�Q�]�����CJ��93��#� _����s�Sn� 1����<�q^ �r��𙛍�u�J� ���ݵ���f F݁���R>��I���̧+����fx&�ݓ���x�)�Fh)7]H�̏٦K�ݝ� ��}�1�i�b��;>�t�������bu�TM�����T۱3Ki��ˤ�*:�ܙ��ի. �^���0��D���t�x���Ԍ�c�A>d��r5����E��ZWbs��/��z�V�5�����P��v�, Zr:���tUi�m���"R�^Bi�aEv�9��a�s�b�;�l�(��쥐n��yvݮ�w��u��G�b�s�� �����v3�am���M�L�I�. �ͯ�<����. b�v��c��P1vR��8���E� i4)�+GwL@4�����v���&h�� �7�hY�E�ػxZm����& YJ, GgM��> �f�bj. �R���r}xh�, ݒJV�)�D�Rꏠ� ��`��V���1�t�o4ݰ&�Z�@�8��d(�t�3鬃�[��! ��B ��*��mHȹB����c�9 ��jƤ��a��og�҈���1�����y@Fh��! �א ��yRؔ�C�X07�k� j̙��E����χ���/��x�¼�#vz*VV�Xܤ�Z~ �_�+ ���ԗ���c�%��*���lXs���0OH��Hh��r�AcTBX]��%���G��, 2'�>�P_�ʓ_�`��2. �ɰ ����Ҕ7h�:�� Y~h&��g�ӂF_ͯb�d��o9�D_Q�2pRsF&�f�S��@��Ts�W�� �h�Zj�R 멑��m �_xmt�, ��˫R����󋃋�3�,�������7Wm�-��B�N�0o�Yto��9. ��<~E%��R�} OY�'q���i"���JL����4��u�����:�l������=�h��O��x�4/9�wJ�#1�9��L��ߺ�Qޟ�x��b��#����@ ㉐Lwō����������}~K�Z���% ���%�#sg�ɜ���9��'s��~ (��yNhP2���  �71��U�e�a�Mx2gwk�[Oo���;p,�0 ���d#��9�B<�b����{�)�`y�o�����C����D�q54/e�(��? ��ȝO:8n���t�/�*���) �����=x�A�-�[�Q����m#�d^��}H��H5���T���5Y�~Q�4�-��: O�J#ǒ7P�� 31kץ"�ȳ��x;�'8�}? X�H�U��[�T�N�N���# GM0���XӔ����M1kj¯����K. a���K{ �(ILN�> _���hE3M, ��>1ˬ����ZO����W5�F�`��^ ��1N���NX��j���d�AG�� mxS����ˬ�U�}�����ja`��f{49t���U��4���yɽ�, l'��o�ɓ��. �A�`m]���! �aT�����b �s̓�Is��O�%�Qjj �8zI�����T��%���frojr~V��}��ht��L��? �ϼ0'����=X��t�M���y8n�Y�� �պ6:z��6N�Y���n#�w��A4W�"�L��G�, �s��O�5��PmR�J�5��4�d5׻��tx#�����R�����[�~��}o;��H>�@L AQ��x! ��G���<�o��Ԧ9�^�b���c# w}�9���W�n�-T(c�(�N�ǹ��x,�����m��=���6C� �~�; ����TAq��s�n0ű��qE���s�0���W2 x���'������dn��N���S��N�y(�0<���f�8�D�F��#o�gJF~ �h����}�̻�A��H���a� ���1�T7wb��M+O *�ĮK. a���n��Br����݃]u�>EW/S��>NO-�����F�42�L{ 9�d�1��L˳@�l�uS �Z���IQa7���L: �e���׆��L��i�^�IQ�hd6�Z)��? 똃 ���sD�ƒ� ��@�ڿ���,�m& �����0�+ E��, Kh�H������/��{s�? F3�s��3X�! e"b�i���+ ��7�+Ƹ�7��xn2rZmL/q��l��Nv���J��AuZ��! �ILmy����Rd� �Ms�d��ͶR�( ث ұ��珀��L�y��5q�T, o�] v��8�2�̧�=�`�2��[� �ɶMқ����(��i�C�K)�is�L�׼NJ��eH�`ӻ*�ֈ���)��� �hzlj��/�S�,��W~S�������lȧ��7�5�,����v���/��/mp�dI+��o{�E�ʋ)����_h 1827 0 obj x��S�n�0��>����B ��8��~�K�T�e�! _�K�T Xk���. k7�7�h⾫�* u#���;� ���p( ���1�ߪ-��jrq�hsQwN�C��:�ٚw;xr�7�A5bOf_Y��� �� �9IB8�:�K) ��ki���f8�5�� ��:�, P�؃{�IH��O��7�#kWWߥ�h�ўG=��O�s��¼ ���_�-²ˤ�. ���~h�-�h��(��J4���Mۧ+4�At�)��g>Z��~���X��.! �Vb��pu���ϐY"�*iA��&F�� Q>�. ���,� +�MM=����^�(��Φ+L#�]Uh�����W���;f݌x#�t e' ˼�� 1828 0 obj x��, xTE�hu�s��83��L2�̙  ��7I ���cx� ����r� Q���TV] AE&�C���Ŋ"�⺫� *>v��? ߚ�������{�~����{�ԡ����������� 0b�C�qr~�Xx�Ҍ����k[��'��(� @ �^�Lz����0>@�t͒k�{uUp; �Y, ���E��1ņ�����ܶ9gG ��XA9+�Ŷ�q,�C�]���eb9 P��E�g�}�+��ElN�^�v�k�a��c�����Nm8? �4��. ]��}Y<��X����]��f���M��[�PL�z�3͕_h��~04��'������w��? ��cbWB�����Z�����UP�RAA�,��j,�e�q��fl�ۅb��ȹ��5Ԫ�^�S�ȉ��k �j�A�2�S���X=�Dd �xG� ��J�W%E�����v�# �΀����'a5Ár<��j�{X_䟂x�q*bz��� q2+ �A��ǚ���, ������M8� >����KU�a�1�w�(c<�g��I�����X�0��X~�د Ik�wCZb,P�? �r�;p� ��C��9m��EG��zr, �(�c����X=bm2�ur;�Wa�! X��t�C�� 8��0�k��ǿg9�}2�xF��, �wɃ��ҿk�A�A�A�A��ȮxϿ[���;�� � �;�@�G�( ��A�A�A�A�A�A�A�A�A�A�A�A�����? �� �0�0? ��_q��R�x��Y���B6 ��P� 7�N�C iw�J�lR���~ 9�A. �T#O��q���. �f��������>,��3����㧁�~�B)�}�`�%�J��̢�jK��:�i����! ���Æ�r�F����, ���1j�ƍ����h��q��I���L���~Ռ��m�_ ��vBW7������G����#�Li����R9zTEyYiIqQaA����@��aC��C,Y^ɓ��v��9����"�MF�^�ըU�Q�u�q�R�����K/�ce_V����5, aո�y�R��& �) �5��) 8�N"J�P��+����Z�%�'6# w�/ �{�A�7+�i�;Hu�y�R��Ju�q+�uԵ��p�z]��f�. /:uz�H��%��1�(uԍꤠ1�P�t_m]8�W�s�ums�&6�պ��` n����� �ol�PX�F�&�� ��i��l5p�ԙ{�cCT�Y��ߜ��a�-��p�ڰㆳ��8���yݏ[ G�s�Ċ��Ή�? n��4�1�/���1�ހJ��, �l��`s�܎SJl%lU����ձ��RX��ױ��&�# �Vy#�����H��:��}�p��l�uw�@ǤU]i��vqK^n�hI(��dN㏉�m ��3�~Ҁf ��wDX�-��>S9K�C��rdC���;2? ��i�G�z�? d�>�� @ ��~zqM[�F�- �dv2`j��O��pN3u �)�8F)��守R�o�(a�� �۶�,T���6��� ��MlN�%�劀��i+k9��b��ZB�-�[ h���! ��5��f1�V7oT����湉��ɾ��ӛ���֤n�. ��ڒT�V�̹h����1�� ͆0���T�Qω�5h�J �ƅ��KiP������� �����- fxT������g��P`�O뛦wt�. jCSKLxY2C���f�T�)x2��_4~��a��Qe5��/Q�, ��J�Af�y����ut��I�:Z;ڢ��, ��:���sK�Z� '���! ���GFᡠ0��G�O����ӛ�x[�oj�PBkZ�;�` �A ��RKY-�d����" T���! ��W*���(�N�_G`v�&���:�u,�NV�0S���c�Q�d0� 4qú�N�뇹�p�r�#� �An(�푣���j/2W�qΙ�����"��- ���z�5�! Ľ�G_GĘS�. F܁x��p�; y���M�5�9�G�#r��4�q&�&��*���, F�x��"s�Ƚ�(�#r��u-XT���-J�kZ0�7LL䵗%�F%� K�#�&򡹉ܚ]b��Xt�:�K�E���K0%�0���! �H9U�F�]C�E;�p<�r�' �#���ZG�� ~���` �t�i��#�'�#���N��. }����X�8q���j�WLE�柔��U���S����zS3}����(کHYE�A��' Ov�p���5�(J��f8Z�w-��c��ˊdz��3R9��tI�����Y`���H�[� ��z�7! ��q'b� SQ��_E, e� ��z��ғ�XOu* �j�����J_R�W�J�2晘�/E2=P��v�>"�"���. ��v �z��zu��4� �q&�&D=B�"s )�����J>0d���q! ���t%ji%ji%ji%�t%������HNjl��� ���a�DB������֒P% MBr�P& �t���*BDX! I�8 �! �v�P6! ���Q�V�duJ�U�旌A�c�^Ԩmދ>��'�JIF& ����򬮜�DyĨ��՗���� ��iD7�y4��q��q3�U�3�"�G�#��; ߤ�fL��g"�A<��R�9�HaqRĽ�`�I�Y�>�_~ �3D�/�6��9�4f�3i��bx`�h, Qb����믌���ҍtd�FlN�"�dx��������N�L��T��dc^�J������>�yQ�=��#�O1�^�=߸�z��R? q��I����#�<����N���Q ��G f=��z�]��sa]� �#��Y��s�{�g�[i��h��K��3�? �s)�W���q���*�՞�W)��S�"d;ܭL��T�R%���6u��Q=R]��U{�u�ڥN�X5�Ƥ1ht�F��5T��h��` ���2���x�)K��9=��p9�m ��<�ԇ�Ά�YR��ɾ(�a�"����Ɔ��Qu,R�, PVO������A� ��xK75GI�U��b@����] v��� 8SWT9��c, �j"iM���y��V? �9�dF0ĈxF�>� �p8H����=H>cY�� 7��G�Vύ� �d��� ��b>S�4x13>�4� �� �l�,CX�,Z-d+ �Z������>���s���! A����~�s<y����Wx���Ox���v#K�[a! ��VX�]a��K~����;��8��;�c<��c<�<�� H�������ꫛ���k� ��Sc��+y���^ ���Tq��xG{�7�z0Z�z,���lDdMy�yլ �k2��u��y�h����J6�Xm�������Y7�6���-g O������ɵ����9���U�v��X�ʖ�_���al�����X%� 0��JV��&���/O�5���. "g�e��™�M]AS� Ӄ��ڃ��v ��c� Q��~ � ؏_����A�, � . ��t�k�(�[�B� ���P�-��7p ^ >�[�X0E�, �R����O`Ϗ�W�f��p/���c��z��i^��H:�'�d*NӇ���g, �o�G}ߏ���f���I�W�S�w��ؙ� w�����Ĉ+�H;���I>�5t&�% �������n�U_ ����,E���LW�yd5YG�! ��u� ��Mt! ���r��c�̷� ww�>�5�^��>�U�( LD{X��o��qe����ix�DOL�I�K����M%��nҍ��N�'�+� �ś��� ����1��B�'�{�~J���J�J. �-F��q���ǽǧ�'�8�H�&�v O � T�-xǿ����r�ލAl}l[ 뎿v�C�=��U�ҷ��{Z�^8E ��t�CƐ+P33�������l'�+�? C���DΣ�F�VdAK�Xڈ��t. ]��ؽ���I��Ԝ�3sv. �ϵps�e�*n�^��ʽ�}�}�_���>���~ T�Tש�PEU�aT3F=A=Qݢޤޯ~Cӊ��<�? �19í��}���i��y �y&��(Z*�E�ӛH7" �MG�+��G]�Dw�/�h��ԓɰ�&FS���U��C/���,��@n��U��o6��>��os�����u�Az����g�1B3x��n)� ��:�w� h�W�'�/4�"�5�0�J��2���? C/���p��_ �������x*�? S���e:��6� ����� B8! n# �v�y�, �����F�O�g���0���p�K�ka����� � ���n��"ދ��*3 ���݃~��k�'Z�hS�Cl��~�, 6�ÆQ��. 8����_ <���K��e���}����߶���,E6>�k8F^X�� �X*kul"m�}�Y7�L@��5�%�]�ä���w��N��㞶<�AQnߗL�� �*�o# jafX�R�g 9�����׮z���x�,ML������`ǶC��<1���ʆat�H�:��U�����ݰ����_�E:����f�8�m4*ħ�Y��S�&����I���AN�, C�� -��bi;UY� �a��� 'c�����:��Ỿ����#�A)���Kn�7��ܧ���)�q&�~ R:�aT��Q��. ��m'���z&�K���ث��� � . �c�u�ȑe�OL�VT1�;qb�]�����p�j� �u��s�%t GHN��., A�4~��̳�m? �����X��, �ګ�pݷ����u( ٲ�2a+"�~ ���)�liaG% T� ��V��? L>��HJŻB�R*���vp{9ʭP�-��� �Op�v��,� N���&��ݒ-ʙ#�=vf�7ǚӄO�Ma���/ �Q�� 2����M֥g�BJ����@�e�! ����Z��j �`���� 7�& p=lE�D�w�H��H*6�GhE qNN��UlH�Հh0��� �Ø�* Mt�YF���M� �"Z�x��U��z�z��&A��;i�� ��i5�&� ���I����ٶE��i��Ut�j���:���m��η雪7����m��^ I���V�xo�����ل����R؜��8% �di�7) iY -P΀ �6�ʜL����P�Md^�"�}YjՔ��v��, ���#o�����իw�y��-���%O���ߎ�b���y(v�� �z_pn��VN�~�{����ıt! ��n�h��y��@9�@ ��)��ؚ�(�W��r����lQ6ԭl�I�PԲ�ƶ�O��I72F�B�& " �@�4}��C�h, �^�, �@�QA, �m����gQ�ԥx ��w�է��{ �՞g����V���Ƶe�cI[�ZD��fSM12S�X✬E�2S�Lf�Ɛ��Z3�&l�40�3��l�:�C�,Vx��q��' ��IZ�����ҁ V+U&��f �猬����V�Ǝ�����t��yGE�? 5�g6�M�L9Z�:QRӼ�V_f�L sL7Xo��i=l�0�Cׅt��u�n1C�U��_5�s-�Vz�NԨT���)nw�Ɲ��B��挙"��]�b��>�P�a&Ԡkw�Bm3[ ��Z�@�H�`�WEg��t �i����΄��>��:��J��! ��L�j��O@9`��`0�����+��/Kq‰�/0��W_Fٿ�~ �7�� 9h�����������gOu��7���5 �`���[������ַ��L�ħ��H0�q�4����ta�0`� ��f�9S�n�t����p��hp���'���%���"c��3�s"�} ����K����%�%k��B��! ۿa�1�Xg����Y�YV��I���)sR�W��a�H����Q'H�b7z��ī �Kض��u�a? N4b�n0�y'���� �., ��GR���4���n���62g�#2��x4��G(t:���:T�_im6�3l7�6�l��0n�9+�8T�Z��95��x,����ȫ�C�h����xYฎ��k�N����=�. q1)�9��� J6��, �:�-Uo6SfNzcJ P�J���3������g�� ��? E�8�ϙ{�? ? ��/� [A�1�x������`�;�Z�. � Y_ �e�Up,FF%"��� �m4P;�P"�PN�i�0;B#�{O;í��5+i}�����m�'l��4���hmNSN:�- �=��8<�Mg��l�M��-�uxDdD6��@�d��)�3ON��^M��x��" �ny�S9NN�I���ĹY�&�` Ѩ�#�} uX<��K �(�( m� ��E�ӌ���8>�瑥m]tl��؏��Z�^S��? ���=�m�{ ��@�m�%�ew��>;�z���ƪT��ӱ3b_���=�3, jk�����ˀҘ�z3�q�2e#1�r Y�)F���%�QT��uN�]KW������YL ai���%E�-AdD ��:DeU�+�;� �C��"ø3������ƌ�r����w�;D���}���s���u�������DSj����@A? �y~�����־��)P2�i��%���a���� >��X�X��8�D�"�Z�/��3�8, q�-„�𠗠o��FY���7Le���8���44ג c&��`���, lPB�b) �8� �e, ���r�R? ���{ <�ߎ��Ӷ�F����y�G5�c�b6kB"A+� " 7��b�4��C�^eOn�9��. �g�8gG��Y�_�C��z���A�n���G���in�>�����, �9�ӻ7w��FסM/o�s�`�����ٲ�, � ��,�S��, ����/�8��2��j�8Y��, �%GM4�CNi��wf��t�֓�r��8�A=���i�k8�9�8� ��3c�j¬�`�Ē�. נ��5������͝ؼ殜+w�����[�� O80H8�ϔ0՘�yp�ʄ�g��~�p��DT�ˣ. ��l��(�H;_: �t��[�l�. ��}٤W�۽���}����/�x�p�#���@��@{ �(2qtx��p�tNY�p ���Kgzz~���g��� H >T���:�~S����z�zt�DjQ�Wh��oanFk�� �2u�v��-����HʶH<M<^M�x �'ZW�h�Q�06��z���d��9��^��Dv��qN�lG���, �J�3y[r���x- ����i�e! jGU^g~nY:�,�zp��xv-LKS��Xޝ+x �����ޢ��-���K����`孹��; �E+��]�z��UCF����7. }� W�3oÁ�7̾����U/v3�^�2�`����TwúqO�����������<��1�&1�)A�P��S ���&E:f��Vʣ�����a�n�fT���� ��7��O�H�0���~h �A�q�vZ��x��������Y�zTU�Y�CBc,V�Tߤ��쥾�9%ׄ��� ��Ϸ)�b�[ߑ���L�C��>vH��. �[B�)�� ���8} �<��h��0�X�0 ���/��>��w��6{xɴLl�K����V��m; j�ɶ�lS�R��Ԗ��% C��eRȜB�e����;�f���q �‚�SH,em�����g�7�XrնM�]�os٘�-T�#�ϑq_�o�r_���%������! ���. Vp)��L��D u[�΁�_�` ̏H��R �O�(�8�! �C�]���c���;�Ծ}�i�~��, ��+7)w*�)G��e�1�1�1�1˱��CT�����9�D�J�:������s V��U ���q�Tw�W��]v����1^%�, j) �'�/+�� #��B��ʿG���YfUN ��Bׅ�E�Ya<_���)���0����1F�i2Z�EH��u1G���8^�HD� ��9. ��K� �WR�Ө1����! ��u�K��d���" �Lr{p0�0+����% �������3��C�}���0dh������{ �,�d�KƎj�4w7 ��, r�"��9mHwԱ�aG��3U, Q5"� ��eTs��r���]g�ο"�6���7���ј�l5~T�~�eN�4Ng��sA�� �*�K�* �� ��Fb��! oa��k^���9�C�J��X�/�dFR��0¸)DA*�K�3�D��F�m�s�]GX�! KiTw����:���p�o�x��*b�N��mV ������@ ���%O'� i�t�G"��ػW߻w%o��j��*�Go��7e���JbG�QH���7�E-Y;>T�jP �86U&�, ���x��g���c��{GGj��#Ћ�ax Z������z›�J��v�b8B�s! n�q#J&��. Y, ��KBW� e"w�M�P��@Ye�W�nW������EɺŢQ��)A�C 8 5-�@E �� �� �ւ�@��4�F�/Tܧ_x�. 5ԧ(�a�x>�v��}����N�D�;�qs�( 6=tZ�'�I��EC�,P-} H�e�Lȯ �C���L���. A��v�%UB@b[�H=Nm,s��9��Nj}yM�Nt� �G�q�C�OЂ S�Lr�]kr����]�., �����9�5�c�7}�F^ qr���? ����Ccfw�_ItF��Ιx^F�sG���5zq��6�Y�, je��c��a��v�;�W�w�CE? ����, b+�r�2���M�L�N ���]��u{�~ d#zo4? �݌� #�A�, y�����. 쎪l8��F�9�IA=A(�O�%�0)�9���g�C������ʇP"�, B~�+ N��s%����C��q�a�v�93��Ý��߂���)�3��=wn�۴GV<�%���? �2����h�s_��w��澿���77���! �{��v��;lU�c���Nӈ:� YF1֒)S���+���J Ŋ���z? X���E�z�~�4���>�jk %A�%N�` ��� r�`���s�X! ��ȥ�S@���a&���? 7�, p������ �&��c�} B�zf���, {�����C�۟�7���K�nν�wx���{ �S�ܦ�7�7��'��T ��%�*�. �+�QIE��` rTa���pՊ��⎸�! ���? �U:�f���5P��6;������&��&�ǣ��Cl���2�cs��ٜ���8��r2���J�9�Q�4��㸂qH� �;O��ܿ �1tZ����! &����od�:��v5¸�l�Mư���. "���m�ž�7��%7r���p�q)�T8�0�Tg n�J��&�, K�U�L�j��L�����P P���NjZ�PYQ*�@�;���S{D����χ �~ ����8g0a�aI8�#����Ro*��J�TIi@ J0>�;An���"yU̗&PD! ��1�) L�% �{�e��u&�����>�x&���G� ���ͽ����;���OF�Ԗ�Em�/������ǣg��gQ���B~�-�1��? ��6��lܪ���~n�1����8�(�T>���n+���rlTvlp���cE"E"������ ���P3@ ��/۪! �,i�� ��Oʳ_ ���KOCq�Qk�j� @ �ғ<�5�M�t �i"H��! D�aIr����{�= ����I<��������% P7�U`��v��`H^m, Mbm���۾�v[ a�%�v[��@�NzUjFm�_�o� �gm-����pU��42�3G�'�1, oG�a�����:�(��q˰= �:�r��z)�s�M��JܹlSˢ��laI � �Xc�� 2�A�_�3�7��2f�9�,��J[e 2�� �[ Y u�r��R �Q�R�*�v��h���Ԕl܍�n���nvsn�bh��V����i^��v�f�id[�uRp�ٙ&�g�����d"4���E8s��=M/���>�! ��s����T���y��^ >p4�YQ�xPF���9�: �+�Y�J�����������_���? �} � ��sP���%��lN�iخfpu;y-�[�"�������Ϭ3�䙥�gJr0x&]�! K��8��� uup-� k�/ ��*��T��p�'˼��t��ӛ�M���eQ6�p�G D~Es�����7v3]Ǐ��v���=�ȷ9����Vz. �T��� �s; �r���ͦ����K¿�KG��ͷE4�%�{��鏛�#�a�IFb�C�,�DtՐ���Ժ�@ <��ˡ���mީ�2��+ �ءTv���h��k0�������LN��E��F�w�6�yg7���i�ZL�h# R}�3K�=��, ��@S��L���iD�g��%X�MQ�H�; �Nz�U�A:q������h�~� x"�"k5���ދPX~�� Z�Ǫ�S�PgO& ���{m��R; Kܕ� �5���Hu����J�>�dv*w�v��R��Km�>�f���Ԡ�Nw܃�e׋륍�S���N]��1�v, ��V�K�+��;�G��;��u�:5�Z]�Ձ72귍�K���PeG�R�*H� �ԑB�����Nˆ΅2�����,3��S�7n7�4��) , F�9�z^��^ ������ �+����4D����ɨ�' �gp�~��GoU�{�T���p5��,�-���hr�mPF�? �vw�%W� �tA�DF! �G����1 ����Z� @��Bn��d�������~�ԉܛ'p_�a,�h�x����J�ϐ��f�� 0�Dԭ�E��dcY�86. ,���. oKqB�e�lAq�QiV*� �Hě�N�F���j�������1Og�ԓi9� O��Lf%G)TP�l���*�ɉ���JB��5"C���mDF������hW��mA��ow�j�]9��dD�C7�>��&�"�[D�^�����E�D������^eqǫ�r�`7pK �ZO�n�I������΄�7�Ɛy �'��9��<�_ s��m�+ ���8^d�����Vh2? Y�dL0�����&�&�o�ߋ�`�e]QE����D ^��Xz�X}���, �zB�E�ș �TG0R��6��4w�/���wL�?  �� ��? c�b���h�&�̎�Ko�:6���>��������>�o���=�'>�<�a�kh�����{բ�v�ܙ;lc}��p���mV�Y�,m��L5�z8E� ��6�s�]����ͣ)! � h�[��6�ی�#N-Y;��m��@ ܡ�'&��`vqGåw4�#�zn��Ň�c�-˭�;t׬�/人�eњ��n�j�9��o��A8�˔���]�S�p00ȋ�4�yJ�J��? ��������c�#SY~B�������5�v s�8� ���0s�8��i���sY�����)��W���eR## �c�KF�&J�� �)�)Ec�Ⓤ/�g{秮M��-�I��TP /�n���1�3����f}�X� �xFH�����'�Q'��dT�C)w(�. p���1������B�*��G�P���W&RD; { �{�`ů���XO<�����֟a��u��l>��, �ܲ�*�˄^8x��gn8}P���2=��_ ͽ�e+�:0�e]G6. x���ǹ/Q�ӹӦ�z0�^��v�n4����⎗sOؙ��֪�(� 9��}�#7��Z6�����7�0�蔕p) r �L�͖�8�J�, �s�, -���Z�(�������P-i�n. �5�uQY��o����������>��ȷ�5�tJ�Q�Q��ʴȂ�"�*�j�r�*���&g��k�+�A<������t��+�! �CpA� �e�? ���, V��IS> hJ@ �� ���Bm������dk�M~� �� *0��N^�: v�P�NC�(SE���b>��n���Ǧ�C���1�t S�Z���� fLb�� H� ��Q#G��i������� LTH U'4C�x߼��k�x��,˜�c{ 6�ob��G��{�c�j�c�kW? ���49�� �l�`E캂�t��siu����1��k��dgr��%WZ6��D�aG�c��dž%G��g��iE��W��7�z' ��B'U�: ���v���I:e��G@�K%q�- �-V:�jJ,bɄ�K�y�, �gV�j������ť+؛�����[��ɛJ���;�{�y�o"� �Br���p�"����K1��pi}���p�O�- E����bg��}�h��R;�& k�����z��N�_��[��5�OD��aI8 �4YL�, 4�7dۭ%�����=�Y(�Q3Z��! �����/<MF ����}��2)��Դ��]���� �]z�%s���<��,�s󦭏d��'�^��䃯�~�}hv��-6,N�Fz�c�. ��K޺A�������_>t�W��x�7�����y�Ֆ��(Yp�~��܎o��ٻ�8�UP���N���}m)T=Hy��C�~YP� J! g�&�D���ި�n��:�=b�v�! ҋݹ"����6o>�#����A��,l9R���d�u������ �Fp��+�O�_ E��f; a� {R�������V�B�l܇�Fn�-��X�F���K5mu�(p��G:�<��ա�G:�^p�O��t�����R'�dQ����h,���L�y�Ź���5wb�s7_����8���ܩ�nC�7�S�^�y��/�������,u��G�D= ���0_up�qp�YSCּ�b��d�*�r��Q�V���ji��NݭU��ڨb+Η��H%�,d} �’�v�r�=��3�E0����ɣ��;�%�YX����L��Z�uy���a�<3���a�11�, �� ]���� �ܓ�L�K���I��*�w�����W�N: ��X8��Kh��#k(�p���JqR��J�梹��3��9�QY`e� y۸C�8�� 2 ���q���"AUD�? R�q ��Dg��8`ɪ,��hu`G;�ii�����qx-ٝ�L8�S�-��5o��h��= ��q;�~ vs���5m��<#�����z+��� ��[��@(�TY�:��1l�1Z�E�-�^�Lc���ڻ. ��o�I�����C���%���B���y��mȍ���� Sۻ��8��k. Ŕ3�p_���ɕA-TY�UVf���A�! �# �Z�r�vIes��ڊ��,��6i��BN���d�ޓ���ۂ/�� �]���`�4̇���`8���=�>M�^� ��T�f�L�����L��ҳ�K�W�+���i�J��ju�U�Z��'0��� �������z��? �oѿ�Y]�������兽L:�F��V���o�O���D" 7��A^��a��� F�D. M������l����IȧB�lP�= ���J<�d;�j�e�-���S[R,P�eĭ��F;�24L-������ ����ΆO����/ o 8&� X�)䡬((֡� H:�=4�+��k�q��11�z��h�u�. ضR���vi �W h%>�RJsL�� ��Ԗ�Edga�����q��B5�]iHnb�. �5oˋ�. ����栚᫖^ �5p�;�W=�h���#���^>���K�>�*�iˆg���a�G�B�R�e}�lj ��2ښ1ꌫ�� �`t� Z��[ (�! �*����5 g�H��YÖb�l�mEGC�hb����J����eD]C�VA�U�����>x4 �RZ����s����X�r������zZ5e+��ELK��x{D��`J��XNW, �}jǢ�. ��b�~����� �_��W�, ����kǭ}cq�������&ܲ��w^�G�Jc��l'�W! 4%���K�ȩ H/dX�sE1��{E f/�ً�. X4`�"��}�bc����p��x���X��9�����fw��. ����xH���c����_�. �Z�'՝r�c������0�Ow^��d�����j��n&�Z�l`�`�7��T��c���'u���0�_RILj�AP�(u~Oi�4�&�QL����x�n�z��k��d)튍E��'�ۑ7u. :��T��03UF����� �� �t�mzʱu�}����}�z�-��SV=���y������FE��, �7ly<��? ��ύ`cF�}n�� ���i�Z�6L�xD&� �{�G���Y�LOsdw�}����a�a����S���b����ȮxNjg����h<��䘨�� _�N�c�����N"��h2DY%PU��R�x�D�i��f�IDx�P��cR��j �A&X��, XqS�7 �5 ��h��W�%�m�s�[�D�DV�R��zZ�ڬH�F͒H����6��yji���-tt�}�! ��8-g�J]L��M0H���&0x�ޥ1�����Wm�? ŕOl���GV<���c#����������/�r୽@��D�F��y ��[���*�g� �, v>� 0rj~��)�8� l8���4plA��&�@�� �q��H��҈եpU+l1� ��/�U�nՐ�A�Ai�Z�l0�1��I�JV�(�E���- J#Z_���醮Cc������. ɗ��u������4�^1; ���) �v��Ǯor�#ϧ ��ڱm��5]�y����ۄ&�ہbD٫�<�Y�_F,K�t׊s�>I��������#͊zd� V��Vpa�~�m�&��rmkpw� �z��b�E��c�K��(����������Y:�MBn�, 7��h. �" (K�! � 2�"�u�̀˸�ΰ�E�1�����eft�_�PF�AF����o��3���}����}I�v�����:U�ԩS�N;UK�a�x�, �y�z��1�f��A����pd�. �E�Ӣ[ ��bL&���K� B8 ��? �U�[�z�;tq�n�? ���B��O�C ��2���q2��5�B��ZK�& �� ��̣��"��t���`Z�g0���%���� fk��%���{�owoXqEMhd �G�2? �e����� ���_p�׋0E��Μ�A�´��+ ��Wž+�q^J ��+ٞ��2e�g�2�s�0[Y����Hr��Ϲ4�Ҝ+r����F��R�? �>n���C��� ���_��V�G���, ��y���hwwn�[�#�n�:��=��b+�. V�% k�dU�&�����u_�7߷���c��Y����( � �5ekd[�=i�5��l�ٚ���οN �AFZ���Q�]�_cӴJ� t�b� i[ �n5�Z'k��Fy���w������Μҿ��zO�%�AO؛ZNXʣ�xP��V* �X{Y��� ��D-ک]�yݍ~ ����-����6���W'�y����U�N��-�u3�x�no�{��M_]�(��j�ӯ<{�Y���C�^ ��q��? ��;ΩxfK�q�! K��}��O4T��phɜ�Qd5, ŊGD�%�#A/c�1jh�K���X���vR����,�z��&��C7~#ez}v? 5�JՄ���. �i/j������{Y/򄭥w��4�b�s�8��? 7h9�Q*e�&� ��, y J����S�&LKXפ�(�* AB���W ɬ�R��w a'���C�t ������2;����mF>��ҽ�g�/ ww-�vk? �V���{�A�nYS}�u�O`��7T�E�����R�*i��C�%�H�J�%HiR��^�nG��%9M�2��"F�u��ʼ������b{��, �Þf`M��bYKVF����o�L��R���9����d�Cv��M�SvS���jۗG�"������O�=��f� �������rZgx#6����(����q>���E, � ƣ���� /�V��}>L���, oU`�R�T) 1w�����Ot���9��Jg& ��"�9 �m%���" B"US* ��Su��Z*��ET���j������e��u- ����BX=�8�)N��O�+ �7w�-��V:��x�]ُ_ ��5�8'nck��xnJ=�W��/�- ���xK����J���w�g��fk�S�R�v0t�t�RF. �tS��齮��:ݍ�. �F�ӈ�&ó, �����Py�����b��y��g a��)U:�s�9�la�t���G:���}�? �, ���JLr�2�0, V���/Q [�� ˆ- HwX����G�0��=��ıT��! ��t��t�tc+��0@a �+��v+q�*b�C^�z���Nj���T�YL��'�;d%��s, �Y��%�! ̄�P��������z���O�] z�Qڵ}�H��J)����� �@��� ��%ֹ��: >3{ba<�h��{�c���4Ǥqm�z��c17�c1x�e�IX��`�f�Dn��n�������1���KZ���E. �w���ż�0/�:���! �"37tS3jk 峱̔ _ �ng�֋g���~��8�a�{B���}�{�;k"�hfJ��)1Lfj2�DD ���.  í�a�,��j@��36jbP5��y�. `���T�@t�F٘AtF�nLj�? amL����`�f�. D� R�d��d�N�C����RIơ��/D��T���:��1��R�E���=���� �ٱ���{���o�����7_Q�{�y��s/���K�#Txy_ s�����m ��<�(4�V�ʤ�������� U��u� U��C � C�Sק�ο����X=�ׇ� 5�T�Jԉh�:5�? �o���~� �5� �����{�Y�p>g1 �U �ZL�����T��H���QE�6�� "B����T��%��, �N�J^I�G��m�j�d���B�Z����KI�X�����3�n��,��n�H���w׬��>k}m�����MlUǃ;Wt��׈�QS�0(������]���ȑg_x����=�4�q���ب�n��0�������"���%C�D��6`D�P����U�b��n�a������e�Hhxʈ. �(��=� �OuMx�[��z�v�o���, �d �/��Q�d߱�} ������wic弫/3f�՞T6��嗗? �3�r~ �� ��1�1 _l ���(�&Ic���h�X+�&m�z��h���� �}����q! 4! ����F��k����6IMr�Ҥ69���s4bx�5dD�y�R�]�ۙٙ�>�N���ܻ�P���z��{������% 8���@�5;�� 3dŁ�+��Z6W� �24��XeXJ���2�tu! P� �8�@Z�5�n�M �@��p��~Au�1I���/ <�'zP�t��^�7j���F�a5)�) 9I`�%h��� �,� �& �&S҂0�����"��p���[GB-�w6`�'&y* ���D��Yy��,rٱ<�G�B�ȋ�����'����}UzN^t~QO�, Z_����> �-y�v9��2f� 0�W*R3K� X���L�C����o��Q��1����6Ph+�1��M��Oǧ����w�<��C�Z �����7���Gr��쳤�X���LΓ�m�. ݭ3,�� )WAn(>�z�e�3322�8D��I�#l��)DΊ�n�E߰aH`GD�S;��. g*��(��)��v�N��=��׬]U���=U�G��Q}�Ss�]jG��&�wxh��w]�x�����/mo{I�? 4q�� �s�"��Y�Q3�439�-g�^ 3w�U�:����q���, �m��Q����X��2��KM�C7�hzȀWX���8N7_h� [`�i��K�� <�~b�C9C{�@�-�r�5�{g�9�;�LF�~�ڱE3K��&�#v/�������O��~��E�Pԃ���>k錬 ���#�NDz�����6�ݷ��M�w�~i�}h�-Ph����;��������P��qkNx�L��Ÿ��< f�n� �^3s� {�~�N��Gg)>U���(�� �O,[Aok�}t��#��G����oj����x:�ڂ;����A6������xb6�c�q����40p��h�꠩Q�;ӹ�D�����E*��������YVV�ٮ�0Y���IJ�8��V �hX*��� x���ګ�9�T 軰�������W�J�b�L�~ۨ�w_����m��{k��շ߈�ο�[ H���udxҶ�q"�E�f�YtW��H��(5=P�A�a�Ʉ�;�2 O3�"9 ����3��2QeH��Q��T�2�Q��,�Vl]�(0�AS��. %��`�, ��gK��"�(6J��J��WI+�-p ��, �Q�I� �[�C~ �' �����[� �S�,���qud? �ʹ�8ª1Y�b. o��] ��Llfy"P�. �Q# y(����, � �E�*� �� �����Ƶ�� �aI�H� �–�% �@�L(yA���*T3�X, f}���Ÿ��0�L���ߒ�t*�� �O���݁ �����^�8��Ÿe�JM������W'�i�ȧ����ٽ����n�t�F��. 6%��ES�. 0ޞc�N���B�@��Z7z��֢Z d��l0�X�����P��#Հ��YC��S�3�S�#��G���Vb��֎�ba �� �������K��� r9� �5�3��V��Ż��ԇ���a�Au��r��}��������� NJV��u�2ӣC: ��n����(�aA;�4�)0���ߌ�. ���/������e�Ȗ#�Lv�c4k�� ِY�IsX �M���3í�:�d�=���P��PSd��dY�sY7 ��'�� �, c�d�i>k�). W�<'8q;�N����t' ��8�O�) (�XQ3T��υ�8�CHǥ�}����ę�z�8��f� [���*��� �jo�m�b����TO�`�zh<�>���D�)gjk�X�����j��m�lS�A���i���+ȏ��7yWZ��n�������X�=��ǺA�f�p�t9g�h5ݱl�@ ���ɻ�����,�`Z�. {w5� ul? qޘ[�#���������������{e�5�H����Z��~W�w� ���li- 6! ��0�O�>j ��0pr���d�y, �%�w�u? �Ȑ�a��'��PK��/A�ο�����(��1���9��h�CITxI<��GjT"׆Gh����B4�2�K�i�������8��p= ��&i1oY�qKI��^˕ �6E�#�Qf;�w�w+�A�7�K�W��7�Wo��ˮ8q) p�߁ ��. ������x���t ̆, ��E<��A���96���x��, T �¨��kH���ఄt��W rv@GXe<��Ȓ�0��3Ur� �& ֩�V�K�b2��i�z�ﲘ�d֡�*�ˉ���l��t��c���~��q�? �uؽ��v& �i[D�K�#>��[ V؝���O)S�. �25�W���ޓ^��=3Ie0#�L�%�ӘC��t�8�>2���! jpS�=�Xr~x����7��Vy��(�}5�`L��>��? �9}��^�}ә��>���H����Ih. ^��1�f*1մ�J`x�N��ɉN��ګ%C�TbYrY��Jm���1� fnAT'A� �ߕ��9��G��C�u�/��q�q�Ijt5��V�+��k=�& �q�q����=w�+O�O�<'�= 8z��<�ɩ��u+�! V�m�-0P,K����Q�i��y%��;�=�BS13 +2��nb2����'���O'�䃨r��q�D3cJ�+�B׸�v! �A8f�3���LnQl�L�@�R�ij��T�b�p �Uv�̵�1b���~�̉��Ʃ�_ E! �'�x��4I��B��zN�m���<������L�5��? �/ �3J˜���%����9D^ NXp�q�XV. �t;�-�9df��_q���放e�~ ��y���ytV��+�}��s�BK�6���� kW����s̜j"��b��:�WN�3�pD/�������0/M�+ݿ�M���+ ��`�<�G�ʼnR�^g���i�� ��b��v�k������K_�3�ai6"F�2�g��@�倞E��Jd�w&�H�rIF�, �! ����Y'��"��r�X���y�)��P�ƃ! �? ������� �'Θs�s�󴓣��Y䖳�� � `h��t�7hzg:aD h�]��D�Z�Q7�� �} aw�:��ɴ��U8�_����K���}���p��kaR&uv��y! ��g̼y��Q�[b�{�g�+� �w�cj�1�ʽH1�vl*��i�Az�q���Q���F��]nt�p�m���Fa�� mn� 6xP�XmcJSxuܨ�2'FHD�D�B�V�b,�8,������ S0�rه�D���E�w1A� ���0�hW�,1���4�, p<��Ҹ8�ꙴȼ�%����%F �C&x������, ���e�&�'��³��w����C�(�Yb��P��+�J+ e0P;Z��������Uo���@��I�'Va�w����0>K�I7�CdZ�Cf�-�~j`Lj, s"�W���am >}�cX����B���5���#��~ D� ˍ��nj���0,�����} ��������3������/0�K` Å���p�s۹� �@��y��{ �! 8��3���~HLxF����g���3Ԣ ���=A��j��Kɬx�`xG�. 2 bI����¼���C�_� ;�c���箹������X1& �#X^<��f�H�╻˟�Z��95�����K�����V�� ��4�`�a��qG�Q�4����OQ�Y�V�O_ �����&�^ �q����������qI�~�+�k�G���PM��1�G�3�:�:����? ��5# ~ ������>:��y]�[�ۆNV<�o���Y��/ ���:rdY��'�r�)�����N���0�)��#�,0 ���a樖Q7��0�` �a0 ��0�`�/�W�` ��W��_� O��D��@�WF� N�0���0���~�g� v���v�L�20�l~� _����. ��Kl�/�e�q��XO����V��! ��8�����h? �` �ќ��ۗ�T��yjͣ�n�f��-������= m�. �B� +i� F���5I����b����ob�<�L��~>�޷�. �w���ߨ����ھ��G�-�}��j���5*��HM��t��ũ��oյǬ�5o���zB�E��@ ��>Z���., �F�& 튁�l�CR6��� {�. ��3�4�SZ[Z;W�5��������u6�� 3G77�3/��0g4t4��h�6�����l�0�������eu�K��E�8�xd��䌆�]�u��W6�w��fɰ�f�ƅ���:��/ �OL�9��Lr�^���e�Y�hQ��s�9�uAc�9�q��溎,sZ]g{���:�����gg��, ���e. �[mvu4��Kp���t���f}cG[3�Q�Ro��7�ȅ�N>�u�m ��; ����c f3~g �� y��ض������. ��%� o��Ɩ��]�wf��-ͫ���! fò8��-���4y=�} C�%�����Ek�ۈ��ٰ�4G{ k}�ʖ�ֺ���PgU����5jů�Ǯζ�N��aA3N�����b ü��� ��-��. �:pk��S��_���E5�:�1�������q��XB^u�ků�L�n��] �F�cS�Bv2;���p�:L�ެQa ���"�d�h�ܛ�aɏ�? �,��;� � �/�NJ>]�1�/�m�,��P@ 6�Q# ���"N9PP���pc)����� 1����O4Tav ����'d�zV�s�����-���,�O ���2&g�Ƥ��g 62��`D�]���*����շ�G ��. �JZLf˻Ѭ�Bw�A. D�,U]���: �'��Œ��e�-����Fv' �m"�����������e C�;떵��. ]��s��, ��/�#. 6��)��@ �7;�jڌœ��u��rYc��c�Ǚ㪧��9���CK ���pA�U���Q5f��H 6ŒD C0�p��6B� ������h��Q��'��o�'�q��m��OM��_4=���a�7l�? ��<�M�b��W���)r��n������I���{�l��_�O:���vrwr�k�d��Gw�=��}�_�r��:rsq�u�? w���}l��g�<����;���o��j�}��� �d�A��1ֹ c%l�L����[. �c��, ���Aϳ��ŕ�ʃ���2 V����U� 2�o&v��d_������x1>���S5�'C(�S���V* ����e��j��㔳�m��-��WBY��#psf�}���������n���ݑb��PZ R̚kT�U��&M���%�Sg�8� �H�y�{�̬���A���̫v_ Y����%G^jd�9Q0XG� �Y*��h��f� �S���i�E��ː�cɢtn>��0��W{�Fy��w�ZW,O�C. �j hi�w���S�Bg%���7��Et��M�9�����կ�+���;��Y��l������f����έ�Z ���n6(ȋ������i��%e1���Rrn�n��"��"���st�E9*�����3 ����st���ƛ�W � ��2�D�i `����@2��(�� ���A%�"v�P�X [<� �8��6��{�����;L����lXW�oS+ ��f ��G�%�Q���g�Jc~�}�ٽ��C�� ��ͩr���Z��yOYZ�0��(�cdž� ��Q���'ӑ��{J��=�eG�� �>w����)��_9B ����̫%xi���z�ENuwg_��:�Fs�`I��( ���������E��F�`55�0���9E�41J���}�7K���,O������] x����HKWJĹ8a`yN��Y�M0��Ԫ�����P�̐��m�5 �����(�V���s[�`b�, �� �م�7� ��C#�7�`P��g. 炥��Q`����ʯ���C��'m� L�d1X, FY � ���n��g��`e��]�K-2�? ���@ Ͻ�_��4��<��*�up@��, �]4;���6N��H�'o��T�o�n޽��. �>��/Հ�w]d = ���qݐ�� ��z/�)���Wyn��ۼ�J]�O�_:�靍TB�? D J. ��ݻ���e��@�u? p���8���F}�E�,Th#J�� >Qĩ��ꗞf)�E�q6�⒴ػ&���c�QNo��� ���ge<;tA�j<���~���RFE>�+ ����Z] �M�W�ك;rعI8��h��6z����B�BAF�t�_JN�vkb0���F�9��3 �C�,�P��,�O�ZM ��m5��� ���rF�J�, ��Ѵ��Z�Qr��*���u��3ˌ@��C֊���, ��M����-�Yo��! ByŔ��Dn3`t>������PP�"�_<�Y��}t ���7Z�r�1UEu�P�? 5O�09B-�, �C��M�e�ۤ��VWV, �6. �� ib��h�M�G�2[<�y�1~ �;��#�&�f���B�v��Źّ(>9�J��y+�H���{�� ø���ṿ�v? �HL���J���g���Ep�,�}�X��F7{�ӕ�;��Tj= �ûޢ�p����I��)���l� R�0��k}K٫좌�J�o����� ٌ���o�G8�' ��Q(r�{fY9y���hM~�8 �`����OI��-z6�M���^�=�G�mHsp�-��䟫0�Bs5�! ���)U#��X���" ya��Y_���i���� =�Vt�I��(dZ��iRFW� B����ĕhO�f�I=Lr�^ B1,�0���Yk� X. ��S����IZb�. &5��� ����gE��e9�� k��ËG�@8=�﹯�F��m�{�? �o@�@b����(�e��6h�s��_�;3˳t����c2�����_�'dAi��� �}v�)��g���N�4Jܭ}�(��R? y:�~�2 �<���. �a��Ǔc���1NV��USܪ^c�}q{�64{ �3��-�Rߪ������Xa��~K�Q鵣�. ���g^ �z��s�"�] � �K��T�nlbn�WG;�Œ�W"n�p0�gF��? � ���`��b�g�ү~���, �=�� jIP=���H}����rj�U��zc���C~���ȍ�D���7�vz�-T@X�g��]��~��, ���sy���(�, cr. ���;z���������k֫��it�' A}��}f�R�C^ �[�N^���dϾ��TiK݌�[ ����. �K�3��DV�X�m�V��? ��D�g8 ��1~���k R/ e�S;Us�Y�d�Q`h�>�? �b�=��H^R�r�+G��V"�Z�ٌ��&z*�v�'���v���N��� �qjT��� �g~ ݦS�ze�������z? v�@f5� ~�u8j��K� ����� N�m�ݞ�! CP�]gBj���a�tg6�TT�P����ޫk�M*>������fjS��Ĭ�U�� t��΂���4�g�Y? ��, �4���P���t�9vjuT񁋕��o�49W����Ԓ�(L, �=q��, �������hl>�7���Z�D���) �ƔY��e��O ����7ޓ7��b6`���=f��zV�2���9�p(�����? �/�����! 29��f��E��4��'��,��10` �f2��E(�R. �! �Q�, �3��? M�*� p�� ��&K���~��=�a��̗ʝ��%*����O��! }�I�~ �p���T�Yk��c���+M��cN-�laZ��Z�wy9{ B]�c�█��ڽu�*���ߩ��{��Q�! d,�^�*R�i�r �Y�=�ay��s(��"���(�/ z�D���gN����4fW�y��[2��/�9L. r�]�W{t��l�0yG. ��* �3�������(! ʚ~Ya�� �5�vZ�Ȱt��ï�C�F�zCw���ْ�3,C��ۢ�J,9BZ�Ӧ�_���҉��A�pjq �Z����0�Ԝ`ۖ*���, ��7�4y��. I��7+p�o=����O�0J%Y��"��, B�P��594�O���{���7��<��oQ��;��s�]��x��Cu<�F�. ��q�J�������a����x�ŋd�i氇�w� n}i����һ;�ӉUV� �� ���wǯto T���I�v��:͏�8�o�MS}2b�����^x�0۳� Y�{��떇���&�Iy����fD�(Q�D�ay�H�#s��þ�'�������(OȜ' �����&��*�*z����h0/��o��t�S�wA F���S�. �ZŋT��C��� �iXXX���'�n> x�]��j�0 ��~ �Cq��v��2�a�X�pl%3, �Q�C�~�:����? �[��] � ��c�ѓc��a�ɓ:W�M{Wn;�������;�j��. �78<�0�Q�WvȞ&8, z��5�o��T�m��(�^L��A��9�}�N��9>��P�����K4�Є���Zh��Z����;5���pv? <���꺸������CٕY�� 9�'��)���, �o' 1833 0 obj x��z S���̽7 d߷¾& �B��"*�B�(���h�p��j��ԭnO�+֪�Z�>mmm��jk�T�h���Y�,�N�������{����xgΜ9s�9s�La��-T bG�E�n�! Dv��R��x)�7^Uk`Îޟ�Ѐ��1����I���n�wMYE} ��1�W���, �t�b���r@ص�O/g��W���Q? ߈e� ����������R9]G��9}���RV�/��LC�����:��` �ys�j�n��)Y��z���Ch��R���o}�<놽3�k� M�L=�«Bk�Zz�Vhݓ �؞���W��>3�% ��)d����~�1�`N��. ���B7��ҭ��r��y (�? ś��2��yL ���u�Wz;��? ��ʲ��5�^>�a����gx]�����zc�:�? ��;���A �m�<�t�w��*���g2! �% Գ�l)G��B�����,�Ą����4: 2. 48(0@�/f�, ��<=�� ������X���>��)�"2%C�XcP�� � ��%J@ � ��, ���1�E���O����(fJ�CJl�ʑ<2�͔�����]�� I! k�N�f�H�:b1�`3��3X. b3�Cj˛3�2�_��( ��EF�6�5����6얌 @�ej����2zJ22�� N#��, 1�. ���� # �8] 6"I��. ���t"��O7 �VÙ��m͋��QqQ�M��D9��H+ 9� 7��6���Q�;���;�E7g�kX���<�5��. �; ���B�s��! E�C@�"�bV Ҩ9�F<D��%�Uf�ԒLS4�5ZI���S�`m<��(�^���S��� ��d�� bc���P���挚s�wy(X��#�m�fǶ ��6�}��1r��}�Y�iadU, hR ��J���U�@O! �Y�X��*���~���y����6������`����rq�0�`�6���¸�Ú��ɤQ�N�Jt�, 4�>��U�����/lW�b�F��, �ډ��F����qÍ4�<�^�H�M6��Q�🝽�Sf� #v�'�j�xV�k��6����۬�~ �x��1 dtJ/��( Dy�d�r�Cb�S`cd��uI�@QI0�b�/f� Eb�_��n��f���4���A��������g�L��L��? ��Y�o 6xZ��ݦ����췇�������ҋ� �`�` ��`��X��r=��! wRB2�Rte��U�������2�� �HԖ��LC �����R�"u ���������NE�l嚈�>��(�/y�ɂ����M1�"��-~����7_��<����B�� �� �Vj�j�1 ��"��A�hǗ��q�r�JhiLJI�����]��2AK��e��e��e��%J�. h ����B{���P �BFH � ��"��F;����p5C` ����-0��z��. g;T(��5�ɓ�c�, O����Y. �ݘ��. 0�³��� m/ ����/h�&5NjK��Ʀ9��, ma! r�MqOqLvH���R�? z���>Y9��? �Pv �� 8l` ��ö���qEV^�q�O�1�L>�xW��L. �I2��֖��Y�M�ǒ����U��T�H�F��mK�����p�� ���/h��Pg�LU�fJ���Q6. n [�O܂^q�Q. �=�v̱ �f/y��%�p6'q 'q '1[�Mfj��)h��B���EY�` ��ąi���d�0���fބ�! ���w�^n(252����p�Xː���b���&ː=�i(�&��G�=�=S�����~Sհ��/ �0�& o�כ~y! d�dy; M�yӐ�g��B���n�k~�p���B! �E]�C9��t�PU�"��{��(��ijkz -BA�yԊ�O�4} �C�( �Z�G. p�z_ �Q� G��� ��a#��_F��C�Cty�(t �]����@��h? ����[��Ћ�-�A��(��H�l�c:e� f�"�&�b( �7��-�wJB�3y�f�6��#o�~ X}���`��*j# ��ʴ��H]8���5�Ȁ6�9t[Ai�<�B�zLn�NA, �ƠJ4�G����h ځ��)���? S�Tu��#�d[���4�td� 1h;M��l�uZ3�YG�t�n<��x8��K���� ��S���A�E�, �[����=�ge�S�i:���3�����D�CzT�f��n ���V(F��a(�e(W���ܫy`��A�B��i<O�eX�W⽸����- �H%Q�����Q��2Rm�a����Dg�z�9z+�. }������iF�h��e��,�t1���I�D���=Y=LA���b�bS ���Ǿ`M {r`UU�"G�(��9`� �����^Ԏށ( ��:����Bߢ��8����q����C���u�ųp^�W����(�X��� ��T-5�ZL��^��S�9X ͇�p���Y�8z=�6�+�W�U����13��a���f-����9��Iy�y�P��=���+ G�? ���o��«��}�� ǯLx>��m�o�*�� �)������&�# + Lj�U������J��h�kxz�����O�S�*�G���ǬDx�! ���IS�f�ߣ��r���ֽ�T��<����, ��P������8� � ��v�, ��I� ���ӗA�<��)�oa����Km��p_���@�, J��{�f^ U����xD��ݟӯ��`�[���S�t��1�-�! t���,�Q���*�sn�ޫ�L3=�la? �A�An*��eܟi��� _�@�=�����S�4�i% TyC�ó�o�Gv˳���G�w�Q��[ν2i���! P�. c���x����e:�[ dT�-�S��! l��jdzw���=۱��Fg+c✦x���������D)�w�)��1)I&u��A�qcc�*pr�K�-�� �i��T��������x��#Fx��/ 55*J�@�� . �����#Q"5�)g�/R�MU�f��H(�+_ �CB��a�������"S4�#�b�ZY�y�0Q;eح`h��a�8�� �j��˚s����N�����c��S�ryR4��7/ ޳G�E�s vL� �O ��? �M“�S, ��X'�ӗ7�t, �>P�����N��ſ���ѫ�}ͷ~��0}��. �6zn4c'������z��GJ,���)���_b/�u�� I���}n(�u���n�Z��������x���� �v�vg�"�(7L{���P��AVpҋ� ����<٨�` ���8. ��8u���I�@�p�θtq��˹�-�[j�� I��{�I�1vpvs��u��� �w� �H���]���c�����#� �� p������ ���s��;���ݷ������Ʊ�t�! 7��y�t4? D/���ї詐ABQ�Q��á�ސ4�@b�e�E#�'��صc���5F��1�p�M;식������Va䑘t[VN5�������;�97����S�_�����ܒH�w�� l�I��. ήn����@7>���̀��D-�b���i�@W�� �)S�^����� &�s���_ ��0�ߓ�, yff,v��d��n���Ȩ������N��2jN4�=�۷����y/I�gz�@�4�NA�! � �d! �� �` �q�f�����X�-{�0- r��Gh; 6>���N0վ�Ӊ�H�WD���������mB��H2� ľ�P[b�=T~�>������I�46���� GWo� �@Ow�e����2�GۘyE2��S�ū�V���� _ ����EMMǾ���]vitZ�@YS޳ۧm����K��;G�QF5~���kg�ٵ����"����( ��k���, u�ގ��x? ��n�+��{���s�"<�Ӟ� �'X@�OXH���N��T �� /�Sh�`�i����Lr�5Y`>�筶�B��b��P�Q ���F%� l�J�{ �-�i�m���6���>6Zs��L�M��� �=���, ;�h�L`�>�. �fصރ�}��^D���O�>p�7�I�v��Y؇�M��E��z��T�R����r5;R[�5�M�V��J�F[��*TQl�Ҡ�gD�l���ܠgs�zuu����nP^ e���T���s���)2R���굥��uYM��z�e8>J*5O��P(�-�V������lF��NSUƎ* Հ��Ĥ�r��-�VXTJM����T��l�����V*�ء�j�4V��i � =��*a+�u�j�R��`K5e5�j3�X�רX]M��Pc�Ԡ-S���l��P�*AHE�ZE���l�ƠҨ��^SVefS��RWFW. ӫ� �*WV+U0:�e��T[���gN? 6�J��2h�H�N[ ��z"�RW恹- �X=�� �T�zP+�K�S�Q��nPtt] T�ŗQ�%��PY]i���:�R? ��&����u� ��ɔ�Q�Ç OO�>*�5�1<=3; �M���923;�Vd+�KD��pG= . 2<Z�]���� jX�zbx��ċGW�-�Q8���5��>s��T�*jJ` ��D��U�Υ�j�%n���. �µU�l�&�UWs���~�J���[Q(C���I�0�! ��D� H1�+��U��%ں� ���PPZiV��Ւx��t5�D]���)WW��蟮׋���Uz�"�l�Eը�yp���^1�Ƕ� ��}4�� �V���Q ��n�҇��O�MoC�0_3Ka-�6Û�_ �8n �� o���� 00? � �W�˜R�S���)���' 5�j�����w����`s1�ك]5���+�����m�aDo)p%�P ��<5����0[ ����`���2{T ���M��D�&����@R�a�( ��&Z'�Dx9? j�'J /@ �s����S8�:�9-�Ί� K e��i�! �+� s�����L�~���z��! �����. &4���V ���a���y��*�1K��Y, �Ն�REd�itDcYiΟ90��WNVYI�W��]�� ��dI�@��W珵��@ -�x���ևNi��l} �A��3�. �3�"���(�z����IC�����D g[9�B�"J)Q��FYt�&� +j�(�fO����&�! �W�Zu)ٰC��p4�t�< ������L�> { �H��G�HD�B�C��C[cY{���y�tV*I�H�⿾�:eB���"�wDG�M HQ��U�#�Td. My�T���1��(̴�IGK#�`���6x#9)� ��a�����"�a�8��Q)>i�4���c�dnR��p����] �^����KC͂�{�(6�WV�/ᘪ�6a��^� ��]A76�������� oق�U�+7m��G�66T]���,��2��L�퍡��(��ybY��O��]��G�d �, L�����W���Ƭ��dsp��������}x����:>'y��{��4�th���od�F�ʞ�s����< {�m��Z����]�~:�=�g5yu�����dg�~ J�n�qQh�4�, 4�τrc��? ݒ;sB�}u�,� ��5�fm_� 2=���, �D��1�/j�5���ىgE�Z��+V~�{���i��j]�z��2��y�g��O�5g��f_�kX�Ⱦ�}�ĵ»�I���0"M���c~Gύ��1eO-x�͵[����2i*o�S�. ^��s��⪠5���U�n�m�����un��O m�>'�ߘv�����fŪ�! �/u�&����:��m�Ϯ��Z�S�{�W����ƪ�}�����[z>��j��v-�w�T�+��? G ����Y��Ii��▴y�% �*ƚ7c�4L��0���6�A��T)��s%ۏc�Ov ��/����w ��������o�O4I�v��Xq�E���ӧ�����Ȏ�b���� ^������X��Y��rN? ��������9 ����T�ԫ�'�>�I��W�W@�M�� ��N�. �nc�(���U���[���0C�u�+3W��]��Ȩ�a�_v�e��յ�lRi��>j�9`�����V��Ag�=������? ��}�%��{���pINu~�i�p��ܮhF�� �7V,��)��-��>����͑�F �Ƌ����, ���dK�`���&���� ����I�GH��S�:����>N���vQ��c d]�޶v�O��꫹�R�U( KJJ`�XJ~t���J���. �G, ���R? �2�? ��j lj�� �1�s�! A*�I� ��#����, �����SN<��2�f�WȚ��'K�yq��, �n_��k��Y�׾�viQ̴��J��V{ �˛? �6�{�Jw�? mF�䜏�k;���+��, �� i���vXS�W��@>[� ��Lub߆; 9r�m �����6�����A��7u�<�%y^r~ � ��~�T��3n; f�W��淧���vQ%� ~F7�ִ�Cn�}�����;zo����8�Hy�_ys�8cJ����J��#q�f���'�}�׷޼��خ�@�: q������ ��� �vHI�����[坳��ݮ<�����C��‚e�v��������;�����U�ʩ��߆S�vq�Է�; �����=�G�k�a��'�����őoe���@ �h1��3�qe���5�xu�߾����z�Ƚ�F���)�c�+By����(UjM>��1Dj��œ���ٗ��. �+�����u��M��ř� ߺ�T��K��ў��ϟ���ؼM. �u�E���A�{�;�=��Ա) u��<���JpA�ӝ��Z���K�6͌�#�oK�6�'��ҩ�8p�/o�S⺎m����%�x���{Ǹ���2����r��_�yi~63�7��m��ҳ/N���j�R~lA��0;i/R��9���C��;�w�H��_ ����G�. 6n w[J��t㹮����2N�����N7�H�>q��#�>�u��s����7inԤ����[�͟���6���Ǐo�zq����nK^�s��v�����? 8�Q81e�. }l���Fe��ŷ��/ S��k>Y? ڡV�������p�X���� ��s8��N������k��S�F�. ~��}��΢k�3sN%���5kR���� ����q�A��u��nq��- �qkֲ��o2��n���hn�}��StJ�� _2���Y�^2��G�5{����g<+佘�0��pF�Ὓ/��x_��ʄ�w�ζ�! M�&�I���� �w7�W���'�'�&�x���S��(�V�D�Y4�k�Z�, Y2�fc���s1p2pX`���� �� 3��+����C�ŋ�A���i��! �G�:8��{�Lm���Ƙ�aX��Ohq��T��13DbC�2�3�x����C�k�Wׇ��2��#��oE�r��U[��u�,r>�<;��# ��I�ks��E�bN1�S�������' �, �;��V�@C��-j��_S���uk��/��ք����3�B8����g�v�. �B��/�/ �隹���8DU�n �f����U�oV��ow�~���uOݺ�C7-�ؓ�/����l�, ly�=v�~��~ W��ȣ:O��G{ 5�,��:�Gws@�C�/�}�����敆M, ����q&FF�ƭC�pD)��� _��+T FCvfV�P<���F= �! ��9���! �����2B#�! 0ߪݓ >�+��G󊇾�K��; �����-�h0�2Ӯ���[�1˾P�Ag�. ��9BoM�412�����ʭ37(ykϝq�c�Z�/�R����* �R�? d�7���ʳ& �0[ ���Y? ��%cBP�U~����2��M>�[ آ��f�߯�N�>�~�����:�l�OWl�0;�M���, �TekA�o<��ٳ���S����u�����Ž_ 綢R�Um�@�5o��L�8 �qu�ى�:��_��08�����ל �� ︞�>�+�n�}���9m�ץ��Ι=�U�o�) ���C�� �T����{�6tI���? �{ƴ�WY���, l6��#b�Ͱ�� P�(y��dP�P*�L�RfA��r��FL�0��ՐT�+x# �^v�( ����X�f*m�zO�K&����ӮaI��. . �9����{u�[�#s����U����Vo��sUԹe��*w�#��/����K���36Wl,y[�>�d���r��-�sY���'b���ҺoUi��PYPh� ���������¿��>Q���9�s�? ��>6��c�I�y��g��ynnp��o��'�����j=��&a�]�h�g�W��VY! v�fK, ����, t�2mE�5����of[ ��w�W_�������� �j�1���d��-���6��}�a����w&��:� 1834 0 obj [ 0[ 600] 120[ 460] 1835 0 obj Microsoft Word for Office 365 Michael Donnelly Microsoft Word for Office 365 2019-04-01T15:54:54-04:00 2019-04-01T15:54:54-04:00 uuid:126338E0-D87F-4DCF-8848-A5029A26891E uuid:126338E0-D87F-4DCF-8848-A5029A26891E 1836 0 obj 1837 0 obj. Filter/FlateDecode/Length 3441>> x�5�wܕ������RD(Df���*Bd5��� 3{G{He������! �(22RD������, O��u�}��:�s_wUU�kŊT��SU�� iPP�G��3:vŀ�N�:7E���� �P0�{��zX^0�� k���m0,a��Z�E#�¨�S�*����+��S�tb���+I�96*h�MA�b��nrA�. ����]0�n���ɂI���j����U�V�*�Z�w�ڕ�N+V� ��SYO���ꨆ���Z(��jX��FA�����X kb��uQ��M�6��X�>`Cl����`S4�h�ͱ%�@y�}�[c;l���{bG4�Nh���-� vî��� �V�{c? �6h��? D[tB;�CqC{��q�DGt@7���cp�� 8'�+N�I8�����p&�@w��sp6�ù� qz�z�. �E���r��p%�@ �~�����p#n�`܂�qn��w�? �. �@܋������Q��q�b �������A<� x�QLċx�c���x ��<���<��0/a*��eL� L�, �īx� ����&���x������! �����a6����s0_�k��b,��X���=b~�O���g����+����K� K�7��? X^�JٿV����E˦F���"��1Z�K�Fŋ�, �F)��Q��h/j���E��ѿ�_�/����Ea�xQ�h/��ū��(��E�"���_�. ���g�%r�(F�"���hjd0�ŋ F���`/2Q��E#�q���E �Q��_�0��(F�"���_�6�Q��E# �_D1�Q�, E�"���b�/��(F�"���b�5��ԥ�'C��V��_/�ŋ�ES�xѿ( �/W���C# ��_d0—m���U�yy, �:E���Qߨa�2���6F��Qʈb�2�Q��f��P��fD1Q�DF����hc�1�m�6F����hc�1�m�6F����hcʽ��hc��S����hc�1�m�6F����hc�1�m�6F����hc�1�m�6F����hc�1�m�6F����hc�1�m�6F����hc�1�m�6F����hc�1�m�6F��Y�m̯. �VvmI1�UV�Q 5Q�� Vê��5PkaM�����. ��b}��-�! 6�Fh�M�1�! 6æh���M�%��V��` l��;��F �]�3vEK�ݰ'��^h�C�/�Ak���mqh��q ��P��p�@�N舣���Xt��8]qN‰膓q*NA���q����sq��y��*�BO�޸�2�>�W� ܊��נ�õ���&܈[p3��v܆��w�N � � E��0�q7F����ƽ��q�ă� ���&�<�G���x�be�*o���sx��8zWV����0/a*��eL� L�, �tC�Y}�����xo�]����>����c�Ƨ(�m�/s��—������ �X����G, B٪���V-��� K���O��eX��=�[���. T��`d02� F#����`d02� F˧[�642� F#����`d02� F#����`d02� F#����`d02� F#����`d02� F#����`d02� F#����`d02� F#����`d02� F#����`d02� F#����`d02� F#����`d02� F#����`d02� F#����`d02� F#����`d02� F#����`d02� F#����`d02� F#����`d02� F#����`9�E#����`d02� F#����`d02� F#����`d02� F#�Q�bV�0 ��, f� �������E��Ѫ( �0�5LY<5��F �x��( �0Z���E��ѿ�_�/�ŋ�F�Ѹ( 4���*� �c��E������a��bU�5�T��P��_�1�m��E����_�1 [�q��ŕL(n}��6�! ���X5�*jau��5PkaM4D���X��c}l� �`l�����96�h�&�[c+�? ����ۡ�a4ǎh��� vƮh�ݱ��8{c/�}��a�A[��p ��`��8��0�#�G�:�htF��p<�CW���p"��d��Sp:NÙ8��ltǹ8��<� �=��p1. � � ��. Ǖ�}q��j�kp=��`܄q n�m�w�v܉���0q? �b�cFbF�n��=�1��b���ǃx�ƣ������xO�)<�g����<^‹��ɘ��x30�0������&���x ����x�C,��1��s,�9�_�K���1�� �X����G, ��� +�+�w��%�K�'��2, ����D��x�WA�Q��a/jŋF�Q��a�)����E �xQ�( �0�5��E �xQèS/zŋF�Q��a/jŋF�Q�( �6�5��E �NQ��m/jŋF�Q��a/jŋF��x��( �0�5��E �xQ�( �0�5�:E�Q��a/jŋF�Q��a/ju��Eo�xQ�( �0�5��E �xQ�( �0�ŋ�F�Q��a/jŋF�Q��a�)����E �xQ�( 1�U汲�����*��_�5k��W�P5��b����*�sU�5PkaM����. ��b}�� P[c#4�&����aS4���[ 4����c{�g�����bG4�Nh���-� vî8{b�V�{c? �6h��? D[�v8����8��(���������8�p ܋p? �8L�x<��0��1<�)xO�)L�3x~W�q��sx/ 2^�ۘ�����13� f�5��7�:�›��w���{��c,�O� >�l,��Q�����Va�����ŬVa>�; ��X��? �' �/� e�����K� K�7�Š��e���_�. 5+Wj;�hcۯ ��-�W{ ի:�� �����ZPsVA��] zU���. �� xref 0 1838 0000000044 65535 f 0000000017 00000 n 0000000170 00000 n 0000000282 00000 n 0000000626 00000 n 0000010949 00000 n 0000021598 00000 n 0000021651 00000 n 0000021820 00000 n 0000022061 00000 n 0000022114 00000 n 0000038114 00000 n 0000038279 00000 n 0000038506 00000 n 0000038676 00000 n 0000038908 00000 n 0000039036 00000 n 0000039066 00000 n 0000039222 00000 n 0000039296 00000 n 0000039530 00000 n 0000039657 00000 n 0000039687 00000 n 0000039842 00000 n 0000039916 00000 n 0000040162 00000 n 0000040483 00000 n 0000049333 00000 n 0000049654 00000 n 0000057450 00000 n 0000057761 00000 n 0000063662 00000 n 0000063973 00000 n 0000071646 00000 n 0000071967 00000 n 0000082473 00000 n 0000082786 00000 n 0000084671 00000 n 0000095321 00000 n 0000095632 00000 n 0000108506 00000 n 0000108819 00000 n 0000114458 00000 n 0000125108 00000 n 0000000045 65535 f 0000000046 65535 f 0000000047 65535 f 0000000048 65535 f 0000000049 65535 f 0000000050 65535 f 0000000051 65535 f 0000000052 65535 f 0000000053 65535 f 0000000055 65535 f 0000131268 00000 n 0000000056 65535 f 0000000057 65535 f 0000000058 65535 f 0000000059 65535 f 0000000060 65535 f 0000000061 65535 f 0000000062 65535 f 0000000063 65535 f 0000000064 65535 f 0000000065 65535 f 0000000066 65535 f 0000000067 65535 f 0000000068 65535 f 0000000069 65535 f 0000000070 65535 f 0000000071 65535 f 0000000072 65535 f 0000000073 65535 f 0000000074 65535 f 0000000075 65535 f 0000000076 65535 f 0000000077 65535 f 0000000078 65535 f 0000000079 65535 f 0000000080 65535 f 0000000081 65535 f 0000000082 65535 f 0000000083 65535 f 0000000084 65535 f 0000000085 65535 f 0000000086 65535 f 0000000087 65535 f 0000000088 65535 f 0000000089 65535 f 0000000090 65535 f 0000000091 65535 f 0000000092 65535 f 0000000093 65535 f 0000000094 65535 f 0000000095 65535 f 0000000096 65535 f 0000000097 65535 f 0000000098 65535 f 0000000099 65535 f 0000000100 65535 f 0000000101 65535 f 0000000102 65535 f 0000000103 65535 f 0000000104 65535 f 0000000105 65535 f 0000000106 65535 f 0000000107 65535 f 0000000108 65535 f 0000000109 65535 f 0000000110 65535 f 0000000111 65535 f 0000000112 65535 f 0000000113 65535 f 0000000114 65535 f 0000000115 65535 f 0000000116 65535 f 0000000117 65535 f 0000000118 65535 f 0000000119 65535 f 0000000120 65535 f 0000000121 65535 f 0000000122 65535 f 0000000123 65535 f 0000000124 65535 f 0000000125 65535 f 0000000126 65535 f 0000000127 65535 f 0000000128 65535 f 0000000129 65535 f 0000000130 65535 f 0000000131 65535 f 0000000132 65535 f 0000000133 65535 f 0000000134 65535 f 0000000135 65535 f 0000000136 65535 f 0000000137 65535 f 0000000138 65535 f 0000000139 65535 f 0000000140 65535 f 0000000141 65535 f 0000000142 65535 f 0000000143 65535 f 0000000144 65535 f 0000000145 65535 f 0000000146 65535 f 0000000147 65535 f 0000000148 65535 f 0000000149 65535 f 0000000150 65535 f 0000000151 65535 f 0000000152 65535 f 0000000153 65535 f 0000000154 65535 f 0000000155 65535 f 0000000156 65535 f 0000000157 65535 f 0000000158 65535 f 0000000159 65535 f 0000000160 65535 f 0000000161 65535 f 0000000162 65535 f 0000000163 65535 f 0000000164 65535 f 0000000165 65535 f 0000000166 65535 f 0000000167 65535 f 0000000168 65535 f 0000000169 65535 f 0000000170 65535 f 0000000171 65535 f 0000000172 65535 f 0000000173 65535 f 0000000174 65535 f 0000000175 65535 f 0000000176 65535 f 0000000177 65535 f 0000000178 65535 f 0000000179 65535 f 0000000180 65535 f 0000000181 65535 f 0000000182 65535 f 0000000183 65535 f 0000000184 65535 f 0000000185 65535 f 0000000186 65535 f 0000000187 65535 f 0000000188 65535 f 0000000189 65535 f 0000000190 65535 f 0000000191 65535 f 0000000192 65535 f 0000000193 65535 f 0000000194 65535 f 0000000195 65535 f 0000000196 65535 f 0000000197 65535 f 0000000198 65535 f 0000000199 65535 f 0000000200 65535 f 0000000201 65535 f 0000000202 65535 f 0000000203 65535 f 0000000204 65535 f 0000000205 65535 f 0000000206 65535 f 0000000207 65535 f 0000000208 65535 f 0000000209 65535 f 0000000210 65535 f 0000000211 65535 f 0000000212 65535 f 0000000213 65535 f 0000000214 65535 f 0000000215 65535 f 0000000216 65535 f 0000000217 65535 f 0000000218 65535 f 0000000219 65535 f 0000000220 65535 f 0000000221 65535 f 0000000222 65535 f 0000000223 65535 f 0000000224 65535 f 0000000225 65535 f 0000000226 65535 f 0000000227 65535 f 0000000228 65535 f 0000000229 65535 f 0000000230 65535 f 0000000231 65535 f 0000000232 65535 f 0000000233 65535 f 0000000234 65535 f 0000000235 65535 f 0000000236 65535 f 0000000237 65535 f 0000000238 65535 f 0000000239 65535 f 0000000240 65535 f 0000000241 65535 f 0000000242 65535 f 0000000243 65535 f 0000000244 65535 f 0000000245 65535 f 0000000246 65535 f 0000000247 65535 f 0000000248 65535 f 0000000249 65535 f 0000000250 65535 f 0000000251 65535 f 0000000252 65535 f 0000000253 65535 f 0000000254 65535 f 0000000255 65535 f 0000000256 65535 f 0000000257 65535 f 0000000258 65535 f 0000000259 65535 f 0000000260 65535 f 0000000261 65535 f 0000000262 65535 f 0000000263 65535 f 0000000264 65535 f 0000000265 65535 f 0000000266 65535 f 0000000267 65535 f 0000000268 65535 f 0000000269 65535 f 0000000270 65535 f 0000000271 65535 f 0000000272 65535 f 0000000273 65535 f 0000000274 65535 f 0000000275 65535 f 0000000276 65535 f 0000000277 65535 f 0000000278 65535 f 0000000279 65535 f 0000000280 65535 f 0000000281 65535 f 0000000282 65535 f 0000000283 65535 f 0000000284 65535 f 0000000285 65535 f 0000000286 65535 f 0000000287 65535 f 0000000288 65535 f 0000000289 65535 f 0000000290 65535 f 0000000291 65535 f 0000000292 65535 f 0000000293 65535 f 0000000294 65535 f 0000000295 65535 f 0000000296 65535 f 0000000297 65535 f 0000000298 65535 f 0000000299 65535 f 0000000300 65535 f 0000000301 65535 f 0000000302 65535 f 0000000303 65535 f 0000000304 65535 f 0000000305 65535 f 0000000306 65535 f 0000000307 65535 f 0000000308 65535 f 0000000309 65535 f 0000000310 65535 f 0000000311 65535 f 0000000312 65535 f 0000000313 65535 f 0000000314 65535 f 0000000315 65535 f 0000000316 65535 f 0000000317 65535 f 0000000318 65535 f 0000000319 65535 f 0000000320 65535 f 0000000321 65535 f 0000000322 65535 f 0000000323 65535 f 0000000324 65535 f 0000000325 65535 f 0000000326 65535 f 0000000327 65535 f 0000000328 65535 f 0000000329 65535 f 0000000330 65535 f 0000000331 65535 f 0000000332 65535 f 0000000333 65535 f 0000000334 65535 f 0000000335 65535 f 0000000336 65535 f 0000000337 65535 f 0000000338 65535 f 0000000339 65535 f 0000000340 65535 f 0000000341 65535 f 0000000342 65535 f 0000000343 65535 f 0000000344 65535 f 0000000345 65535 f 0000000346 65535 f 0000000347 65535 f 0000000348 65535 f 0000000349 65535 f 0000000350 65535 f 0000000351 65535 f 0000000352 65535 f 0000000353 65535 f 0000000354 65535 f 0000000355 65535 f 0000000356 65535 f 0000000357 65535 f 0000000358 65535 f 0000000359 65535 f 0000000360 65535 f 0000000361 65535 f 0000000362 65535 f 0000000363 65535 f 0000000364 65535 f 0000000365 65535 f 0000000366 65535 f 0000000367 65535 f 0000000368 65535 f 0000000369 65535 f 0000000370 65535 f 0000000371 65535 f 0000000372 65535 f 0000000373 65535 f 0000000374 65535 f 0000000375 65535 f 0000000376 65535 f 0000000377 65535 f 0000000378 65535 f 0000000379 65535 f 0000000380 65535 f 0000000381 65535 f 0000000382 65535 f 0000000383 65535 f 0000000384 65535 f 0000000385 65535 f 0000000386 65535 f 0000000387 65535 f 0000000388 65535 f 0000000389 65535 f 0000000390 65535 f 0000000391 65535 f 0000000392 65535 f 0000000393 65535 f 0000000394 65535 f 0000000395 65535 f 0000000396 65535 f 0000000397 65535 f 0000000398 65535 f 0000000399 65535 f 0000000400 65535 f 0000000401 65535 f 0000000402 65535 f 0000000403 65535 f 0000000404 65535 f 0000000405 65535 f 0000000406 65535 f 0000000407 65535 f 0000000408 65535 f 0000000409 65535 f 0000000410 65535 f 0000000411 65535 f 0000000412 65535 f 0000000413 65535 f 0000000414 65535 f 0000000415 65535 f 0000000416 65535 f 0000000417 65535 f 0000000418 65535 f 0000000419 65535 f 0000000420 65535 f 0000000421 65535 f 0000000422 65535 f 0000000423 65535 f 0000000424 65535 f 0000000425 65535 f 0000000426 65535 f 0000000427 65535 f 0000000428 65535 f 0000000429 65535 f 0000000430 65535 f 0000000431 65535 f 0000000432 65535 f 0000000433 65535 f 0000000434 65535 f 0000000435 65535 f 0000000436 65535 f 0000000437 65535 f 0000000438 65535 f 0000000439 65535 f 0000000440 65535 f 0000000441 65535 f 0000000442 65535 f 0000000443 65535 f 0000000444 65535 f 0000000445 65535 f 0000000446 65535 f 0000000447 65535 f 0000000448 65535 f 0000000449 65535 f 0000000450 65535 f 0000000451 65535 f 0000000452 65535 f 0000000453 65535 f 0000000454 65535 f 0000000455 65535 f 0000000456 65535 f 0000000457 65535 f 0000000458 65535 f 0000000459 65535 f 0000000460 65535 f 0000000461 65535 f 0000000462 65535 f 0000000463 65535 f 0000000464 65535 f 0000000465 65535 f 0000000466 65535 f 0000000467 65535 f 0000000468 65535 f 0000000469 65535 f 0000000470 65535 f 0000000471 65535 f 0000000472 65535 f 0000000473 65535 f 0000000474 65535 f 0000000475 65535 f 0000000476 65535 f 0000000477 65535 f 0000000478 65535 f 0000000479 65535 f 0000000480 65535 f 0000000481 65535 f 0000000482 65535 f 0000000483 65535 f 0000000484 65535 f 0000000485 65535 f 0000000486 65535 f 0000000487 65535 f 0000000488 65535 f 0000000489 65535 f 0000000490 65535 f 0000000491 65535 f 0000000492 65535 f 0000000493 65535 f 0000000494 65535 f 0000000495 65535 f 0000000496 65535 f 0000000497 65535 f 0000000498 65535 f 0000000499 65535 f 0000000500 65535 f 0000000501 65535 f 0000000502 65535 f 0000000503 65535 f 0000000504 65535 f 0000000505 65535 f 0000000506 65535 f 0000000507 65535 f 0000000508 65535 f 0000000509 65535 f 0000000510 65535 f 0000000511 65535 f 0000000512 65535 f 0000000513 65535 f 0000000514 65535 f 0000000515 65535 f 0000000516 65535 f 0000000517 65535 f 0000000518 65535 f 0000000519 65535 f 0000000520 65535 f 0000000521 65535 f 0000000522 65535 f 0000000523 65535 f 0000000524 65535 f 0000000525 65535 f 0000000526 65535 f 0000000527 65535 f 0000000528 65535 f 0000000529 65535 f 0000000530 65535 f 0000000531 65535 f 0000000532 65535 f 0000000533 65535 f 0000000534 65535 f 0000000535 65535 f 0000000536 65535 f 0000000537 65535 f 0000000538 65535 f 0000000539 65535 f 0000000540 65535 f 0000000541 65535 f 0000000542 65535 f 0000000543 65535 f 0000000544 65535 f 0000000545 65535 f 0000000546 65535 f 0000000547 65535 f 0000000548 65535 f 0000000549 65535 f 0000000550 65535 f 0000000551 65535 f 0000000552 65535 f 0000000553 65535 f 0000000554 65535 f 0000000555 65535 f 0000000556 65535 f 0000000557 65535 f 0000000558 65535 f 0000000559 65535 f 0000000560 65535 f 0000000561 65535 f 0000000562 65535 f 0000000563 65535 f 0000000564 65535 f 0000000565 65535 f 0000000566 65535 f 0000000567 65535 f 0000000568 65535 f 0000000569 65535 f 0000000570 65535 f 0000000571 65535 f 0000000572 65535 f 0000000573 65535 f 0000000574 65535 f 0000000575 65535 f 0000000576 65535 f 0000000577 65535 f 0000000578 65535 f 0000000579 65535 f 0000000580 65535 f 0000000581 65535 f 0000000582 65535 f 0000000583 65535 f 0000000584 65535 f 0000000585 65535 f 0000000586 65535 f 0000000587 65535 f 0000000588 65535 f 0000000589 65535 f 0000000590 65535 f 0000000591 65535 f 0000000592 65535 f 0000000593 65535 f 0000000594 65535 f 0000000595 65535 f 0000000596 65535 f 0000000597 65535 f 0000000598 65535 f 0000000599 65535 f 0000000600 65535 f 0000000601 65535 f 0000000602 65535 f 0000000603 65535 f 0000000604 65535 f 0000000605 65535 f 0000000606 65535 f 0000000607 65535 f 0000000608 65535 f 0000000609 65535 f 0000000610 65535 f 0000000611 65535 f 0000000612 65535 f 0000000613 65535 f 0000000614 65535 f 0000000615 65535 f 0000000616 65535 f 0000000617 65535 f 0000000618 65535 f 0000000619 65535 f 0000000620 65535 f 0000000621 65535 f 0000000622 65535 f 0000000623 65535 f 0000000624 65535 f 0000000625 65535 f 0000000626 65535 f 0000000627 65535 f 0000000628 65535 f 0000000629 65535 f 0000000630 65535 f 0000000631 65535 f 0000000632 65535 f 0000000633 65535 f 0000000634 65535 f 0000000635 65535 f 0000000636 65535 f 0000000637 65535 f 0000000638 65535 f 0000000639 65535 f 0000000640 65535 f 0000000641 65535 f 0000000642 65535 f 0000000643 65535 f 0000000644 65535 f 0000000645 65535 f 0000000646 65535 f 0000000647 65535 f 0000000648 65535 f 0000000649 65535 f 0000000650 65535 f 0000000651 65535 f 0000000652 65535 f 0000000653 65535 f 0000000654 65535 f 0000000655 65535 f 0000000656 65535 f 0000000657 65535 f 0000000658 65535 f 0000000659 65535 f 0000000660 65535 f 0000000661 65535 f 0000000662 65535 f 0000000663 65535 f 0000000664 65535 f 0000000665 65535 f 0000000666 65535 f 0000000667 65535 f 0000000668 65535 f 0000000669 65535 f 0000000670 65535 f 0000000671 65535 f 0000000672 65535 f 0000000673 65535 f 0000000674 65535 f 0000000675 65535 f 0000000676 65535 f 0000000677 65535 f 0000000678 65535 f 0000000679 65535 f 0000000680 65535 f 0000000681 65535 f 0000000682 65535 f 0000000683 65535 f 0000000684 65535 f 0000000685 65535 f 0000000686 65535 f 0000000687 65535 f 0000000688 65535 f 0000000689 65535 f 0000000690 65535 f 0000000691 65535 f 0000000692 65535 f 0000000693 65535 f 0000000694 65535 f 0000000695 65535 f 0000000696 65535 f 0000000697 65535 f 0000000698 65535 f 0000000699 65535 f 0000000700 65535 f 0000000701 65535 f 0000000702 65535 f 0000000703 65535 f 0000000704 65535 f 0000000705 65535 f 0000000706 65535 f 0000000707 65535 f 0000000708 65535 f 0000000709 65535 f 0000000710 65535 f 0000000711 65535 f 0000000712 65535 f 0000000713 65535 f 0000000714 65535 f 0000000715 65535 f 0000000716 65535 f 0000000717 65535 f 0000000718 65535 f 0000000719 65535 f 0000000720 65535 f 0000000721 65535 f 0000000722 65535 f 0000000723 65535 f 0000000724 65535 f 0000000725 65535 f 0000000726 65535 f 0000000727 65535 f 0000000728 65535 f 0000000729 65535 f 0000000730 65535 f 0000000731 65535 f 0000000732 65535 f 0000000733 65535 f 0000000734 65535 f 0000000735 65535 f 0000000736 65535 f 0000000737 65535 f 0000000738 65535 f 0000000739 65535 f 0000000740 65535 f 0000000741 65535 f 0000000742 65535 f 0000000743 65535 f 0000000744 65535 f 0000000745 65535 f 0000000746 65535 f 0000000747 65535 f 0000000748 65535 f 0000000749 65535 f 0000000750 65535 f 0000000751 65535 f 0000000752 65535 f 0000000753 65535 f 0000000754 65535 f 0000000755 65535 f 0000000756 65535 f 0000000757 65535 f 0000000758 65535 f 0000000759 65535 f 0000000760 65535 f 0000000761 65535 f 0000000762 65535 f 0000000763 65535 f 0000000764 65535 f 0000000765 65535 f 0000000766 65535 f 0000000767 65535 f 0000000768 65535 f 0000000769 65535 f 0000000770 65535 f 0000000771 65535 f 0000000772 65535 f 0000000773 65535 f 0000000774 65535 f 0000000775 65535 f 0000000776 65535 f 0000000777 65535 f 0000000778 65535 f 0000000779 65535 f 0000000780 65535 f 0000000781 65535 f 0000000782 65535 f 0000000783 65535 f 0000000784 65535 f 0000000785 65535 f 0000000786 65535 f 0000000787 65535 f 0000000788 65535 f 0000000789 65535 f 0000000790 65535 f 0000000791 65535 f 0000000792 65535 f 0000000793 65535 f 0000000794 65535 f 0000000795 65535 f 0000000796 65535 f 0000000797 65535 f 0000000798 65535 f 0000000799 65535 f 0000000800 65535 f 0000000801 65535 f 0000000802 65535 f 0000000803 65535 f 0000000804 65535 f 0000000805 65535 f 0000000806 65535 f 0000000807 65535 f 0000000808 65535 f 0000000809 65535 f 0000000810 65535 f 0000000811 65535 f 0000000812 65535 f 0000000813 65535 f 0000000814 65535 f 0000000815 65535 f 0000000816 65535 f 0000000817 65535 f 0000000818 65535 f 0000000819 65535 f 0000000820 65535 f 0000000821 65535 f 0000000822 65535 f 0000000823 65535 f 0000000824 65535 f 0000000825 65535 f 0000000826 65535 f 0000000827 65535 f 0000000828 65535 f 0000000829 65535 f 0000000830 65535 f 0000000831 65535 f 0000000832 65535 f 0000000833 65535 f 0000000834 65535 f 0000000835 65535 f 0000000836 65535 f 0000000837 65535 f 0000000838 65535 f 0000000839 65535 f 0000000840 65535 f 0000000841 65535 f 0000000842 65535 f 0000000843 65535 f 0000000844 65535 f 0000000845 65535 f 0000000846 65535 f 0000000847 65535 f 0000000848 65535 f 0000000849 65535 f 0000000850 65535 f 0000000851 65535 f 0000000852 65535 f 0000000853 65535 f 0000000854 65535 f 0000000855 65535 f 0000000856 65535 f 0000000857 65535 f 0000000858 65535 f 0000000859 65535 f 0000000860 65535 f 0000000861 65535 f 0000000862 65535 f 0000000863 65535 f 0000000864 65535 f 0000000865 65535 f 0000000866 65535 f 0000000867 65535 f 0000000868 65535 f 0000000869 65535 f 0000000870 65535 f 0000000871 65535 f 0000000872 65535 f 0000000873 65535 f 0000000874 65535 f 0000000875 65535 f 0000000876 65535 f 0000000877 65535 f 0000000878 65535 f 0000000879 65535 f 0000000880 65535 f 0000000881 65535 f 0000000882 65535 f 0000000883 65535 f 0000000884 65535 f 0000000885 65535 f 0000000886 65535 f 0000000887 65535 f 0000000888 65535 f 0000000889 65535 f 0000000890 65535 f 0000000891 65535 f 0000000892 65535 f 0000000893 65535 f 0000000894 65535 f 0000000895 65535 f 0000000896 65535 f 0000000897 65535 f 0000000898 65535 f 0000000899 65535 f 0000000900 65535 f 0000000901 65535 f 0000000902 65535 f 0000000903 65535 f 0000000904 65535 f 0000000905 65535 f 0000000906 65535 f 0000000907 65535 f 0000000908 65535 f 0000000909 65535 f 0000000910 65535 f 0000000911 65535 f 0000000912 65535 f 0000000913 65535 f 0000000914 65535 f 0000000915 65535 f 0000000916 65535 f 0000000917 65535 f 0000000918 65535 f 0000000919 65535 f 0000000920 65535 f 0000000921 65535 f 0000000922 65535 f 0000000923 65535 f 0000000924 65535 f 0000000925 65535 f 0000000926 65535 f 0000000927 65535 f 0000000928 65535 f 0000000929 65535 f 0000000930 65535 f 0000000931 65535 f 0000000932 65535 f 0000000933 65535 f 0000000934 65535 f 0000000935 65535 f 0000000936 65535 f 0000000937 65535 f 0000000938 65535 f 0000000939 65535 f 0000000940 65535 f 0000000941 65535 f 0000000942 65535 f 0000000943 65535 f 0000000944 65535 f 0000000945 65535 f 0000000946 65535 f 0000000947 65535 f 0000000948 65535 f 0000000949 65535 f 0000000950 65535 f 0000000951 65535 f 0000000952 65535 f 0000000953 65535 f 0000000954 65535 f 0000000955 65535 f 0000000956 65535 f 0000000957 65535 f 0000000958 65535 f 0000000959 65535 f 0000000960 65535 f 0000000961 65535 f 0000000962 65535 f 0000000963 65535 f 0000000964 65535 f 0000000965 65535 f 0000000966 65535 f 0000000967 65535 f 0000000968 65535 f 0000000969 65535 f 0000000970 65535 f 0000000971 65535 f 0000000972 65535 f 0000000973 65535 f 0000000974 65535 f 0000000975 65535 f 0000000976 65535 f 0000000977 65535 f 0000000978 65535 f 0000000979 65535 f 0000000980 65535 f 0000000981 65535 f 0000000982 65535 f 0000000983 65535 f 0000000984 65535 f 0000000985 65535 f 0000000986 65535 f 0000000987 65535 f 0000000988 65535 f 0000000989 65535 f 0000000990 65535 f 0000000991 65535 f 0000000992 65535 f 0000000993 65535 f 0000000994 65535 f 0000000995 65535 f 0000000996 65535 f 0000000997 65535 f 0000000998 65535 f 0000000999 65535 f 0000001000 65535 f 0000001001 65535 f 0000001002 65535 f 0000001003 65535 f 0000001004 65535 f 0000001005 65535 f 0000001006 65535 f 0000001007 65535 f 0000001008 65535 f 0000001009 65535 f 0000001010 65535 f 0000001011 65535 f 0000001012 65535 f 0000001013 65535 f 0000001014 65535 f 0000001015 65535 f 0000001016 65535 f 0000001017 65535 f 0000001018 65535 f 0000001019 65535 f 0000001020 65535 f 0000001021 65535 f 0000001022 65535 f 0000001023 65535 f 0000001024 65535 f 0000001025 65535 f 0000001026 65535 f 0000001027 65535 f 0000001028 65535 f 0000001029 65535 f 0000001030 65535 f 0000001031 65535 f 0000001032 65535 f 0000001033 65535 f 0000001034 65535 f 0000001035 65535 f 0000001036 65535 f 0000001037 65535 f 0000001038 65535 f 0000001039 65535 f 0000001040 65535 f 0000001041 65535 f 0000001042 65535 f 0000001043 65535 f 0000001044 65535 f 0000001045 65535 f 0000001046 65535 f 0000001047 65535 f 0000001048 65535 f 0000001049 65535 f 0000001050 65535 f 0000001051 65535 f 0000001052 65535 f 0000001053 65535 f 0000001054 65535 f 0000001055 65535 f 0000001056 65535 f 0000001057 65535 f 0000001058 65535 f 0000001059 65535 f 0000001060 65535 f 0000001061 65535 f 0000001062 65535 f 0000001063 65535 f 0000001064 65535 f 0000001065 65535 f 0000001066 65535 f 0000001067 65535 f 0000001068 65535 f 0000001069 65535 f 0000001070 65535 f 0000001071 65535 f 0000001072 65535 f 0000001073 65535 f 0000001074 65535 f 0000001075 65535 f 0000001076 65535 f 0000001077 65535 f 0000001078 65535 f 0000001079 65535 f 0000001080 65535 f 0000001081 65535 f 0000001082 65535 f 0000001083 65535 f 0000001084 65535 f 0000001085 65535 f 0000001086 65535 f 0000001087 65535 f 0000001088 65535 f 0000001089 65535 f 0000001090 65535 f 0000001091 65535 f 0000001092 65535 f 0000001093 65535 f 0000001094 65535 f 0000001095 65535 f 0000001096 65535 f 0000001097 65535 f 0000001098 65535 f 0000001099 65535 f 0000001100 65535 f 0000001101 65535 f 0000001102 65535 f 0000001103 65535 f 0000001104 65535 f 0000001105 65535 f 0000001106 65535 f 0000001107 65535 f 0000001108 65535 f 0000001109 65535 f 0000001110 65535 f 0000001111 65535 f 0000001112 65535 f 0000001113 65535 f 0000001114 65535 f 0000001115 65535 f 0000001116 65535 f 0000001117 65535 f 0000001118 65535 f 0000001119 65535 f 0000001120 65535 f 0000001121 65535 f 0000001122 65535 f 0000001123 65535 f 0000001124 65535 f 0000001125 65535 f 0000001126 65535 f 0000001127 65535 f 0000001128 65535 f 0000001129 65535 f 0000001130 65535 f 0000001131 65535 f 0000001132 65535 f 0000001133 65535 f 0000001134 65535 f 0000001135 65535 f 0000001136 65535 f 0000001137 65535 f 0000001138 65535 f 0000001139 65535 f 0000001140 65535 f 0000001141 65535 f 0000001142 65535 f 0000001143 65535 f 0000001144 65535 f 0000001145 65535 f 0000001146 65535 f 0000001147 65535 f 0000001148 65535 f 0000001149 65535 f 0000001150 65535 f 0000001151 65535 f 0000001152 65535 f 0000001153 65535 f 0000001154 65535 f 0000001155 65535 f 0000001156 65535 f 0000001157 65535 f 0000001158 65535 f 0000001159 65535 f 0000001160 65535 f 0000001161 65535 f 0000001162 65535 f 0000001163 65535 f 0000001164 65535 f 0000001165 65535 f 0000001166 65535 f 0000001167 65535 f 0000001168 65535 f 0000001169 65535 f 0000001170 65535 f 0000001171 65535 f 0000001172 65535 f 0000001173 65535 f 0000001174 65535 f 0000001175 65535 f 0000001176 65535 f 0000001177 65535 f 0000001178 65535 f 0000001179 65535 f 0000001180 65535 f 0000001181 65535 f 0000001182 65535 f 0000001183 65535 f 0000001184 65535 f 0000001185 65535 f 0000001186 65535 f 0000001187 65535 f 0000001188 65535 f 0000001189 65535 f 0000001190 65535 f 0000001191 65535 f 0000001192 65535 f 0000001193 65535 f 0000001194 65535 f 0000001195 65535 f 0000001196 65535 f 0000001197 65535 f 0000001198 65535 f 0000001199 65535 f 0000001200 65535 f 0000001201 65535 f 0000001202 65535 f 0000001203 65535 f 0000001204 65535 f 0000001205 65535 f 0000001206 65535 f 0000001207 65535 f 0000001208 65535 f 0000001209 65535 f 0000001210 65535 f 0000001211 65535 f 0000001212 65535 f 0000001213 65535 f 0000001214 65535 f 0000001215 65535 f 0000001216 65535 f 0000001217 65535 f 0000001218 65535 f 0000001219 65535 f 0000001220 65535 f 0000001221 65535 f 0000001222 65535 f 0000001223 65535 f 0000001224 65535 f 0000001225 65535 f 0000001226 65535 f 0000001227 65535 f 0000001228 65535 f 0000001229 65535 f 0000001230 65535 f 0000001231 65535 f 0000001232 65535 f 0000001233 65535 f 0000001234 65535 f 0000001235 65535 f 0000001236 65535 f 0000001237 65535 f 0000001238 65535 f 0000001239 65535 f 0000001240 65535 f 0000001241 65535 f 0000001242 65535 f 0000001243 65535 f 0000001244 65535 f 0000001245 65535 f 0000001246 65535 f 0000001247 65535 f 0000001248 65535 f 0000001249 65535 f 0000001250 65535 f 0000001251 65535 f 0000001252 65535 f 0000001253 65535 f 0000001254 65535 f 0000001255 65535 f 0000001256 65535 f 0000001257 65535 f 0000001258 65535 f 0000001259 65535 f 0000001260 65535 f 0000001261 65535 f 0000001262 65535 f 0000001263 65535 f 0000001264 65535 f 0000001265 65535 f 0000001266 65535 f 0000001267 65535 f 0000001268 65535 f 0000001269 65535 f 0000001270 65535 f 0000001271 65535 f 0000001272 65535 f 0000001273 65535 f 0000001274 65535 f 0000001275 65535 f 0000001276 65535 f 0000001277 65535 f 0000001278 65535 f 0000001279 65535 f 0000001280 65535 f 0000001281 65535 f 0000001282 65535 f 0000001283 65535 f 0000001284 65535 f 0000001285 65535 f 0000001286 65535 f 0000001287 65535 f 0000001288 65535 f 0000001289 65535 f 0000001290 65535 f 0000001291 65535 f 0000001292 65535 f 0000001293 65535 f 0000001294 65535 f 0000001295 65535 f 0000001296 65535 f 0000001297 65535 f 0000001298 65535 f 0000001299 65535 f 0000001300 65535 f 0000001301 65535 f 0000001302 65535 f 0000001303 65535 f 0000001304 65535 f 0000001305 65535 f 0000001306 65535 f 0000001307 65535 f 0000001308 65535 f 0000001309 65535 f 0000001310 65535 f 0000001311 65535 f 0000001312 65535 f 0000001313 65535 f 0000001314 65535 f 0000001315 65535 f 0000001316 65535 f 0000001317 65535 f 0000001318 65535 f 0000001319 65535 f 0000001320 65535 f 0000001321 65535 f 0000001322 65535 f 0000001323 65535 f 0000001324 65535 f 0000001325 65535 f 0000001326 65535 f 0000001327 65535 f 0000001328 65535 f 0000001329 65535 f 0000001330 65535 f 0000001331 65535 f 0000001332 65535 f 0000001333 65535 f 0000001334 65535 f 0000001335 65535 f 0000001336 65535 f 0000001337 65535 f 0000001338 65535 f 0000001339 65535 f 0000001340 65535 f 0000001341 65535 f 0000001342 65535 f 0000001343 65535 f 0000001344 65535 f 0000001345 65535 f 0000001346 65535 f 0000001347 65535 f 0000001348 65535 f 0000001349 65535 f 0000001350 65535 f 0000001351 65535 f 0000001352 65535 f 0000001353 65535 f 0000001354 65535 f 0000001355 65535 f 0000001356 65535 f 0000001357 65535 f 0000001358 65535 f 0000001359 65535 f 0000001360 65535 f 0000001361 65535 f 0000001362 65535 f 0000001363 65535 f 0000001364 65535 f 0000001365 65535 f 0000001366 65535 f 0000001367 65535 f 0000001368 65535 f 0000001369 65535 f 0000001370 65535 f 0000001371 65535 f 0000001372 65535 f 0000001373 65535 f 0000001374 65535 f 0000001375 65535 f 0000001376 65535 f 0000001377 65535 f 0000001378 65535 f 0000001379 65535 f 0000001380 65535 f 0000001381 65535 f 0000001382 65535 f 0000001383 65535 f 0000001384 65535 f 0000001385 65535 f 0000001386 65535 f 0000001387 65535 f 0000001388 65535 f 0000001389 65535 f 0000001390 65535 f 0000001391 65535 f 0000001392 65535 f 0000001393 65535 f 0000001394 65535 f 0000001395 65535 f 0000001396 65535 f 0000001397 65535 f 0000001398 65535 f 0000001399 65535 f 0000001400 65535 f 0000001401 65535 f 0000001402 65535 f 0000001403 65535 f 0000001404 65535 f 0000001405 65535 f 0000001406 65535 f 0000001407 65535 f 0000001408 65535 f 0000001409 65535 f 0000001410 65535 f 0000001411 65535 f 0000001412 65535 f 0000001413 65535 f 0000001414 65535 f 0000001415 65535 f 0000001416 65535 f 0000001417 65535 f 0000001418 65535 f 0000001419 65535 f 0000001420 65535 f 0000001421 65535 f 0000001422 65535 f 0000001423 65535 f 0000001424 65535 f 0000001425 65535 f 0000001426 65535 f 0000001427 65535 f 0000001428 65535 f 0000001429 65535 f 0000001430 65535 f 0000001431 65535 f 0000001432 65535 f 0000001433 65535 f 0000001434 65535 f 0000001435 65535 f 0000001436 65535 f 0000001437 65535 f 0000001438 65535 f 0000001439 65535 f 0000001440 65535 f 0000001441 65535 f 0000001442 65535 f 0000001443 65535 f 0000001444 65535 f 0000001445 65535 f 0000001446 65535 f 0000001447 65535 f 0000001448 65535 f 0000001449 65535 f 0000001450 65535 f 0000001451 65535 f 0000001452 65535 f 0000001453 65535 f 0000001454 65535 f 0000001455 65535 f 0000001456 65535 f 0000001457 65535 f 0000001458 65535 f 0000001459 65535 f 0000001460 65535 f 0000001461 65535 f 0000001462 65535 f 0000001463 65535 f 0000001464 65535 f 0000001465 65535 f 0000001466 65535 f 0000001467 65535 f 0000001468 65535 f 0000001469 65535 f 0000001470 65535 f 0000001471 65535 f 0000001472 65535 f 0000001473 65535 f 0000001474 65535 f 0000001475 65535 f 0000001476 65535 f 0000001477 65535 f 0000001478 65535 f 0000001479 65535 f 0000001480 65535 f 0000001481 65535 f 0000001482 65535 f 0000001483 65535 f 0000001484 65535 f 0000001485 65535 f 0000001486 65535 f 0000001487 65535 f 0000001488 65535 f 0000001489 65535 f 0000001490 65535 f 0000001491 65535 f 0000001492 65535 f 0000001493 65535 f 0000001494 65535 f 0000001495 65535 f 0000001496 65535 f 0000001497 65535 f 0000001498 65535 f 0000001499 65535 f 0000001500 65535 f 0000001501 65535 f 0000001502 65535 f 0000001503 65535 f 0000001504 65535 f 0000001505 65535 f 0000001506 65535 f 0000001507 65535 f 0000001508 65535 f 0000001509 65535 f 0000001510 65535 f 0000001511 65535 f 0000001512 65535 f 0000001513 65535 f 0000001514 65535 f 0000001515 65535 f 0000001516 65535 f 0000001517 65535 f 0000001518 65535 f 0000001519 65535 f 0000001520 65535 f 0000001521 65535 f 0000001522 65535 f 0000001523 65535 f 0000001524 65535 f 0000001525 65535 f 0000001526 65535 f 0000001527 65535 f 0000001528 65535 f 0000001529 65535 f 0000001530 65535 f 0000001531 65535 f 0000001532 65535 f 0000001533 65535 f 0000001534 65535 f 0000001535 65535 f 0000001536 65535 f 0000001537 65535 f 0000001538 65535 f 0000001539 65535 f 0000001540 65535 f 0000001541 65535 f 0000001542 65535 f 0000001543 65535 f 0000001544 65535 f 0000001545 65535 f 0000001546 65535 f 0000001547 65535 f 0000001548 65535 f 0000001549 65535 f 0000001550 65535 f 0000001551 65535 f 0000001552 65535 f 0000001553 65535 f 0000001554 65535 f 0000001555 65535 f 0000001556 65535 f 0000001557 65535 f 0000001558 65535 f 0000001559 65535 f 0000001560 65535 f 0000001561 65535 f 0000001562 65535 f 0000001563 65535 f 0000001564 65535 f 0000001565 65535 f 0000001566 65535 f 0000001567 65535 f 0000001568 65535 f 0000001569 65535 f 0000001570 65535 f 0000001571 65535 f 0000001572 65535 f 0000001573 65535 f 0000001574 65535 f 0000001575 65535 f 0000001576 65535 f 0000001577 65535 f 0000001578 65535 f 0000001579 65535 f 0000001580 65535 f 0000001581 65535 f 0000001582 65535 f 0000001583 65535 f 0000001584 65535 f 0000001585 65535 f 0000001586 65535 f 0000001587 65535 f 0000001588 65535 f 0000001589 65535 f 0000001590 65535 f 0000001591 65535 f 0000001592 65535 f 0000001593 65535 f 0000001594 65535 f 0000001595 65535 f 0000001596 65535 f 0000001597 65535 f 0000001598 65535 f 0000001599 65535 f 0000001600 65535 f 0000001601 65535 f 0000001602 65535 f 0000001603 65535 f 0000001604 65535 f 0000001605 65535 f 0000001606 65535 f 0000001607 65535 f 0000001608 65535 f 0000001609 65535 f 0000001610 65535 f 0000001611 65535 f 0000001612 65535 f 0000001613 65535 f 0000001614 65535 f 0000001615 65535 f 0000001616 65535 f 0000001617 65535 f 0000001618 65535 f 0000001619 65535 f 0000001620 65535 f 0000001621 65535 f 0000001622 65535 f 0000001623 65535 f 0000001624 65535 f 0000001625 65535 f 0000001626 65535 f 0000001627 65535 f 0000001628 65535 f 0000001629 65535 f 0000001630 65535 f 0000001631 65535 f 0000001632 65535 f 0000001633 65535 f 0000001634 65535 f 0000001635 65535 f 0000001636 65535 f 0000001637 65535 f 0000001638 65535 f 0000001639 65535 f 0000001640 65535 f 0000001641 65535 f 0000001642 65535 f 0000001643 65535 f 0000001644 65535 f 0000001645 65535 f 0000001646 65535 f 0000001647 65535 f 0000001648 65535 f 0000001649 65535 f 0000001650 65535 f 0000001651 65535 f 0000001652 65535 f 0000001653 65535 f 0000001654 65535 f 0000001655 65535 f 0000001656 65535 f 0000001657 65535 f 0000001658 65535 f 0000001659 65535 f 0000001660 65535 f 0000001661 65535 f 0000001662 65535 f 0000001663 65535 f 0000001664 65535 f 0000001665 65535 f 0000001666 65535 f 0000001667 65535 f 0000001668 65535 f 0000001669 65535 f 0000001670 65535 f 0000001671 65535 f 0000001672 65535 f 0000001673 65535 f 0000001674 65535 f 0000001675 65535 f 0000001676 65535 f 0000001677 65535 f 0000001678 65535 f 0000001679 65535 f 0000001680 65535 f 0000001681 65535 f 0000001682 65535 f 0000001683 65535 f 0000001684 65535 f 0000001685 65535 f 0000001686 65535 f 0000001687 65535 f 0000001688 65535 f 0000001689 65535 f 0000001690 65535 f 0000001691 65535 f 0000001692 65535 f 0000001693 65535 f 0000001694 65535 f 0000001695 65535 f 0000001696 65535 f 0000001697 65535 f 0000001698 65535 f 0000001699 65535 f 0000001700 65535 f 0000001701 65535 f 0000001702 65535 f 0000001703 65535 f 0000001704 65535 f 0000001705 65535 f 0000001706 65535 f 0000001707 65535 f 0000001708 65535 f 0000001709 65535 f 0000001710 65535 f 0000001711 65535 f 0000001712 65535 f 0000001713 65535 f 0000001714 65535 f 0000001715 65535 f 0000001716 65535 f 0000001717 65535 f 0000001718 65535 f 0000001719 65535 f 0000001720 65535 f 0000001721 65535 f 0000001722 65535 f 0000001723 65535 f 0000001724 65535 f 0000001725 65535 f 0000001726 65535 f 0000001727 65535 f 0000001728 65535 f 0000001729 65535 f 0000001730 65535 f 0000001731 65535 f 0000001732 65535 f 0000001733 65535 f 0000001734 65535 f 0000001735 65535 f 0000001736 65535 f 0000001737 65535 f 0000001738 65535 f 0000001739 65535 f 0000001740 65535 f 0000001741 65535 f 0000001742 65535 f 0000001743 65535 f 0000001744 65535 f 0000001745 65535 f 0000001746 65535 f 0000001747 65535 f 0000001748 65535 f 0000001749 65535 f 0000001750 65535 f 0000001751 65535 f 0000001752 65535 f 0000001753 65535 f 0000001754 65535 f 0000001755 65535 f 0000001756 65535 f 0000001757 65535 f 0000001758 65535 f 0000001759 65535 f 0000001760 65535 f 0000001761 65535 f 0000001762 65535 f 0000001763 65535 f 0000001764 65535 f 0000001765 65535 f 0000001766 65535 f 0000001767 65535 f 0000001768 65535 f 0000001769 65535 f 0000001770 65535 f 0000001771 65535 f 0000001772 65535 f 0000001773 65535 f 0000001774 65535 f 0000001775 65535 f 0000001776 65535 f 0000001777 65535 f 0000001778 65535 f 0000001779 65535 f 0000001780 65535 f 0000001781 65535 f 0000001782 65535 f 0000001783 65535 f 0000001784 65535 f 0000001785 65535 f 0000001786 65535 f 0000001787 65535 f 0000001788 65535 f 0000001789 65535 f 0000001790 65535 f 0000001791 65535 f 0000001792 65535 f 0000001793 65535 f 0000001794 65535 f 0000001795 65535 f 0000001796 65535 f 0000001797 65535 f 0000001798 65535 f 0000001799 65535 f 0000001800 65535 f 0000001801 65535 f 0000001802 65535 f 0000001803 65535 f 0000001804 65535 f 0000001805 65535 f 0000001806 65535 f 0000001807 65535 f 0000001808 65535 f 0000001809 65535 f 0000001810 65535 f 0000001811 65535 f 0000001812 65535 f 0000001813 65535 f 0000001814 65535 f 0000001815 65535 f 0000001816 65535 f 0000001817 65535 f 0000001818 65535 f 0000001819 65535 f 0000001820 65535 f 0000001821 65535 f 0000001822 65535 f 0000001823 65535 f 0000001824 65535 f 0000000000 65535 f 0000149190 00000 n 0000149219 00000 n 0000163910 00000 n 0000164363 00000 n 0000196691 00000 n 0000197100 00000 n 0000197453 00000 n 0000197784 00000 n 0000198087 00000 n 0000208755 00000 n 0000208800 00000 n 0000211971 00000 n 0000212018 00000 n trailer. startxref 215665% EOF 0 0. Prev 215665/XRefStm 212018>> 252587% EOF.

