![]() In this example, we'll be accessing it through Mail. So if you want to access the fonts manager, you must go into an app that is compatible. Custom fonts in iOS 13 are only available in select apps at the moment - including Mail, Pages and, Keynote - but that should extend very soon, especially with the imminent release of Photoshop for iOS later this year.
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The album boasts of at least a couple of chartbusters with others fitting in well too. The music of Badrinath Ki Dulhania is already getting popular and is bound to soar further in weeks to come. A good experiment, this one is bound to top the charts. Moreover, there is Badshah who intersperses his rap portion even as Bappi Lahiri and Anuradha Paudwal are heard as per the original version. So what one evidences is Tanishk Bagchi bringing on some new beats and giving the song a radio feel by even bringing on Ameen Sayani as the presenter. What truly works for the song is the fact that the core sound of Bappi Lahiri's 'Tamma Tamma' is kept impact and it is primarily the 'remix' effects that are placed. The best is reserved for the end as the much awaited 'Tamma Tamma Again' is heard in today's avtar. Moreover, one can see the kind of comfort zone that Varun and Alia share in this song which sets your foot tapping from the word 'go'. The song is as 'desi' as it gets, what with the folk flavour from 50-60 years back being revisited for this celebration number. There is renewed energy that fills the scene as the team of Dev Negi, Neha Kakkar, Monali Thakur and Ikka with Rajnigandha Shekhawat as the back-up vocalist sings in tandem to result in a rollicking outing. Next to arrive is the title track 'Badri Ki Dulhania' and along with it brings all the fun that is just the right kind for a 'holi' outing. Maintaining a consistent pace right through its duration, 'Humsafar' is easy on ears and though it has a conventional tune, you don't mind what you hear due to the inherent simplicity that it carries. An indie outing which has been placed in a conventional Bollywood narrative, 'Humsafar' is a love song that could well have been designed as a bonfire outing. Newcomer Akhil Sachdeva debuts on the Bollywood scene with 'Humsafar' while playing the triple role of composer-lyricist-singer. A decent track, it is primarily situational and one waits to see the distance it eventually manages to cover. However, in this case it is the second track itself, and hence one is a little taken aback as you expect a much happier soundtrack from a film that promises to be a fun entertainer. Typically, a pathos-filled number belonging to this genre and style is placed towards the middle of the end of the album. An Arijit Singh solo which has lyrics by Kumaar, it surprisingly comes quite early in the soundtrack. The mood of the soundtrack changes immediately though with Amaal Mallik bringing a sad song into play, 'Roke Na Ruke Naina'. Soon enough though the song takes its own route as Shreya Ghoshal too lets her hair down for this let's-play-to-the-gallery number. That said, it is tough not to find similarities with 'Fevicol Se', especially when it comes to the opening lines. ![]() The kind of music that could well have been created for a 'dandiya night' outing, it is shows a different side of Amaal. It is the mood of 'masti', 'dhamaal' and a lot of fun that is created by composer-singer Amaal Mallik for 'Aashiq Surrender Hua'. Now that the second in the franchise, Badrinath Ki Dulhania, is gearing up for release and that too with the same lead pair of Varun Dhawan and Alia Bhatt, one waits to see what does the team of producer Karan Johar and director Shashank Khaitan have to offer with multiple composers and lyricists pitching in. It is different matter though that both of these were recreated versions of the past hits. Music of Humpty Sharma Ki Dulhania was quite popular and a couple of its songs, ‘Saturday Saturday’ and ‘Samjhaawan’, are played till date. Badrinath Ki Dulhania Review & Review Rating Plays Violet Bick / Young Violet, Matilda, Ruth Dakin Bailey, Rose Bailey, Mrs. Campbell, Randall, Tom, Man 2, Charlie, Carter, Horace the Bank Teller, Tommy Bailey (Child), Mr. Plays Harry Bailey / Young Harry, Bert The Cop, Clarence Oddbody, As-2, Sam Wainwright, Lawyer, Dr. Bailey, Old Man Collins, Ed, Man, Giuseppe Martini, Nick, Bridge Keeper, Binky Potter, Uncle Billy Bailey, Ernie, Pete Bailey (Child), Mr. The following five actors play all the characters in the play. It's a Wonderful Life: A Live Radio Play is performed without an intermission. Place: The stage and auditorium of Studio A at WBFR in Manhattan, New York. Script and Licensing for IT'S A WONDERFUL LIFE: A LIVE RADIO PLAY Click here to read an interview from Trinity Rep's Trinity Sqaure. ![]() ![]() Other projects include Mothers and Sons, a musical co-written with Kevin Connors and Lifeboat, Dahling! with Bert Bernardi. Joe's other plays include Vintage Hitchcock: A Live Radio Play and an adaptation of the cult classic Reefer Madness. In 1997, It's a Wonderful Life: A Live Radio Play premiered in Stamford, CT and has since enjoyed productions around the country. In 1995, Joe founded Second Guess Theatre Company, which produced over two dozen new plays, adaptations and revivals to critical-acclaim. Encouraged by his parents, Joe was introduced to various theatres which he came to call home, including Playwrights Horizons and Roundabout Theatre Company in New York, Westport Country Playhouse and others. Joe's other main interest was the theatre. This was before the dawn of home video, back in the days of 16mm, and their permanent collection included It's