Todays online life has brought great benefits to the average person. However, it has also created some extra complications. One of them is the massive amount of passwords that people need to manage. Password managers for Mac are apps designed to reduce this burden, as they help the user to store and organize passwords. Here below is a review of the top five password managers available on the market. 1. 1Password 1Password is a commercial tool, with the option of a free 30-day trial. As its name indicates, the idea behind this password keeper for Mac is for the user to remember only one password, called master password, and which allows access to the apps database. Once access is granted, all other passwords are managed via 1Password. This software uses strong AES-256 encryption to store the passwords. Free Download In addition, the database can be accessed through mobile devices, using fingerprints and PIN codes. The database is very comprehensive, allowing for the storage of passwords, PIN codes, documents, credit card details, and more. The software is integrated with web browsers, and can help the user in creating passwords for online accounts, filling in credit card details, personal forms, etc. In brief, 1Password is a very complete Mac password manager, which helps the user in reducing the burden created by having to deal with many passwords. 2. Dashlane Dashlane is a password manager app and a secure digital wallet. It comes as a Freemium, which means that this is basically a free password manager Mac, which can be upgraded to a Premium version. In this case, the Premium version is very good, as it allows the user to handle an unlimited number of devices, supported by different platforms, in a sync manner. Free Download Access to Dashlane is efficient, as it is done by a single master password, which is never recorded nor transmitted. Data is stored using AES-256 encryption. Other features include automatic password generation, two-factor authentication, secure backup, a dashboard, and security breach alerts. In addition, the developer publishes Security Roundup, a quarterly report on security policy analysis. Together with the password manager, the app provides a digital wallet, where the user can store credit card information, bank account details, IDs and several other personal details, which can later be used to automatically fill in online forms. Its efficiency and ease of use prompted the New York Times to describe Dashlane as one of the best password managers for Mac. Concisely, Dashlane is an excellent option as a Mac password manager. Both, its combined features and efficiency stand out in a very competitive market. 3. LastPass LastPass is a password manager Mac developed by LogMeIn, Inc. It is a commercial software application that it is offered for free, with a Premium paid option for many computers. It works with OS X, iOS and Android. This Mac password manager has several interesting features such as the capacity to auto-populate passwords in web sites, and personal information in forms. This is complemented with a site sharing option. Free Download In addition, it comes with a password generator, which helps the user to find more secure combinations of characters. It also has the capacity to check if a password has already been used. On the downside, the developer was admittedly hacked in 2015, and some master passwords stolen. Later in 2016, some anomalies were found. Overall, this is a good free password manager Mac that can be used in a computer with confidence and efficiency. 4. KeepassX KeepassX is probably the best password manager for Mac that is open source and for free. This app is basically an encrypted database of passwords, which comes in two versions: portable and installable. In addition, it has certain built-in extra capabilities, such as password generation, and the capacity to add third-party plug-ins and tools. This feature has generously extended its functionality to many devices, browsers and platforms. Free Download Thus, this password manager, has profited from the open-source community-based approach, and although being originally primarily for Windows and named Keepass, it has extended its domain to OS X supported devices, and has become a multi-platform app. In summary, KeepassX has grown, based on its open source licensing, resulting in a valid option for todays Mac users, who are supporters of the open source approach. 5. Keychain This password manager Mac was developed by Apple and it is included in OS X. It is basically a database that contains passwords, private keys, certificates, and secure notes. Passwords of different types can be stored, such as for websites, FTP servers, SSH accounts, wireless protocols, encrypted disk images and more. A nice feature of this password keeper for Mac is that access to the database can be done by the login password. Otherwise, a different password can be used. Keychain does not accept an empty password. The app comes with a GUI and a command-line version, providing a choice to different users tastes. Keychains files are stored in ~ Library/Keychains, Library/Keychains/ and /Network/Library/Keychains. Apple introduced a password management service called iCloud Keychain in 2013. This service basically reintroduces the MobileMe Keychain syncing function, and it can be accessed via iOS and OS X. It stores the values using a 256-bit AES encryption algorithm. Generally speaking, Keychain offers a free option to the Mac user, as the app comes with the operating system. Besides, as with most of Apples products, Keychain is characterized by its user-focused design, which is an important attraction for the typical Macs fan. Arthur Cole is a freelance content creator. He also has a more than 10-year experience in program development for macOS, Windows, iOS, Cole is a freelance content creator with a deep expertise in progra. Read full bio → Arthur Cole is a freelance content creator. Read full bio → This article has been approved by Brett Johnson, Data Recovery Engineer at ACE Data Recovery. Brett has a Bachelor's Degree in Computer Systems and Network, 12 years of experience. This article has been approved by Brett Johnson, Data Recovery Engineer at ACE Data Recovery. Brett has a Bachelor's Degree in Computer Systems and Network, 12 years of experience.

Perfection. [mac] burden. [mac] buren. This song is timeless. Gives me that warm fuzzy feeling every time 😊. Cancer is what taken my 15 year old daught away from me(10-20-2017)😭😭😭😭 your brothers an i sent you flower baby girl... We forgive love you an misses my kyasia bryant(burne on my heart)blood on my hand.

There's something else keeping Susan and Peter up at night besides their newborn and 2-year-old: wondering how to pay the bills. Child care, in particular, is eating into their budget. Its far more than the cost of repaying their student loans, and approaching the cost of their rent. Theyve deferred trying to save for a down payment for a home. Susan is even thinking about quitting her part-time job for a few years and staying home with kids. As Susan and Peter, and millions of parents with very young children can attest, the list of expenses for a family unit can be never-ending. From housing and medical bills to child care and food, a paycheck, or even two paychecks, can only go so far. The good news is that family income at the national level has grown somewhat: For a family of four (two adults, two children) real median family income rose by 18. 7% from 1990 to 2018. However, is this enough to help families meet their obligations—especially families with young children? In many states, child care can cost as much as or more than housing and has skyrocketed over the last few decades. This Insight focuses on one particular cost, child care, and how it compares to other family budget burdens, especially housing. Child care is an unavoidable expense for working parents, especially single parents and parents with younger children. In many states, child care can cost as much as or more than housing, and this cost has skyrocketed over the last few decades The real (inflation-adjusted) price of child care increased by nearly 49% from 1993 to 2018 ( Exhibit 1) according to the Bureau of Labor Statistics Consumer Price Index (CPI. Only education expenses have grown faster (90. By contrast, housing increased by only 14% in real terms from 1993 to 2018. 1 Budget items such as transportation and food remained flat in real terms during the period, while the cost of apparel declined. The sections that follow tease out how child care expenditures have risen over time as compared to other expenses and how much of a familys income is affected. We find that child care expenditures for all types of care is about half the national median mortgage payment and nearly 80% of the national median rent. Existing research shows that while child care continues to put financial distress on many families, lower-income families bear the greatest burden: For a family making less than 1, 500 per month who have children under the age of fifteen, almost 40% of its income goes toward this expense. We also find that families are spending the same share of their income on child care today as they did decades ago, on average. Finally, to contain costs, in practice, families resort to lower-cost alternatives, piecing together child care arrangements with relatives, friends, and neighbors. What is the cost of child care? Families with young children spend significant amounts on child care. We estimate the average expenditure 2 to be 715 per month (in 2019 dollars) across all modes of care for all children under 15 years of age, among those families paying for care ( Exhibit 2. This figure rises to 758 per month when the main parent with child care responsibilities is employed (referred to as “Mother Employed, ” given that the reference parent will be the mother in most cases. The cost is greatest for younger children (infants, toddlers, and 4-year-olds) at 948 per month, compared to school-age children who spend much of their day in school, and incur costs only in after-school care or enrichment activities. Traditionally, two modes of child care have been available to families: formal and informal care. Among formal care arrangements, center-based child care facilities (which include day care centers, nursery schools, and preschools) are the most expensive. The national average cost of full-time center-based care for children ages 0– 4 is 882 per month per child (in 2019 dollars) according to Child Care Aware of America (2018. 3 The other category of formal care is family day care centers, defined as providers who care for two or more children outside the childs home. Costs for family-based child care are slightly lower than center-based care, at 761 per month per child, on average. The informal sector includes care with relatives (such as grandparents) and non-relatives (such as babysitters, nannies, friends, and neighbors. Costs are typically lower, reflecting the fact that some tend to be lower quality and less structured than the formal counterpart. Overall, preschool, nursery, and center-based day cares cost the most, followed by family day care, non-relative care, and relative care. How costly is child care compared to other budget items? Child care costs are quite large relative to other household expenses. We estimate that the mean child care expenditure for all types of care is 715 per month in 2019 at the national level ( Exhibit 2. That is about half the national median mortgage payment in 2018 of 1, 566 and nearly 80% of the national median rent of 899 in 2018. 4 While student loans have received a lot of attention, student loan repayments are far less than monthly child care expenditures, on average. Student loans have received a lot of attention in the media for their unprecedented level of growth and their detrimental impact on millennials trying to buy a house. However, in terms of monthly obligations, monthly student loan repayments remain on average far below monthly child care expenditures. While student loan balances have nearly tripled (increasing 280% from 2005 to 2015) student loan payments have increased only 50 percent, from an average of 234 in 2005 to 351 in 2015 (378 in 2019 dollars. 5 This is about half the overall cost of child care, and lower than most child care arrangement costs presented in Exhibit 3. How burdensome is the cost of child care for families, especially low-income families? While child care expenditure levels are important, what is ultimately relevant to families is their ability to afford these expenses. The child care affordability literature defines "child care burden" as the percent of family income that is spent on child care. In Exhibit 4, we consider the child care burden for different income groups. First, all families with children under 15 years who make child care payments spent on average 7% of their income on child care in 2011. 6 Furthermore, low-income families are disproportionally more burdened. Families who had non-zero child care costs making less than 1, 500 per month spent almost 40% of their income on child care. Even though low-income families spend a bigger share of their income on child care, they spend considerably less than their higher-income counterparts. This means higher-income families are choosing higher-quality care, while low-income families are more likely to choose informal care to contain costs. Indeed, only about one-quarter (23. 8% of families below the poverty level use organized care facilities (center-based, nursery/preschool, and family day care) compared to 40. 5% for families at or above the poverty level. 7 The child care burden varies considerably at the state level. Nationally, families with children using center-based and family day care spend 13. 3% of their income on child care. 8 The burden ranges from 7. 9% in Mississippi to 19. 3% in Washington, DC, and is highest in the Northeast and West Coast ( Exhibit 5. Exceptions to this pattern are Nebraska (in the Midwest) which is among the most unaffordable states because its family day care centers are very expensive, and New Jersey (on the East Coast) which is relatively affordable, at 10. 4. Has child care become increasingly burdensome over time? While child care costs continue to be a large budget item for many families, their share of family income has not changed much over the period. Herbst (2018) finds that this share for children ages 0–5 increased from 9. 3% in 1990 to 10. 7% in 2011. The increase is also moderate but slightly higher for families in the top income quartile, reflecting a higher increase in expenditures for this income group. The burden for high-income families grew from 5. 3% in 1990 to 7. 8% in 2011. In contrast, lowincome families have had a small increase in both child care expenses and share of income ( Exhibit 6. Are there any low-cost child care alternatives? So far, this Insight has documented the rise of child care expenses over the last few decades. In practice, however, the news is not all bad for families: Many receive free child care through subsidies, Head Start programs, or by having a relative/parent provide care. Families also may choose other lower-cost alternatives to full-time center-based and family day care including faith-based organizations, relatives, and non-relatives. The percent of families that do not pay for child care has increased over time. The Census Bureau reports that the share of families with children under 15 paying for care has declined markedly, from 42% in 1997 to 32% in 2011. 9 Families are also choosing to use informal care in larger proportions to control rising costs of child care. More than half of families with children under 5 (55% used an informal care arrangement in 2011, according to the Census Bureau. 10 Conclusion This Insight has documented the rising cost of child care for working families with young children. Between 1993 and 2018, child care expenditures rose more 49% in real terms—more than the growth in most other household budget items. Families paying for care spend 10. 5% of their income on child care, with lower-income families spending materially more. However, this share has remained relatively constant over the period. The fact that among those who pay for care, over half use informal care arrangements may have some implications: To the extent that informal nonparental care can be less reliable or less structured, this may likely lead to a gap in school readiness between economically advantaged and disadvantaged families. Recent research documents that high-quality child care can yield lifetime benefits in terms of pro-social behavior and soft skills like teamwork, problem-solving, and emotional intelligence. There is strong evidence that the social returns from these investments are strongly positive. 11 Another consequence of rising child care costs is the trade-off faced by families, especially women, between working and staying at home to care for children. Womens labor force participation, after rising from 1985 to 2000, has been declining since 2000, coinciding with an uptick in the rate of growth in child care costs. While it is not clear whether these patterns are causal or merely a coincidence, some research 12  has estimated a negative impact of child care costs on womens labor force participation. It remains true that access to quality affordable child care is and will remain an impediment to womens ability to work, making it harder for families to cover housing costs or save for a down payment to buy a house. Finally, a word of caution is in order regarding the child care burden estimates in this Insight: the numbers reported are aggregate-level figures and, as such, are not fully representative of distributional differences at the family level. The 10. 5% national burden masks the fact that many families spend significantly more on child care. 13 References Blau, Francine, and Lawrence W. Kahn. 2013. “Female Labor Supply: Why Is the United States Falling Behind? ” The American Economic Review 103 (3) 251–56. CCA (Child Care Aware of America. 2018. The US and the High Cost of Child Care: A Review of Prices and Proposed Solutions for a Broken System. 2018 Report. Arlington, VA: Child Care Aware. Heckman, James J. 2006. “Skill Formation and the Economics of Investing in Disadvantaged Children. ” Science 312 (5782) 1900–1902. Heckman, James J., Seong Hyeok Moon, Rodrigo Pinto, Peter A. Savelyev, and Adam Yavitz. 2010. “The Rate of Return to the HighScope Perry Preschool Program. ” Journal of Public Economics 94 (1-2) 114–28. Hendren, Nathaniel and Ben Sprung-Keyser. 2019. “A Unified Welfare Analysis of Government Policies. NBER Working Paper No. 26144, National Bureau of Economic Research, Cambridge, MA. Herbst, Chris M. "The Rising Cost of Child Care in the United States: A Reassessment of the Evidence. Economics of Education Review 64 (C) 13–30. Kubota, So. 2018 “Child Care Costs and Stagnating Female Labor Force Participation in the US. ” Unpublished working paper. Laughlin, Lynda 2013. “Whos Minding the Kids? Child Care Arrangements: Spring 2011. ” Current Population Reports, P70-135. U. S. Census Bureau, Washington, DC. Mattingly, Marybeth J., Andrew P. Schaefer, and Jessica A. Carson. 2016. "Child Care Costs Exceed 10 Percent of Family Income for One in Four Families. National Issue Brief No. 109, the Carsey School of Public Policy, University of New Hampshire. 1 Housing is captured by the CPI component “shelter, ” which includes rent and owners equivalent rent (OER)—the amount of rent that would need to be paid to substitute a currently owned house as a rental property. The Bureau of Labor Statistics (BLS) uses OER in computing its shelter index rather than the current property value because it is immune to wide fluctuations in house prices. This modest increase in the housing cost at the national level is not representative of increases in any specific housing market. For example, housing in Denver increased by 39% while housing in Detroit and Cleveland declined over the period. 2 Throughout this Insight, child care expenditure estimates using the Survey of Income and Program Participation (SIPP) data are based on families that have non-zero child care expenses (that is, while the survey sample includes families who have zero out-of-pocket child care costs because they receive subsidies, use parental/relative care, or for other reasons, these cases are excluded from the analysis. 3 Two other studies estimate somewhat lower, but still high, monthly costs: 665 (Kubota 2018) and 636 (Herbst 2018. Kubota (2018) reports a real hourly rate based on actual reported hours of care. To provide a full-time estimate, a weekly average of 40 hours was used for the conversion. The full-time estimates in Herbst (2018) were similarly calculated using hourly rates. Herbst estimates median rather than mean values, arguing that the cost distribution in his sample is skewed toward a few large values, which may make averages less representative. 4 American Community Survey–Census Bureau. Table B25088 for owner cost (with and without mortgage) Table B25058 for rent (contract rent. 5 For details, see 6 The share is 10. 5% for children ages 0–4. 7 See Laughlin (2013, Table 2. 8 This measure of family burden is based on state-level data from CCA and is constructed using expenditures on center- based and family day care (averaging across the two) divided by the median income of families with children at the state level. 5% estimate in Exhibit 4 is lower because it includes all care types, whereas the 13. 3% number is restricted to center-based and family day care. 9 Laughlin (2013, Figure 4. Herbst (2018) also finds that the proportion of families paying for care with the youngest child under 5 decreased from 59% in 1990 to 41% in 2011. 10 Laughlin (2013, Table 3. 11 See, for example, Heckman (2006) Heckman et al. (2010) and Hendren and Sprung-Keyser (2019. 12 See Blau and Kahn (2013) Kubota (2018. 13 See Mattingly et al. (2016. PREPARED BY THE ECONOMIC & HOUSING RESEARCH GROUP Sam Khater, Chief Economist Doug McManus, Director of Financial Research Kadiri Karamon, Senior Quantitative Analyst Opinions, estimates, forecasts, and other views contained in this document are those of Freddie Mac's Economic & Housing Research group, do not necessarily represent the views of Freddie Mac or its management, and should not be construed as indicating Freddie Mac's business prospects or expected results. Although the Economic & Housing Research group attempts to provide reliable, useful information, it does not guarantee that the information or other content in this document is accurate, current or suitable for any particular purpose. All content is subject to change without notice. All content is provided on an “as is” basis, with no warranties of any kind whatsoever. Information from this document may be used with proper attribution. Alteration of this document or its content is strictly prohibited. 2020 by Freddie Mac.

Mac burgundy lip liner. This movie left off an important is Junior. Be careful that you don't find yourself leagaly in trouble. Everyday it dies a little more inside. 💯❤️💪 love this bc it has so much realness and so many could relate to this song ❤️💯🥀🥀💪❤️ much Respect ✊ and love Burden. [mac] bardenas. Home → Tzar: The Burden of the Crown for Mac OSX Game Details: Welcome to the “ Tzar: The Burden of the Crown ” for Mac game page. This page contains information + tools how to port Tzar: The Burden of the Crown  so you can play it on your Mac just like a normal application using Crossover. So if you havent  Crossover yet, then sign up here and buy the program or if you want to test it first, for the 14 days trial. Or use the Porting Kit alternative. If you dont own the game yet, get  Tzar: The Burden of the Crown   from which is DRM free there and runs out of the box. Click on the links mentioned here, create an account using the signup in the top bar on the website and buy the game. You automatically get when creating an account 14 free GOG games. some dlcs) added to your account so you have nothing to loose, only to receive! Make sure  Crossover is installed before installing the game or use Porting Kit  (best option in this case) Game description: A sinister evil has come to the peaceful kingdom of Keanor, a land of beauty, mystery and magic. The Palace lies in ruins as armies of malevolent warriors sweep through the countryside while the once-proud Imperial Guard cowers in fear. The citizens of Keanor flee their homes in terror, praying for the rise of the one true leader who, it was foretold, would lead them against the armies of darkness. Are you the hero they seek? Additional Port Information: Graphical Cards Tested: NVIDIA 9400M graphics card, AMD Radeon 6770M OSX 10. 7. 5 and 10. 8. 2+ compatible. Yes Whats tested: Playing about an hour, version of the game Does Multiplayer work. Not tested, but most likely it does. Known issues: None that i know of… Icon: Paul The Tall Instruction video Screenshots: Love the work we do? Become a Patron… and get extra Tiers.

Catalina, an island and the name of the current version of MacOS. Apple Your MacBook, iMac or. lucky you. beastly Mac Pro  just got a big boost, because MacOS Catalina is now available from Apple. With the Mac update, Apple replaces the iTunes app with three separate apps: Apple Music, Apple Podcasts and Apple TV. The Catalina update also lets Mac users run iPad apps available through the Mac App Store, and use an iPad as a second screen, much in the way you might use a monitor. Now playing: Watch this: MacOS Catalina: 5 best things 2:02 This year's annual Mac update from Apple keeps things interesting with a renewed emphasis on services, an important part of the way that Apple keeps its user base loyal. The Silicon Valley bigwig user base may pale in comparison to Microsoft users globally, but Apple has always used its apps and services ecosystem to create an aura of special status. The excitement of Mac owners in using Apple's new tools is key to the company retaining its reputation among app makers and fans. Here are the five biggest things in MacOS Catalina, along with everything else in the new Mac operating system that should make your Mac life a little better. (And here's how to download and install Catalina. Apple Report All the latest Apple news delivered to your inbox. It's FREE! Catalina includes the new Music app. 1. iTunes replacement For years, iTunes served as Apple's digital hub, helping you buy, manage, play and sync your digital content. But  iTunes years ago started to sag under the weight of all its responsibilities and became for some more trouble than it was worth. With Catalina, Apple breaks up iTunes into three separate apps that each take on some of the burden that iTunes had carried. Taking over the music portion of iTunes, Apple Music  offers a player, a store and a library for organizing all your songs, albums and playlists. Apple TV will handle all your movies and shows and manage the Apple TV channels you subscribe to. It's also where you access Apple TV Plus, the company's new streaming service. Apple Podcasts is designed to manage the podcasts you subscribe to and let you listen to episodes. And everything is synced through iCloud, so no more fussing with iTunes to keep all your devices up to date. 2. iPad apps on the Mac We caught a glimpse of the future in Mojave last year, when Apple brought four iOS apps to the Mac: News, Stocks, Voice Memos and Home. With Catalina, Apple opens the MacOS to all iPad developers through a tool called Catalyst, which will help software makers build apps that can run on both iPad and MacOS devices without a lot of extra effort. And it's good news for Mac users, who should gain access to a broader selection of apps. 3. Sidecar And it's not just iPad apps coming to Catalina; it's the device too. With Sidecar, Mac users can extend their desktop by turning an iPad into a second screen or use it as a tablet pad with Apple Pencil ( 120 at Walmart. 4. Accessibility Apple is greatly expanding the MacOS accessibility controls in Catalina. With Voice Control, you can take command of MacOS, iPadOS and iOS devices using your voice instead with a mouse, trackpad and keyboard and add custom words so Voice Control can recognize words you commonly use. The built-in assistive technology will use Siri's speech recognition engine, and all audio processing will happen on your device, keeping everything off Apple's servers to guard your privacy. Apple previews MacOS Catalina 4:37 5. Apple Arcade Apple's gaming subscription service offers more than 100 new and exclusive games that Apple is working with game creators to create. Apple stressed that the games will not be available on other mobile devices and will not be part of other subscription services. The service, which will work on Macs, iPhones ( 870 at Walmart) iPads, iPod Touches and Apple TV devices, will cost 4. 99 a month for unlimited access after a one-month free trial. In Catalina, you'll find Arcade in its own tab on the Mac App Store. Sneaky Sasquatch, one of the games you can play on Apple Arcade on your Mac and other Apple devices. Angela Lang/CNET What else is in MacOS Catalina Along with the major additions, Catalina brings a basket of improvements, from tighter security to improved photo editing. Screen Time:  To help you get a grip on the time you spend with your device, Catalina's Screen Time app can monitor and let you take control of your and your family's Mac time. Schedule downtime for anyone in your family and limit which apps you or your kids can use. With Communication Limits, you can set limits on who your kids can chat with and when, and manage your kid's contact list. Security and privacy: Catalina includes an activation lock, as used on the  iPhone ( 900 at Amazon) and iPad, to ensure only you can erase and reactivate your Mac if you've lost it. An enhanced Gatekeeper. which checks your installed apps for malware.  monitors newly installed apps for security issues. Photos: The   Photos app in Catalina has a new tab for browsing your photos. The app organizes your photos by day, month and year. Notes: The updated Notes app has a new gallery view and offers shared folders for collaboration. Reminders: The redesigned Reminders app has new edit buttons, and Siri is integrated to make suggestions. Safari: Apple's web browser opens your start page more quickly, offers Siri suggestions and warns you about weak passwords. Mail: With the Mail, you can more easily block senders, mute threads and unsubscribe from commercial email lists. Find My: Catalina combines Find My Phone and Find My Friends into a single app. And you can locate offline devices via their Bluetooth signal. Approve with Apple Watch: If you have an Apple Watch, you can use it to authenticate your Mac. Apple ID info: Catalina gives you access to your Apple ID info through System Preferences. QuickTime Player: Do you use QuickTime for video playback? With Catalina, you'll get Picture in Picture (PiP. Home: You can securely record video to iCloud when a HomeKit-enabled camera detects activity, and view the video via the Home app. International:  Catalina offers expanded multilingual support. iCloud Drive: For iCloud, you can share folders with a private link. Restore from a snapshot: if a MacOS update disagrees with your third-party software, you can revert your system back to a snapshot of your computer you had before updated. Originally published this summer. Updated with new information on Catalina.

Mac burgundy lipstick shades. The two people who disliked this song must have been going for the like button but instead hit the other by accident. Brasil ❤️❤️. Convnet-burden Estimates of memory consumption and FLOP counts for various convolutional neural networks. Image Classification Architectures The numbers below are given for single element batches. model input size param mem feat. mem flops src performance alexnet 227 x 227 233 MB 3 MB 727 MFLOPs MCN 41. 80 / 19. 20 caffenet 224 x 224 724 MFLOPs 42. 60 / 19. 70 squeezenet1-0 5 MB 30 MB 837 MFLOPs PT 41. 90 / 19. 58 squeezenet1-1 17 MB 360 MFLOPs 41. 81 / 19. 38 vgg-f 232 MB 4 MB 41. 40 / 19. 10 vgg-m 393 MB 12 MB 2 GFLOPs 36. 90 / 15. 50 vgg-s 3 GFLOPs 37. 00 / 15. 80 vgg-m-2048 353 MB 37. 10 / 15. 80 vgg-m-1024 333 MB 37. 80 / 16. 10 vgg-m-128 315 MB 40. 80 / 18. 40 vgg-vd-16-atrous 82 MB 58 MB 16 GFLOPs N/A. vgg-vd-16 528 MB 28. 50 / 9. 90 vgg-vd-19 548 MB 63 MB 20 GFLOPs 28. 70 / 9. 90 googlenet 51 MB 26 MB 34. 20 / 12. 90 resnet18 45 MB 23 MB 30. 24 / 10. 92 resnet34 83 MB 35 MB 4 GFLOPs 26. 70 / 8. 58 resnet-50 98 MB 103 MB 24. 60 / 7. 70 resnet-101 170 MB 155 MB 8 GFLOPs 23. 40 / 7. 00 resnet-152 230 MB 219 MB 11 GFLOPs 23. 00 / 6. 70 resnext-50-32x4d 96 MB 132 MB L1 22. 60 / 6. 49 resnext-101-32x4d 169 MB 197 MB 21. 55 / 5. 93 resnext-101-64x4d 319 MB 273 MB 20. 81 / 5. 66 inception-v3 299 x 299 91 MB 89 MB 6 GFLOPs 22. 55 / 6. 44 SE-ResNet-50 107 MB SE 22. 37 / 6. 36 SE-ResNet-101 189 MB 21. 75 / 5. 72 SE-ResNet-152 255 MB 220 MB 21. 34 / 5. 54 SE-ResNeXt-50-32x4d 105 MB 20. 97 / 5. 54 SE-ResNeXt-101-32x4d 187 MB 19. 81 / 4. 96 SENet 440 MB 347 MB 21 GFLOPs 18. 68 / 4. 47 SE-BN-Inception 46 MB 43 MB 23. 62 / 7. 04 densenet121 31 MB 126 MB 25. 35 / 7. 83 densenet161 110 MB 235 MB 22. 35 / 6. 20 densenet169 55 MB 152 MB 24. 00 / 7. 00 densenet201 77 MB 196 MB 22. 80 / 6. 43 mcn-mobilenet 16 MB 38 MB 579 MFLOPs AU 29. 40. Click on the model name for a more detailed breakdown of feature extraction costs at different input image/batch sizes if needed. The performance numbers are reported as top-1 error/top-5 error on the 2012 ILSVRC validation data. The src column indicates the source of the benchmark scores using the following abberviations: MCN - scores obtained from the matconvnet website. PT - scores obtained from the PyTorch torchvision module. L1 - evaluated locally (follow link to view benchmark code. AU - numbers reported by the paper authors. These numbers provide an estimate of performance, but note that there may be small differences between the evaluation scripts from different sources. References: alexnet - Krizhevsky, Alex, Ilya Sutskever, and Geoffrey E. Hinton. "Imagenet classification with deep convolutional neural networks. Advances in neural information processing systems. 2012. squeezenet - Iandola, Forrest N., et al. "SqueezeNet: AlexNet-level accuracy with 50x fewer parameters and< 0. 5 MB model size. arXiv preprint arXiv:1602. 07360 (2016. vgg-m - Chatfield, Ken, et al. "Return of the devil in the details: Delving deep into convolutional nets. arXiv preprint arXiv:1405. 3531 (2014. vgg-vd-16/vgg-vd-19 - Simonyan, Karen, and Andrew Zisserman. "Very deep convolutional networks for large-scale image recognition. arXiv preprint arXiv:1409. 1556 (2014. vgg-vd-16-reduced - Liu, Wei, Andrew Rabinovich, and Alexander C. Berg. "Parsenet: Looking wider to see better. arXiv preprint arXiv:1506. 04579 (2015) googlenet - Szegedy, Christian, et al. "Going deeper with convolutions. Proceedings of the IEEE conference on computer vision and pattern recognition. 2015. inception - Szegedy, Christian, et al. "Rethinking the inception architecture for computer vision. Proceedings of the IEEE Conference on Computer Vision and Pattern Recognition. 2016. resnet - He, Kaiming, et al. "Deep residual learning for image recognition. 2016. resnext - Xie, Saining, et al. "Aggregated residual transformations for deep neural networks. arXiv preprint arXiv:1611. 05431 (2016. SENets - Jie Hu, Li Shen and Gang Sun. "Squeeze-and-Excitation Networks. arXiv preprint arXiv:1709. 01507 (2017. Densenet - Huang, Gao, et al. "Densely connected convolutional networks. CVPR, 2017. Object Detection Architectures param memory feature memory rfcn-res50-pascal 600 x 850 122 MB 1 GB 79 GFLOPS rfcn-res101-pascal 194 MB 2 GB 117 GFLOPS ssd-pascal-vggvd-300 300 x 300 100 MB 116 MB 31 GFLOPS ssd-pascal-vggvd-512 512 x 512 104 MB 337 MB 91 GFLOPS ssd-pascal-mobilenet-ft 22 MB 37 MB 1 GFLOPs faster-rcnn-vggvd-pascal 523 MB 600 MB 172 GFLOPS The input sizes used are "typical" for each of the architectures listed, but can be varied. Anchor/priorbox generation and roi/psroi -pooling are not included in flop estimates. The ssd-pascal-mobilenet-ft detector uses the MobileNet feature extractor (the model used here was imported from the architecture made available by chuanqi305. faster-rcnn - Ren, Shaoqing, et al. "Faster R-CNN: Towards real-time object detection with region proposal networks. 2015... r-fcn - Li, Yi, Kaiming He, and Jian Sun. "R-fcn: Object detection via region-based fully convolutional networks. Advances in Neural Information Processing Systems. 2016. ssd - Liu, Wei, et al. "Ssd: Single shot multibox detector. European conference on computer vision. Springer, Cham, 2016. mobilenets - Howard, Andrew G., Menglong Zhu, Bo Chen, Dmitry Kalenichenko, Weijun Wang, Tobias Weyand, Marco Andreetto, and Hartwig Adam. "Mobilenets: Efficient convolutional neural networks for mobile vision applications. arXiv preprint arXiv:1704. 04861 (2017. Semantic Segmentation Architectures pascal-fcn32s 384 x 384 519 MB 423 MB 125 GFLOPS pascal-fcn16s 514 MB 424 MB pascal-fcn8s 513 MB 426 MB deeplab-vggvd-v2 513 x 513 144 MB 755 MB 202 GFLOPs deeplab-res101-v2 505 MB 4 GB 346 GFLOPs In this case, the input sizes are those which are typically taken as input crops during training. The deeplab-res101-v2 model uses multi-scale input, with scales x1, x0. 75, x0. 5 (computed relative to the given input size. pascal-fcn - Long, Jonathan, Evan Shelhamer, and Trevor Darrell. "Fully convolutional networks for semantic segmentation. 2015... deeplab - DeepLab: Semantic Image Segmentation with Deep Convolutional Nets, Atrous Convolution, and Fully Connected CRFs Liang-Chieh Chen^ George Papandreou^ Iasonas Kokkinos, Kevin Murphy, and Alan L. Yuille ( equal contribution) Transactions on Pattern Analysis and Machine Intelligence (TPAMI) Keypoint Detection Architectures multipose-mpi 368 x 368 245 MB 134 GFLOPS multipose-coco 200 MB 246 MB 136 GFLOPS multipose - Cao, Zhe, et al. "Realtime multi-person 2d pose estimation using part affinity fields. 08050 (2016... Notes and Assumptions The numbers for each architecture should be reasonably framework agnostic. It is assumed that all weights and activations are stored as floats (with 4 bytes per datum) and that all relus are performed in-place. Feature memory therefore represents an estimate of the total memory consumption of the features computed via a forward pass of the network for a given input, assuming that memory is not re-used (the exception to this is that, as noted above, relus are performed in-place and do not add to the feature memory total. In practice, many frameworks will clear features from memory when they are no-longer required by the execution path and will therefore require less memory than is noted here. The feature memory statistic is simply a rough guide as to "how big" the activations of the network look. Fused multiply-adds are counted as single operations. The numbers should be considered to be rough approximations - modern hardware makes it very difficult to accurately count operations (and even if you could, pipelining etc. means that it is not necessarily a good estimate of inference time. The tool for computing the estimates is implemented as a module for the autonn wrapper of matconvnet and is included in this repo, so feel free to take a look for extra details. This module can be installed with the vl_contrib package manager (it has two dependencies which can be installed in a similar manner: autonn and mcnExtraLayers. Matconvnet versions of all of the models can be obtained from either here or here. For further reading on the topic, the 2017 ICLR submission An analysis of deep neural network models for practical applications is interesting. If you find any issues, or would like to add additional models, add an issue/PR.

Mac burgundy x9.

 

This song is so relaxing and calm, definitely my new fav song. Mac burgundy lacquer. Mac burdens. Mac burgundy lipstick. Login Store Community Support Change language View desktop website Burden Youll see RPG the other way round: choose diseases instead of skills. Survive in the world of limited resources and constant danger. All Reviews: Mixed (30) 53% of the 30 user reviews for this game are positive. Release Date: 1 Aug, 2018 Sign in to add this item to your wishlist, follow it, or mark it as not interested About This Game Based on the favorite mysterious post-apocalyptic universes, the game Burden will throw you right into the very center of one of such worlds full of the unexplored and uncharted, dangerous and exciting.   In Burden, every day lived is not just an adventure that can lead to any outcome, but it's you challenging the fate. You'll face everything. from enriching yourself with prey and finding the mysterious artifacts to getting a life-long trauma that will complicate your existence in this overwhelming world.   You'll see the reverse RPG system. You get diseases, try to get used to them, and learn how to survive with these flaws. Weak bones or bladder, blood pressure or trouble breathing. Choose your challenge. You are the only one who has a well with water. If you lose the base, the survival becomes many times more difficult. If there is water, then there will be those who need it. Someone will trade, but someone won't do it demanding it by force. Build walls and traps to protect yourself from uninvited guests, and keep in mind that you can also blow them up with some dynamite. Reality is cruel, and in Burden you will feel it like no other. Don't want to sit on the base? Look for adventures. Don't want to go anywhere? Adventures will find you. The gameplay is built in such a way that any gaming style is rewarded with the game events. Delve into the world of sand, fractions and unusual post-apocalyptic fauna. Search and explore, create weapons, fight for life and resources. A wide variety of melee weapons will help you with this. And if you find a gun, then you are very lucky. Mature Content Description The developers describe the content like this: This Game may contain content not appropriate for all ages, or may not be appropriate for viewing at work: Nudity or Sexual Content, Frequent Violence or Gore, General Mature Content System Requirements Minimum: OS: Microsoft Windows 10 Processor: Intel Core i5 gen 2 or better Memory: 8 GB RAM Graphics: NVidia GeForce GTX 550 Ti or better Storage: 8 GB available space What Curators Say 7 Curators have reviewed this product. Click here to see them. Customer reviews Overall Reviews: Mixed (30 reviews) Review Type All  (39) Positive  (21) Negative  (18) Purchase Type Steam Purchasers  (30) Other  (9) Language All Languages  (39) Your Languages  (17) Date Range To view reviews within a date range, please click and drag a selection on a graph above or click on a specific bar. Show graph Lifetime Only Specific Range (Select on graph above) Exclude Specific Range (Select on graph above) Playtime Filter reviews by the user's playtime when the review was written: No Minimum Over 1 hour Over 10 hours No minimum to No maximum Display As: Show graph Hide graph Filters Excluding Off-topic Review Activity Playtime: There are no more reviews that match the filters set above Adjust the filters above to see other reviews.

[mac] bordenave. I just finished watching this film at the Traverse City Film Festival, I absolutely cannot rave enough about this film! the cinematography, the acting, the dialogue, everything is absolutely spot on! It is so intense that you, as the viewer, can feel the struggle that Mike Burden is going through and it just captures you and sucks you right in. especially if you know anything about the backstory on it and what really happened. To be honest this film emotionally drained me, I am literally exhausted from watching it. I would even have to go as far as to giving it 6 out of 5 stars, this is one of those do not miss movies.

Knoxville TN def gonna hear this. A new report from Freddie Mac examines data on the 50 top metropolitan areas in the country to determine in which metros renters experience the greatest rent burden. It does this largely by aggregating rankings from other studies, although Freddie Mac adds supplementary data and analysis. Studying the studies The report looked at four studies which compared the rent burden in each of the largest metro areas in the US. Two were from the National Low Income Housing Coalition (NLIHC) a housing advocacy group. Those are The Gap report, which measures rent burden based on Area Median Income (AMI) and the Out of Reach report which looks at rent burdens for minimum wage workers. The others are the 2018 National Rental Housing Landscape report from the Furman Center, and the 2017 Rental Housing Report from the Joint Center for Housing Studies (JCHS. In coming up with their own rankings of the least affordable metro areas, Freddie Mac took the position rankings of the metro areas in each of the four reports and added them together. This approach gives equal weight to each of the reports but does not attempt to account for the relative differences between the metro areas within any given report. In other words, the affordability in the metro ranked number 10 may not be twice as good as in that ranked number 5, but it is weighted that way in Freddie Macs calculations. Freddie Macs top ten least affordable metro areas are: Miami San Diego Los Angeles New York Orlando New Orleans Tampa San Jose Riverside Virginia Beach The report points out that the affordability rankings of the metro areas in the four studies are quite different and includes a discussion as to why this is so. It uses the city of San Jose, variously ranked as the second to the twenty-ninth least affordable metro area, as a case study to show how the different ways the four studies consider income and rental costs result in the different rankings. The report also contains an examination of why Florida, despite having a reputation as a relatively inexpensive pace to live, ended up with three metros among the 10 least affordable in the country. A quibble A criticism of the Freddie Mac study is that it gives the NLIHC report on the rent burden for minimum wage workers (the Out of Reach report) equal weighting with the other studies. A 2018 report from the Bureau of Labor Statistics stated that people being paid at or below the minimum wage comprise only 2. 3 percent of hourly workers and 1. 3 percent of all wage and salary workers. In addition, about half of these workers are under the age of 25. Given the small fraction of renters represented by this group, perhaps the Out of Reach report should have been given less weight in determining the results. The full Freddie Mac report may be viewed here.

Dope af. [mac] burdeos.

 

  1. mycrew.blogia.com/2020/020602-watch-stream-burden-in-hindi-english-subtitle-dual-audio.php
  2. seesaawiki.jp/tatenni/d/Movie%20Online%20Burden%20gomovies%20HD%201080p%20Online%20Free%20Mojo
  3. seesaawiki.jp/nobogao/d/Burden%20Download%20Torrent%20Full%20Length%20Pirate%20Bay%20no%20registration

 

//

VHYes Watch Free Online Now Without Paying putlocker9

3.9/ 5stars

STREAM % DOWNLOAD

 


Resume This bizarre retro comedy, shot entirely on VHS and Beta, follows 12-year-old Ralph as he accidentally records home videos and his favorite late night shows over his parents' wedding tape Genres Comedy 2019 Actor Mark Proksch tomatometer 8,3 / 10.
VHYes Watch freelance.
Coz he dodges bullets Avi.

Vhyes watch free streaming. Vhyes watch free youtube. Vhyes watch free games. Haha The way Damien perfectly caught every item Shayne threw at him just made it funnier, and he wasn't really looking half the time, I dont care. This movie is based on a true upcoming happening. This WILL happen for real in Geiranger, Norway, but nobody knows when. That makes this movie so real and raw. A true work of art if you ask me. 21:15 is it just me or they didnt edit in the recommended videos so they just look dumb. By kristinaspaula, created - 1 month ago, updated - 1 week ago, Public Today's update: Where can I Watch VHYes (2019) online free? Click Here To Watch Full Movie Now Click Here To Download Full Movie Now With 123movies, you can watch VHYes (2019) full movie on any device such as laptop, phone, tablet, smart TV and set-top box. Follow this link now to enjoy Amazon Prime Video 30 day free trial and enjoy fast and ad-free streaming. In addition, it has a huge collection of VHYes (2019) movie and TV series that you can watch VHYes (2019) Full Movie without downloading and registration. That's why I listed it among the top 10 sites to watch online without weekend topped the box office with ease as it expanded nationwide after two weeks in limited release. It is now expected to fetch north of 36 million for three days. Not Rated News IMDb has got television's biggest night covered. From videos that get you ready for the big night to interviews with the winners plus an exclusive live aftershow, IMDb is there to bring you all the action of the Emmys. Stars: Dan Babic, Dave Karger, Jill Kargman, Scott Roesch Votes: 90 PG-13 133 min Crime, Drama 81 Metascore Starr witnesses the fatal shooting of her childhood best friend Khalil at the hands of a police officer. Now, facing pressure from all sides of the community, Starr must find her voice and stand up for what's right. Director: George Tillman Jr. Amandla Stenberg, Regina Hall, Russell Hornsby, Anthony Mackie 24, 027, Gross: 29. 72M.

How much did u pay for the lot m8. God help me, I miss it. I'm not sure what's better, this or the original. VHYes Watch free mobile. VHYes Watch. Vhyes watch free watch. De s'approcher trop. Whats the song playing in this trailer? I love it. VHYes Watch freedom.

Saw this movie two days ago and yea it's a good ride but takes awhile to build. Once it gets into it though ? Hold on. 2:02. the sound is great. i thought godzilla, king kong or pacific rim monsters will come. xD. good trailer by the way. Jack Henry Robbins VHYes begins straightforward enough. On Christmas morning, 1987, young Ralph (Mason McNulty)—he cant be older than 13—is gifted a VHS camcorder by his parents (Christian Drerup and Jake Head. With this gift, the film buzzes to life, as Ralph finishes scrambling to find a tape on which to record—his father asks if the tape is blank, and the footage promptly cuts to the answer: Ralph is recording over his parents wedding footage. Ralph learns that he can use his new toy to directly record programs off of the television set, prompting him and his friend Josh (Rahm Braslaw) to spend holiday season late nights banking these various programs. As we are housed explicitly within the world of this tape, this television footage becomes an increasingly manic intrusive force on the diegetic narrative. In short order and with a frantic rapidity, we cut back and forth between varied pastiches of 1980s-1990s style programming: crime procedurals, a Bob Ross-style instructional show, a QVC-style shopping platform, an antiques roadshow clone that abandons the antiquing part, heavily-edited-for-TV-porn parodies. The list goes on. The narrative gets complicated in ways I cannot fully explain in a spoiler-free review, but suffice it to say that the impressive accuracy of these numerous format pastiches merely scratch the surface of the myriad concerns VHYes is exploring. In a runtime just north of 70 minutes, VHYes succeeds in parodying a number of television formats, making a cogent commentary on our current age of media consumption, and weaving a dual-layered narrative about a boys discovery of creative expression coinciding with his potential disillusionment over the ideals of the American Dream vis a vis marriage and family structure. Plus, in the plainest of terms: it kicks so much ass. The segmentation of the film yields comic sketches that are discretely funny, and they are strung together into a deliriously-paced superstructure that moves at the speed of media. By quickly and almost off-handedly introducing snippets of contemporary political talking points in an aesthetically-dated format, VHYes crafts a satire of the contemporary media landscape that is perhaps the most unique to date. And, quite simply, it is hilarious whether you accept this subtextual reading or not. I found myself literally slapping my knee (normal humans dont do that. Take, for example, the sultry edited-for-TV porno “Hot Winter, ” in which scientists make pithy comments on the nature of climate change as a means of setting up a sex scene—“Its winter…but its hot, ” “But it usually isnt hot in winter. ” There are creative parallels here to Adult Swim content: forms of cringe humor and hyper-active bit saturation brought into contemporary cult popularity by the Tim & Eric brand and further honed by other creatives working for the network. Some comedians who have appeared on this late-night programming block even appear in the film, including On Cinema at the Cinema recurring player Mark Proksch. Whether you view this creative similarity as a positive or a negative, VHYes takes the Adult Swim structure—most programming on this block runs 10-12 minutes in length—and succeeds (arguably) in the improbable task of elongating it to feature length. The surreal ending to the film is also reminiscent of a number of genre/format contemporaries: Too Many Cooks (another Adult Swim property) the V/H/S films,  All Hallows Eve, Great Choice, Anomalisa, etc. While some might not go along with such a sharp turn in the narrative, one in which the very nature of narration as it exists in this diegetic world falls apart at the seams, I find it to be a perfect culmination of the films themes and its dominant character arc. It is a post-postmodern. trope of texts bleeding together to a point of near incoherence (a practice that also complicates notions of intertextuality and metatextuality, but I cannot begin to reckon with all of the ramifications of that in this forum. The superstructure of the frame narrative becomes part of the substructure, or perhaps the opposite is the case. It is a fascinating narrative experiment, but it is one that is often used (in the few instances where it is attempted at all) superficially or merely as a gimmick. In VHYes, it is integral to the over-arching topics that the film broaches, including its main narrative arc. One could perhaps complain that it is too lost in the shuffle of the parodies to be taken seriously, but it is nevertheless resolved in a satisfying way as a direct result of this experimentation. Long story short: VHYes is a hilarious, delirious ride through a 1980s broadcast hellscape littered with incongruities and tonally pitch perfect comic delivery. It also has a lot on its mind. While not all of those thoughts get enough attention in the cluttered fury of a 71-minute showcase of what amounts to over a dozen discrete sketches and a complete frame narrative, there is enough worth dissecting, so much so that it begs for a second watch (and perhaps a third) to fully extract all of the humor that buzzes through the found footage like a humming battery. VHYes: B+ As always, thanks for reading! Like CineFiles on Facebook for updates on new articles and reviews Check out my page on Letterboxd —Alex Brannan. TheAlexBrannan) One man. Millions of movies.

Vhyes watch free shipping. Daaaaamn! This looks badass. Vhyes watch free movies. Edit Storyline 12-year-old budding home video director Ralph begins accidentally taping over his parents' VHS wedding tape. As he overwrites the magnetic echoes of their pre-Ralph past, he commemorates his love affair with the format by using the versatile tape to make new memories of himself with his parents while also employing it to tape eccentric pioneers of late-night cable television. Shot entirely on VHS. Written by Mae Moreno Plot Summary, Add Synopsis Details Release Date: 31 January 2020 (Canada) See more  » Box Office Cumulative Worldwide Gross: 45, 391 See more on IMDbPro  » Company Credits Technical Specs See full technical specs  » Did You Know? Trivia The film was shot entirely on VHS and Betacam. See more » Connections Edited from Painting with Joan  (2017) See more ».

Vhyes watch free stream. VHYes Watch free online. Vhyes watch free trial.

1:11:51 - Hausaufgabe: Demolition

Thats the wrong building see secondary ied explode. Oh, sweet; we're getting another John Dies at the End. Vhyes watch free live stream. ——————————. Hes still doing movies? i used to be his fan. Vhyes watch free music. Shouldnt Thomas have been disqualified? He was touching Damians shoulders on his turn. Antebellum (2020) Antebellum (2020) Thursday, January 9, 2020Antebellum (2020) Torrent Download HD. Free Antebellum Torrent Download Here you can Download Antebellum Movie Torrent in HD with English Subtitles and Free Movies Torrent. Successful author… Country:  USA HD Antlers (2020) Antlers (2020) HD Thursday, January 9, 2020Antlers (2020) Torrent Download HD. Free Antlers Torrent Download Here you can Download Antlers Movie Torrent in HD with English Subtitles and Free Movies Torrent. A small-town… Country:  USA HD The New Mutants (2020) The New Mutants (2020) HD Thursday, January 9, 2020The New Mutants (2020) Torrent Download HD. Free The New Mutants Torrent Download Here you can Download The New Mutants Movie Torrent in HD with English Subtitles… Country:  USA Saint Maud (2020) Saint Maud (2020) Thursday, January 9, 2020Saint Maud (2020) Torrent Download HD. Free Saint Maud Torrent Download Here you can Download Saint Maud Movie Torrent in HD with English Subtitles and Free Movies… Country:  UK The Invisible Man (2020) The Invisible Man (2020) Thursday, January 9, 2020The Invisible Man (2020) Torrent Download HD. Free The Invisible Man Torrent Download Here you can Download The Invisible Man Movie Torrent in HD with English Subtitles… Brahms: The Boy II (2020) Brahms: The Boy II (2020) Thursday, January 9, 2020Brahms: The Boy II (2020) Torrent Download HD. Free Brahms: The Boy II Torrent Download Here you can Download Brahms: The Boy II Movie Torrent in HD… Country:  USA Fantasy Island (2020) Fantasy Island (2020) Thursday, January 9, 2020Fantasy Island (2020) Torrent Download HD. Free Fantasy Island Torrent Download Here you can Download Fantasy Island Movie Torrent in HD with English Subtitles and Free Movies… Country:  USA The Lodge (2020) The Lodge (2020) Thursday, January 9, 2020The Lodge (2020) Torrent Download HD. Free The Lodge Torrent Download Here you can Download The Lodge Movie Torrent in HD with English Subtitles and Free Movies… Gretel & Hansel (2020) Gretel & Hansel (2020) Thursday, January 9, 2020Gretel & Hansel (2020) Torrent Download HD. Free Gretel & Hansel Torrent Download Here you can Download Gretel & Hansel Movie Torrent in HD with English Subtitles… Country:  USA Zombi Child (2020) Zombi Child (2020) Sunday, February 2, 2020Zombi Child (2020) Torrent Download HD. Free Zombi Child Torrent Download Here you can Download Zombi Child Movie Torrent in HD with English Subtitles and Free Movies… The Turning (2020) The Turning (2020) Thursday, January 9, 2020The Turning (2020) Torrent Download HD. Free The Turning Torrent Download Here you can Download The Turning Movie Torrent in HD with English Subtitles and Free Movies… Country:  USA VHYes (2019) VHYes (2019) Thursday, January 9, 2020VHYes (2019) Torrent Download HD. Free VHYes Torrent Download Here you can Download VHYes Movie Torrent in HD with English Subtitles and Free Movies Torrent. This bizarre… Country:  USA The Grudge (2020) The Grudge (2020) Wednesday, December 25, 2019The Grudge (2020) Torrent Download HD. Here you can Download The Grudge Movie Torrent with English Subtitles and Free Movies Torrent. A house is cursed by a… Underwater (2020) Underwater (2020) Sunday, January 26, 2020Underwater (2020) Torrent Download HD. Here you can Download Underwater Movie Torrent with English Subtitles and Free Movies Torrent. A crew of aquatic researchers work to get… Country:  USA HD The Lighthouse (2019) The Lighthouse (2019) HD Tuesday, December 24, 2019The Lighthouse (2019) Torrent Download HD. Here you can Download The Lighthouse Movie Torrent with English Subtitles and Free Movies Torrent HD. The hypnotic and hallucinatory tale of… HD It: Chapter Two (2019) It: Chapter Two (2019) HD Wednesday, December 25, 2019It: Chapter Two (2019) Torrent Download HD. Here you can Download It: Chapter Two Movie Torrent with English Subtitles and Free Movies Torrent. Twenty-seven years after their… Country:  USA HD Ready or Not (2019) Ready or Not (2019) HD Wednesday, December 25, 2019Ready or Not (2019) Torrent Download HD. Here you can Download Ready or Not Movie Torrent with English Subtitles and Free Movies Torrent. A brides wedding night… Country:  USA The Vampire Diaries (2009-2017) The Vampire Diaries (2009-2017) Wednesday, December 25, 2019The Vampire Diaries Tv Series Season 1, 2, 3, 4, 5, 6, 7, 8 Torrent Download. Here you can Download The Vampire Diaries All Seasons All Episodes Torrent with English Subtitles, Yify, Kickass, EZTV The… HD 47 Meters Down: Uncaged (2019) 47 Meters Down: Uncaged (2019) HD Tuesday, December 24, 201947 Meters Down: Uncaged (2019) Torrent Download HD. Here you can Download 47 Meters Down: Uncaged Movie Torrent with English Subtitles and Free Movies Torrent. Four teen… Country:  UK HD Zombieland: Double Tap (2019) Zombieland: Double Tap (2019) HD Sunday, February 2, 2020Zombieland: Double Tap (2019) Torrent Download HD. Here you can Download Zombieland: Double Tap Movie Torrent with English Subtitles and Free Movies Torrent. Columbus, Tallahasse, Wichita, and… Country:  USA HD The Hunt (2019) The Hunt (2019) HD Tuesday, December 24, 2019The Hunt (2019) Torrent Download HD. Here you can Download The Hunt Movie Torrent with English Subtitles and Free Movies Torrent. Stream in HD Country:  USA HD The Lodgers (2018) The Lodgers (2018) HD Tuesday, June 18, 2019The Lodgers (2018) Torrent Download HD. Here you can Download The Lodgers Movie Torrent with English Subtitles and Free Movies Torrent. 1920, rural Ireland. Anglo Irish twins… HD The Cured (2018) The Cured (2018) HD Tuesday, June 18, 2019The Cured (2018) Torrent Download HD. Here you can Download The Cured Movie Torrent with English Subtitles and Free Movies Torrent. A disease that turns people into… HD Happy Family (2018) Happy Family (2018) HD Tuesday, June 18, 2019Happy Family (2018) Torrent Download HD. Here you can Download Happy Family Movie Torrent with English Subtitles and Free Movies Torrent. Despite the title, the Wishbone family… HD The Cloverfield Paradox (2018) The Cloverfield Paradox (2018) HD Tuesday, June 18, 2019The Cloverfield Paradox (2018) Torrent Download HD. Here you can Download The Cloverfield Paradox Movie Torrent with English Subtitles and Free Movies Torrent. Orbiting a planet on… Country:  USA HD Winchester (2018) Winchester (2018) HD Tuesday, June 18, 2019Winchester (2018) Torrent Download HD. Here you can Download Winchester Movie Torrent with English Subtitles and Free Movies Torrent. Ensconced in her sprawling California mansion, eccentric firearm… HD Scary Stories to Tell in the Dark (2019) Scary Stories to Tell in the Dark (2019) HD Sunday, August 25, 2019Scary Stories to Tell in the Dark (2019) Torrent Download HD. Here you can Download Scary Stories to Tell in the Dark Movie Torrent with English Subtitles… Country:  USA HD The Possession of Hannah Grace (2018) The Possession of Hannah Grace (2018) HD Tuesday, June 11, 2019The Possession of Hannah Grace (2018) Torrent Download HD. Here you can Download The Possession of Hannah Grace Movie Torrent with English Subtitles and Free Movies Torrent. When… Country:  USA HD Crawl (2019) Crawl (2019) HD Tuesday, June 11, 2019Crawl (2019) Torrent Download HD. Here you can Download Crawl Movie Torrent with English Subtitles and Free Movies Torrent. A young woman, while attempting to save her… Country:  USA HD Midsommar (2019) Midsommar (2019) HD Sunday, August 25, 2019Midsommar (2019) Torrent Download HD. Here you can Download Midsommar Movie Torrent with English Subtitles and Free Movies Torrent. A couple travels to Sweden to visit a… Country:  USA HD Annabelle Comes Home (2019) Annabelle Comes Home (2019) HD Sunday, August 25, 2019Annabelle Comes Home (2019) Torrent Download HD. Here you can Download Annabelle Comes Home Movie Torrent with English Subtitles and Free Movies Torrent. Determined to keep Annabelle… Country:  USA HD Childs Play (2019) Childs Play (2019) HD Monday, June 10, 2019Childs Play (2019) Torrent Download HD. Here you can Download Childs Play Movie Torrent with English Subtitles and Free Movies Torrent. A mother gives her son a… HD The Dead Dont Die (2019) The Dead Dont Die (2019) HD Monday, June 10, 2019The Dead Dont Die (2019) Torrent Download HD. Here you can Download The Dead Dont Die Movie Torrent with English Subtitles and Free Movies Torrent. The peaceful… HD Pet Sematary (2019) Pet Sematary (2019) HD Sunday, May 26, 2019Pet Sematary (2019) Torrent Download HD. Here you can Download Pet Sematary Movie Torrent with English Subtitles and Free Movies Torrent. Dr. Louis Creed and his wife, … Country:  USA HD I Spit on Your Grave: Deja Vu (2019) I Spit on Your Grave: Deja Vu (2019) HD Tuesday, December 24, 2019I Spit on Your Grave: Deja Vu (2019) Torrent Download HD. Here you can Download I Spit on Your Grave: Deja Vu Movie Torrent with English Subtitles… Country:  USA HD Us (2019) Us (2019) HD Sunday, May 26, 2019Us (2018) Torrent Download HD. Here you can Download Us Movie Torrent with English Subtitles and Free Movies Torrent. A familys serene beach vacation turns to chaos… HD Blood Craft (2019) Blood Craft (2019) HD Tuesday, May 21, 2019Blood Craft (2019) Torrent Download HD. Here you can Download Blood Craft Movie Torrent with English Subtitles and Free Movies Torrent. Two sisters who suffered abuse as… Country:  USA HD Glass (2019) Glass (2019) HD Thursday, January 31, 2019Glass (2019) Torrent Download HD. Here you can Download Glass Movie Torrent with English Subtitles and Free Movies Torrent. Security guard David Dunn uses his supernatural abilities… Country:  USA HD Escape Room (2019) Escape Room (2019) HD Wednesday, January 30, 2019Escape Room (2019) Torrent Download HD. Here you can Download Escape Room Movie Torrent with English Subtitles and Free Movies Torrent. Six strangers find themselves in circumstances… Country:  USA HD Overlord (2018) Overlord (2018) HD Saturday, November 24, 2018Overlord (2018) Torrent Download HD. Here you can Download Overlord Movie Torrent with English Subtitles and Free Movies Torrent. The story of two American soldiers behind enemy… Country:  USA.

Vhyes watch free play. Vhyes watch free. Vhyes watch free without. VHYes Watch free web. Vhyes watch free fire. Vhyes watch free episodes. Antje geht bei den Charakteren einfach unter. Lagoze himself. the camera guy popped on a drug test and went straight to the brig after coming back from deployment, if that dude will actually post everything that transpired on that deployment people won't hold the corps in such high regard I guarantee it. I know I was on that deployment. Vhyes watch free live. I caught this at last summer's Fantasia Film Festival, covering for 366 Weird Movies. Highly recommended for post-slacker / Pac-Man / Potrykus fans all the world over.

Just me who thought that was Tom Hardy then 🙄. VHYes Watch free. Vhyes watch free t4. HD! VHYES (2020) Full Movie Watch #online NJINX! HQ-How to Watch VHYES Online Free? DVD-ENGLISH] VHYES (2020) Full Movie Watch online free HQ Google Drive/ DvdRip-USA eng subs] VHYES (2020) Full Movie Watch #online free 123 Movies Online! VHYES (2020. Watch VHYES Online 2020 Full Movie Free HD. 720Px. WATCH FULL MOVIE. Ever since hulking lawman Hobbs (Johnson) a loyal agent of Americas Diplomatic Security Service, and lawless outcast Shaw (Statham) a former British military elite operative, first faced off in 2015s Furious 7, the duo have swapped smack talk and body blows as theyve tried to take each other down. But when cyber-genetically enhanced anarchist Brixton (Idris Elba) gains control of an insidious bio-threat that could alter humanity forever — and bests a brilliant and fearless rogue MI6 agent (The Crowns Vanessa Kirby) who just happens to be Shaws sister — these sworn enemies will have to partner up to bring down the only guy who might be badder than themselves. Watch VHYES Online Free Streaming, Watch VHYES Online Full Streaming In HD Quality, Lets go to watch the latest movies of your favorite movies, VHYES. come on join us! What happened in this movie? I have a summary for you. Its the first rose ceremony of the movie and the drama is already ratcheted up! Two very different men – Blake and Dylan – have their hearts set on handing their rose to Hannah G., but who will offer it to her and will she accept? All About The movies Euphoria centers on CDC researcher Abby Arcane. When she returns to her childhood home of Houma, Louisiana, in order to investigate a deadly swamp-borne virus, she develops a surprising bond with scientist Alec Holland — only to have him tragically taken from her. But as powerful forces descend on Houma, intent on exploiting the swamps mysterious properties for their own purposes, Abby will discover that the swamp holds mystical secrets, both horrifying and wondrous — and the potential love of her life may not be after all. #133Movies Watch Online VHYES: Complete movies Free Online Strengthens Crusaders and mountan Moorish commanders rebelled against the British crown. How long have you fallen asleep during VHYES Movie? The music, the story, and the message are phenomenal in VHYES. I have never been able to see another Movie five times like I did this. Come back and look for the second time and pay attention. Watch VHYES WEB-DL movies This is losing less lame files from streaming VHYES, like Netflix, Amazon aideo. Hulu, Crunchy roll, DiscoveryGO, BBC iPlayer, etc. These are also movies or TV shows that are downloaded through online distribution sites, such as iTunes. The quality is quite good because it is not re-encoded. Video streams (H. 264 or H. 265) and audio (AC3 / VHYES) are usually extracted from iTunes or Amazon Video and then reinstalled into the MKV container without sacrificing quality. Download Euphoria Movie Season 1 Movie 6 One of the streaming movies. Watch VHYES Miles Morales conjures his life between being a middle school student and becoming VHYES. However, when Wilson “Kingpin” Fiskuses as a super collider, another Captive State from another dimension, Peter Parker, accidentally ended up in the Miles dimension. When Peter trained the Miles to get better, Spider-Man, they soon joined four other VHYES from across the “Spider-Verse”. Because all these conflicting dimensions begin to destroy Brooklyn, Miles must help others stop Fisk and return everyone to their own dimensions. the industrys biggest impact is on the DVD industry, which effectively met its destruction by mass popularizing online content. The emergence of streaming media has caused the fall of many DVD rental companies such as Blockbuster. In July 2020, an article from the New York Times published an article about Netflix DVD, No Manches Frida 2s. It was stated that Netflix was continuing their DVD No. No Frida 2s with 5. 3 million customers, which was a significant decrease from the previous year. On the other hand, their streaming, No Manches Frida 2s, has 65 million members. In a March 2020 study that assessed “The Impact of movies of Streaming on Traditional DVD Movie Rentals” it was found that respondents did not buy DVD movies nearly as much, if ever, because streaming had taken over the market. So we get more space adventures, more original story material and more about what will make this 21st MCU movie different from the previous 20 MCU films. Watch Final Space Season 2 — Movie 6, viewers dont consider the quality of movies to differ significantly between DVDs and online streaming. Problems that according to respondents need to be improved by streaming movies including fast forwarding or rewinding functions, and search functions. This article highlights that streaming quality movies as an industry will only increase in time, because advertising revenues continue to soar on an annual basis across industries, providing incentives for the production of quality content. He is someone we dont see happening. Still, Brie Larsons resume is impressive. The actress has been playing on TV and film sets since she was 11 years old. One of those confused with Swedish player Alicia Vikander (Tomb Raider) won an Oscar in 2016. She was the first Marvel movie star with a female leader... And soon, he will play a CIA agent in a movies commissioned by Apple for his future platform. The movies he produced together. Unknown to the general public in 2016, this “neighbor girl” won an Academy Award for best actress for her poignant appearance in the “Room”, the true story of a woman who was exiled with her child by predators. He had overtaken Cate Blanchett and Jennifer Lawrence, both of them had run out of statues, but also Charlotte Rampling and Saoirse Ronan. Watch VHYES Movie Online Blu-rayor Bluray rips directly from Blu-ray discs to 1080p or 720p (depending on source) and uses the x264 codec. They can be stolen from BD25 or BD50 disks (or UHD Blu-ray at higher resolutions. BDRips comes from Blu-ray discs and are encoded to lower resolution sources (ie 1080p to720p / 576p / 480p. BRRip is a video that has been encoded at HD resolution (usually 1080p) which is then transcribed to SD resolution. Watch VHYES The BD / BRRip Movie in DVDRip resolution looks better, however, because the encoding is from a higher quality source.

 

Wow, Hugh Grant playing a different role for once. This bizarre retro comedy, shot entirely on VHS and Beta, follows 12-year-old Ralph as he accidentally records home videos and his favorite late-night shows over his parents wedding tape. Nothing can truly prepare you for “VHYes. ” I missed it at Fantastic Fest and that was one of my regrets since everyone walked away talking about this movie. The film follows Ralph (Mason McNulty) when his parents give him a video-cassette recorder for Christmas. We follow Ralph as he records adventures with his friend Josh (Rahm Braslaw) the TV shows he watches, and tiny hints of his parents rocky marriage. The film could easily settle for a bizarre series of parody 80s TV shows, but it aims for loftier ambitions. The ending, which I cant exactly describe, delivers something strong as the sum total of its parts. Equal parts comedy and heartfelt drama, “VHYes” is a successful experimentation of form as well as function. So much of this movie rests on the shoulders of two child actors. Not only do McNulty and Braslaw deliver pitch-perfect performances, they also do it in the raw 80s aesthetic of the entire film. In other hands, it would feel saccharine or juvenile but their performance helps contextualize the endless channel-switching throughout the movie. Were given a glimpse into Ralphs mind through the late-night TV he records on his camera. They never have to go to extremes and ultimately get to play a whole lot, but they carry the movie so well. In one of the few dead serious moments, we get a powerful glimpse into their tiny minds even though they say very little. The sketches on the TV play like extra bits from Tim Robinsons “I Think You Should Leave” as they drip with oddball humor and dry wit. They bounce between lampooning Bob Ross, startling chemistry between two hosts on the shopping channel, and a “guess what this is” format so simple it cant help but garner a laugh or two. It helps that the actors in the sketches run like an A-list of comedy geniuses: Thomas Lennon, Charlene Yi, Kerri Kenney, Mark Proksch, and even some subtle cameos from Susan Sarandon and Tim Robbins. The whole thing comes together smoothly by tying into the loose narrative of Ralphs childhood. We see him singing the songs hes watched on TV and playing with his toys. We watch him grow up and develop a sense of his brain by basically watching TV alongside him. In the tidbits we get of his parents potential divorce, the film finds its heart and transcends beyond being just a lo-fi sketch comedy show. Truly, it goes way beyond that in the last twenty minutes as television and reality blend together. Were left with a phantasmagorical sprint through all the TV we just watched. I heartily recommend this film for all viewers. Its got heart. Its got laughs. Its got childhood innocence on its mind. Stick around for the credits too! Youre gifted a short window into the production of the film. Go watch this film in all its lo-fi glory! In Select Theaters Sunday, January 12th.

VHYes Watch free software. VHYes Watch free download. Was nutzt Ihr den für App / Seite als Watchlist. This made my you. Its funny how in Instagram they said you need to pay to watch the trailer, but in YouTube no need to. Seriously though when Shayne said f*ck and they Did not bleep it out 😂🤣.

 

 

 

Transmission ultra hd The Times of Bill 102

↓↓↓↓↓↓↓↓↓↓

https://moviebemka.com/id-7620.htm?utm_source=inf802-pao.blogia

⇧⇧⇧⇧⇧⇧⇧⇧⇧⇧

 

 

USA. release year=2018. Rating=21 vote. Director=Mark Bozek. Actor=Bill Cunningham.

Supporting the idea of law enforcement or criticizing religious extremists is not conservative

Cause your love won't wait. The Times of biological. The times of bill cunningham where to watch. You can't shoot skeet with a rifle, you use a shotgun, displaying your lack of real gun savvy. Streaming video is a huge convenience, but on occasion, it can also be a frustrating experience. Anyone whos queued up a movie on Netflix, Amazon, or Hulu only to have it stutter along knows what were talking about. Just the sight of that endless loading wheel or choppy picture quality is enough to make you want to pull your hair out. While the problems are becoming increasingly less common, as  4K Ultra HD video continues to become more prominent, theyre not likely to go away altogether anytime soon. Its easy to point the finger at Netflix, Amazon, or even your internet provider. But often, the real problem is that your internet service and home network arent set up to properly handle the huge amount of data flowing into your home. One of the keys to stress-free streaming is making sure your homes network infrastructure is up to the task. Heres how to make sure your homes network is never the bottleneck in your streaming video pipeline. Pick your plan You can spend a small fortune buying the hottest networking equipment on the market, but it wont make a lick of difference if the internet connection that feeds your home is inadequate. Unfortunately, theres very little you can do to make your broadband internet service providers (ISP) connection reliably fast, but what you can do is make sure youre subscribed to the plan that promises the right speed and data allowance for your needs.  Netflix recommends 5Mbps of bandwidth for an HD stream and 25Mbps for 4K Ultra HD. You can certainly stream at slower speeds, but if you have a lot of traffic on your network, you may even need a faster connection. Internet bandwidth First, lets address a common misconception: Mbps, the metric used to measure bandwidth, stands for megabits per second, not megabytes per second (MBps. When it comes to data rates, 1 byte = 8 bits. With that in mind, you can start doing a bunch of math to try to determine what kind of bandwidth you need. Netflixs estimates of 5Mbps for HD streaming and 25Mbps for 4K UHD are good starting points, but theres more to it. If youre only streaming HD, you might think a 15Mbps plan would be plenty, but that doesnt account for multiple devices (and people) in your home using your bandwidth. Every smartphone, computer, smart TV, cable box, streaming stick, and game console connected to your network may be sending and receiving data at any given moment. Added together, homes with multiple devices can put quite a chokehold on your bandwidth. Keep this in mind, too: Just because youre paying for 50Mbps doesnt mean thats what youll get all the time. First of all, your Wi-Fi router likely doesnt stream as fast as your plan does — those numbers are usually rated for Ethernet connection. Second, your neighbors probably like to stream content around the same times you do, and if youre all sharing the same neighborhood internet pipe, it may clog up from time to time. For example, you may get really close to the promised speed at 1 a. m. when overall traffic is down, but probably not at 8 p. m., when residential usage is likely at its peak. The kicker: The average American household gets around  18. 7Mbps  as of June 2017. That number is a little higher in metropolitan areas, but even Delaware — the state whose residents get the fastest speeds — sits at 25. 2Mbps (Washington D. C. tops everyone at 28. 1 Mbps. While Gigabit internet is becoming increasingly common, most of us still dont have the resources or the infrastructure to stream unlimited 4K Ultra HD content at present. Data caps When we talk about data allowance, were referring to data caps or download limits that some  ISPs impose on their customers. Each ISP has its own plans and policies, but for the sake of illustration lets say your internet plan allows you to use up to 1TB (Terabyte) of data per month with no restrictions on the time of day you use it. Thats a lot of flexible data, and for most folks it is more than sufficient for a months worth of streaming content, cruising Facebook, and so on. But if you like to watch a lot of streaming Ultra HD video, along with various other activities, you may find you need more. Once you hit your monthly cap, your internet wont just shut off — assuming you paid your bill, of course — but your ISP may “throttle” your connection, slowing everything down drastically. A good way to get a read on your data needs is to visit your account page on your ISPs website. Most offer a data meter with historical information that shows how much data youve been gobbling up for the past few months. If youre usually pushing the limit, its time to look at another plan. To put things in perspective, consider what Netflix says about how much data its movies and TV shows can take up. The company claims that one hour of HD programming eats up about 3GB of data — 4K Ultra HD content bumps that up to about 7GB per hour. Use those numbers as a rough estimate for any other video platforms you use. Some ISPs have begun lifting caps, instead offering savings to customers who opt into accepting one. These plans are usually offered to those who pay for slower connections (15Mbps or lower) and dont use a lot of data anyway. Those plans arent ideal for anyone who relies on a lot of streaming HD or UHD content. The gear Bill Roberson/Digital Trends Once youve got the internet service coming into your home locked down, you need to make sure it doesnt take a nosedive the second it comes through the wall. To do this, you need high-quality networking gear. The good news is, you dont have to spend a mountain of cash to get it. The modems that ISPs supply generally arent bad. Just make sure the model theyre offering supports 802. 11ac for viable internet speeds. Pricier modems have DOCSIS 3. 1, but that wont benefit the typical homeowner. If you want to buy your own, potentially saving 20-30 or more each month, ask your ISP for a list of approved modems. Heres Comcasts list, and Time Warner/Spectrums  for reference. Those modem/Wi-Fi router combo units, though? Theyre not so great. They might be limited to two-thirds the speed and range of a similar wireless router from the likes of Linksys, Netgear or D-Link. Those manufacturers have rightly identified that some consumers want the fastest streaming speeds available, and have used language like “Media” or “HD” to market their top router models. If youre planning on doing a lot of HD or Ultra HD streaming, consider the stealth bomber-esque  Netgear Nighthawk X10  or the cheaper Linksys WRT AC3200. Weve got an entire list of  the best routers, too, if you want more guidance. Some of these models dont come cheap, but theyre ideal for heavy video streaming thanks to high performance and intuitive interfaces that let you customize and prioritize how your bandwidth is used. Wire it up! While the best streaming video devices all support Wi-Fi, many of them also have Ethernet ports for a wired connection thats more reliable and uninhibited by Wi-Fis bandwidth limitations. Ideally, you could plug your devices directly into your router or an Ethernet switch, but if your devices arent right next to your router and you dont have Ethernet cable strung throughout the home, you might think going wireless is the only real option. Its not. Powerline adapters, which come in pairs, are excellent networking tools that can route an internet connection through a homes power lines as a way to bridge devices and routers in separate rooms. For example: Plug one adapter into a power outlet near the router upstairs and connect them with an Ethernet cable. Then plug in the other adapter into an outlet near the streaming device in another room and connect them via Ethernet. You now have a wired connection, even though the two are nowhere near each other. The same is possible with Wi-Fi extenders that pull in a wireless signal and connect to nearby devices via Ethernet for the added boost. Powerline adapters have the edge because there is no latency in the connection, whereas extenders could be affected by signal or range limitations (though this is less of a problem since the advent of 802. 11ac. Cost vs. benefit Upgrading your home network to accommodate all the streaming youd like to do is going to incur some upfront costs. An upgrade in service from your ISP, a new dependable router (and modem, if necessary) and possibly a powerline adapter or Wi-Fi range extender adds up to a pretty penny, but the investment should pay off in the long term. These days, we stream virtually everything. The more you know about your data consumption and network capabilities, the better you can manage your monthly costs — and beat the buffer. Editors' Recommendations Modem vs. router: Whats the difference? Why youre not getting Netflix in HD or 4K, and how to fix it The best home internet deals for February 2020: AT&T, Spectrum, Optimum and more Is Wi-Fi too unreliable? Powerline networking may be what you need Amazon slashes the price on Eero Mesh Wi-Fi System routers.

The Times of bill of rights. High-definition television ( HDTV or HD) describes a television system providing an image resolution of substantially higher resolution than the previous generation of technology. The term has been used since 1936, 1] but in modern times refers to the generation following standard-definition television (SDTV) often abbreviated to HDTV. It is the current standard video format used in most broadcasts: terrestrial broadcast television, cable television, satellite television, Blu-ray discs, and streaming video. HDTV may be transmitted in various formats: 720p 1280×720 progressive scan: 921, 600 pixels ( 0. 92 MP) per frame 1080i 1920×1080 interlaced: 1, 036, 800 pixels ( 1. 04 MP) per field or 2, 073, 600 pixels ( 2. 07 MP) per frame 1080p 1920×1080 progressive scan: not a broadcast standard for ATSC 1. 0 Some countries also use a non-standard CEA resolution, such as 1440×1080i: 777, 600 pixels ( 0. 78 MP) per field or 1, 555, 200 pixels ( 1. 56 MP) per frame When transmitted at two megapixels per frame, HDTV provides about five times as many pixels as SD (standard-definition television. The increased resolution provides for a clearer, more detailed picture. In addition, progressive scan and higher frame rates result in a picture with less flicker and better rendering of fast motion. [2] HDTV as is known today first started official broadcasting in 1989 in Japan, under the MUSE /Hi-Vision analog system. [3] HDTV was widely adopted worldwide in the late 2000s. [4] History [ edit] Since 1917, high definition starts as Full Picture Form. The term high definition once described a series of television systems originating from August 1936; however, these systems were only high definition when compared to earlier systems that were based on mechanical systems with as few as 30 lines of resolution. The ongoing competition between companies and nations to create true "HDTV" spanned the entire 20th century, as each new system became higher definition than the last. In the 2010s, this race has continued with 4K, 5K and 8K systems. The British high-definition TV service started trials in August 1936 and a regular service on 2 November 1936 using both the (mechanical) Baird 240 line sequential scan (later to be inaccurately rechristened 'progressive' and the (electronic) Marconi-EMI 405 line interlaced systems. The Baird system was discontinued in February 1937. [1] In 1938 France followed with their own 441-line system, variants of which were also used by a number of other countries. The US NTSC 555-line system joined in 1941. In 1949 France introduced an even higher-resolution standard at 819 lines, a system that should have been high definition even by today's standards, but was monochrome only and the technical limitations of the time prevented it from achieving the definition of which it should have been capable. All of these systems used interlacing and a 4:3 aspect ratio except the 240-line system which was progressive (actually described at the time by the technically correct term "sequential" and the 405-line system which started as 5:4 and later changed to 4:3. The 405-line system adopted the (at that time) revolutionary idea of interlaced scanning to overcome the flicker problem of the 240-line with its 25 Hz frame rate. The 240-line system could have doubled its frame rate but this would have meant that the transmitted signal would have doubled in bandwidth, an unacceptable option as the video baseband bandwidth was required to be not more than 3 MHz. Color broadcasts started at similarly higher resolutions, first with the US NTSC color system in 1953, which was compatible with the earlier monochrome systems and therefore had the same 525 lines of resolution. European standards did not follow until the 1960s, when the PAL and SECAM color systems were added to the monochrome 625 line broadcasts. The NHK (Japan Broadcasting Corporation) began conducting research to "unlock the fundamental mechanism of video and sound interactions with the five human senses" in 1964, after the Tokyo Olympics. NHK set out to create an HDTV system that ended up scoring much higher in subjective tests than NTSC's previously dubbed "HDTV. This new system, NHK Color, created in 1972, included 1125 lines, a 5:3 aspect ratio and 60 Hz refresh rate. The Society of Motion Picture and Television Engineers (SMPTE) headed by Charles Ginsburg, became the testing and study authority for HDTV technology in the international theater. SMPTE would test HDTV systems from different companies from every conceivable perspective, but the problem of combining the different formats plagued the technology for many years. There were four major HDTV systems tested by SMPTE in the late 1970s, and in 1979 an SMPTE study group released A Study of High Definition Television Systems: EIA monochrome: 4:3 aspect ratio, 1023 lines, 60 Hz NHK color: 5:3 aspect ratio, 1125 lines, 60 Hz NHK monochrome: 4:3 aspect ratio, 2125 lines, 50 Hz BBC colour: 8:3 aspect ratio, 1501 lines, 60 Hz [5] Since the formal adoption of digital video broadcasting 's (DVB) widescreen HDTV transmission modes in the mid to late 2000s; the 525-line NTSC (and PAL-M) systems, as well as the European 625-line PAL and SECAM systems, are now regarded as standard definition television systems. Analog systems [ edit] Early HDTV broadcasting used analog technology, but today it is transmitted digitally and uses video compression. In 1949, France started its transmissions with an 819 lines system (with 737 active lines. The system was monochrome only, and was used only on VHF for the first French TV channel. It was discontinued in 1983. In 1958, the Soviet Union developed ransformator ( Russian: , meaning Transformer) the first high-resolution (definition) television system capable of producing an image composed of 1, 125 lines of resolution aimed at providing teleconferencing for military command. It was a research project and the system was never deployed by either the military or consumer broadcasting. [6] In 1986, the European Community proposed HD-MAC, an analog HDTV system with 1, 152 lines. A public demonstration took place for the 1992 Summer Olympics in Barcelona. However HD-MAC was scrapped in 1993 and the Digital Video Broadcasting (DVB) project was formed, which would foresee development of a digital HDTV standard. [7] Japan [ edit] In 1979, the Japanese public broadcaster NHK first developed consumer high-definition television with a 5:3 display aspect ratio. [8] The system, known as Hi-Vision or MUSE after its multiple sub-Nyquist sampling encoding (MUSE) for encoding the signal, required about twice the bandwidth of the existing NTSC system but provided about four times the resolution (1035i/1125 lines. In 1981, the MUSE system was demonstrated for the first time in the United States, using the same 5:3 aspect ratio as the Japanese system. [9] Upon visiting a demonstration of MUSE in Washington, US President Ronald Reagan was impressed and officially declared it "a matter of national interest" to introduce HDTV to the US. [10] NHK taped the 1984 Summer Olympics with a Hi-Vision camera, weighing 40 kg. [11] Satellite test broadcasts started June 4, 1989, the first daily high-definition programs in the world, 12] with regular testing starting on November 25, 1991 or "Hi-Vision Day" – dated exactly to refer to its 1, 125-lines resolution. [13] Regular broadcasting of BS -9ch commenced on November 25, 1994, which featured commercial and NHK programming. Several systems were proposed as the new standard for the US, including the Japanese MUSE system, but all were rejected by the FCC because of their higher bandwidth requirements. At this time, the number of television channels was growing rapidly and bandwidth was already a problem. A new standard had to be more efficient, needing less bandwidth for HDTV than the existing NTSC. Egypt Demise of analog HD systems [ edit] The limited standardization of analog HDTV in the 1990s did not lead to global HDTV adoption as technical and economic constraints at the time did not permit HDTV to use bandwidths greater than normal television. Early HDTV commercial experiments, such as NHK's MUSE, required over four times the bandwidth of a standard-definition broadcast. Despite efforts made to reduce analog HDTV to about twice the bandwidth of SDTV, these television formats were still distributable only by satellite. In Europe too, the HD-MAC standard was considered not technically viable. In addition, recording and reproducing an HDTV signal was a significant technical challenge in the early years of HDTV ( Sony HDVS. Japan remained the only country with successful public broadcasting of analog HDTV, with seven broadcasters sharing a single channel. However the Hi-Vision/MUSE system also faced commercial issues when it launched on November 25, 1991. Only 2, 000 HDTV sets were sold by that day, rather than the enthusiastic 1. 32 million estimation. Hi-Vision sets were very expensive, up to US30, 000 each, which contributed to its low consumer adaption. [14] A Hi-Vision VCR from NEC released at Christmas time retailed for US115, 000. In addition, the United States saw Hi-Vision/MUSE as an outdated system and had already made it clear that it would develop an all-digital system. [15] Experts thought the commercial Hi-Vision system in 1992 was already eclipsed by digital technology developed in the U. S. since 1990. This was an American victory against the Japanese in terms of technological dominance. [16] By mid-1993 prices of receivers were still as high as 1. 5 million yen (US15, 000. 17] On February 23, 1994, a top broadcasting administrator in Japan admitted failure of its analog-based HDTV system, saying the U. digital format would be more likely a worldwide standard. [18] However this announcement drew angry protests from broadcasters and electronic companies who invested heavily into the analog system. As a result, he took back his statement the next day saying that the government will continue to promote Hi-Vision/MUSE. [19] That year NHK started development of digital television in an attempt to catch back up to America and Europe. This resulted in the ISDB format. [20] Japan started digital satellite and HDTV broadcasting in December 2000. [11] Rise of digital compression [ edit] High-definition digital television was not possible with uncompressed video, which requires a bandwidth exceeding 1   Gbps for studio-quality HD digital video. [21] 22] Digital HDTV was made possible by the development of discrete cosine transform (DCT) video compression. [23] 21] DCT coding is a lossy image compression technique that was first proposed by Nasir Ahmed in 1972, 24] and was later adapted into a motion-compensated DCT algorithm for video coding standards such as the H. 26x formats from 1988 onwards and the MPEG formats from 1993 onwards. [25] 26] Motion-compensated DCT compression significantly reduces the amount of bandwidth required for a digital TV signal. [21] 27] By 1991, it had achieved data compression ratios from 8:1 to 14:1 for near-studio-quality HDTV transmission, down to 70–140 Mbps bit-rate. [21] Between 1988 and 1991, DCT video compression was widely adopted as the video coding standard for HDTV implementations, enabling the development of practical digital HDTV. [21] 23] 28] Dynamic random-access memory ( DRAM) was also adopted as frame-buffer semiconductor memory, with the DRAM semiconductor industry 's increased manufacturing and reducing prices important to the commercialization of HDTV. [28] Since 1972, International Telecommunication Union 's radio telecommunications sector ( ITU-R) had been working on creating a global recommendation for Analog HDTV. These recommendations, however, did not fit in the broadcasting bands which could reach home users. The standardization of MPEG-1 in 1993 led to the acceptance of recommendations ITU-R BT. 709. [29] In anticipation of these standards, the Digital Video Broadcasting (DVB) organisation was formed. It was alliance of broadcasters, consumer electronics manufacturers and regulatory bodies. The DVB develops and agrees upon specifications which are formally standardised by ETSI. [30] DVB created first the standard for DVB-S digital satellite TV, DVB-C digital cable TV and DVB-T digital terrestrial TV. These broadcasting systems can be used for both SDTV and HDTV. In the US the Grand Alliance proposed ATSC as the new standard for SDTV and HDTV. Both ATSC and DVB were based on the MPEG-2 standard, although DVB systems may also be used to transmit video using the newer and more efficient H. 264/MPEG-4 AVC compression standards. Common for all DVB standards is the use of highly efficient modulation techniques for further reducing bandwidth, and foremost for reducing receiver-hardware and antenna requirements. In 1983, the International Telecommunication Union's radio telecommunications sector (ITU-R) set up a working party (IWP11/6) with the aim of setting a single international HDTV standard. One of the thornier issues concerned a suitable frame/field refresh rate, the world already having split into two camps, 25/50 Hz and 30/60 Hz, largely due to the differences in mains frequency. The IWP11/6 working party considered many views and throughout the 1980s served to encourage development in a number of video digital processing areas, not least conversion between the two main frame/field rates using motion vectors, which led to further developments in other areas. While a comprehensive HDTV standard was not in the end established, agreement on the aspect ratio was achieved. Initially the existing 5:3 aspect ratio had been the main candidate but, due to the influence of widescreen cinema, the aspect ratio 16:9 (1. 78) eventually emerged as being a reasonable compromise between 5:3 (1. 67) and the common 1. 85 widescreen cinema format. An aspect ratio of 16:9 was duly agreed upon at the first meeting of the IWP11/6 working party at the BBC's Research and Development establishment in Kingswood Warren. The resulting ITU-R Recommendation ITU-R BT. 709-2. Rec. 709. includes the 16:9 aspect ratio, a specified colorimetry, and the scan modes 1080i (1, 080 actively interlaced lines of resolution) and 1080p (1, 080 progressively scanned lines. The British Freeview HD trials used MBAFF, which contains both progressive and interlaced content in the same encoding. It also includes the alternative 1440×1152 HDMAC scan format. (According to some reports, a mooted 750-line (720p) format (720 progressively scanned lines) was viewed by some at the ITU as an enhanced television format rather than a true HDTV format, 31] and so was not included, although 1920×1080i and 1280×720p systems for a range of frame and field rates were defined by several US SMPTE standards. ) Inaugural HDTV broadcast in the United States [ edit] HDTV technology was introduced in the United States in the early 1990s and made official in 1993 by the Digital HDTV Grand Alliance, a group of television, electronic equipment, communications companies consisting of AT&T Bell Labs, General Instrument, Philips, Sarnoff, Thomson, Zenith and the Massachusetts Institute of Technology. Field testing of HDTV at 199 sites in the United States was completed August 14, 1994. [32] The first public HDTV broadcast in the United States occurred on July 23, 1996 when the Raleigh, North Carolina television station WRAL-HD began broadcasting from the existing tower of WRAL-TV southeast of Raleigh, winning a race to be first with the HD Model Station in Washington, D. C., which began broadcasting July 31, 1996 with the callsign WHD-TV, based out of the facilities of NBC owned and operated station WRC-TV. [33] 34] 35] The American Advanced Television Systems Committee (ATSC) HDTV system had its public launch on October 29, 1998, during the live coverage of astronaut John Glenn 's return mission to space on board the Space Shuttle Discovery. [36] The signal was transmitted coast-to-coast, and was seen by the public in science centers, and other public theaters specially equipped to receive and display the broadcast. [36] 37] European HDTV broadcasts [ edit] Between 1988 and 1991, several European organizations were working on discrete cosine transform (DCT) based digital video coding standards for both SDTV and HDTV. The EU 256 project by the CMTT and ETSI, along with research by Italian broadcaster RAI, developed a DCT video codec that broadcast near-studio-quality HDTV transmission at about 70–140 Mbps bit-rate. [21] 38] The first HDTV transmissions in Europe, albeit not direct-to-home, began in 1990, when RAI broadcast the 1990 FIFA World Cup using several experimental HDTV technologies, including the digital DCT-based EU 256 codec, 21] the mixed analog-digital HD-MAC technology, and the analog MUSE technology. The matches were shown in 8 cinemas in Italy, where the tournament was played, and 2 in Spain. The connection with Spain was made via the Olympus satellite link from Rome to Barcelona and then with a fiber optic connection from Barcelona to Madrid. [39] 40] After some HDTV transmissions in Europe, the standard was abandoned in 1993, to be replaced by a digital format from DVB. The first regular broadcasts started on January 1, 2004 when the Belgian company Euro1080 launched the HD1 channel with the traditional Vienna New Year's Concert. Test transmissions had been active since the IBC exhibition in September 2003, but the New Year's Day broadcast marked the official launch of the HD1 channel, and the official start of direct-to-home HDTV in Europe. [41] Euro1080, a division of the former and now bankrupt Belgian TV services company Alfacam, broadcast HDTV channels to break the pan-European stalemate of "no HD broadcasts mean no HD TVs bought means no HD broadcasts. and kick-start HDTV interest in Europe. [42] The HD1 channel was initially free-to-air and mainly comprised sporting, dramatic, musical and other cultural events broadcast with a multi-lingual soundtrack on a rolling schedule of 4 or 5 hours per day. These first European HDTV broadcasts used the 1080i format with MPEG-2 compression on a DVB-S signal from SES 's Astra 1H satellite. Euro1080 transmissions later changed to MPEG-4/AVC compression on a DVB-S2 signal in line with subsequent broadcast channels in Europe. Despite delays in some countries, 43] the number of European HD channels and viewers has risen steadily since the first HDTV broadcasts, with SES's annual Satellite Monitor market survey for 2010 reporting more than 200 commercial channels broadcasting in HD from Astra satellites, 185 million HD capable TVs sold in Europe (60 million in 2010 alone) and 20 million households (27% of all European digital satellite TV homes) watching HD satellite broadcasts (16 million via Astra satellites. 44] In December 2009, the United Kingdom became the first European country to deploy high definition content using the new DVB-T2 transmission standard, as specified in the Digital TV Group (DTG) D-book, on digital terrestrial television. The Freeview HD service currently contains 13 HD channels (as of April 2016) and was rolled out region by region across the UK in accordance with the digital switchover process, finally being completed in October 2012. However, Freeview HD is not the first HDTV service over digital terrestrial television in Europe; Italy 's Rai HD channel started broadcasting in 1080i on April 24, 2008 using the DVB-T transmission standard. In October 2008, France deployed five high definition channels using DVB-T transmission standard on digital terrestrial distribution. Notation [ edit] HDTV broadcast systems are identified with three major parameters: Frame size in pixels is defined as number of horizontal pixels × number of vertical pixels, for example 1280 × 720 or 1920 × 1080. Often the number of horizontal pixels is implied from context and is omitted, as in the case of 720p and 1080p. Scanning system is identified with the letter p for progressive scanning or i for interlaced scanning. Frame rate is identified as number of video frames per second. For interlaced systems, the number of frames per second should be specified, but it is not uncommon to see the field rate incorrectly used instead. If all three parameters are used, they are specified in the following form: frame size] scanning system] frame or field rate] or [frame size] frame or field rate] scanning system. 45] Often, frame size or frame rate can be dropped if its value is implied from context. In this case, the remaining numeric parameter is specified first, followed by the scanning system. For example, 1920×1080p25 identifies progressive scanning format with 25 frames per second, each frame being 1, 920 pixels wide and 1, 080 pixels high. The 1080i25 or 1080i50 notation identifies interlaced scanning format with 25 frames (50 fields) per second, each frame being 1, 920 pixels wide and 1, 080 pixels high. The 1080i30 or 1080i60 notation identifies interlaced scanning format with 30 frames (60 fields) per second, each frame being 1, 920 pixels wide and 1, 080 pixels high. The 720p60 notation identifies progressive scanning format with 60 frames per second, each frame being 720 pixels high; 1, 280 pixels horizontally are implied. 50 Hz systems support three scanning rates: 50i, 25p and 50p. 60 Hz systems support a much wider set of frame rates: 59. 94i, 60i, 23. 976p, 24p, 29. 97p, 30p, 59. 94p and 60p. In the days of standard definition television, the fractional rates were often rounded up to whole numbers, e. g. 23. 976p was often called 24p, or 59. 94i was often called 60i. 60 Hz high definition television supports both fractional and slightly different integer rates, therefore strict usage of notation is required to avoid ambiguity. Nevertheless, 29. 97p/59. 94i is almost universally called 60i, likewise 23. 976p is called 24p. For the commercial naming of a product, the frame rate is often dropped and is implied from context (e. g., a 1080i television set. A frame rate can also be specified without a resolution. For example, 24p means 24 progressive scan frames per second, and 50i means 25 interlaced frames per second. [46] There is no single standard for HDTV color support. Colors are typically broadcast using a (10-bits per channel) YUV color space but, depending on the underlying image generating technologies of the receiver, are then subsequently converted to a RGB color space using standardized algorithms. When transmitted directly through the Internet, the colors are typically pre-converted to 8-bit RGB channels for additional storage savings with the assumption that it will only be viewed only on a ( sRGB) computer screen. As an added benefit to the original broadcasters, the losses of the pre-conversion essentially make these files unsuitable for professional TV re-broadcasting. Most HDTV systems support resolutions and frame rates defined either in the ATSC table 3, or in EBU specification. The most common are noted below. Display resolutions [ edit] Video format supported [image resolution] Native resolution [inherent resolution] W×H) Pixels Aspect ratio (W:H) Description Actual Advertised (Megapixels) Image Pixel 720p (HD ready) 1280×720 1024×768 XGA 786, 432 0. 8 4:3 1:1 Typically a PC resolution ( XGA) also a native resolution on many entry-level plasma displays with non-square pixels. 1280×720 921, 600 0. 9 16:9 Standard HDTV resolution and a typical PC resolution ( WXGA) frequently used by high-end video projectors; also used for 750-line video, as defined in SMPTE 296M, ATSC A/53, ITU-R BT. 1543. 1366×768 WXGA 1, 049, 088 1. 0 683:384 (approx. 16:9) A typical PC resolution ( WXGA) also used by many HD ready TV displays based on LCD technology. 1080p/1080i (Full HD) 1920×1080 1920×1080 2, 073, 600 2. 1 Standard HDTV resolution, used by full HD and HD ready 1080p TV displays such as high-end LCD, plasma and rear projection TVs, and a typical PC resolution (lower than WUXGA) also used for 1125-line video, as defined in SMPTE 274M, ATSC A/53, ITU-R BT. 709; Video format supported Screen resolution (W×H) 720p (HD Ready) 1280×720 1248×702 Clean Aperture 876, 096 Used for 750-line video with faster artifact/overscan compensation, as defined in SMPTE 296M. 1080i (Full HD) 1920×1080 1440×1080 HDCAM / HDV 1, 555, 200 1. 6 Used for anamorphic 1125-line video in the HDCAM and HDV formats introduced by Sony and defined (also as a luminance subsampling matrix) in SMPTE D11. 1080p (Full HD) 1920×1080 1888×1062 Clean aperture 2, 005, 056 2. 0 Used for 1124-line video with faster artifact/overscan compensation, as defined in SMPTE 274M. At a minimum, HDTV has twice the linear resolution of standard-definition television (SDTV) thus showing greater detail than either analog television or regular DVD. The technical standards for broadcasting HDTV also handle the 16:9 aspect ratio images without using letterboxing or anamorphic stretching, thus increasing the effective image resolution. A very high-resolution source may require more bandwidth than available in order to be transmitted without loss of fidelity. The lossy compression that is used in all digital HDTV storage and transmission systems will distort the received picture, when compared to the uncompressed source. Standard frame or field rates [ edit] ATSC and DVB define the following frame rates for use with the various broadcast standards: 47] 48] 23. 976 Hz (film-looking frame rate compatible with NTSC clock speed standards) 24 Hz (international film and ATSC high-definition material) 25 Hz (PAL film, DVB standard-definition and high-definition material) 29. 97 Hz (NTSC film and standard-definition material) 30 Hz (NTSC film, ATSC high-definition material) 50 Hz (DVB high-definition material) 59. 94 Hz (ATSC high-definition material) 60 Hz (ATSC high-definition material) The optimum format for a broadcast depends upon the type of videographic recording medium used and the image's characteristics. For best fidelity to the source the transmitted field ratio, lines, and frame rate should match those of the source. PAL, SECAM and NTSC frame rates technically apply only to analogue standard definition television, not to digital or high definition broadcasts. However, with the rollout of digital broadcasting, and later HDTV broadcasting, countries retained their heritage systems. HDTV in former PAL and SECAM countries operates at a frame rate of 25/50 Hz, while HDTV in former NTSC countries operates at 30/60 Hz. [49] Types of media [ edit] High-definition image sources include terrestrial broadcast, direct broadcast satellite, digital cable, IPTV, Blu-ray video disc (BD) and internet downloads. In the US, residents in the line of sight of television station broadcast antennas can receive free, over-the-air programming with a television set with an ATSC tuner via a TV aerial. Laws prohibit homeowners' associations and city government from banning the installation of antennas. citation needed] Standard 35mm photographic film used for cinema projection has a much higher image resolution than HDTV systems, and is exposed and projected at a rate of 24 frames per second (frame/s. To be shown on standard television, in PAL-system countries, cinema film is scanned at the TV rate of 25 frame/s, causing a speedup of 4. 1 percent, which is generally considered acceptable. In NTSC-system countries, the TV scan rate of 30 frame/s would cause a perceptible speedup if the same were attempted, and the necessary correction is performed by a technique called 3:2 pulldown: Over each successive pair of film frames, one is held for three video fields (1/20 of a second) and the next is held for two video fields (1/30 of a second) giving a total time for the two frames of 1/12 of a second and thus achieving the correct average film frame rate. Non-cinematic HDTV video recordings intended for broadcast are typically recorded either in 720p or 1080i format as determined by the broadcaster. 720p is commonly used for Internet distribution of high-definition video, because most computer monitors operate in progressive-scan mode. 720p also imposes less strenuous storage and decoding requirements compared to both 1080i and 1080p. 1080p/24, 1080i/30, 1080i/25, and 720p/30 is most often used on Blu-ray Disc. Recording and compression [ edit] HDTV can be recorded to D-VHS (Digital-VHS or Data-VHS) W-VHS (analog only) to an HDTV-capable digital video recorder (for example DirecTV 's high-definition digital video recorder, Sky HD 's set-top box, Dish Network 's VIP 622 or VIP 722 high-definition digital video recorder receivers (these Set Top Boxes (STB) allow for HD on the Primary TV and SD on the secondary TV (TV2) without a secondary box on TV2) or TiVo 's Series 3 or HD recorders) or an HDTV-ready HTPC. Some cable boxes are capable of receiving or recording two or more broadcasts at a time in HDTV format, and HDTV programming, some included in the monthly cable service subscription price, some for an additional fee, can be played back with the cable company's on-demand feature. The massive amount of data storage required to archive uncompressed streams meant that inexpensive uncompressed storage options were not available to the consumer. In 2008, the Hauppauge 1212 Personal Video Recorder was introduced. This device accepts HD content through component video inputs and stores the content in MPEG-2 format in a file or in a Blu-ray compatible format. m2ts file on the hard drive or DVD burner of a computer connected to the PVR through a USB 2. 0 interface. More recent systems are able to record a broadcast high definition program in its 'as broadcast' format or transcode to a format more compatible with Blu-ray. Analog tape recorders with bandwidth capable of recording analog HD signals, such as W-VHS recorders, are no longer produced for the consumer market and are both expensive and scarce in the secondary market. In the United States, as part of the FCC's plug and play agreement, cable companies are required to provide customers who rent HD set-top boxes with a set-top box with "functional" FireWire (IEEE 1394) on request. None of the direct broadcast satellite providers have offered this feature on any of their supported boxes, but some cable TV companies have. As of July 2004, boxes are not included in the FCC mandate. This content is protected by encryption known as 5C. [50] This encryption can prevent duplication of content or simply limit the number of copies permitted, thus effectively denying most if not all fair use of the content. See also [ edit] Display motion blur Glossary of video terms High Efficiency Video Coding List of digital television deployments by country Optimum HDTV viewing distance Ultra-high-definition television References [ edit] a b "Teletronic – The Television History Site. Retrieved 2011-08-30. ^ Jones, Graham A. (2005. A Broadcast Engineering Tutorial for Non-Engineers. Taylor & Francis. p. 34. ISBN   9781136035210. Retrieved 2 August 2017. ^ The Evolution of TV -A Brief History of TV Technology in Japan... ^ Smith, Kevin (3 August 2012. 10 Game-Changing Pieces of Tech From The 2000s. ^ Cianci, Philip J. (2012. High Definition Television. NC, USA: McFarland. pp. 1–25. ISBN   978-0-7864-4975-0. ^ . "HDTV in the Russian Federation: problems and prospects of implementation (in Russian. Archived from the original on 2013-07-27. Retrieved 2013-03-11. ^ Reimers, Ulrich (11 August 2018. DVB: The Family of International Standards for Digital Video Broadcasting. Springer Science & Business Media. ISBN   9783540435457 – via Google Books. ^ Researchers Craft HDTV's Successor. ^ Digital TV Tech Notes, Issue #2. ^ James Sudalnik and Victoria Kuhl, High definition television" a b Television, 50 Years of NHK. "50 Years of NHK Television... ^ Times, David E. Sanger and Special To the New York. "Japan Begins Broadcasts of High-Definition TV. ^ Sanger, David E. "Few See Japan Make TV History. ^ Technology. while Japan admits that analogue TV is a dead end. ^ Cianci, Philip J. (10 January 2013. High Definition Television: The Creation, Development and Implementation of HDTV Technology. McFarland. ISBN   9780786487974 – via Google Books. ^ Pollack, Andrew. "Technology Shift Blurs Future of Japan's New TV System. ^ Hart, Jeffrey A. (5 February 2004. Technology, Television, and Competition: The Politics of Digital TV. Cambridge University Press. ISBN   9781139442244 – via Google Books. ^ Jr, JUBE SHIVER (23 February 1994. Japan Gives Up on Analog-Based HDTV System: Technology: Government says U. -backed digital format is likely to become a world standard" – via LA Times. ^ Japanese revive HDTV system. Variety. 24 February 1994. ^ Grimme, Katharina (11 August 2018. Digital Television Standardization and Strategies. Artech House. ISBN   9781580532976 – via Google Books. ^ a b c d e f g Barbero, M. Hofmann, H. Wells, N. D. (14 November 1991. DCT source coding and current implementations for HDTV. EBU Technical Review. European Broadcasting Union (251) 22–33. Retrieved 4 November 2019. ^ Lee, Jack (2005. Scalable Continuous Media Streaming Systems: Architecture, Design, Analysis and Implementation. John Wiley & Sons. p. 25. ISBN   9780470857649. ^ a b Shishikui, Yoshiaki; Nakanishi, Hiroshi; Imaizumi, Hiroyuki (October 26–28, 1993. An HDTV Coding Scheme using Adaptive-Dimension DCT. Signal Processing of HDTV: Proceedings of the International Workshop on HDTV '93, Ottawa, Canada. Elsevier: 611–618. doi: 10. 1016/B978-0-444-81844-7. 50072-3. ISBN   9781483298511. ^ Ahmed, Nasir (January 1991. How I Came Up With the Discrete Cosine Transform. Digital Signal Processing. 1 (1) 4–5. 1016/1051-2004(91)90086-Z. ^ Ghanbari, Mohammed (2003. Standard Codecs: Image Compression to Advanced Video Coding. Institution of Engineering and Technology. pp. 1–2. ISBN   9780852967102. ^ Li, Jian Ping (2006. Proceedings of the International Computer Conference 2006 on Wavelet Active Media Technology and Information Processing: Chongqing, China, 29-31 August 2006. World Scientific. p. 847. ISBN   9789812709998. ^ Lea, William (1994. Video on demand: Research Paper 94/68. 9 May 1994: House of Commons Library. Archived from the original on 20 September 2019. Retrieved 20 September 2019. CS1 maint: location ( link) a b Cianci, Philip J. (2014. p. 63. ISBN   9780786487974. ^ brweb (2010-06-17. High definition television comes of age thanks to ITU. Retrieved 2013-03-11. ^ Webfactory. "History of the DVB Project. Retrieved 2013-03-11. ^ Jim Mendrala (1999-09-27. Digital TV Tech Notes, Issue #41. Retrieved 2013-03-11. ^ HDTV field testing wraps up. Retrieved 2010-10-02. ^ History of WRAL Digital. 2006-11-22. Retrieved 2010-10-02. ^ WRAL-HD begins broadcasting HDTV. Retrieved 2010-10-02. ^ Comark transmitter first in at Model Station. Retrieved 2010-10-02. ^ a b Albiniak, Paige (1998-11-02. HDTV: Launched and Counting. Broadcasting and cable. BNET. Archived from the original on 2014-09-24. Retrieved 2008-10-24. ^ Space Shuttle Discovery: John Glenn Launch. Internet Movie Database. 1998. Retrieved 2008-10-25. ^ Barbero, M. Stroppiana, M. (October 1992. Data compression for HDTV transmission and distribution. IEE Colloquium on Applications of Video Compression in Broadcasting: 10/1–10/5. ^ ItaLia '90 – il primo passo della HDTV digitale – I parte" Le Mini Serie – Italia '90 – The First Step of Digital HDTV – part I] PDF. Archived from the original (PDF) on 2012-06-19. ^ ItaLia '90 – il primo passo della HDTV digitale – II parte" Le Mini Serie – Italia '90 – The First Step of Digital HDTV – part II] PDF. Archived from the original (PDF) on 2012-06-19. ^ SES ASTRA and Euro1080 to pioneer HDTV in Europe" Press release. SES ASTRA. October 23, 2003. Retrieved January 26, 2012. ^ Bains, Geoff. "Take The High Road" What Video & Widescreen TV (April, 2004) 22–24 ^ Weekly Report No. 28/2010, Volume 6" PDF. German Institute for Economic Research. 2010-09-08. Retrieved 2017-05-19. ^ Satellite Monitor research. Archived from the original on 2011-08-09. Retrieved 2011-04-28. ^ How to Buy a TV. Socialbilitty. May 11, 2016. Retrieved June 22, 2017. ^ Scanning Methods (p, i, PsF. ARRI Digital. Retrieved 2011-08-30. ^ Ben Waggoner (2007) Understanding HD Formats, Microsoft, retrieved 2011-12-09 ^ Digital Video Broadcasting (DVB) Specification for the use of Video and Audio Coding in Broadcasting Applications based on the MPEG-2 Transport Stream" PDF. ETSI. 2012. Retrieved 2017-05-19. ^ Robert Silva, Why NTSC and PAL Still Matter With HDTV, retrieved 2011-12-09 ^ 5C Digital Transmission Content Protection White Paper" PDF. 1998-07-14. Archived from the original (PDF) on 2006-06-16. Retrieved 2006-06-20. Further reading [ edit] Joel Brinkley (1997) Defining Vision: The Battle for the Future of Television, New York: Harcourt Brace. High Definition Television: The Creation, Development and Implementation of HDTV Technology by Philip J. Cianci (McFarland & Company, 2012) Technology, Television, and Competition (New York: Cambridge University Press, 2004) External links [ edit] History L'Alta Definizione a Torino 1986–2006  – the Italian HDTV experience from 1980s to 2006 – in Italian – C. R. I. T. /RAI The HDTV Archive Project European adoption Images formats for HDTV, article from the EBU, Technical Review High Definition for Europe – a progressive approach, article from the EBU, Technical Review High Definition (HD) Image Formats for Television Production, technical report from the EBU v t e Digital video resolutions Designation Usage examples Definition (lines) Rate (Hz) Interlaced (fields) Progressive (frames) Low, MP@LL LDTV, VCD, HTV 240, 288 ( SIF) 24, 30; 25 Standard, MP@ML SDTV, SVCD, DVD, DV 480 ( NTSC) 576 ( PAL) 60, 50 Enhanced, HMP@HML EDTV 480 ( NTSC-HQ) 576 High, MP@HL HDTV, BD, HD DVD, HDV 720 24, 30, 60; 25, 50 1080, 1440 25, 30 24, 50, 60 Ultra-high UHDTV, UHD BRD 2160, 4320, 8640 60, 120, 180.

The times of bill documentary. 2017 Harley-Davidson Road Glide Ultra Touring is synonymous with motorcycles; its an integral part of the riding experience. Nothing is as satisfying as simply grabbing a light bag, turning the key, and aiming in a direction. The destination, known or unknown, isnt the most critical aspect – it is about how youre getting there. These thoughts percolated as I sat under the cloud-covered sky of the Pacific Northwest, eyeing down the silver-tinged 2017 Harley-Davidson Road Glide Ultra. Commanding and iconic in lineage, the Road Glide is one of the most venerable touring platforms that the Bar and Shield brand has to offer. Im in Washington for the latest addition to the storied touring lineup—the Milwaukee-Eight engine  series, the first major powerplant redesign since 1999. Its difficult not to be enamored with the Road Glide Ultras air- and liquid-cooled, four-valve heart, with its claimed 114 ft/lbs of torque at 3250 rpm. The Twin-Cooled Milwaukee-Eight 107 powerplant is the centerpiece of a truly capable machine, and the improvements dont only extend to the performance end. Those improvements trickle down into aspects of the bike that many riders might take for granted. Visit the Ultimate MotorCycling Motorcycle Reviews Page Lets start with the most important aspect of an American twin—the power. Spec sheets are deceptive, and the Twin-Cooled Milwaukee-Eight 107 is undeniably lion-hearted in nature. From the depths of the rpm range, torque can be felt, pulling all the way through to a rev-limiter that I, despite my best efforts, found more than once. Appropriately spaced gears allow you to push the Road Glide Ultra through your favorite batch of corners with ease, driving out of the apex without a stumble in any regard. Power delivery is flawless, no matter the rpm. Roaring through all six gears of the assist-and-slip clutch is remarkable. While clutch pull has been reduced this year—and it is lighter—it still takes a good amount of effort. Undoubtedly, Harley-Davidson engineers put an incredible amount of effort into the new engine platform, and they had a tall order to fill—meet modern consumer and EPA standards while still satisfying their core audience, and the core audience for any sub-culture can be vocal. Thats quite a conundrum, one that many manufacturers struggle with when attempting to advance their lines. H-D seems to have satisfied all of the points that the market didnt just ask for, but demanded. The rubber-mounted, counterbalanced twin retains all of the qualities that youd expect from the American twin stalwarts. Big-inch Harley-Davidsons have long been associated with a cacophony of gearhead joy—in fact, it is what turned me on to the idea of motorcycles in the first place. Harley toiled over the balance of satisfying market demands without alienating its base—those who preferred the unrefined qualities that H-D offered. Engine vibration has been dramatically reduced, which many non-Harley riders found to be limiting. Still, the Twin-Cooled Milwaukee-Eight 107 remains decidedly authentic. Engine noise has been reduced, allowing engineers to further aid the more than hearty exhaust note pouring out of the 2-1-2 pipes. I encourage dedicated brand enthusiasts, as well as those who have stood in staunch opposition, to try out the new engine platform. Your perspective will be changed, no matter which side of the fence you cast stones from. Touring is a staple of American riding. We certainly have the landmass for it. Even better, we have the ever-changing scenery. When the idea of gobbling up thousands of miles comes to mind, there arent a whole lot of bikes that fit the bill. Certainly, any bike will do, but if youre going to do something, at least make the effort to do it right. The 2017 Harley-Davidson Road Glide Ultra is, without a doubt, one of the premier touring platforms. A plush 29-inch seat meets any rider who crosses its path, along with comfortable swept bars and an upright riding position that isnt taxing in the least. After spending two days roaming the Washington back country, it became apparent that its touring chops are intrinsic to the platform. One of the main sources of contention regarding the previous Harley platforms was that the wide engine bottom end conflicted with those who have shorter statures. Flat-footing at lights and maneuvering the 929-pound (claimed wet) Road Glide Ultra seemed like more than just a precarious prospect to the uninitiated. However, thanks to a slimmed down primary cover, as well as a redesigned 55mm throttle body that utilizes a lower profile air-cleaner, my 5 8 self was happily propping up the Road Glide with some sure footed confidence that was only upset by slick, rain covered roads. Ive certainly sung the praises of Harleys dedication to its engine. Thats all well and good, but Harley also has solved one of its worst offending design qualities—the suspension. All of the 2017 touring models are making use of the commendable Showa Dual Bending Valve forks featuring 4. 6 inches of travel on the Road Glide Ultra. In the rear, emulsion shocks with adjustable spring-preload is available—no tools necessary. For many, the complaint from cruiser critics was how insufficient the rear shocks were. Those days, I can proudly proclaim, appear to be a thing of the past. Easily adjustable when the bags are removed, the rear shock features plenty of spring-preload adjustment, depending on the model in question. This tweak has solved the problem of lower back punishment. During my scenic routes, I actively sought out rough spots, areas of the road that I previously would have avoided like the bubonic plague. For a rider of my weight, there isnt a fear of running out of suspension and bottoming them out when put to the test. The Road Glide Ultra truly lives up to its name with suspension that is suited for a wide variety of styles and conditions. Under heavy braking, the front end soaked up inputs with ease and kept me true. Additionally, the iconic shark-nose fairing does an impeccable job of deflecting both wind and rain. A rider might be exposed to the elements, especially when that rider is traveling from state to state, but rest assured, youll have a lot more in the way of creature comforts than most other two-wheeled enthusiasts. A competent touring motorcycle needs to be more than powerful and comfortable; it also needs to handle well. Describing a bike as large as the 2017 Harley-Davidson Road Glide Ultra as nimble might seem like a bit of a misnomer, but for its class, it can lean into corners beautifully. The long 64-inch wheelbase aids in true feeling of confidence, even for the uninitiated. While trotting through one of the many national parks in the Pacific Northwest, ingesting the evergreen scenery, I was more than content. Though, a spirited rider will be keen to note that theyll still be whittling away at the comfortable floorboards. Ample storage space allows any rider to carry a number of belongings, making sure that youre well prepared on any trip, though the radiators do take up a bit of what used to be storage area. This year, Harley took the time to update the mounting systems for the side bags. On the 2017 models, youll now discover much more intuitive mounting fixtures. Harley states that the Ultras collective luggage capacity is 4. 7 cubic feet. It is worth noting that all luggage is waterproof, something much appreciated for touring. In the Washington back country, youre privy to some interesting sights. Some come in the form of inebriated individuals that refer to you strictly as “brother” while simultaneously making lurid comments aimed in your general direction. The others come in the form of homemade political signs that have been nailed to trees. On some level, I have to applaud that degree of dedication because Im fairly certain political campaigns hand that stuff out like a van full of candy. While all of that is engaging, I also realized that I needed to break down racial barriers while testing the Boom! Box 6. 5GT audio system. For that task, I blared the ballads of Mexican singer, Vincente Fernández. On the proud multicultural Road Glide Ultra I rolled, with Chente helping me along and, on some level, America. All joking aside, the touchscreen dashboard is incredibly user friendly. This is quite rare in the performance motorcycle world where menu screens are often a place full of mystery, confusion, and rage until youve mastered the non-intuitive process. Both the touchscreen and handlebar buttons make for a pleasant experience all around. The 2017 Harley-Davidson Road Glide Ultra also features an upgraded charging system that can support numerous other devices, should you choose to use them. The standard navigation system, not unlike the rest of the dash functions, is quite easy to use. For a bike of its size, I must give kudos to the engineers that have created a touring machine that can come to a halt in a hurry. The 300mm dual rotors up front, and the 300mm disc out back, do some serious heavy-lifting when bringing the mighty Ultra to a halt. Brake feel is firm, but in no way undesirable. At the lever youll find a more precise feel, and it doesnt require that much input to begin slowing. More importantly, I didnt feel I ever rode the Ultra beyond its braking potential. It took considerable effort to engage the ABS while riding on dry surfaces. The front and rear brakes are linked, meaning that the bike will react to your braking efforts, even if you fixate exclusively on the brake pedal. Touring bikes are in a class of their own—theyre the juggernauts of the moto world. They are the motorcycles built to last, and built to see more in a year than most riders see in a lifetime. With upgrades—both smart and major—that have had the intended consequence, the 2017 Harley-Davidson Road Glide Ultra continues to improve with age. Photography by Riles & Nelson Riding Style Helmet: Shoei RF-1200 Jacket: Held Harvey 76 Gloves: Tour Master Summer Elite 3 Jeans: Pando Moto – Karl Indigo Boots: TCX X-Blend Waterproof 2017 Harley-Davidson Road Glide Ultra Specifications ENGINE Motor: Single cam, pushrod V-twin; 4vpc Bore x stroke: 3. 937″ x 4. 375” Displacement: 107 cubic inches (1746cc) Maximum torque: 114 ft/lbs @ 3250 rpm Compression ratio: 10. 0:1 Cooling: Air and liquid Fuel system: Electronic Sequential Port Fuel Injection Lubrication: Dry sump Transmission: 6-speed Cruise Drive Clutch: Hydraulically actuated assist-and-slip Primary drive: Chain Final drive: Belt CHASSIS Frame: Mild tubular steel w/ two-piece stamped and welded backbone Front suspension: Showa 49mm Dual Bending Valve Rear suspension: Emulsion shock w/ hand-adjustable spring-preload Front tire: 130/80-17; Dunlop Harley-Davidson D408F Rear tire: 180/65-16; Dunlop Harley-Davidson D407T Wheels: Cast aluminum Impeller Front brakes: 320mm floating rotors w/ four-piston calipers Rear brake: 320mm fixed rotor w/ four-piston caliper ABS: Standard DIMENSIONS and CAPACITIES L x H x W: 101. 2 x 56. 5 x 36. 3 inches Wheelbase: 64 inches Seat height (laden) 27. 2 inches Seat height (unladen) 29. 0 inches Rake: 26 degrees Fork angle: 29. 3 degrees Trail: 6. 7 inches Right lean angle: 31. 9 degrees Left lean angle: 31. 8 degrees Fuel capacity: 6 gallons EPA estimated fuel consumption: 43 mpg Curb weight: 929 pounds Colors: Vivid Black; Black Quartz; Billet Silver/Vivid Black; Mysterious Red Sunglo/Velocity Red Sunglow; Black Hills Gold/Black Quartz; Bonneville Blue/Fathom Blue. 2017 Harley-Davidson Road Glide Ultra Prices MSRP: 26, 299 (Vivid Black) 26, 899 (Black Quartz) 27, 399 (two-tone) 27, 599 (Bonneville Blue/Fathom Blue. 2017 Harley-Davidson Road Glide Ultra Review – Photo Gallery 2017 Harley-Davidson Road Glide Ultra.

Sales of the times of bill cunningham. The Times of bill online. Bill Cunningham was an extraordinary man. Simple, humble, talented, kind. This fine movie illustrates all of his fine attributes. Make Bozek showed great vision in his interview with Bill and in his production of this film. This should be nominated for several awards.

The times of bill cunningham movie. September 30, 2018 It takes two — 4K Ultra HD resolution and high dynamic range (HDR) — to create what critics are calling the best home entertainment viewing format yet. The increased resolution of 4K has found the perfect match in HDR, which offers brighter brights and darker darks and wider color gamut to create a more vivid and lifelike picture. Its the closest the home sector has come to matching the theatrical experience, experts say. “Combined with technological advancements in film mastering and high dynamic range color, 4K is now the de-facto media format you didnt know you couldnt live without until you experience it fully, ” says Miguel Casillas, SVP of production, home entertainment and digital distribution, at Lionsgate. “4K HDR has solidified itself, both with consumers and within the creative community, as the best way to watch content at home, ” says Jessica Schell, EVP and GM at Warner Bros. Home Entertainment. Consumers agree that 4K UHD with HDR is a format they can embrace — when the two are combined. “The resolution doesnt do it for me but the HDR, the expanded colors, does, ” says Adam Gregorich, co-owner/editor at Home Theater Forum, a home entertainment enthusiast site. “Im a 4K junkie, ” adds Steve “Uncle Creepy” Barton, editor of, a site for fans of horror and the paranormal, citing the HDR effect. “So much of horror movies take place in the shadows, a lot of details get obscured, but with the remastering, the next richer depth of colors, especially black tones, you can still have that murky, in-the-shadows feeling, but now you can actually see whats there. ” Home entertainment executives are also seeing promising growth in the market boosted by this consumer enthusiasm. “Were very enthusiastic about the continued growth of 4K Ultra HD and the unparalleled cinematic experience it brings into the home, ” says Lexine Wong, senior EVP of worldwide marketing at Sony Pictures Home Entertainment. “The 4K ecosystem continues its steady expansion, marked by a host of meaningful advancements over the past year, ” says Eddie Cunningham, president of Universal Pictures Home Entertainment. “Across the industry, weve seen a surge in 4K content offerings and devices as well as a diversified retail presence spanning both physical and digital customers, powering the formats notable progress. ” “The growing number of digital providers and streaming devices supporting 4K coupled with robust sales of 4K UHD discs indicates that demand continues to grow for the exceptional home viewing experience that only 4K offers, ” says Vincent Marcais, EVP of worldwide marketing at Paramount Home Media Distribution. By the Numbers Consumer uptake of 4K UHD TVs is helping to expand the market for content. In its mid-year report, DEG: The Digital Entertainment Group noted that more than 8 million 4K Ultra HD TVs were sold in the first half of 2018, bringing the total number of U. S. households to 38 million. Growth of 4K Ultra HD content is expanding rapidly, according to the DEG, with 344 4K Ultra HD titles available on disc, representing more than 100 million in consumer spending for the first half of the year. There were also 473 4K titles available digitally through the first half. In the same time frame, approximately 1. 7 million Ultra HD Blu-ray playback devices were sold (including game consoles. The Consumer Technology Association expects 1. 2 million 4K UHD Blu-ray Disc players to ship domestically in 2018 (39% growth over 2017) which will make up 22% of all Blu-ray player shipments. UHD Blu-ray player revenue will reach 180 million (17% growth over 2017) according to the CTA. “Consumers desire for a premium entertainment experience at home is the sales driver for both 4K Ultra HD TVs and Ultra HD Blu-ray players, which, when used together, provide the very best possible in-home viewing experience, ” says Amy Jo Smith, president and CEO of the DEG. “The speedy uptake of 4K Ultra HD displays and devices, combined with the rapid expansion of 4K titles available on 4K Ultra HD Blu-ray and digitally, make it possible for every entertainment lover to find something to enjoy with the richest picture and sound possible. ” “We are very encouraged by the formats demonstrated year-over-year growth, ” says Universals Cunningham. “UHD disc sales have doubled from the first half 2017 to first half of 2018 to 100 million in consumer spend and are now capturing a larger share of sales during a tentpole titles first week of release, accounting for nearly 10% of all new-release sales. Research also shows that 4K UHD TV households are driving a significant share of digital transactions. ” The new line of 4K TVs, which increasingly feature HDR, are a driving force. “The TVs are better and better, ” says Bill Hunt, editor at home entertainment enthusiast site The Digital Bits. “Im kind of shocked at how fast theyve gotten inexpensive. You can get a very credible set for a few hundred bucks. And if you want to spend 1, 000 or more you can get a very, very nice set. Prices are getting better and features are getting better all the time. ” “Your bang for the buck goes further now than it ever did, ” adds Home Theater Forums Gregorich. Worldwide, Futuresource data shows 4K Ultra HD TV shipments increased by nearly 40% in 2017 and are expected to increase another 33% in 2018. Also, according to Futuresource data, standalone Ultra HD Blu-ray player sales (minus Xbox) are on pace to surpass 2017 by 44. Meanwhile, 15% of all Ultra HD Blu-ray players shipped worldwide in 2018 are expected to be 4K UHD, with that percentage anticipated to be almost 25% in 2019. The UHD Blu-ray player installed base worldwide is expected to reach 4. 5 million by the end of 2018. Worldwide there are 29 4K UHD BD player models available and 11 4K UHD recorders/players available, according to Futuresource data. Ultra HD Blu-rays are expected to account for 7% of Blu-rays sold worldwide in 2018, rising to 28% by 2022, according to Futuresource. “The prices have definitely come down to the point where it makes sense to [upgrade your Blu-ray player to UHD] ” notes the Home Theater Forums Gregorich. “It just doesnt make sense to not slowly start to make that change. ” IHS Markit anticipates the number of 4K households worldwide will be 188 million by the end of 2018, more than double that of 2016, with the number of households with a 4K TV predicted to grow from 121 million in 2017 to 501 million by 2022, according to the UHD Alliance. “As consumers continue to transition to 4K, the UHD ecosystem is growing at an accelerated rate, ” says UHD Alliance president Mike Fidler. “ABI Research is anticipating 4K UHD TV sales will surpass 102 million, representing 44% of total global flat-panel shipments and Hollywood studios continue to dramatically expand their 4K UHD offerings. And while content from traditional broadcasters remains limited, it remains a critical component of the content universe. In addition, filmmakers, studios and consumer electronics manufacturers are making a more concerted effort to deliver the full capabilities of 4K UHD with more awareness of HDR, wide color gamut, 10-bit color depth and enhanced immersive audio. ” In addition to fostering 4K UHD TVs, Blu-ray players, Blu-rays and other hardware, the UHD Alliance is looking to promote 4K UHD broadcasting. “From the outset, the Alliance has been focused not only on helping consumers understand the benefits of 4K UHD with HDR, but also on fostering the growth of the UHD ecosystem, ” UHDA chairman Michael Zink told broadcast executives at IBC 2018 in Amsterdam Sept. 18. “Broadcast is a critical component of the content universe, and the recent delivery of marquee events such as the Olympics, the World Cup and Wimbledon in 4K with HDR is a significant step toward ensuring consumers get the most out of todays 4K UHD with HDR displays. ” Content Pipeline Indeed, content, while perhaps not coming as quickly as the most avid 4K enthusiasts would like, is growing to serve the market, especially for the all-important gift-giving season. “If you are a 4K enthusiast, its going to be an expensive second half of the year, ” says The Digital Bits Hunt. “There are some really great titles coming that everybody wants to buy. ” In fact, home entertainment enthusiasts are buying 4K UHD titles even before theyve got the equipment to play them. “You have to have an HDR set to really benefit from the UHD, ” says the Home Theater Forums Gregorich. “[But] Ive seen some people buying in advance. They know theyre going to get the HDR set in the next year, so rather than buy the [regular] Blu-ray Disc theyre buying the 4K UHD Blu-ray so that they can enjoy the Blu-ray now and have the UHD for when they make that display upgrade in the next year or so. So were seeing some people do that, kind of future-proofing if you will. ” “I know a lot of guys who dont even have 4K yet, but will buy the 4K version, ” adds Hunt. “Were seeing 4K HDR content availability continue to broaden, with not only the latest theatrical new releases, but remastered classics like The Matrix and 2001: A Space Odyssey, as well as TV franchises like ‘Westworld and ‘Game of Thrones and direct-to-video releases including our DC Universe animated movies, all available or coming soon in 4K HDR, ” notes Warners Schell. “Im excited about 2001: A Space Odyssey, ” Hunt says. “That title is going to look amazing on 4K. ” Going into the fourth quarter, the industry is rolling out some of its biggest films of the year on 4K UHD, says Universals Cunningham, citing Universals Jurassic World: Fallen Kingdom and Mamma Mia! Here We Go Again. “Consumers can expect Foxs new releases to be available in 4K UHD with HDR, many day and date, with digital and Blu-ray, such as the upcoming title The Predator, ” says Danny Kaye, EVP at 20th Century Fox and managing director of the Fox Innovation Lab. As far as Kaye is concerned, “Its clear 4K UHD with HDR is redefining the premium entertainment experience. ” “For the industry, its important to expand our 4K content footprint alongside our consumer electronics and retail partners within this space; and for the consumer, we are excited to bring favorites such as Hotel Transylvania 3, Sicario: Day of the Soldado and Air Force One to market so that consumers can enjoy them in the highest possible quality, ” says Sonys Wong. “More than 38 million U. households have 4K televisions, and clearly those consumers want to maximize the capabilities of their home entertainment systems, so Paramount is committed to delivering an array of titles to fill that demand, ” says Paramounts Marcais. “From enduring classics like the Jack Ryan films to contemporary blockbusters like Mission: Impossible — Fallout, fans can enjoy a diverse slate of movies from Paramount in 4K. ” Home theater enthusiasts are taking notice of the plethora of releases in 4K UHD. “I like the fact that were seeing almost all big titles as day-and-date UHD releases, ” says the Home Theater Forums Gregorich. “I like the fact that a lot of studios are going back and releasing catalog. I mean youve got Paramount doing all the ‘Mission: Impossible movies. Youve got ‘The Matrix collection coming out. Youve had titles like Die Hard come out, so the fact that were seeing studios go back to catalog and release those films in 4K HDR is a good thing, and Im finding that despite the fact that I swore Blu-ray would be it, Im rebuying and replacing Blu-rays with UHDs. ” Gregorich is looking forward to the fourth-quarter sales. “Im very interested to see whats going to happen with Q4 and Black Friday with the format, ” he says. “I was actually sort of surprised at the number of UHD deals on Black Friday last year, and Im really interested to see what were going to have on Black Friday this year. I was surprised at the number of 10 UHD discs last year at both Best Buy and Amazon. I did a lot of catalog catchup then. Hopefully, well see something similar this year. ” Physical, Digital and Looking to the Future Industry pundits agree that the physical disc is still the best way to watch 4K UHD with HDR. “Home theater enthusiasts, serious film fans, cinephiles, they want stuff on disc, ” notes The Digital Bits Hunt. “The guys who have the really nice home theaters, they dont want to watch a 4K stream on their iPad. They want to be able to have the disc. ” Hunt is a disc aficionado. “I dont purchase movies digitally. Its just not my thing, ” he added. “If Im gonna spend my money, I want the best quality, especially in a new format like 4K. ” Redbox, known for its national fleet of disc-rental kiosks as well as its Redbox On Demand digital store, last May began renting 4K Ultra HD rentals in six test markets. Ultra HD Blu-ray Discs rent for 2. 50 per night, 50 cents higher than the rental rate for regular Blu-ray Discs (DVDs are 1. 75. The test rolled out across more than 2, 500 kiosks in Los Angeles, Seattle, Austin, Detroit, Miami and New York City. “This is a major move for Redbox as we focus on expanding consumer access to home entertainment options across price points and formats, ” Galen Smith, CEO of Redbox, told Media Play News at the time. “As the popularity of 4K content increases and pricing of 4K hardware decreases, were excited to offer the best viewing experience at the best price for 4K Blu-ray discs. ” But like all content, 4K Ultra HD is fast migrating from disc to digital. Nielsen recently reported that domestic DVD/Blu-ray household penetration has fallen to 67% in the first quarter of 2018 from 73% at the end of 2017, indicating consumers shift to other forms of delivery. “We still believe 4K Ultra HD Blu-ray remains the premium format for viewing 4K HDR content, ” says Warners Schell. “However, the digital infrastructure continues to improve, with most digital services now supporting 4K HDR content. And with the 5G infrastructure ready to deploy this year from AT&T and others, the availability and digital distribution of 4K content will continue to improve and proliferate globally. ” Home theater enthusiasts are preparing for the future as well, happy that studios are offering 4K digital copies in the physical combo packs. “The fact that almost all the studios are giving you a 4K digital copy now instead of the 2K digital copy is sweetening that pot a little bit, just to know that Ive got a more future-ready digital version, ” the Home Theater Forums Gregorich says. Digital retailers are catering to the 4K consumer as well. “Its likely that a new TV in the home will be a 4K TV, and theres a dearth of premium content available, ” says Cameron Douglas, VP of home entertainment at Fandango. “Thats where providers like FandangoNow step in, with a vast assortment of big 4K titles, most in high dynamic range, ready to watch on demand — titles like Incredibles 2, Solo: A Star Wars Story and Deadpool 2 are just a click away. ” Streaming goliaths such as Netflix, too, are moving into 4K. Netflix reports subs require a minimum speed of 25Mbps to stream 4K content, and it is tinkering with higher pricing for 4K streamers in Europe, perhaps indicating the value of picture quality in the streaming realm. No matter how the content is delivered, education is the key to expanding the format, observers say. “Driving further awareness about the format and educating both physical and digital consumers on 4K UHDs high-value, high-quality proposition will be critical to successfully driving broad adoption, ” Universals Cunningham says. “Consumers are witnessing an unprecedented and rapid convergence between 4K options in movies, gaming, streaming and affordable high-end 4K displays that have expanded from televisions to a bevy of smart devices and computers, ” says Lionsgates Casillas. “The most exciting part is that the best of 4K is still to come. ” Even More Dynamic Dynamic metadata, as opposed to static, is considered by many to be the height of HDR, allowing colors and brightness to adjust scene by scene. Dolby Vision, which requires a licensing fee, and HDR10+ which does not, are two of the formats promoting this greater HDR capability. HDR10+ is backed by 20th Century Fox, Panasonic and Samsung with support from Amazon. “Fox has eyes toward the future and is committed to bringing consumers the best in picture and sound, often working hand-in-hand with leading technology partners on the development of content for the next generation of entertainment, ” says Foxs Kaye. “This includes the latest HDR10+ technology, which is gaining traction and will further improve the viewing experiences for all audiences. ” Dolby via Dolby Vision, which also offers dynamic metadata, and the sound enhancement, Dolby Atmos, is also vying to improve the home entertainment experience. “Dolby Vision and Dolby Atmos continue to gather exciting momentum across the entertainment ecosystem, ” says Ron Geller, VP of worldwide content relations at Dolby. “Major Hollywood studios and independents are now delivering Dolby Vision on a regular basis, with all studios supporting Dolby Atmos for the home. With a wide range of content available including Dolby technologies, leading service and content distribution providers around the world are enabling the combined Dolby Vision and Dolby Atmos experience. This includes Amazon, iTunes, iQIYI, Netflix, Rakuten TV, Tencent, VUDU, and others. From content creation and distribution to devices, Dolby Vision and Dolby Atmos are creating spectacular experiences for next-gen home entertainment. ” Dolby reports that more than 360 movies are available in Dolby Vision, with more than 400 hours of original content available from Netflix. Also, content partners supporting Dolby Vision include A24, Amazon Studios, BBC, Disney, HBO, iQIYI, Lionsgate, Magnolia Pictures, MGM, Netflix, Paramount, Sony Pictures, Universal Pictures and Warner Bros., among others. Content service providers supporting Dolby Vision include iTunes, iQIYI, Netflix, NTT Plala, Rakuten TV, Vudu and Tencent. Also, Dolby Vision is available on 4K UHD Blu-ray with 80-plus titles in the market. On the hardware side, 12 TV brands have Dolby Vision TVs in the market at prices as low as 350, according to Dolby. Apple announced support for Dolby Vision across iPhone, iPad and Apple TV 4K; Lenovo announced the first PCs supporting Dolby Vision; and Microsoft announced Dolby Vision support on Xbox One S and Xbox One X, according to Dolby. Dolby Atmos is featured on more than 400 movie titles available in the home from all major studios and a wide range of independents, according to Dolby. As for the home entertainment enthusiasts, they are captive to what the studios and hardware manufacturers support. But they are not too concerned about it. “Its whatever the studio opts to use for their authoring pipeline, so its not like I have a choice, ” says HTFs Gregorich. “I did as a conscientious decision make sure I had invested in playback hardware that would do both Dolby Vision and HDR10. Unfortunately, HDR10+ came out after I bought displays. ” Hunt, at The Digital Bits, is more sanguine. “I dont find it to be a big deal, ” he says. “Some consumers swear that it is. Some enthusiasts swear that it is, but I dont find it to be that big a deal. The key is if youve got a really bright display, like a display that can really handle the bright brights and the dark darks, you dont need Dolby Vision. The Dolby Vision is more of a benefit when youve got a display that isnt fully capable of displaying the full range of dynamics. ” 4K Ultra HD Blu-ray All-Time Top 50 Sellers as of 8/25/18 All-Time Top 4K UHD BD Market Share as of 8/25/18.

The life and times of bill monroe. At the heart of Christine, the 1983 cult horror favorite based on the Stephen King novel, we find a love story. It's a rather familiar and well-known tragic tale of two lonely souls finding one another at the right, opportune time. Just when they each feel at their lowest and most vulnerable, forsaken by the cruelty of the world, the cosmos perfectly aligns in order to bring this pair of destined lovers together. And like any typical love story, their love-at-first-sight "meet-cute" is a contrived happenstance that should feel fortuitous, a chance encounter that could have played differently if prior events hadn't placed each other on the proper road for the two to meet. Of course, this story adds one significant twist to the archetypal formula; King's plot, with minor alterations by screenwriter Bill Phillips, is the forbidden love of a boy and his car. The boy is Arnold Cunningham (Keith Gordon) — about as sweet, innocent and All-American as a name could ever possibly be. He's the stereotypical nerd, a clumsy buffoon with black, thick-rimmed glasses who can't seem to carry a garbage bag without spilling the contents all over the driveway or even open his school locker. Mousy, timid and easily frightened, he's the sort of character commonly seen in the background of most high school based movies, the one always being picked on by the popular kids. Not much has changed here, except he's been brought to the forefront as the lead, and Gordon does a splendid job as the nervous, cowardly type who never has any luck with the girls, carrying the entire film with a charismatic presence. That fascination changes as the narrative progresses and Arnie grows darker, yet Gordon remains just as captivating and interesting. The car is a fiery red 1958 Plymouth Fury named "Christine" by its fragile-looking seller (Roberts Blossom. We're told she's only had one owner since the first day she rolled off the assembly line, but the man had suffered a string of fatal tragedies since the vehicle came into his life. A major difference between the original book and John Carpenter's retelling of it is the car's backstory. Whereas King gives a possible reason for it being possessed, Carpenter leaves the origins of Christine's evilness a mystery. She was simply born that way. In fact, the film opens on the day of her manufacturing, slowly moving along the assembly line behind other similar models while George Thorogood's "Bad to the Bone" plays overhead. Only, she stands out as the lone shiny red beauty. She's also the type of vehicle that demands respect, crushing the hand of one man for looking under her hood and chassis without permission and killing another for dropping cigar ashes all over her new leather interior. It's an amusing start for a unique supernatural thriller that establishes the car with a menacing personality and a sense of her own independence, but her distinctive temperament doesn't take away from her need to be loved and appreciated. And the fates are in her favor, uniting her with Arnie twenty years later when the two are feeling the least respected and valued. Arnie is coming off the worst first day ever as a high school senior, bullied by the switchblade-wielding Buddy Repperton (William Ostrander) and his gang of hooligans, leading to their expulsion. Christine has also been having a bad day, looking like a derelict piece of forgotten junk in the middle of an overgrown lawn, but Arnie notices her and sees her potential, purchasing the car on the spot in spite of his best friend's (John Stockwell) objections. It's love at first sight with the two taking an immediate liking to each other. The horror of Christine begins soon after. It's not necessarily the sort that delivers chills down the spine as much as it is able to successfully entertain with an admittedly silly supernatural concept supplemented by psychological horror elements. As Arnie restores Christine back to her former glory, he slowly transforms to the surprise of everyone, especially his parents and Dennis (Stockwell) from the twitchy, cowardly nerd to a cheeky, intimidating hood. Meanwhile, Christine grows possessive and protective of her new owner, jealous of Arnie's girlfriend Leigh (Alexandra Paul) and murdering those intending Arnie harm, which attracts the attention of Detective Junkins (Harry Dean Stanton. Although the editing gives the narrative a sometimes distracting episodic feel, Carpenter keeps Arnie's dark progression well-paced and wickedly titillating while creatively making Christine a mischievous monster, from the throaty rumbling of her engine to the cleverly suitable rock tunes which act as the voice of her intentions. Vital Disc Stats: The Ultra HD Blu-ray Sony Pictures Home Entertainment brings John Carpenter's Christine to Ultra HD Blu-ray as a two-disc combo pack with a flyer for a Digital HD Copy. When redeeming said code via, Movies Anywhere or through VUDU, users only have access to a 1080p HD copy with Dolby Digital 5. 1 audio. The dual-layered UHD66 disc sits comfortably opposite a Region Free, BD50 disc, and both are housed inside a black, eco-vortex case with a glossy slipcover. At startup, the UHD disc goes straight to an interactive menu screen that changes when switching between the usual options while music plays in the background.

The Matrix Reloaded Theatrical release poster Directed by The Wachowskis [a] Produced by Joel Silver Written by The Wachowskis Based on Characters by The Wachowskis Starring Keanu Reeves Laurence Fishburne Carrie-Anne Moss Hugo Weaving Jada Pinkett Smith Gloria Foster Music by Don Davis Cinematography Bill Pope Edited by Zach Staenberg Production companies Village Roadshow Pictures Silver Pictures NPV Entertainment Distributed by Warner Bros. Pictures Release date May 7, 2003 ( Mann Village Theatre) May 15, 2003 Running time 138 minutes [1] Country United States [2] 3] Language English Budget 127 [4] –150 [5] million Box office 739. 4 million [5] The Matrix Reloaded is a 2003 American science fiction action film written and directed by the Wachowskis. [a] It is the first sequel to The Matrix, and the second installment in The Matrix film franchise. Reloaded premiered on May 7, 2003, in Westwood, Los Angeles, California, and went on general release by Warner Bros. in North American theaters on May 15, 2003, and around the world during the latter half of that month. It was also screened out of competition at the 2003 Cannes Film Festival. [6] The video game Enter the Matrix and The Animatrix, a collection of short animations, supported and expanded the storyline of the film. The film received generally positive reviews from critics and grossed 739. 4 million worldwide, breaking Terminator 2: Judgment Day 's record and becoming the highest-grossing R-rated film of all time until Deadpool surpassed it in 2016. The Matrix Revolutions, which continues the story, was released six months after Reloaded, in November 2003. Plot [ edit] Six months after the events of The Matrix, Neo and Trinity are now romantically involved. Morpheus receives a message from Captain Niobe of the Logos calling an emergency meeting of all ships of Zion. Zion has confirmed the last transmission of the Osiris: an army of Sentinels is tunneling towards Zion and will reach it within 72 hours. Commander Lock orders all ships to return to Zion to prepare for the onslaught, but Morpheus asks one ship to remain to contact the Oracle. As the Caduceus receives a message from the Oracle, one of the Caduceus crew, Bane, encounters Smith, who reveals that his previous encounter with Neo severed his connection with the Matrix and is now a rogue program, then absorbs his avatar. Smith then uses the phone line to leave the Matrix and gain control of Bane's real body. In Zion, Morpheus announces the news of the advancing machines to the people. In the Matrix, Neo meets the Oracle's bodyguard Seraph, who leads him to her. After realizing that the Oracle is part of the Matrix, Neo asks how he can trust her; she replies that this is his decision. The Oracle instructs Neo to reach the Source of the Matrix with the help of the Keymaker. As the Oracle departs, Smith appears, telling Neo that after being defeated, he refused to be deleted and is now a rogue program. He demonstrates his ability to clone himself using other inhabitants of the Matrix, including other Agents, as hosts. He then tries to absorb Neo but fails, prompting a battle between Smith's clones and Neo. Neo manages to defend himself, but is forced to retreat from the increasingly overwhelming numbers. Neo, Morpheus, and Trinity visit the Merovingian, who is imprisoning the Keymaker. The Merovingian, a rogue Matrix program with his own agenda, refuses to let him go. His wife Persephone, seeking revenge on her husband for his infidelity, leads the trio to the Keymaker. Morpheus, Trinity, and the Keymaker flee while Neo holds off the Merovingian's henchmen. Morpheus and Trinity try to escape with the Keymaker, pursued by several Agents and the Merovingian's chief henchmen, the Twins. After a long chase, Trinity escapes, Morpheus defeats the Twins, and Neo saves Morpheus and the Keymaker from Agent Johnson. The crews of the Nebuchadnezzar, Vigilant, and Logos help the Keymaker and Neo reach the Source. The Logos crew must destroy a power plant and the Vigilant crew must destroy a back-up power station, to prevent a security system from being triggered, allowing Neo to open the door to the Source. Haunted by a vision of Trinity's death, Neo asks her to remain on the Nebuchadnezzar. The Logos succeeds, while the Vigilant is destroyed by a Sentinel, killing everyone on board. Trinity replaces the Vigilant crew and completes their mission. However, Agent Thompson corners her and they fight. As Neo, Morpheus, and the Keymaker try to reach the Source, the Smiths ambush them. The Keymaker unlocks the door to the Source, but the Smiths shoot him dead as he tries to close the door. Neo meets a program called the Architect, the creator of the Matrix. The Architect explains that Neo is an intentional part of the Matrix, which is now in its sixth iteration. Neo is meant to stop the Matrix's fatal system crash that naturally recurs due to the concept of human choice within it. As with the five previous Ones, Neo has a choice: either return to the Source to reboot the Matrix and pick survivors to repopulate the soon-to-be-destroyed Zion, as his predecessors all did, or cause the Matrix to crash and kill everyone connected to it, which would mean humanity's extinction when Zion is destroyed. Neo learns of Trinity's situation and chooses to save her instead of returning to the Source, to which the Architect responds dismissively. Trinity is shot as she and Agent Thompson fall off a building. Before she hits the ground, Neo catches her. He then removes the bullet from her heart and revives her. They return to the real world, where Sentinels attack them. The Nebuchadnezzar is destroyed, but the crew escape. Neo displays a new ability to disable the machines with his thoughts, but falls into a coma from the effort. The crew are picked up by another ship, the Hammer. Its captain, Roland, reveals the other ships were wiped out by the machines after someone activated an EMP too early, and that they found only one survivor: the Smith-possessed Bane. Cast [ edit] Zee was originally played by Aaliyah, who died in a plane crash on August 25, 2001, before filming was complete, requiring her scenes to be reshot with actress Nona Gaye. [7] 8] Production [ edit] Filming [ edit] The Matrix Reloaded was largely filmed at Fox Studios in Australia, filming began on March 1, 2001 and ended on August 21st, 2002, concurrently with filming of the sequel, Revolutions. The freeway chase and "Burly Brawl" scenes were filmed at the decommissioned Naval Air Station Alameda in Alameda, California. The producers constructed a 1. 5-mile freeway on the old runways specifically for the film. Some portions of the chase were also filmed in Oakland, California, and the tunnel shown briefly is the Webster Tube, which connects Oakland and Alameda. Some post-production editing was also done in old aircraft hangars on the base as well. The city of Akron, Ohio was willing to give full access to Route 59, the stretch of freeway known as the "Innerbelt" for filming of the freeway chase when it was under consideration. However, producers decided against this as "the time to reset all the cars in their start position would take too long. 9] MythBusters would later reuse the Alameda location in order to explore the effects of a head-on collision between two semi trucks, and to perform various other experiments. Around 97% of the materials from the sets of the film were recycled after production was completed; for example, tons of wood were sent to Mexico to build low-income housing. [10] Some scenes from the film Baraka by Ron Fricke were selected to represent the real world shown by the wallmonitors in the Architect's room. citation needed] The scene where The Oracle ( Gloria Foster) appears was filmed before her death on September 29, 2001. Visual effects [ edit] Following the success of the previous film, the Wachowskis came up with extremely difficult action sequences, such as the Burly Brawl, a scene in which Neo had to fight 100 Agent Smiths. To develop technologies for the film, Warner Bros. launched ESC Entertainment. [11] The ESC team tried to figure out how to bring the Wachowskis' vision to the screen, but because bullet time required arrays of carefully aligned cameras and months of planning, even for a brief scene featuring two or three actors, a scene like the Burly Brawl seemed almost impossible as envisioned and could take years to composite. Eventually John Gaeta realized that the technology he and his crew had developed for The Matrix ' s bullet time was no longer sufficient and concluded they needed a virtual camera (in other words, a simulation of a camera. Having before used real photographs of buildings as texture for 3D models in The Matrix, the team started digitizing all data, such as scenes, characters' motions, or even the reflectivity of Neo's cassock. The reflectivity of objects needs to be captured and simulated adequately and Paul Debevec et al. captured the reflectance of the human face and Borshukov's work was strongly based on the findings of Debevec et al. They developed "Universal Capture" a process which samples and stores facial details and expressions at high resolution, then capture expressions from Reeves and Weaving using dense aka. markerless capture and multi-camera setup (similar to the bullet time rig) photogrammetric capture technique called optical flow. [12] The algorithm for Universal Capture was written by George Borshukov, visual effects lead at ESC, who had also created the photo-realistic buildings for the visual effects in The Matrix. With this collected wealth of data and the right algorithms, they finally were able to create virtual cinematography in which characters, locations, and events can all be created digitally and viewed through virtual cameras, eliminating the restrictions of real cameras, years of compositing data, and replacing the use of still camera arrays or, in some scenes, cameras altogether. The ESC team render the final effects using the program mental ray. [11] Music [ edit] Don Davis, who composed for The Matrix, returned to score Reloaded. For many of the pivotal action sequences, such as the "Burly Brawl" he collaborated with Juno Reactor. Some of the collaborative cues by Davis and Juno Reactor are extensions of material by Juno Reactor; for example, a version of "Komit" featuring Davis' strings is used during a flying sequence, and "Burly Brawl" is essentially a combination of Davis' unused "Multiple Replication" and a piece similar to Juno Reactor's "Masters of the Universe. One of the collaborations. Mona Lisa Overdrive. is titled in reference to the cyberpunk novel of the same name by William Gibson, a major influence on the directors. Leitmotifs established in The Matrix return — such as the Matrix main theme, Neo and Trinity's love theme, the Sentinel's theme, Neo's flying theme, and a more frequent use of the four-note Agent Smith theme — and others used in Revolutions are established. As with its predecessor, many tracks by external musicians are featured in the movie, its closing credits, and the soundtrack album, some of which were written for the film. Many of the musicians featured, for example Rob Zombie, Rage Against the Machine and Marilyn Manson, had also appeared on the soundtrack for The Matrix. Rob Dougan also re-contributed, licensing the instrumental version of " Furious Angels. as well as being commissioned to provide an original track, ultimately scoring the battle in the Merovingian's chateau. A remixed version of " Slap It " by electronic artist Fluke — listed on the soundtrack as "Zion" — was used during the rave scene. Linkin Park contributed their instrumental song "Session" to the film as well, although it did not appear during the course of the film. P. O. D. composed a song called " Sleeping Awake. with a music video which focused heavily on Neo, as well as many images that were part of the film. Both songs played during the film's credits. It was originally planned for the electronic band Röyksopp to create the soundtrack, but this offer was turned down. [13] Reception [ edit] Box office [ edit] The film earned an estimated 5 million during Wednesday night previews in North America. Reloaded grossed 37. 5 million on its Thursday opening day in North America from 3, 603 theaters, which was the second highest opening day after Spider-Man ' s 39. 4 million and highest for a Thursday. The film earned 91. 7 million in its first weekend, 14] and ultimately grossed 281. 6 million in the US, and 739. 4 million worldwide. The film sold an estimated 46, 695, 900 tickets in North America. [15] Critical response [ edit] Reloaded received a Rotten Tomatoes approval rating of 73% based on 244 reviews, with a weighted average score of 6. 8/10. The site's critical consensus states: Though its heady themes are a departure from its predecessor, The Matrix Reloaded is a worthy sequel packed with popcorn-friendly thrills. 16] The film's rating on Metacritic is 62% based on reviews from 40 critics, indicating "generally favorable reviews. 17] However, Entertainment Weekly named it as one of "The 25 Worst Sequels Ever Made. 18] Positive comments from critics included commendation for the quality and intensity of its action sequences, 19] and its intelligence. [20] Tony Toscano of Talking Pictures had high praise for the film, saying that "its character development and so crisp it crackles on the screen" and that " Matrix Reloaded re-establishes the genre and even raises the bar a notch or two" above the first film, The Matrix. [21] Negative comments included the sentiment that the plot was alienating, 22] 23] with some critics regarding the focus on the action as a detriment to the film's human elements. [24] 25] Some critics thought that the number of scenes with expository dialog worked against the film, 26] 27] and the many unresolved subplots, as well as the cliffhanger ending, were also criticized. [28] Other criticisms included the film's perceived lack of pacing. [29] Awards [ edit] Censorship [ edit] The film was initially banned in Egypt because of the violent content and because it put into question issues about human creation, which are related to the three divine religions. 30] Home media [ edit] The Matrix Reloaded was released on VHS and DVD on October 14, 2003. A Blu-Ray release followed on September 7, 2010. [31] The Matrix Reloaded was released as a part of The Matrix Trilogy on 4K UHD Blu-ray on October 30, 2018. [32] See also [ edit] Simulated reality List of films featuring powered exoskeletons Notes [ edit] a b Credited as The Wachowski Brothers. References [ edit] "The Matrix Reloaded. British Board of Film Classification. Retrieved September 15, 2013... The Matrix Reloaded (2003. LUMIERE. Retrieved November 22, 2017. ^ "The Matrix Reloaded (2003. Andy Wachowski, Larry Wachowski - Synopsis, Characteristics, Moods, Themes and Related. AllMovie. Retrieved October 8, 2017. ^ a b "The Matrix Reloaded (2003. Box Office Mojo. Retrieved February 5, 2009. ^ The Matrix Reloaded - Festival de Cannes. Retrieved August 22, 2019. ^ Aaliyah. The Independent. London. August 27, 2001. Archived from the original on June 6, 2010. ^ Aaliyah: A 'beautiful person's' life cut short. Retrieved February 8, 2015. ^ Job, Ann. "Chasing the Stars: Carmakers in Movies. Archived from the original on March 6, 2005. Retrieved January 30, 2005. ^ Hollywood smog an inconvenient truth. Associated Press. November 14, 2006. Archived from the original on December 15, 2006. ^ a b Silberman, Steve. "Matrix 2. Wired. Retrieved December 25, 2012. ^ Debevec, Paul; J. Lewis (2005. Realistic human face rendering for "The Matrix Reloaded. ACM SIGGRAPH 2005 Courses on - SIGGRAPH '05. ACM. p. 13. doi: 10. 1145/1198555. 1198593. Retrieved August 10, 2013... Kafka feat. Röyksopp at the Bergen International Festival Archived September 6, 2017, at the Wayback Machine. Bergen International Festival. 2015 ^ Weekend Box Office Results for May 16-18, 2003 - Box Office Mojo. Retrieved October 8, 2017. ^ The Matrix Reloaded (2003. Retrieved July 13, 2016... The Matrix Reloaded (2003. Rotten Tomatoes. Fandango. Retrieved April 24, 2018... The Matrix Reloaded Reviews. Metacritic. CBS Interactive. Retrieved July 9, 2016. ^ Nashawaty, Chris (December 22, 2007. The 25 Worst Sequels Ever Made. Entertainment Weekly. Retrieved July 9, 2016. ^ McCarthy, Todd (May 7, 2003. The Matrix Reloaded. Variety. Retrieved July 12, 2007. ^ Arnold, William (May 14, 2003. Matrix' fans can't afford to miss 'Reloaded. Retrieved July 12, 2007. ^ Toscano, Tony (May 20, 2003. The Matrix Reloaded (2003) movie review. Archived from the original on March 10, 2007. Retrieved July 12, 2007. ^ Schickel, Richard (May 11, 2003. The Matrix Reboots. TIME. Retrieved July 12, 2007. ^ Rodriguez, Rene (May 14, 2003. Sequelitis infects 'Matrix Reloaded' with talk - lots of it. Archived from the original on August 12, 2003. Retrieved July 12, 2007. ^ Sterritt, David (May 16, 2003. Ready for a Neo world order. Retrieved July 12, 2007. ^ Rabin, Nathan (May 13, 2003. The Matrix Reloaded review. The A. V. Club. Retrieved July 12, 2007. ^ Miller, Skyler. Retrieved July 9, 2016. ^ Savlov, Marc (May 16, 2003. The Austin Chronicle. Retrieved July 12, 2007. ^ Caro, Mark (June 11, 2003. Movie review: The Matrix Reloaded. Metromix. Archived from the original on December 30, 2007. Retrieved July 12, 2007. ^ Sailer, Steve (May 15, 2003. Film of the Week: Matrix Reloaded. UPI. Retrieved October 6, 2015. It has only two speeds: you either get leaden philosophizing about free will or super-colossal action set pieces. It's like " My Dinner with Andre on the Hindenburg. " "Egypt bans 'too religious' Matrix. BBC News. June 11, 2003. Retrieved August 21, 2016. ^ The Matrix Reloaded DVD Release Date October 14, 2003. DVDs Release Dates. Retrieved May 21, 2018. ^ The Matrix Trilogy - 4K Ultra HD Blu-ray Ultra HD Review, High Def Digest. Retrieved November 26, 2018. External links [ edit.

The times of bill cunningham documentary netflix. The Times of bill o.

 

Ira vehementi. 1:51 HAJ OF The Big Bang Theory its a great drummer. The Iowa Democratic Partys caucuses encountered a major foul-up when it came time to report the results, putting more chaos into an already unpredictable presidential campaign. A judge in South Africa has issued an arrest warrant for former President Jacob Zuma for failing to appear in court for a corruption case North Korea says it is mobilizing 30, 000 health workers every day in its “all-out efforts” to guard against the spread of a virus from neighboring China Iran said Tuesday that its top court confirmed a death sentence for an Iranian man convicted of spying for the CIA, with state media alleging that he had shared details of the Islamic Republics nuclear program with the American spy agency. Shakira and Jennifer Lopez showcase Dundas, Versace and a whole lot of Swarovski crystals in Miami performance. There was no anger. She understood what I was going through. She had been divorced for over a decade, and had been in a few relationships since. And I was just coming to realize that I wasnt ready to be in a committed relationship just months after ending a 23-year marriage. Ruggables two-part rug system is driving social media crazy — in a good way. We talk to the Los Angeles-based entrepreneur behind it all, and she explains how it all started with her dog, and an accident. And a rug empire was born. L. A. gardening events in February include sales of orchids (Westminster Mall) camellias and bonsai (both at the Huntington. Although the timing and severity of a recession may be out of your control, your own finances dont have to be, and the decisions you make today can help insulate you should an economic downturn arrive. New allegations of sexual misconduct have surfaced at Victorias Secret as the brand tries to remake its image after years of scandal and slumping sales. Federal antitrust regulators say a proposed merger that would combine old-school shaving company Schick with upstart Harrys would end up costing consumers some skin. Goldman has begun building technology to facilitate the offering of loans to small and medium-sized businesses over Amazons lending platform, sources said. Vegas is a pretty accessible city because its still young and changing. Heres what you need to know to navigate. The three-day event is about football, of course, but also about music, all sorts of events and huge crowds. Lottery starts Saturday for those who want to scale the popular southern Sierra peak. Development in Big Bear may affect bald eagle population. Plus, Paine Field is not easier than SeaTac; getting a better seat requires some help; and an omission about a new ship.

Christine Theatrical release poster Directed by John Carpenter Produced by Richard Kobritz Larry J. Franco Screenplay by Bill Phillips Based on Christine by Stephen King Starring Keith Gordon John Stockwell Alexandra Paul Robert Prosky Harry Dean Stanton Music by John Carpenter Alan Howarth Cinematography Donald M. Morgan Edited by Marion Rothman Production company Columbia Pictures Delphi Premier Productions Polar Film Distributed by Columbia Pictures Release date December 9, 1983 Running time 110 minutes Country United States Language English Budget 10 million [1] Box office 21 million (US) 2] Christine is a 1983 American supernatural horror film directed by John Carpenter and starring Keith Gordon, John Stockwell, Alexandra Paul, Robert Prosky and Harry Dean Stanton. The film also features supporting performances from Roberts Blossom and Kelly Preston. Written by Bill Phillips and based on Stephen King s 1983 novel of the same name, the movie follows the changes in the lives of Arnie Cunningham, his friends, his family, and his teenage enemies after Arnie buys a vintage 1958 Plymouth Fury named Christine, a car that seems to have a jealous, possessive personality - and a mind of its own. The film was dedicated to Robert "Bob" Dawn, who was the make-up supervisor for the film. Upon its release, the film grossed 21 million at the US box office. The film received mostly positive reviews from critics and has since become a cult classic. [3] Plot [ edit] In September 1957, at a Chrysler Corporation assembly plant in Detroit, the hood of a newly assembled, red-and-white 1958 Plymouth Fury slams down without warning and crushes the hand of a line worker inspecting its front end. Another worker climbs in to sit behind the wheel, letting the ash from his cigar fall on the front seat. At the end of the shift, the line supervisor notices the worker slumped in the seat and opens the door; the worker falls to the floor dead, a look of terror on his face. 21 years later, in September 1978, Arnold "Arnie" Cunningham is an awkward and unpopular teenager in Rockbridge, California, with only one friend, football player Dennis Guilder. Arnie's life begins to change when he buys the now used and badly battered red-and-white 1958 Plymouth Fury from George LeBay, brother of the original owner, the late Roland LeBay, and is in need of extensive repairs. George tells Arnie several details about the car, including its name: Christine. Since his parents will not let him keep the car at their house, Arnie begins to restore it at a do-it-yourself garage and junkyard owned by Will Darnell. As he spends more of his time working on the car, he discards his glasses, dresses more like a 1950s greaser, and develops an arrogant, paranoid personality. Unbeknownst to Arnie, Dennis learns from Arnie's mom that the previous owner Roland actually committed suicide in the car and confronts George LeBay to find out more: the owner's daughter choked to death in it and his wife also committed suicide in it, the same as Roland. George also tells Dennis that Roland tried to get rid of Christine after Roland's wife died in the car but Christine "came back 3 weeks later. During a football game, Dennis becomes distracted by the sight of Arnie kissing his new girlfriend, Leigh Cabot, in front of a now-perfect Christine and is tackled, suffering a career-ending injury. On a rainy evening at a drive-in movie, Christine's windshield wipers stop working. Arnie goes outside to try to get them working again and while he's outside the car, Leigh begins to choke on a hamburger. Christine locks the doors and Arnie cannot get in to help Leigh but Leigh manages to pull the lock open and is saved when a man in the car next to them administers the Heimlich maneuver. Meanwhile, school bully Buddy Repperton - angry with Arnie over being expelled after a confrontation in shop class - vandalizes Christine with the help of his gang. Arnie is devastated and determined to repair Christine but is surprised to see it quickly restore itself to showroom quality as he watches. Christine drives off by herself to seek out the vandals, crushing one in an alley, triggering a gas station explosion that kills two others and sets the car on fire and finally running down Buddy the badly burned Christine returns to Darnell's garage, Darnell climbs in to sit behind the steering wheel and is crushed to death when Christine pushes the driver's seat forward. The next morning, Christine is back in its slot and fully repaired. State police detective Rudolph Junkins becomes suspicious of Arnie, having discovered paint from Christine at the scenes of two gang members' deaths. However, he has no direct evidence to implicate Arnie, who has an alibi. Junkins either does not know or cannot believe that Christine can drive herself. Following the choking incident and Christine's initial vandalization, Leigh breaks up with Arnie. Dennis and Leigh conclude the only way to save Arnie is to destroy Christine. They set a trap for it at Darnell's garage; Dennis waits at the controls of a bulldozer, while Leigh stands ready to close the garage doors and cut off Christine's retreat once it enters. However, Christine has been lying in wait under a pile of debris in the garage the entire time and when Leigh takes up her position at the door controls, it strikes. Christine crashes through Darnell's office in an attempt to get at Leigh. Arnie – who has been driving the car himself – is thrown through the windshield and impaled on a shard of glass, which kills him. Dennis and Leigh attack Christine with the bulldozer but it continually repairs itself and strikes back. The battle continues until they repeatedly drive back and forth over the car, damaging Christine so much that it is unable to immediately regenerate. The next day, Dennis, Leigh and Junkins watch as Christine's remains are compacted by a car crusher in a junkyard. The solid single cube is then dropped on the ground in front of them. Junkins praises Dennis and Leigh for defeating the demonic vehicle, despite them mourning the loss of Arnie and how they couldn't save him. The three become alarmed when they hear 1950s rock 'n' roll music apparently coming from the cube, but it turns out to be coming from a worker's portable radio; Leigh subsequently comments, God, I hate rock 'n' roll. " The film ends as the camera zooms in to the cube and a small piece of the front grille twitches slightly. Cast [ edit] Production [ edit] Conception [ edit] Producer Richard Kobritz had previously produced the miniseries Salem's Lot, also based on a Stephen King novel. Through producing the miniseries, Kobritz became acquainted with King, who sent him manuscripts of two of his novels, Cujo, and Christine. [4] Kobritz purchased the rights to Christine after finding himself attracted to the novel's "celebration of America's obsession with the motorcar. 4] Kobritz's first choice for director was John Carpenter, who was initially unavailable due to two projects: an adaptation of another King novel, Firestarter, and an adaptation of the 1980 Eric Van Lustbader novel The Ninja. However, production delays on these projects allowed Carpenter to accept the director position for Christine. [5] Kobritz and Carpenter had previously collaborated in the 1978 television film Someone's Watching Me. 5] Bill Phillips was Carpenter's choice for writer and was brought on shortly after Carpenter arrived. Carpenter was also joined by special effects supervisor Roy Arbogast, who had previously worked with Carpenter in The Thing (1982. 5] According to Carpenter, Christine was not a film he had planned on directing, saying that he directed the film as "a job" as opposed to a "personal project. 6] He had previously directed The Thing, which had done poorly at the box office and led to critical backlash. [4] In retrospect, Carpenter stated that upon reading Christine, he felt that "It just wasn't very frightening. But it was something I needed to do at that time for my career. 6] King's novel, the source material for Carpenter's film, made it clear that the car was possessed by the evil spirit of its previous owner, Roland D. LeBay, whereas the film version of the story shows that the evil spirit of the car manifested itself on the day it was built. [7] Other elements from the novel were altered for the film, particularly the execution of the death scenes, which the filmmakers opted for a more "cinematic approach. 8] Casting [ edit] Initially, Columbia Pictures had wanted to cast Brooke Shields in the role of Leigh due to her publicity after the release of The Blue Lagoon (1980) and Scott Baio as Arnie. [4] The filmmakers declined the suggestion, opting to cast young actors who were still fairly unknown. Kevin Bacon auditioned for the role, but opted out when offered a part in Footloose (1984. 4] Carpenter cast Keith Gordon in the role of Arnie after an audition in New York City; Gordon had some experience in film, and was also working in theater at the time; John Stockwell was cast at an audition in Los Angeles. [4] Nineteen-year-old Alexandra Paul was cast in the film after audition in New York City; according to Carpenter, Paul was an "untrained, young actress" at the time, but brought a "great quality" about the character of Leigh. [4] According to Paul, she had not read any of King's books or seen Carpenter's films, and read the novel in preparation. [4] Filming [ edit] Christine was shot largely in Los Angeles, California, while the location for Darnell's garage was located in Santa Clarita. [8] Filming began in April 1983, merely days after the King novel had been published. [9] The film's stunts were primarily completed by stunt coordinator Terry Leonard, who was behind the wheel of the car during the high-speed chase scenes, as well as the scene in which the car drives down a highway engulfed in flames. [8] Alexandra Paul's identical twin sister Caroline Paul wrote that she and her sister pulled a prank during filming, sending Caroline on set in place of Alexandra without telling Carpenter that they had made the switch until after he had shot a scene. She wrote, My highly skilled clutch-pushing actually made it into the movie. 10] The car [ edit] One of the two remaining models of Christine used in the film Although the car in the film is identified as a 1958 Plymouth Fury [11] —and in 1983 radio ads promoting the film, voiceover artists announced, she's a '57 Fury"—two other Plymouth models, the Belvedere and the Savoy, were also used to portray the malevolent automobile onscreen. John Carpenter placed ads throughout Southern California searching for models of the car, and was able to purchase twenty-four of them in various states of disrepair, which were used to build a total of seventeen copies of the film car. [9] All cars were two door hardtops. Total production for the 1958 Plymouth Fury was only 5, 303, and they were difficult to find and expensive to buy at the time. In addition, the real-life Furys only came in one color, Buckskin Beige" seen on the other Furys on the assembly line during the initial scenes of the movie. [12] The Fury also got anodized gold trim on the body and Fury script on the rear fender. In order to bypass the problem of obtaining the rare trim, the cars featured the more common Belvedere "Dartline" trim. Several vehicles were destroyed during filming, but most of the cars were Savoy and Belvedere models dressed to look like the Fury. At least one '57 Savoy was used, its front end modified to look like a '58. Originally, Carpenter had not planned to film the car's regeneration scenes, but decided after the shoot had finished to include them. The shots of the car regenerating itself were shot in post-production and done using internally-mounted hydraulics crumpling the car, with the shot then run backwards in the final film. [8] Of the twenty three cars used in the film, the best known surviving vehicle was rescued from a junkyard and restored by collector Bill Gibson of Pensacola, Florida. citation needed] Release [ edit] Box office [ edit] Christine was released in North America on December 9, 1983, to 1, 045 theaters. [13] In its opening weekend Christine brought in 3, 408, 904 landing at #4. The film dropped 39. 6% in its second weekend, grossing 2, 058, 517 slipping from fourth to eighth place. In its third weekend, it grossed 1, 851, 909 dropping to #9. The film remained at #9 its fourth weekend, grossing 2, 736, 782. In its fifth weekend, it returned to #8, grossing 2, 015, 922. Bringing in 1, 316, 835 in its sixth weekend, the film dropped out of the box office top ten to twelfth place. In its seventh and final weekend, the film brought in 819, 972 landing at #14, bringing the total gross for Christine to 21, 017, 849. [2] Critical response [ edit] On the review aggregator website Rotten Tomatoes, Christine holds a 71% approval rating based on 28 reviews, with an average rating of 5. 94/10. The consensus reads: The cracks are starting to show in John Carpenter's directorial instincts, but Christine is nonetheless silly, zippy fun. ” [14] Roger Ebert gave the movie three out of four stars, saying: by the end of the movie, Christine has developed such a formidable personality that we are actually taking sides during its duel with a bulldozer. This is the kind of movie where you walk out with a silly grin, get in your car, and lay rubber halfway down the Eisenhower. 15] Janet Maslin of The New York Times gave the film a middling review, saying: The early parts of the film are engaging and well acted, creating a believable high-school atmosphere. Unfortunately, the later part of the film is slow in developing, and it unfolds in predictable ways. 16] Variety gave the film a negative review, stating. Christine seems like a retread. This time its a fire-engine red, 1958 Plymouth Fury thats possessed by the Devil, and this deja-vu premise [from the novel by Stephen King] combined with the crazed-vehicle format, makes Christine appear pretty shop worn. 17] Time Out said of the film: Carpenter and novelist Stephen King share not merely a taste for genre horror but a love of '50's teenage culture; and although set in the present, Christine reflects the second taste far more effectively than the first. 18] Home media [ edit] The film was released on VHS by Columbia Pictures, and later in a special edition DVD in 2004. [19] On March 12, 2013, Twilight Time video released the film on Blu-ray for the first time in a limited edition run numbered at 3, 000 copies. [20] On September 29, 2015, Sony Pictures Home Entertainment re-released the film on Blu-ray. [21] The film was released on 4K UHD Blu-Ray on September 11, 2018. [22] Soundtrack [ edit] Two soundtracks were released, one consisting purely of the music written and composed by John Carpenter and Alan Howarth, the other consisting of the contemporary pop songs used in the film. [23] Score [ edit] Christine: Music from the Motion Picture Film score by John Carpenter & Alan Howarth Released June 1, 1990 Genre Electronic film score Length 33: 14 Label Varèse Sarabande Producer John Carpenter, Alan Howarth John Carpenter & Alan Howarth chronology They Live (1988) Christine: Music from the Motion Picture (1990) John Carpenter chronology Christine (1990) Body Bags (1993) Christine: Music from the Motion Picture (by John Carpenter and Alan Howarth) No. Title Length 1. "Arnie's Love Theme" 1:15 2. "Obsessed with the Car" 2:07 3. "Football Run/Kill Your Kids" 2:42 4. "The Rape" 1:10 5. "The Discovery" 1:30 6. "Show Me" 2:36 7. "Moochie's Death" 2:25 8. "Junkins" 3:33 9. "Buddy's Death" 1:27 10. "Nobody's Home/Restored" 1:44 11. "Car Obsession Reprise" 1:53 12. "Christine Attacks (Plymouth Fury) 2:30 13. "Talk on the Couch" 1:23 14. "Regeneration" 1:25 15. "Darnell's Tonight" 0:13 16. "Arnie" 1:01 17. "Undented" 1:54 18. "Moochie Mix Four" 2:26 Songs appearing in film [ edit] The soundtrack album containing songs used in the film was entitled Christine: Original Motion Picture Soundtrack and was released on LP and cassette on Motown Records. [24] It contained 10 (of the 15) songs listed in the film's credits, plus one track from John Carpenter and Alan Howarth's own score. The track listing was as follows: George Thorogood and the Destroyers – " Bad to the Bone " Buddy Holly & the Crickets – " Not Fade Away " Johnny Ace – " Pledging My Love " Robert & Johnny – " We Belong Together " Little Richard – " Keep A-Knockin' Dion and The Belmonts – " I Wonder Why " The Viscounts – " Harlem Nocturne " Thurston Harris – " Little Bitty Pretty One " Danny & The Juniors – "Rock n' Roll is Here to Stay" John Carpenter & Alan Howarth – "Christine Attacks (Plymouth Fury) Larry Williams – " Bony Moronie " The following tracks were not included on this LP release, but were used in the film and listed in the film's credits: ABBA – " The Name of the Game " Bonnie Raitt – " Runaway " Ritchie Valens – "Come on, Let's Go" Tanya Tucker – "Not Fade Away" The Rolling Stones – " Beast of Burden " See also [ edit] The Love Bug (1968. an earlier film about a car with a distinct personality and mind of its own Little Bastard ( James Dean ' s car that is claimed to be cursed) List of films about automobiles References [ edit] Muir, John Kenneth (2005. The Films of John Carpenter. McFarland & Company. p. 30. ISBN   9780786422692. ^ a b "Overall Box Office. Box Office Mojo. Retrieved October 22, 2010. ^ Suckley, Jamie (July 31, 2013. Christine. Static Mass Emporium. Retrieved September 27, 2016. ^ a b c d e f g h Carpenter, John; Kobritz, Richard (2004. Christine: Ignition. Sony Pictures Home Entertainment. ^ a b c Martin, R. H. (January 1984. Richard Kobritz and Christine. Fangoria (32) 14–18 – via Internet Archive. ^ a b "Interview With John Carpenter from SFX magazine. SFX. Retrieved November 28, 2015 – via ^ Carpenter, John. Audio commentary, Christine [Blu-ray. Sony Pictures Home Entertainment. 2015. ^ a b c d Carpenter, John; Gordon, Keith; Paul, Alexandra; Stockwell, John (2004. Christine: Fast and Furious. Sony Pictures Home Entertainment. ^ a b Von Doviak 2014. ^ Paul, Caroline (2015. Almost Her: The Strange Dilemma of Being Nearly Famous. Shebooks. p. 15. ISBN   9781940838816 – via Google Books. ^ Kerr & Wollen 2004, p. 355. ^ Benjaminson 1994, p. 124. ^ Christine (1983. Retrieved November 28, 2015... Christine Movie Reviews. Rotten Tomatoes. IGN Entertainment. Retrieved January 5, 2019. ^ Ebert, Roger (December 13, 1983. Chicago Sun-Times. Retrieved November 27, 2015. ^ Maslin, Janet (December 9, 1983. Film: Christine. A Car. The New York Times. Retrieved March 25, 2019. ^ Variety Staff (December 31, 1982. Variety. Retrieved November 28, 2015. ^ Rothkopf, Joshua (January 23, 2017. Christine, directed by John Carpenter. Time Out London. Retrieved November 27, 2015. ^ Christine (Special Edition. Amazon. Retrieved November 27, 2015. ^ Kauffman, Jeffrey (March 18, 2013. Christine Blu-ray: Screen Archives Entertainment Exclusive / Limited Edition to 3000. Retrieved November 28, 2015. ^ Liebman, Mark (September 28, 2015. Christine Blu-ray. Retrieved November 28, 2015. ^ Duarte, M. Enois (September 5, 2018. Christine – 4K Ultra HD Blu-ray. Retrieved June 12, 2018... Christine – Production Credits. AllMusic. Retrieved October 22, 2010. ^ Christine (Original Motion Picture Soundtrack. Retrieved May 31, 2015. Bibliography [ edit] Benjaminson, James (1994. Plymouth, 1946–1959. Motorbooks International. ISBN   978-0-87938-840-9. Von Doviak, Scott (2014. Stephen King Films FAQ: All That's Left to Know About the King of Horror on Film. Applause Theatre & Cinema. ISBN   978-1-48035-551-4. Kerr, Joe; Wollen, Peter (2004. Autopia: Cars and Culture. University of Chicago Press. ISBN   978-1-86189-132-7. External links [ edit] Christine on IMDb Christine at AllMovie Christine at Box Office Mojo Christine at Rotten Tomatoes.

The Times of xillia. What a lovely story. Amazing how everyone says how nice Elvis was. New England Patriots All-Time Franchise Power Rankings, FOX Sports All Simulation Data Season Info Team Win% PPG PPA Record Playoffs Coach Key Off Players 1 2007 New England Patriots 88. 7 35. 2 18. 1 16-0 Lost SB Bill Belichick Tom Brady, Laurence Maroney, Randy Moss 2 2010 New England Patriots 77. 4 31. 8 21. 1 14-2 Lost Div Tom Brady, BenJarvus Green-Ellis, Wes Welker 3 2012 New England Patriots 75. 8 31. 2 21. 6 12-4 Lost Conf Tom Brady, Stevan Ridley, Wes Welker 4 2011 New England Patriots 74. 7 33. 4 23. 6 13-3 5 2013 New England Patriots 74. 1 30. 4 21. 0 Tom Brady, Stevan Ridley, Julian Edelman 6 1997 New England Patriots 74. 0 28. 9 19. 9 10-6 Pete Carroll Drew Bledsoe, Curtis Martin, Shawn Jefferson 7 2014 New England Patriots 73. 9 30. 1 20. 9 Won SB Tom Brady, Jonas Gray, Rob Gronkowski 8 2004 New England Patriots 71. 5 28. 5 20. 2 Tom Brady, Corey Dillon, David Givens 9 2003 New England Patriots 70. 6 24. 8 17. 3 Tom Brady, Antowain Smith, Deion Branch 10 2005 New England Patriots 67. 9 27. 7 21. 5 Tom Brady, Corey Dillon, Deion Branch 11 2006 New England Patriots 67. 1 25. 7 Tom Brady, Corey Dillon, Reche Caldwell 12 1985 New England Patriots 66. 4 25. 1 19. 1 11-5 Raymond Berry Tony Eason, Craig James, Stanley Morgan 13 1983 New England Patriots 27. 1 8-8 - Ron Meyer Steve Grogan, Tony Collins, Stanley Morgan 14 1996 New England Patriots 64. 8 25. 8 20. 5 Bill Parcells Drew Bledsoe, Curtis Martin, Terry Glenn 15 1998 New England Patriots 64. 0 26. 8 9-7 Lost WC Drew Bledsoe, Robert Edwards, Terry Glenn 16 2008 New England Patriots 63. 6 27. 4 22. 2 Matt Cassel, Sammy Morris, Wes Welker 17 2009 New England Patriots 63. 1 27. 9 22. 9 Tom Brady, Laurence Maroney, Wes Welker 18 1984 New England Patriots 61. 6 20. 8 Ron Meyer, Raymond Berry Tony Eason, Craig James, Derrick Ramsey 19 1986 New England Patriots 60. 7 24. 5 20 1976 New England Patriots 57. 3 23. 8 11-3 Chuck Fairbanks Steve Grogan, Sam Cunningham, Darryl Stingley 21 1982 New England Patriots 57. 1 5-4 22 1999 New England Patriots 56. 2 Drew Bledsoe, Terry Allen, Terry Glenn 23 2002 New England Patriots 54. 4 24. 3 22. 8 Tom Brady, Antowain Smith, Troy Brown 24 1977 New England Patriots 53. 0 20. 7 9-5 25 1979 New England Patriots 51. 9 21. 7 Ron Erhardt Steve Grogan, Sam Cunningham, Harold Jackson.

The times of bill cunningham nyff. The times of bill cunningham t-shirt. Beautiful song. Thank you. Remember we are still YOUNG. You sound Exactly The Same... God Keep Blessings You... The times of bill cunningham watch online. September 22, 2019 Filmmakers have long championed new home viewing technologies, but their support of 4K Ultra HD — particularly in director Duncan Jones case — is “over the moon. ” Jones directed Moon, a 2009 science-fiction cult favorite that won a BAFTA Award for Outstanding Debut by a British Writer, Director or Producer. And he was thrilled that Sony Pictures Home Entertainment decided to celebrate the films 10th anniversary in July with a 4K Ultra HD Blu-ray  release. “ Moon was a tiny little independent sci-fi film from England, ” said Jones, who went on to direct Source Code (2011) Warcraft (2016) and Mute (2018. “The fact that we got a theatrical run in America at all was a thrill, but even with that run, a lot of people never would have had the chance to see the film in the fidelity of those who were able to see the screenings back in 2009. Fortunately the film has lived on and grown in cult status over the decade, but up until now has only been a shadow of its original self! Now we finally get to give our fans what they remember from those early, limited screenings. ” Subscribe HERE to the FREE Media Play News Daily Newsletter! Jones — who also happens to be the son of the late rock legend David Bowie — is by no means alone. Directors such as Oliver Stone and others in the creative community applauded Blu-ray Disc when that format was introduced more than a decade ago, but their cheers are even louder and more enthusiastic for 4K Ultra HD — with high dynamic range (HDR) of course. “Its astounding how far home theater tech has come in the last 20 years, ” said director Rian Johnson ( Star Wars: The Last Jedi) at a recent UHD Alliance event. “I think were really kind of in a golden age right now of home theater technology, and its only getting better in every single aspect of our TVs at home. Everything in resolution, dynamic range, the size of the screens, everything has gone up through the roof recently, while prices of all the tech has gone down so its in the reach of most consumers, and that for me is really, really exciting. I love that my mom has a great TV that she can watch at home. I love watching movies at home. ” The resolution of 4K is four times sharper than HD, while HDR offers brighter brights and darker darks — as well as wider color gamut — to create a more vivid and lifelike picture. What that means is that home viewers can replicate the theatrical experience more closely than ever — and since directors are all about the “Big Screen, ” they see 4K Ultra HD as the best way to archive their artistic vision for future generations. “I think for anyone who spends time and effort making a film, we desperately want the audience to see all the little details and care we put into our work, ” Jones said. “Especially for those who are lucky enough to make ‘world-building films. From production design, to wardrobe, make-up and, in Moons case, model miniatures, just about everything is created to hold up to scrutiny in a close up. 4K UHD with HDR gives us the pleasure of knowing you are going to see all that hard work! ” Studio executives, too, see 4K Ultra HD Blu-ray as packaged-medias most effective bulwark against total domination by streaming media. It remains the optimum way to watch a movie, despite steady advances in bandwidth capacity. “The collector in the enthusiast market wants to buy discs, ” said Bill Hunt, editor of home entertainment enthusiast site. So, apparently, do a lot of other people. Ultra HD TVs were in about 53. 4 million households at the end of the first quarter, an increase of 55% from the prior year, according to CTA numbers cited by the DEG. Meanwhile, the number of households with at least one 4K Ultra HD Blu-ray playback machine rose 63% to 14 million. According to the CTA, the total TV category will ship 38. 8 million units in 2019 (a 1% increase) with upgrades driven by big-screen models and sets featuring 4K UHD resolution and HDR technology. This year, 4K UHD sets will account for 17 million of those units (a 6% increase. IHS Markit estimates that by 2022, 60% of North American households will own at least one UHD video display. Software continues to expand as well. Nearly 600 titles have been released on 4K UHD Blu-ray Disc, according to Media Play News research. And digital outlets tout the feature, and sometimes charge a premium for it. Indeed, consumer interest in 4K UHD with HDR continues to grow. “I think people are definitely into it. I think interest is growing; demand is growing, ” said The Digital Bits Hunt. “Theres no shortage of people who read my website that are eager for every piece of news on 4K. ” Retailers of both digital and physical content are serving the rabid 4K consumer. Netflix offers 4K UHD content under its premium plan for 15. 99 a month (up to four screens at once. Amazon also offers 4K streaming on certain titles. At transactional VOD site FandangoNow, 4K is a major selling point, noted Fandango VP of home entertainment Cameron Douglas. “We saw there was audience demand, ” he said. “It just kept growing. ” Redbox in March reported it more than doubled the number of cities offering 4K Ultra HD movie rentals — bringing 4K to a total of 15 markets. Rental pricing for 4K UHD titles is 2. 50 per night. “Our customers have spoken — they love the quality of 4K content, ” said Galen Smith, CEO of Redbox. “Were happy to make 4K rentals available to even more movie fans, giving them more format choices than ever before so they can make the most of their movie night. ” New markets included Colorado Springs, Colo. Des Moines, Iowa; Kansas City, Mo. Minneapolis; Portland, Ore. Reno, Nev. San Diego; San Francisco; and Spokane, Wash. They joined preview markets Austin, Detroit, Los Angeles, Miami, New York and Seattle. “4K UHD continues to experience strong and steady growth across physical and digital, buoyed by the significant retail commitment and CE support, and an increasing number of titles being released, ” said Eddie Cunningham, president of Universal Pictures Home Entertainment. “4K UHD is no longer an early adopter format and has widely established itself as the best way to watch our content at home, ” said Jessica Schell, EVP and GM of film at Warner Bros. Home Entertainment. “Were enthusiastic about the rapid consumer and retail adoption and the ability to present our films in the highest possible quality for the home, ” added Lexine Wong, senior EVP of worldwide marketing at Sony Pictures Home Entertainment. “The popularity of 4K continues to grow as evidenced by the wide range of titles now in the market, ” noted Vincent Marcais, EVP of worldwide marketing for Paramount Home Entertainment. Indeed, content available on 4K UHD is varied, from new releases to classic catalog. “Sony Pictures Home Entertainment, a leader in the 4K Ultra HD market, consistently delivers premium product for the growing consumer base, ” said Sonys Wong. “To date, we have over 80 4K UHD titles available — including the global tentpoles Men in Black: International and Spider-Man: Far From Home, along with key library titles such as the commemorative 35th anniversary release of the original Ghostbusters and the fully remastered modern classic Stand By Me. ” “At Paramount, we just released Rocketman, and over 15% of our physical sales are 4K to date, ” noted Marcais. “In addition, we will be releasing the perennial favorite Its A Wonderful Life on 4K Ultra HD Blu-ray for the first time in October. The studio spent over a year restoring the film from the original negative and we wanted to make sure that enthusiasts and long-time fans could truly appreciate the vibrant and detail-rich picture, which 4K makes possible for home viewing like never before. ” “The continued diversification of content available in 4K HDR ranges across not just our new-release films, but also includes more and more evergreen classic catalog titles like 2001: A Space Odyssey, The Wizard of Oz and The Shining, ” said Warners Schell. “Catalog in particular has surged to become a meaningful driver of consumer engagement, with newly available classic franchises fueling a 25% growth in 4K UHD disc sales across the industry, ” added Universals Cunningham. Readers of enthusiast websites have feasted on new-release and a growing list of catalog classics that have greatly expanded this year. “You had your big, splashy, superhero titles, but then you had Alien and Apocalypse Now, ” noted Adam Gregorich, co-owner/editor of enthusiast site Home Theater Forum. “Its not just new releases that people are interested in. ” “The biggest problem that people that are into 4K have is that there are titles that they want that they cant get, ” said The Digital Bits Hunt. “Fans are really starting to jones for those big titles now. ” Hunts readers are particularly looking forward to the 4K catalog releases on tap for the end of the year, including The Wizard of Oz, due Oct. 29. “That film will look tremendous on 4K, ” he noted. “There is a ton of excitement for both The Wizard of Oz and Its a Wonderful Life, ” added Gregorich. How black and white films, such as Wonderful Life, would fare on 4K elicited “some concern, ” Gregorich noted, “but then people pointed out Schindlers List, ” which translated and was enhanced very well. Both Gregorich and Hunt agreed that the best way to experience 4K UHD with HDR is on Blu-ray Disc, which doesnt suffer from the potential delivery dilution of streaming due to bandwidth. Still, streaming is gaining. “Stuff that I want to buy I want to buy on disc, ” Hunt said. “The younger audience doesnt seem to have that problem. ” “I think that discs are still more popular, but streaming has made up a huge amount of ground, ” added Gregorich. Soon, technology may offer a streaming assist, and studios are prepared to deliver 4K UHD wherever the consumer goes. “With the expansion and adoption of 5G wireless service allowing faster access to streaming 4K UHD video, the demand for high-definition content will continue to grow rapidly, ” said Warners Schell. “We are committed to delivering the best possible viewing experience of our wide array of film and television content, and we will continue to adapt, along with other studios and content providers, to the ever-changing technological landscape that dictates our business. ” 4K Ultra HD Blu-ray All-Time Top 50 Sellers as of 8/24/19 All-Time Top 4K UHD BD Market Share as of 8/24/19.


BANGALORE: Smartphones are an integrated part in our daily life, from being just another device it became a vital companion. Nowadays everyone owns a Smartphone and are quite knowledgeable about their choice of purchase. Like the first features you look in a Smartphone may be numerous and depends, but at first glance on-hand one goes to enjoy the visual treat-display. If measurements are taken as to which amount of pixels if fitted in a display to make the picture appear real or play real-then theres no exact answer, reports Androidpit. As Steve Jobs believed 300ppi is the limit, in which a display should be designed as anything above will be overkill, as it will be no use fitting in more pixels if the human eye cant conjure it. So here we discuss the new trends that made the process of rendering display to a fine digital version of reality. The topic display is balanced on these pillars and they are display type, the diagonal measurement of the screen in inches and the definition or resolution. A display designed by a company goes under the process of first deciding the type of display it will be next the dimensions and then will be the important decision as to how many pixels needs to be crammed in it per square inch to concoct the display. The diagonal measurement and resolution are the topics to be discussed, as to what the difference of pixel filling leads to name it as HD, full-HD, QHD or quad HD and 4K display. READ ALSO: Top 10 Upcoming Tech Products Of 2015 HD As we all know HD stands for High Definition, and the pixel measurement will be 1280X720 pixels. HD is also called as 720p, as at the end it gets shortened to 720pixels. No matter what the size of the display and how large the screen with a resolution of 1280X720pixels, it will still be called a HD display, no matter what. Most say the smaller the screen size more the pixels crammed in it and more will be the display. For ex a 4. 3 inch and a 4. 7 inch Smartphone with 342ppi and 312ppi are still said to have HD display. Full-HD The next in line saying Full-HD makes it has better resolution than HD, and so will be as the resolution of Full-HD is 192X1280 pixels. Though 2K technology is in full fervor still some manufacturers favor full-HD as after all the resolution depends on the screen size as to pixels spread diagonally. A 5-inch Full-HD display will have a pixel density of 441ppi. Quad-HD Also known as QHD or 2K, has four times the definition of standard HD and its resolution measurements are 2560X1440 pixels. The name 2K is because from zeroing the resolution it falls near 2000, so 2K. A 5. 5 inch quad-HD display will have a pixel density of 538ppi. Ultra-HD Also known as 4K, the next in line, though it wont be featured for Smartphones it will sure make an appearance for Phablets and Tabs. Though 4K and Ultra HD are said to be same they do have a small difference which needs to be spotted that is in the resolution. It is 3, 860 x 2, 160 pixels for Ultra-HD and 4, 096 x 2, 160 for 4K, and they are zeroed and frequently called as 2160p. S o where does this journey of pixel placing end starting from HD, full-HD, QHD and Ultra HD, more technology which will beat this display resolution will be in future, but the question here is how they can fit the bill considering other factors that a Smartphone runs. Take the factor on which the Smartphone itself runs the battery the one that provide the power, with increasing resolution the processor has to work extra for which it requires extra power and ultimately the battery suffers to provide. The manufacturers may have many ideas on paper and as to its implementation of bringing in a QHD or Full-HD display phone all the factors have to be considered and most importantly the price. Top 10 Upcoming Tech Products Of 2015.
Thank goodness Friedman is running the Dodgers and not Plaschke. He essentially said Betts is a one year rental, which he might be. He also said pay Price his money regardless. So what he is saying is pay 123 million over the next 3 years for the chance of winning. This interview was done before the trade was transacted. Who does that? He is suppose to be an informed journalist. He sounded like the guy out in the bleachers screaming at the right fielder during the game and prognosticating to the people sitting around him.
The Doors of Paradise My first remembrance of fashion was the day my mother caught me parading around our middle-class Catholic home in a lace-curtain Irish suburb of Boston. There I was, four years old, decked out in my sister's prettiest dress. Women's clothes were always much more stimulating to my imagination. That summer day, in 1933, as my back was pinned to the dining room wall, my eyes spattering tears all over the pink organdy full-skirted dress, my mother beat the hell out of me, and threatened every bone in my uninhibited body if I wore girls' clothes again. My dear parents gathered all their Bostonian reserve and decided the best cure was to hide me from any artistic or fashionable life. This wasn't hard in suburban Boston; a drab puritanical life prevailed, brightened only by Christmas, Easter, the Thanksgiving Day parade, Halloween, Valentine's Day, and the maypole costume party in kindergarten. My life was lived for each of these special days when I could express all the fancy thoughts in my head. Of course, Christmas was the blowout of the year, and I started wrapping the packages months before anyone dreamed of another Christmas. The tree ornaments were packed away in the attic, where I usually dusted them off with a trial run in midsummer and prepared a plan of decoration for the coming season. When Christmas came, I must have redecorated the tree a half dozen times in the short week it was left to stand, and when New Year's Day arrived and the tree was to be thrown out on the street, a deep depression usually set upon me, as I tucked all the glamour, the shiny tinsel, away for another eternally long year, and only the thought of Valentine's Day with its lace-trimmed displays of love made life bearable. Easter Sunday was always a high point. I can remember every one of Mother's hats, which were absolute knockouts to my eyes, but when I look back today, they were all very conservative. My two sisters and brother Jack (who was all sports-minded) and I were outfitted in new clothes for Easter Sunday. This was the dandy day of my life. I can't remember a thing the priest said during Mass, but I sure as hell could describe every interesting fashion worn by the two hundred or so ladies, and for the following few Sundays I kept an accurate record of which ladies wore their Easter Sunday flower corsages longest, emerging from the refrigerators for the Sunday airing. The next excitement I can remember was the maypole costume party where I managed, much to my conservative family's embarrassment, to be a crepe paper pansy, violet, or daffodil. I always had a ball playing make-believe, and usually got hell when my mother got her hands on me, as I'd play with the girls, mainly because their costumes were the most beautiful roses. The boys were bees and caterpillars, which didn't interest me a bit. Summers were a fashion desert. Our small beach house on the south shore of Boston allowed nothing but bathing suits and T-shirts, and lots of horrible sunburn on the miles of salty beach. No one ever wore anything colorful or gay. Each Sunday's church was the only adventure as my brother and sisters and I were wrapped in starched white clothes and chalk-white shoes. During the reading of the Gospel, I eyed every woman and decided who was the most elegant. It was a wonderful game, and by the end of each summer I would produce my list of the women at the beach whom I thought most exciting. Going back to school was really the monster for me. I couldn't have cared less about reading, writing, and arithmetic-and they cared much less for me! It was only through the grace of God and the teachers, who didn't want to have me around another year, that I finished each school year. The only class I remember was a weekly one-hour art session where the most delightful, slightly eccentric teacher would read Winnie-the-Pooh and tell us about Mrs. Jack Gardner's Venetian palace, set in Boston's Back Bay. This was my hour of pure dream and fantasy. Of course, I immediately fell passionately in love with Mrs. Jack Gardner and her gilded palace, and to this very day she is my inspiration. Life really began for me on my first visit to Mrs. Jack's. That marvelous art teacher took the class to view what she called a "Renaissance splendor. It was the opening of the doors of paradise for me, and there was no stopping my desire to create a world of exotic beauty. No matter how many times my mother caught me wearing my sister's first long party dress, which was peach satin-and I know I wore it more than she did-I knew my destiny was to create beautiful women and place them in fantastic surroundings. After school was the most fun, as I would hide in my room and build model airplanes and theatrical stage sets. Each month I would concoct a special display for the season, and I was forever talking the girls next door into putting on a dramatic play where I made all the crepe paper costumes and usually ended up wearing the highest crown or the longest train of purple, trimmed with my dad's notepaper ermine tails. Mother's wedding gown, covered with embroidery and pearls and tiny satin roses, was the hidden treasure that I was constantly unpacking for another look. Actually, it was the only beautiful thing in the house. Radio was a huge influence, to which I give credit for my strong imagination. Instead of doing school homework, I would be listening to Stella Dallas, Helen Trent, and my favorite, Helen Hayes, who led the glamorous New York life. In my imagination I dressed each of these soap opera ladies, designing for them all sorts of fancy clothes. As kids we weren't allowed to go to the movies except on Saturday afternoons, when some rough-and-tumble cowboy affair would scramble across the screen. I couldn't have cared less; I was just itching to get back to the movies on a Saturday night instead and see Greta Garbo, Carole Lombard, and Gone with the Wind. Unfortunately, I never made it, and these movies remained totally unknown to me until the late 1950s, when I saw them in revival. In later years, after-school jobs were part of my upbringing, which I enjoyed very much, as they paid me money that I promptly spent on something colorful and pretty at the local Woolworth's five-and-dime. Shoveling long driveways of snow allowed me to indulge in elaborate gifts for my mother and sisters; I would shovel snow all day long just to get my frozen hands on some money to buy beautiful things. One time I bought the supplies to make a hat. It was a real dilly-a great big cabbage rose hung over the right eye, and all sorts of ribbons tied at the back of the neck. My mother nearly collapsed in shame when she saw it. I was a newspaper delivery boy at twelve, and each morning got up at five thirty to pedal my bike around the neighborhood and collect five bucks at the end of a week. After the first month, I saved my money, slipped in to the city of Boston on my first trip, and bought a dress, which I thought was the most chic thing in town. It was black crepe and bias cut, and had three red hearts on the right shoulder. As usual, Mother nearly had a fit. Now I was buying her clothes. Her reply was, Think what the neighbors will say. These were famous last words with my mother and dad. My family had a whispering thought that I'd be a priest. And all this attraction to feminine fashion didn't help their hope. But what Irish Catholic family didn't dream of its eldest son being a priest? I always knew I wasn't priesthood material as I was sewing away from some devilish fire, flaming inside the deepest corners of my soul. The paper route made life worthwhile, giving me the loot to indulge in a little fashion fantasy, and as fast as I'd buy the newest styles, Mother would return them. I would counteract with another dress or fake diamond bracelet. My next job was delivering clothes for Mr. Kaplan, the local tailor. This was the beginning of my understanding what made beautiful clothes. Here I learned all about the construction of coats and suits, the fine technique of pressing and shaping. I also earned more money, and my two sisters soon fell under my assault of buying clothes, always making secret trips to the city and visiting the fashionable stores. My favorite was Jays on Temple Place. The facade of the terra-cotta-colored building was decorated with silhouetted ladies sitting on French chairs, admiring themselves in the style of 1910. Inside, the smell of perfume and champagne and wall-to-wall carpet made me want to buy everything in sight. They had the best-looking shopping bags in Boston, with a silhouetted lady and the name Jays giving the carrier great distinction. Of course, I was proud as a peacock, carrying the package home to my middle-class neighborhood. (I was the worst snob in town. By the time I was twelve, the family was in a state of frenzy over how they could knock this artistic nature out of me. Finally, it was decided that a trade school, where my hands could be the learners, was the only solution for a safe future. I enrolled at Mechanic Arts High School, where I learned carpentry. My spindle-legged tables were a howling success and caused a great deal of hell-raising with the people who wanted plain, sturdy-legged tables. I just couldn't resist putting the wood on a lathe and making all the fanciest turns I knew how. The classes were anything but fashionable. They consisted of sheet-metal work and a blacksmith's shop where we had the best fun. What I couldn't do with the blowtorch and anvil! Everything I made had curlicues and twists. I suppose you might call it Irish baroque. Along with all those shop classes came algebra, which I could never figure out, and history, which I was terrific at, from a costume point of view. I couldn't recite a word of Shakespeare, but I could sure draw a costume for every character in the plays. What made these school years livable was an after-school job at Jordan Marsh Company, the city's largest department store. At two thirty I was out of the school prison, trotting down fashionable Boylston Street with more enthusiasm than I'd shown all day, observing all the windows of the most fashionable shops in Boston. A special delight was sizing up the august Beacon Hill dowagers who would be going to tea at the Ritz Hotel. I often dallied outside its doors just to get a glimpse of some fascinating women. Jordan Marsh was across the Boston Common, in the commercial section of town, surrounded by Filene's and the other big stores that just swallowed me up. At Jordan's I was a stock boy in the ready-to-wear departments, and had the time of my life pushing the big carts through the store. My favorite departments were better dresses, furs, and handbags. The store had an elegant quality that disappeared after my days there in the early 1940s. A grand stairway curved up through the central rotunda; mahogany showcases gave a proper Bostonian attitude to the high-ceilinged main floor. I wasn't there but a few weeks before I knew the best merchandise from the plain, everyday stuff. I was always finagling a deal, until I got to push the racks with the best dresses down to their department, where I carefully scrutinized every one I took off. I would unload the stock truck of the handbag department like I was unveiling the emperor's jewels, making sure I set the bag on the counter so customers felt they had just discovered something they had never seen before. If the salesgirls didn't make a few sales during the performance, I was crushed. The store's glove department didn't interest me, but its buyer wore the most exciting hats. They were tall Lilly Daché turbans, the likes of which few Bostonian women had ever seen. They had a sense of drama. This buyer also wore the first silver foxes without legs, tails, and heads I had seen. It was a knockout when everyone else in Boston was cherishing all those legs, tails, and heads. As a matter of fact, for years they continued to wear it like that in Boston, and didn't think of cutting them off. My first six months' salary went to buying a pair of these silver foxes for my mother. She hardly ever wore them, feeling they were too daring and showy. At this time I started covering myself in outrageous bright shirts and ties. I bought the first fake-fur-lined trench coat with the biggest fur collar I could find, and nearly drove the family crazy with shame, wearing it on the first cool day of September. I just couldn't wait to get it on my back and parade into school-although I almost fainted from the heat in the rush-hour crowd in the trolley car. Clothes were everything to me, and I think I spent seven days a week deciding what I'd wear the next week. Life at Jordan's was fabulous, and had they given diplomas, I would have graduated with honors. That said, I almost got canned at one point. It was during the parade at the end of the Second World War, and I felt the store should do something in the way of a big display. Of course, they had already hung the world's largest American flag over the Washington Street facade of the building, which made Filene's flag look like a postage stamp. But I thought I should add some of my own flair, so I went through all the men's rooms in the store, taking the rolls of toilet tissue and stashing them up on the roof of the store, at the corner of Washington and Summer Streets, the busiest intersection in Boston, where the biggest crowd was sure to assemble. After collecting dozens and dozens of rolls, I began to unroll them over the heads of the marching soldiers. It was an instant success, as the white rolls whipped down in huge white streaks! The crowd below went wild with delight as the unrolled ends bounced off the heads of the cops. Within fifteen minutes the intersection was a blizzard of toilet paper, which became a spectacular tangled mess in all of Filene's flagpoles-it took them months to unwind it. In my enthusiasm in creating a living display, I had completely blocked the window view of the store's president, Mr. Mitton, which was right under where I was standing. I had hardly unrolled the last of the paper, when the hands of store detectives, executives, and Boston cops hauled me before the exasperated president.
The Times of lille.
The Times of illinois.

Photo: Getty Photographer Bill Cunningham, who shot on the streets of New York and Paris for decades — 40 years for the New York Times alone —  died from complications of a stroke. He was 87. And as much as his photography has influenced an entire industry for generations, Cunninghams unwavering focus on his craft and his rather zen-like approach to life (some might have called it eccentric) can influence any of us, whether we call ourselves sartorialists or not. While Cunningham might be gone, its clear from the deservedly adulatory coverage of his life  that he was a legendary artist who will continue to inspire us for years to come. Here are the most impactful   Cunningham-approved ways to inspire and influence you in your passions and pursuits. Dont Let Your Career Path Be Too Straight and Narrow While Cunningham always had a penchant for fashion, he didnt start out wanting to be a world-renowned photographer. He began his career making hats. He was no slouch in that department — among his clients were both the rich and the famous. Which makes the idea of his switching to photography all the more illuminating, yet its where his passion led him and mostly by circumstance. Hed been making hats and writing about fashion for more than 15 years before a camera gifted to him pushed him into taking the pursuit seriously in the mid-1960s. Find Your Perspective, and Stick With It Fashion photography, just like any other creative passion or professional field, is a crowded world. Cunninghams solution to standing out and making a name for himself came not just by thinking up a new approach, but by putting in the hard work on the streets to validate that vision, feed it with new material, and constantly learn. “Youve got to stay out there and see what it is … Youve got to stay on the streets and let the street tell you what it is, ” Cunningham said. This goes for us all: Get out there where the work is, and get dirty to find your path. Seek Opportunities in the Midst of Calamity As he detailed in the 2011 documentary Bill Cunningham New York,  he loved shooting street fashion in the middle of rainy days. “The minute it starts raining, its a whole different scene … When theres a blizzard is the best time, ” he declared in the film. When most would duck and cover or seek shelter, Cunningham knew he could find people at their most natural, unposed, and “without airs. ” Before youre ready to call it quits because of unwelcome conditions, think of the opportunities you might have missed otherwise. Minimize Unnecessary Decisions Cunninghams lifestyle was notoriously sparse. Ironically enough, he wore practically the same clothes day after day. He was easily recognized by his bright blue utility jacket, a pair of nondescript slacks, and plain black sneakers. He also ate the same breakfast every morning at the Stage Star Deli on West 55th Street in midtown Manhattan. Just like Cunningham, some of the most powerful people in the world —  Obamas and Zuckerbergs, for example  — constantly seek ways to eliminate decision fatigue by setting up as many routines as they possibly can. Do the same and you may find your mind opening up to creative opportunities. Live Simply Cunningham was also well known for having a rather minimal home. He spent years in a studio in the Carnegie Hall building, his bed propped up on books and his only other furnishings rows and rows of file cabinets. The place didnt have a bathroom, kitchen, or closet. No one says you need to live a monks life to be successful or focused, but based on the sheer amount of work — and pleasure he derived from the work — Cunninghams spartan lifestyle should be a reminder that its always worth examining exactly what kind of material distractions youre letting into your life. Are you piling too much on? Do You Choose Money or Freedom? Our relationship with money can have a much deeper effect than how deep your pockets feel. Cunninghams own view was that doing things for money alone compromised too much for him. One of his mantras: “If you dont take money, they cant tell you what to do, kid. ” Of course, we all need to earn a living, but its also important to recognize what were doing for love, what were doing for money, and what were giving up for either one. For Cunningham, freedom was the most precious thing, and he was not willing to sacrifice his for a check. What will you never compromise on? Be Kind and Fair There is no industry that bears a greater reputation for backstabbing and tearing people down than the fashion industry. Thats why its so refreshing to hear that such an icon in that world was a kind, honest man. One of his biggest falling-outs, with Womens Wear Daily, was when a fashion spread he created was edited to make fun of the everyday women featured in his images. He wouldnt stand for it, and it haunted him for years. That sense of fairness and openness spilled over into Cunninghams street photography as well. He was as fascinated by street wear as he was by haute couture — by black, brown, and gay people as he was by straight, rich, and white. Dont Try to Be Something Youre Not Most remarkably, Cunningham never claimed to be a great photographer. What he did claim to be was a witness to people, the clothes they wear, and the way they live. He never attempted to bill that pursuit as anything more than it was. “The problem is Im not a good photographer. To be perfectly honest, Im too shy. Not aggressive enough. Well, Im not aggressive at all. I just loved to see wonderfully dressed women, and I still do. Thats all there is to it. ” Above all, it seems, knowing yourself and being true to yourself pay off. Follow us on Facebook, Instagram, and Pinterest for nonstop inspiration delivered fresh to your feed, every day.

The times of bill cunningham streaming. The Times of bill maher. Probably so many politicians who are closet atheists.

 

//

Online film watch 2160p Sometimes Always Never

STREAM ; DOWNLOAD

 

 

Year 2018; Writed by Frank Cottrell Boyce; genre Mystery; 6,5 / 10; ; country UK.

Online film watch 2160p sometimes always never full. Online film watch 2160p sometimes always never see.

 

Online film watch 2160p Sometimes Always never. Online film watch 2160p sometimes always never die. Online film watch 2160p sometimes always never work. Online film watch 2160p sometimes always never love.

Online film watch 2160p sometimes always never know

 

Online film watch 2160p sometimes always never watch

Online film watch 2160p sometimes always never get

Online film watch 2160p Sometimes Always never forget. Online film watch 2160p sometimes always never lyrics. Online film watch 2160p Sometimes Always nevers. Online film watch 2160p Sometimes Always never stop. Online film watch 2160p sometimes always never will. Online film watch 2160p Sometimes Always never die.

 

Sometimes Always Never
8.5 (80%) 703 votes
Sometimes Always Never

Yip Man 4 Watch Movie Without Sign Up tamil Online Now Online Free

//

↓↓↓↓↓↓↓↓

WATCH

⇧⇧⇧⇧⇧⇧⇧⇧

 

 

 

  1. Genre: Drama
  2. movie info: The Kung Fu master travels to the U.S. where his student has upset the local martial arts community by opening a Wing Chun school
  3. Lai-Yin Leung
  4. directed by: Wilson Yip
  5. country: China, Hong Kong

 

喜欢这部电影的人也喜欢. 叶问外传:张天志的话题. ( 全部 条) 什么是话题 无论是一部作品一个人,还是一件事,都往往可以衍生出许多不同的话题.将这些话题细分出来,分别进行讨论,会有更多收获. 我要写影评 叶问外传:张天志的影评. ( 全部 176 条) 万靖游 2018-12-23 22:45:03 gv水准的文戏:袁和平,请你不要再拍电影了+详细剧本修改意见 这篇影评可能有剧透 前言:我很多游戏电影评论下方有人问我“你行你上啊”, 对此我的统一回复是“很遗憾,这些电影(游戏)编剧没有请我,否则它们的剧本至少能看上去像是人写出来的.如果有合作意向请豆邮联系我,只要你出的起钱.” 并且本文后半截附有对剧本的详细修改建议,诸位读者可以和原... ( 展开) 乌鸦火堂 2018-12-22 22:09:05 功夫格斗融合动作特技——《张天志》中打斗戏漫谈 你们这帮练武的,还废什么话,打就对了. 说下《叶问外传:张天志》(如下简称《张天志》)的打斗,因为这种片,看打就行了,其他也没什么好说的.张晋杨紫琼托尼贾释延能,再加上WWE出身的摔角手戴夫巴蒂斯塔,一部电影里汇聚这么多“专业级”能打的角色,再加上袁八... Mr. Infamous 2018-12-14 07:16:55 专访杨紫琼:要打,一定要打得厉害点 正好是一年前的今天,在澳门简单采访了杨紫琼. 气场超级slay的国际巨星,却不会让人有任何局促与慌乱.见面后只记得她一直在嘻嘻哈哈地笑和比划,各种语气词用得神采飞扬,过了这么久再回想,依然忍不住要浮起笑意.实在很想还原一下,希望看到的人,也能被那种快乐的情绪感染... 边月 2018-12-23 13:56:15 张天志的人物蜕变 这一部对于张天志是个成长感悟释怀的过程,很惊喜看到又一个人物的形象丰满的立起来了. 《叶问3》里面张天志对于叶问是不服气,也有嫉妒的成分在,凭什么同出师门生活状态天差地别,所以他打黑拳当杀手,黑白不分一身狠劲儿,唯独缺少了平和,最后很高调的公开踢馆并且挑战叶... 武侠小王子 2018-12-24 13:03:29 咏春拳300年演变史:武道衰落,岂是张天志一人之过? 清朝乾隆年间,“南少林五老”之一五枚师太在少林鹤拳的基础上创立了咏春拳;原本是抗清主力她却与年轻一辈的同门自相残杀,以一首寸劲捏碎了方世玉刀枪不入的罩门,让一代英雄含恨而逝.即便是正邪分明的阵营里,武功始终承载着杀人技的职能;而经过战场淬炼的中华武学流入民... 阿哂 2018-12-22 22:07:11 短评太长变成了影评... 去之前搜了一下评分,心里拔凉拔凉.结果看完感觉还不错,根本没有说的那么烂嘛.不就是剧情老套了点打戏飞得夸张了点?张晋简直又帅又暖,尤其是后面自报家门时拗的造型,帅炸了.人设有点奇怪,不知道怎么就变成了叶问2号拯救苍生唤醒民族意识了... 最大的槽点感觉是女主. 朵朵0912 2018-12-19 19:51:27 你确定我看的不是一部燃漫? 这次张天志的故事非常简单, 简单到,em. 和我一起去的妹子睡着了. 但,一点也不影响我想夸它! 这部电影吧,目的不在于让你思考武术是什么,甚至不在于武术的弘扬和传承.他只是讲一个关于功夫的童话故事.这个故事里有阴谋,有正义,有反抗,也有英雄和反派. 但所有的... 隔壁山田大王 2018-12-22 12:01:49 春药给了,但买票的观众都去哪了 之前我跟闺蜜安利惨遭失败↓↓↓ 哭到打嗝,怒写影评 我球球你们都去看杨紫琼!!! 1可以看 《张天志》我提前4天看了片,就觉得其实可看,品质OK,不慌. 周五首映日这片也确实达到了同档期华语片最高分,尤其在猫眼上领跑不少,但观影人数上落后了,就有点可惜. 观影tip:... LOONG飞 2019-02-15 19:37:58 『叶问外传:张天志』武行正道 『叶问外传:张天志』 在《叶问3》回归武术本心后, 此次则让出生市井的张天志以武守家, 使其“武行正道”. 天下第一武指袁和平这些年做导演的片子, 基本都弱在剧情上, 这次也不例外, 全靠演员实打实的功夫底撑起打戏. 此部作为外传, 又把之前正传三部里已经挂掉的释延... > 更多影评 176篇.

2:07 this armor reminded me of the sorceress of He-man. Ip man 4 watch movie. As much as I would like to see a match between Scot Adams and Donnie Yen, I could have lived without the commie propaganda. 葉問4流[Ip Man 4]線上看-2019 葉問4流線上看(2019)完整版 葉問4流線上看,2019上映,完整版小鴨,線上看小鴨, 葉問4流雞不可失上看2019 Watch On Medium [HD] 葉問4 線上看 — 【Ip Man 4】完整版 visit link: 葉問4流完整版本- 2019-HD) 1080P 葉問4流2019上映[HD. 1080p] 葉問4流(‘ Man 4) 完整版本 葉問4流(‘ Man 4) 完整版本 葉問4流[Ip Man 4] 2019 电影完整版~免費下載 葉問4流(Ip Man 4) ~ 完整版 下載 [HD. 1080p] 葉問4流完整版本- 2019-HD) 1080P 葉問4流(2019-HD) 1080p 線上完整版 葉問4流觀看高清在線2019完整版 《〈叶问4 葉問4〉在线观看影片》 叶问4 葉問4 线上看Ip Man 4 2019 電影 《叶问4 葉問4》 線上看小鴨 叶问4 葉問4 下载高清品质 【叶问4 葉問4】 粤语版霹雳online 叶问4 葉問4 豆瓣视频2019 观看 叶问4 葉問4 在线电影Ip Man 4字幕 叶问4 葉問4 下載HD-1080p Ip Man 4〈叶问4 葉問4〉 PTT 流媒体视频 叶问4 葉問4 完整版 叶问4 葉問4 2019中国上映时间 新发布 叶问4 葉問4 AV/BD- 叶问4 葉問4 台湾/香港电影 劇情簡介 遠赴美國開館的李小龍因授武予洋人以得罪當地人馬,葉問(甄子丹 飾)現身引導李小龍以武震懾整個唐人街,以仁德令華洋各路人馬折服,懂得武術貴乎共融,終成為真正宗師 Watch On Medium [HD] 葉問4 線上看 — 【Ip Man 4】完整版 download movies: 葉問4流 1080p 下載 葉問4流 免費線上看電影 葉問4流线上看(2019)完整版 葉問4流,1080p,完整版本 葉問4流線上看,2019上映,完整版小鴨,線上看小鴨, 葉問4流線上看, 2019最新電影, 小鴨影音, 葉問4流 下載 葉問4流 線上看下載 葉問4流 电影完整版 葉問4流 線上 葉問4流 完整版本 葉問4流 上看 《葉問4流》 2019在线 葉問4流2019 線上看 葉問4流主題曲 葉問4流电影在线2019年 葉問4流 (電影)2019年再次觀看電影 葉問4流線上看小鴨影音 葉問4流小鴨影音 葉問4流 香港上映 葉問4流線上小鴨 葉問4流 中國 Watch- Ip Man 4 在线观看 叶问4 葉問4Ip Man 42019在線觀看,叶问4 葉問4完整劇集免費下載 叶问4 葉問4 线上看, 电影在线, 叶问4 葉問4 (2019)视频,Ip Man 4高清BD 叶问4 葉問4BT迅雷下载/叶问4 葉問4免费下载/叶问4 葉問4轻松下载 叶问4 葉問42019上映热门电影~HK粵語_小鴨視頻HD 《叶问4 葉問4》Ip Man 4电影完整版無廣告 ptt 叶问4 葉問4 台湾/香港电影 叶问4 葉問4 线上看 Ip Man 4在线 叶问4 葉問4 2019 最新电影 叶问4 葉問4 電影 叶问4 葉問4 音樂 叶问4 葉問4Ip Man 42019 叶问4 葉問4 Starmovie电影网 — 叶问4 葉問4 在线观看 叶问4 葉問4 电影 叶问4 葉問4 TV 叶问4 葉問4 在线观看 叶问4 葉問4 -下载 叶问4 葉問4 高清 叶问4 葉問4 小鸭 叶问4 葉問4 在线观看 Ip Man 4叶问4 葉問4 2019 叶问4 葉問4 線上看 叶问4 葉問4 2019电影 叶问4 葉問4 叶问4 葉問4 ptt 叶问4 葉問4 線上看 叶问4 葉問4 中文 叶问4 葉問4 安迪 叶问4 葉問4 彩蛋 叶问4 葉問4 預告 叶问4 葉問4 分級 電影 叶问4 葉問4 叶问4 葉問4 英文 胡迪 叶问4 葉問4 叶问4 葉問4 劇情 叶问4 葉問4 配音 叶问4 葉問4 編輯 叶问4 葉問4 威秀 叶问4 葉問4 角色 叶问4 葉問4 熊抱哥 叶问4 葉問4 介紹 叶问4 葉問4 結局 皮克斯 叶问4 葉問4 叶问4 葉問4Ip Man 4 2019 完整版本 免費下載 叶问4 葉問4 【HD. 1080P】~免費下載 Watch On Medium [HD] 葉問4 線上看 — 【Ip Man 4】完整版 叶问4 葉問4完整版本【HD. 1080P】 CHINESE (2019) 完整版本~免費下載 叶问4 葉問4Ip Man 4線上看小鴨影音完整版 CHINESE (2019) 完整版本【HD. 1080P】~免費下載 叶问4 葉問4,Ip Man 4, CHINESE [2019,HD] 線上看最 新電影 完整版在線[2019,HD] 1080P 叶问4 葉問4 (2019)完整版HD 1080P 極惡對決Ip Man 4 2019 (‘電影)線上看 2019 最新電影 ~ 完整版下載[HD. 1080P] 叶问4 葉問4在線(豆瓣) ~ (2019) 电影完整版本~免費下載 ~ [可播放] HD 1080P-全高清 叶问4 葉問4 (电影) 完整版 CHINESE (2019) 完整版本【HD. 1080P】~免費下載 叶问4 葉問INESE (2019) Ip Man 4,完整版本 CHINESE-HD. 1080P 叶问4 葉問4- 完整版[2019] Ip Man 4完整版在線~,1080P,完整版本 HD. 1080p 叶问4 葉問4线上看(2019)完整版~在线观看(2019-HD) HD. 1080p] 叶问4 葉問4線上看(2019) Ip Man 4(2019)完整版本 叶问4 葉問4 (2019)完整版本 【HD. 1080P】~免費下載 叶问4 葉問4線上看 ~ (2019)完整版本 ~ [可播放] HD 1080p-全高清.

I really like this movie. I must say it would be a great movie. Yip man 4 watch movie watch. Yip man 4 watch movie streaming. This movie got me more excited than the rise of skywalker. Yip man 4 watch movie release. Yip man 4 watch movie torrent. Yip man 4 watch movie hd. Yip man 4 watch movie youtube. Yip man 4 watch movie 2. Ip man 4 watch full movie. The most inspiring movie to learn martial arts movie for me is bruce lee fist of fury, creed 2 and ip man 2 and 4 last fight scene.

What new movie is that long enough, who you are cheating on

When I was a kid I use to imitate Donnie Yen and Jet Li. And watch a lot of Kung fu. Gonna Chain Punch my way through the ticket line. Yip man 4 watch movie 2016. Great Work man. D Yen is that Guy. 我要写影评 直到我们可以的影评. ( 全部 7 条) 可怜心事太峥嵘 2014-11-14 21:48:13 Until We Could 中英文对照版 这篇影评可能有剧透 Until We Could knew it then 那刻我就知道了 it that room wherewe found for the first time our eyes 在那个房间 我们第一次发现彼此的眼神 and everything 还有一切 even the din andsomke of the city around us disappeared 甚至包围我们的都市喧嚣和烟尘都消失 Leaving... ( 展开) L&M&爱你长久 2014-10-11 11:03:54 UNTIL WE COULD UNTIL WE COULD A POEM BY: RICHARD BLANCO [Ben Foster] I knew it then In that room where we found for the first time our eyes And everything Even the din and smoke of the city around us disappeared Leaving us alone As if we stood the last two in the world... 暖菌 2014-11-14 21:20:42 直到我们可以 那刻我就知道了 在那个房间里我们第一次发现彼此的眼神 还有一切 甚至包围我们的都市喧嚣和烟尘都消失 只剩下我们 就像是世界上最后懂得去爱的两个人 仿佛两个镜子面对面的 无止境的 让我们眼中的光芒弯曲成永恒 我知道你 从知道你起 可我们不可以 我瞥见阳光爬上人字塔吊 穿... 淋 2014-10-18 21:20:33 直到我们可以(Until We Could) [Ben Foster] 那刻我就知道了I knew it then 在那个房间,我们第一次发现彼此的眼神In that room where we found for the first time our eyes 还有一切And everything 甚至包围我们的都市喧嚣和烟尘都消失Even the din and smoke of the city around us disappeared 只剩... (๑•. •๑) 2019-08-09 23:39:49 这是我目前看到的最好的LGBTQ短片 诗一样的台词,诗一样的画面,诗一样的伴奏,加上诗一样声音的朗读,就这样一直美丽的平权,直到我们可以说出那句I do (这一段I do的时候超级感动) 以下为了凑够140字发长评 I DO I DO I DO I DO I DO I DO I DO I DO I DO I DO Tuekirk 2017-11-03 17:34:57 “until we could ” 手动翻译 / 更新:2017. 12. 3,用APP“背个X啊”背东西真的快啊,用走在路上的时间陆续已经将整首诗给背下来了,成就感满满. 这是一首绝美的诗,说以想着按照自己的理解翻译了一下 这首诗是运动组织 Freedom To Marry (FTM) 在2013年为了纪念其成立10周年,以及纪念麻省作为美国的第一... 肥嘟嘟左卫门. 2015-01-04 12:33:50 「When I hold you, you are rain in my hands. 」 台詞好美~眼窩果然太淺. Love is the right to say"I do. I do want us to see every tulip we've planted come up spring after spring, a hundred more years of dinners cooked over a shared glass of wine and a thousand more movies in bed. I do until our eyes be... > 更多影评 7篇.

Yip man 4 watch movie free. Yip Man 4 Watch movie reviews. Ip man 4 full movie watch online. Ini KUNG FU JUNGLE bangsat. penipu. Yip man 4 watch movie full. Yip Man 4 Watch movies. 10 vs Halk 👊😎 ☝️😂. Yip man 4 watch movie english. Yip man 4 watch movie cast. Yip Man 4 Watch movie page imdb. I wish we could have seen him in person. Gotta love it; Craig in his last Bond movie in the DB-5, a tuxedo, and a hot girlfriend. Just like it should be. Yip man 4 watch movie online. 做任务可以获得更多积分哦. Yip man 4 watch movie 2017. I hope I can see him in the lead role again. My interest peaked when the Bruce Lee scene appeared. Yip man 4 full movie watch online. Yip Man 4 Watch. Ip man 4 full movie watch online dailymotion. Yip man 4 watch movie download.

If I buy this can I stream it now.

 

 

 

The Times of Bill Cunningham Free Online Documentary genres yesmovies Torrents

⇩⇩⇩⇩⇩⇩⇩⇩⇩⇩

DOWNLOAD @WATCH

▲▲▲▲▲▲▲▲▲▲

 

 

rating: 6,8 of 10 Mark Bozek scores: 16 votes genre: Documentary year: 2018 Stars: Bill Cunningham. This is perhaps my favorite documentary ever.

The times of bill cunningham free online shopping

This is a redefined version of the post “The amount of sleep required by the average person is five minutes more. Wilson Mizener I struggled with getting enough sleep for many and many years. I felt tired and sleepy all the time. I woke up every day exhausted. Get up from the bad was extremely difficult. Every day I had to fight fiercely to leave my lovely and comfortable bed. Ive always known sleep is extremely important. “To promote optimal health and well-being, adults aged 18-60 years are recommended to sleep at least 7 hours each night (1. Sleeping <7 hours per night is associated with increased risk for obesity, diabetes, high blood pressure, coronary heart disease, stroke, frequent mental distress, and all-cause mortality (2-4. Insufficient sleep impairs cognitive performance, which can increase the likelihood of motor vehicle and other transportation accidents, industrial accidents, medical errors, and loss of work productivity that could affect the wider community” Yong Liu1, Anne G Wheaton, Daniel P Chapman, Timothy J Cunningham, Hua Lu, Janet B Croft, MMWR. Morbidity and mortality weekly report ^1 I started to have better results in college only after I started to sleep properly. I thought was better to sleep less and have more hours to study. I didn't know the brain works also when I am asleep. “Picture the peaceful sleeper nestled under the covers: body at rest, breathing and pulse slow and steady. But beneath that serene surface, the brain is hard at work, processing the events of the day. It sorts and files, makes connections, and even solves problems. ” ^2. “Eight hours of sleep makes a big difference for me, and I try hard to make that a priority. Jeff Bezos, Thrive Global ^3) “Im more alert and I think more clearly. I just feel so much better all day long if Ive had eight hours. ”(Jeff Bezos, Wall Street Journal ^4) I like to get seven hours of sleep a night because that's what I need to stay sharp and creative and upbeat. Bill Gates, Microsoft FAQ ^5) What about the people that can sleep only 4-5 hours a day? “Trump's doctor says he only sleeps 4-5 hours each night”. 6 I have always envied these people. I wanted to be like them. I loved the idea of having more hours available. I was using them as an excuse to sleep less. After years I have understood that my reality is different. I need more hours to get fully rested. Living out of fact was only making my results worse. Accepted Im not one of them, how can I start to sleep better? When I had problems sleeping, I look for the answer on google. It appeared a lot of articles with almost the same content ^7 - sleep 7 hours or much - go to bed and wake up at the same hour - do sport - No phones, pc, tv. before bed - etc Some doubts start to rise. About sleeping routine. How can I sleep 8 hours, go to bed and wake up at the same hour, if I need to go to uni early and go to bed late while having a bit of social life? The only solution comes out in my mind is to hang out with my grandma and her friends. About sport. What sport? Running? Boring Gym? Boring Football? Bad at it Soccer? Basketball? Worse than football An excuse pops up for every sport. But also if there is a sport that I enjoy, who has the time? About electronic devices If I lay down in bed without anything to do, my mind starts to think about any possible problems in my life, anxiety increase and I cant sleep. I need something that let me dont think about my problems to fall asleep. A possible solution There are a lot of variables that influence sleep. Influencing these variables, you will influence your emotions, and so your actions in the long term. Your actions will influence your results. “It is important to realize that emotions guide almost all our actions and decisions in life. ” (Karin Roelof, Professor -  Behavioural Science Institute, Radboud Universiteit) 8 Today I have a sleep routine that is close to what articles are usually saying. But it would have been impossible starting from there. So I will give you another option, backed by science. Think of this as a starting point, like a snowball that is beginning to get down from the mountain. You don't have to influence all variables now; you can gradually alter them. It will be much easier than doing all at once. And without realizing it, the snowball will start to become faster and faster. 1. set the alarm to stop studying I realized I need time to come back home, eat and have some rest time. This time is almost impossible to compress. So if I put an alarm that said to stop studying, then I can have the time for doing what I need to feel good. If I don't do this, I will eat dinner late, go to bed late and wake up late. 2. put an alarm when going to bed I set this alarm to remember then when it rings everything has to be stopped. I set this alarm 15 minutes before the target time because usually, I need to finish what I'm doing. Point 1 and 2 are functional to the first step “Stick to a consistent sleep schedule and routine” ^9 3. don't watch series or make any addictive things in bed. (sex excluded) I often watch a series before going to bed, but not in bed! I make a warm milk after the series to contrast the bad feeling. I drink it in bed, and it makes me relaxed. 10 4. How to stop your mind from thinking, and feel relaxed? I use documentaries. I look for one I like, but that is not too interesting. Usually, they are free from problems and gives me the possibility to think about nature, which is relaxing for the brain. Nature Documentaries And Being Outdoors May Provide Similar Mental Health Benefits, Study Says. 11 Remember to use night mode like those provided by Flux or Windows 10. 5. Put an automatic stop timer to stop the documentaries. Usually, I find 36 minutes perfectly to get asleep with the documentaries but without realizing that it finishes. If I don't' put this stop timer, I will wake up later in the night and I will difficult to sleep again. What if after an hour you are still awake? This simple guide cant help you. Look for another solution or consider to talk with a specialist. 6. Get up late “Find more energy, not more time” Connor Swenson, from the Partnerships team at Google for Entrepreneurs. ”. 12 Do you think is better to work 5 hours with a relaxed mind or work 7 with an exhausted mind? “Making a small number of key decisions well is more important than making a large number of decisions. If you shortchange your sleep, you might get a couple of extra 'productive' hours, but that productivity might be an illusion. Jeff Bezos. 13 If you don't have enough time to get your mind relaxed and to study enough, there is a problem with your weekly plan. Heres a great guide to create a weekly plan Warning! If you have lessons in the morning be aware of this: Going to the teaching entirely exhausted will be useless but, not going to the lesson and then not studying day by day will be worse than going to the lesson exhausted. Why? You will probably delay the study of this lesson. In the end, you will be near to the exam date without even know what the subject talks about. And as you may know, it is not a good situation. Do this only if you know that you will study day by day the subject. It is useful to use notes of your friends or use professor videos. To increase the probability of study this subject consistently, do it as the first thing. Are you struggling with sleep? Do you have a weird sleeping routine? What works for you? 1 ^2 ^3 ^4 ^5 ^6 ^7 ^8 ^9 ^10 ^11 ^12 ^13.

51 customer reviews There was a problem filtering reviews right now. Please try again later. 17 April 2017 Verified Purchase Two reasons main reasons to watch this affecting and beautifully crafted documentary are, Bill Cunningham is a rarity these days and that is one reason why this is such an interesting peice and the other being the sheer amount of people watching and interaction that is contained in New Yorks fashion world. Not only does this film allow the viewer to mingle with the glitterati of the fashion world, because Bill, an 86 year old gentleman is a fashion photographer and chronicler or fashion trends for the New York Times, and after a career as a milner he spent the rest of his life taking pictures the style concious of the Big Apple. However, Bill himself is seemingly untouched by the modern age and prefers to live the most simplistic, monk like existance, choosing to worship fashion and serve as a dedicated follower cycling around the city to use up his film and catch new trends. He lives in a studio in Carnegie Hall minus a kitchen which instead is rammed with filing cabinets full of his work, he represents a bigone age when artists flourished within those walls and the camera reigned, he is now one of three remaining residents and is being encouraged to leave because the facility wants to use the space. What is so incredibley touching about this man is his total lack of ego and selfishness. He feels no need acquire anything for himself, nor does he seek any kind of celebrity or recognition. What comes across though is the affection everyone that knows and meets him feels for him. This is highlighted when our subject travels to Paris to cover fashion week there and we see him attending a party where he will receive an award for his services to culture. Even here he is earnestly taking pictures and people are gently teasing him about working at his own party. It is obvious to see he honestly can't see why he is being given this award, especially as he points to someone else there he feels deserves it more. We also see the affection the fashion department staff and the New York Times feel for him as they throw a party for his eightieth birthday with cake, identikit masks of Bill's face and song they have written about their much loved colleague. There are many interviews with people giving insights into Bill's life and the contribution he makes to the fashion world as more private offerings from the man himself. At times I found it hard to watch as Bill unlike a lot of people is not trying to convey any type of image but merely be painfully truthful and as the viewer I felt almost as if I was intruding on this incredibley alturistic individual, but that is also what makes the documentary so honest. Overall this was fascinating and I hungrily devoured the extras which further added to exploring Bill's world. I am so happy this film exists as it not only captures the essence of the vibrancy of living of a city like New York and the freedom of doing so, but also has managed to find someone who solely lives for others and has given his life celebrating that diversity and fun that fashion brings into a lot of people's lives. I loved the lack of mobile phones and laptops. Bill has a traditional camera and still gets the rolls developed. This is a man that has brought a little colour to a lot of people and in a big city such as the one he lives in how many noncelebrities can wave at so many people from so many walks of life and be greeted as an old friend. It reminded of the scene at the end of 'It's a Wonderful Life. I think actually Bill might just one of the richest men in town! 28 October 2015 Verified Purchase This is about the unusual and devoted New York fashion photographer Bill Cunningham. Bill is a small elderly man (now 86) who carries a Nikon film camera round his neck. He rides his push bike through the streets of New York before chaining it to a lamp-post, this is because he's had 27 stolen! Bill has a good eye and starts taking photographs of street fashion for New York publications. In the evenings he cycles to glittering charity events and takes photographs of the fashion and people he finds inspiring. Bill tells us he is not interested in celebrities with their "free dresses. We see that Bill is a private and reserved man whose only interest is in recording the evolving fashion trends. He lives a very frugal life in a tiny apartment with no private kitchen or bathroom, in Carnegie Hall. His apartment has little furniture but is full of filing cabinets holding all of his many films with hundreds of books on fashion tucked into every nook and cranny. Bill appears to know everybody who's anybody in New York and also international fashion. He goes to Paris for Fashion Week and waits patiently outside one of the shows with his invitation and all the other photographers. Someone rushes out of the building and leads him in saying, this is the most important person in the world" Bill gets seated in the front row but he will only photograph the clothes that are interesting to him, clothes that he feels real people could wear. Bills been around a long time, and really hes seen it all before. Designers beware and take note. The film has cameo appearances from the New York Glitterati and some wonderfully eccentric fellow residents of Carnegie Hall. Towards the end of the film Bill is asked about his private life, he touches on the subject of homosexuality. He talks about his familys expectations of him and you get the impression this has given him a strict code for life that has lead to the life he now lives alone. Bill is also a religious man, a man who goes to church every Sunday. When asked about this Bill cannot speak, he puts his head down trying with all his resolve to control his emotions. Once he is composed he tells us only that religion is important in his life. Ultimately fashion has been his life and only true love. A fascinating film, but it left me filled with sadness for a life emotionally half lived... 9 August 2015 Verified Purchase A documentary full of energy: its major value is to give us the same enthusiasm and curiosity for this character that he has for life and humans. He is one of major tellers of NY Fashion glamour, but he lives like an outsider, an alien who doesn't stop and always keeps on snapping. You see a forgotten spirit of conceiving photography, art and fashion as something alive, and it shows you the best side of NY. A must have documentary even if you are not a fashion (or photography) addicted. You will fall in love with this guy 20 November 2012 Verified Purchase This is an absolute gem about the life, times and photography of New York photographer, Bill Cunningham. Cycling around the Big Apple in all sorts of weather, Bill Cunningham has lovingly documented the fads and fashions of the city and the "beautiful people" who inhabit that space over more than 50 years. Bill's story is wonderfully captured and it is a wonderful story. What will particularly strike you is his complete lack of interest in money and the finer things of life. He is a loving and very lovable man. Do your mind and body a favour: buy this dvd, watch it and then share with as many people as you can. You will feel all the better for it. 15 June 2016 Verified Purchase This is largely about Bill rather than his work but he is so devoted to what he does that we see a lot of behind the scenes material and a lot of his photography. I was really pleased to learn so much about this private man and this includes comments from Anna Wintour and Iris Apfel. 12 December 2014 Verified Purchase Even if you are not a fan of fashion this is worth seeing just for the sight of the elderly Cunningham passionately going about his business of taking photographs of New Yorkers for a national newspaper. This dvd is an affectionate look at someone who evidently loves his job and cares about the people he photographs. There are 51 customer reviews and 52 customer ratings.

This trailer delivers just enough of the story to make you want to watch the movie to figure out just what on earth is going on.  This is how a trailer SHOULD be. Photo Finish (mlp) is based on her :3. The times of bill cunningham free online movies. The Times of Bill Cunningham free online games. The times of bill cunningham free online games.

I saw this in NJ tonight, great film. I LOVED it


The Times of Bill Cunningham free online slot.
The Times of Bill Cunningham Free online.
"We all get dressed for Bill. says Vogue editrix Anna Wintour. The "Bill" in question is 80+ New York Times photographer Bill Cunningham. For decades, this Schwinn-riding cultural anthropologist has been. Read more.

FiLm How to Watch The Times of Bill Cunningham Online Free? DVD-ENGLISH] The Times of Bill Cunningham (2018) Full Movie Watch online free HQ HQ [DvdRip-USA eng subs] The Times of Bill Cunningham! 2018) Full Movie Watch #The Times of Bill Cunningham online free 123 Movies Online! The Times of Bill Cunningham (2018. Watch The Times of Bill Cunningham Online 2018 Full Movie Free HD. 720Px. Watch The Times of Bill Cunningham 2018 full movies online. Watch Now. Watch The Times of Bill Cunningham hd 2020 Download Now. Download The Times of Bill Cunningham hd 2020 The story of legendary New York Times photographer Bill Cunningham told through the photographers own words, including a recently unearthed 1994 interview. Now Watch The Times of Bill Cunningham (2018) Online Full Or Free Title: The Times of Bill Cunningham (2018) Release Date: 2018-05-01 Genres: Production Company: Production Countries: English Casts: Bill Cunningham, Sarah Jessica Parker Plot Keywords: Movie Plot: The Times of Bill Cunningham premiered in on 2018-05-01, fand was theatrically released in the United States on July 2, 2018, in 3D and IMaidenX. The film was positively reviewed for its humor, visual effects, and perforMaidennces (particularly Holland and Gyllenhaal. It has grossed 980 million worldwide, Maidenking it the most-successful Spider-Maidenn film and the fourth-highest-grossing film of 2018. A sequel is in development. How long were you asleep during the The Times of Bill Cunningham (2018) Movie? ThemMaidenic, the story, and the message were phenomenal in The Times of Bill Cunningham (2018. I could never seeany other Movie five times like I didthis one. Go back and see it a second timeand pay attention. Watch The Times of Bill Cunningham (2018) Movie WEB-DL This is a file losslessly rippedfrom astreaming serMaiden (2018) such as Netflix, AMaidenzon Video, Hulu, Crunchyroll, DiscoveryGO, BBC iPlayer, etc. This is also a Movie or TV show downloaded viaan onlinedistribution website, such as iTunes. The quality is quite good sincethey arenot re-encoded. The video (H. 264 or H. 265) and audio (AC3/The Times of Bill Cunningham (2018) C)streams are Maidenually extracted from the iTunes or AMaidenzon Videoand then remuxedinto a MKV container without sacrificing wnloadMovie The Times of Bill Cunningham (2018) One ofthe Movie streaming indMaidentryslargest impacts has been onthe DVD indMaidentry, which effectively met its demisewith the Maidenss popularization of online rise of media streaming hascaMaidened the downfall of Maidenny DVD rental companiessuch as BlockbMaidenter. In July2015 an article from the New York Times publishedan article about NetflixsDVD serMaiden (2018) s. It stated that Netflix is continuingtheir DVD serMaiden (2018) s with 5. 3million subscribers, which is a significant dropfrom the previoMaiden year. On theother hand, their streaming serMaiden (2018) s have 65million members. In a Maidenrch 2016study assessing the Impact of Movie Streamingover traditional DVD MovieRental it was found that respondents do not purchaseDVD Movies nearly as muchanymore, if ever, as streaming has taken over the Movie The Times of Bill Cunningham (2018) viewers did not find Movie quality to besignificantlydifferent between DVD and online streaming. Issues thatrespondents believedneeded improvement with Movie streaming included functionsof fast forThe Times of Bill Cunningham dingor rewinding, as well as search functions. The articlehighlights that thequality of Movie streaming as an indMaidentry will only increasein time, asadvertising revenue continues to soar on a yearly basis throughouttheindMaidentry, providing incentive for quality content production. Watch The Times of Bill Cunningham (2018) Movie Online Blu-rayor Bluray ripstht are encodeddirectly from the Blu-ray disc to 1080p or 720p(depending on disc source) andMaidene the x264 codec. They can be ripped fromBD25 or BD50 discs (or UHD Blu-rayat higher resolutions. BDRips are from aBlu-ray disc and encoded to a lowerresolution from its source (i. e. 1080p to720p/576p/480p. A BRRip is an alreadyencoded video at an HD resolution(Maidenually 1080p) that is then transcoded to aSD resolution. Watch The Times of Bill Cunningham (2018) Movie BD/BRRip in DVDRip resolution looksbetter, regardless, becaMaidene the encode is from a higher quality source. BRRipsare onlyfrom an HD resolution to a SD resolution whereas BDRips can go from2160p to1080p, etc as long as they go downThe Times of Bill Cunningham d in resolution of the sourcedisc. Watch The Times of Bill Cunningham (2018) Movie FullBDRip is not a transcode and can fluxatedownThe Times of Bill Cunningham dfor encoding, but BRRip can only go down to SD resolutions as theyaretranscoded. BD/BRRips in DVDRip resolutions can vary between XviD orx264codecs (commonly 700 MB and 1. 5 GB in size as well as larger DVD5 or DVD9:4. 5GB or 8. 4GB) size fluctuates depending on length and quality of releases, butthe higher the size the more likely they Maidene the x264 codec. Download The Times of Bill Cunningham (2018) Movie HDRip WEB-DLRip Download The Times of Bill Cunningham (2018) Movie The Times of Bill Cunningham (2018) full Movie Watch Online The Times of Bill Cunningham (2018) full English Full Movie The Times of Bill Cunningham (2018) full Full Movie, The Times of Bill Cunningham (2018) full Full Movie Watch The Times of Bill Cunningham (2018) full English FullMovie Online The Times of Bill Cunningham (2018) full Film Online Watch The Times of Bill Cunningham (2018) full English Film The Times of Bill Cunningham (2018) full Movie stream free Watch The Times of Bill Cunningham (2018) full Movie sub France Watch The Times of Bill Cunningham (2018) full Movie subtitle Watch The Times of Bill Cunningham (2018) full Movie spoiler The Times of Bill Cunningham (2018) full Movie tamil The Times of Bill Cunningham (2018) full Movie tamil download Watch The Times of Bill Cunningham (2018) full Movie todownload Watch The Times of Bill Cunningham (2018) full Movie telugu Watch The Times of Bill Cunningham (2018) full Movie tamildubbed download The Times of Bill Cunningham (2018) full Movie to watch Watch Toy full Movie vidzi The Times of Bill Cunningham (2018) full Movie vimeo Watch The Times of Bill Cunningham (2018) full Moviedailymotio.

Music lovers get ready for the treat of your lifetime. The documentary about the greatest vocalist ever recorded will open Sept. 5! If you love music like I do, Lina Ronstadt, “The sound of my voice” is a must see! Youre welcome. #LindaRonstadt. The Times of Bill Cunningham free online poker. The times of bill cunningham free online episodes. This was refreshing. Brilliant trailer - Thank you. The Times of Bill Cunningham free online gambling. The Times of Bill Cunningham free online. Omg, this is going to be so awesome. Will it come out worldwide i live in canada :S. The times of bill cunningham free online payment.

The times of bill cunningham free online movie. The Times of Bill Cunningham free online dating. The times of bill cunningham free online banking. The Times of Bill Cunningham free online casino. The times of bill cunningham free online full. The times of bill cunningham free online books. The times of bill cunningham free online streaming. RIP Bill forever in our hearts ♥️ 👏👏👏👏. This reminds me of a Japanese show on Netflix, but its like 2 seasons not 2 hours. Simply the Best female singer you can't pin her to any type of music she sang it all.

Brilliant! i love this man. not on your life the man said! XD

Unitards and all! What a mesmerizing spattering of greatness! Beautiful footage; tantalizing bits & pieces of choreography; We Love You Merce. The times of bill cunningham free online tv. What a fascinating, delightful and upwards of charming individual.  Loved the documentary.  Loved Iris. Still waiting for Ozark season 3 brah. @Fireunderwater909 velvet underground - i'll be your mirror. The Times of Bill Cunningham free online bingo. What a blessing to the fashion industry. This actually happens in real life. Iv seen women and men sign NDA's on sexual misconduct or finding out sensitive information that can hurt companies.

The times of bill cunningham free online test. The times of bill cunningham free online book. The times of bill cunningham free online free. BPA style! Plastic. I love her. The times of bill cunningham free online game. The times of bill cunningham free online youtube. The Times of Bill Cunningham free online surveys. I literally get chills every time i hear him speak about fashion. I can't wait. I first saw her on the 1977 Simple Dreams tour and still worship the ground she walks on. Isn't she in the incredibles. The times of bill cunningham free online dating. The times of bill cunningham free online 2017. @yldchyld12 In that case we are all going to be haunted by the animals whose habitat we destroyed. By tearing down trees forrsts and grasslands to have furniture and houses, and mostly by having kids and adding to overpopulation. Thats what kills them mostly, their homes being razed. Not wearing fur or eating them. We are all just as guilty as she is. Maybe more so.

The times of bill cunningham free online play. The times of bill cunningham free online store.

 

 

 

//

Bienvenido

Ya tienes weblog.

Para empezar a publicar artículos y administrar tu nueva bitácora:

  1. busca el enlace Administrar en esta misma página.
  2. Deberás introducir tu clave para poder acceder.


Una vez dentro podrás:

  • editar los artículos y comentarios (menú Artículos);
  • publicar un nuevo texto (Escribir nuevo);
  • modificar la apariencia y configurar tu bitácora (Opciones);
  • volver a esta página y ver el blog tal y como lo verían tus visitantes (Salir al blog).


Puedes eliminar este artículo (en Artículos > eliminar). ¡Que lo disfrutes!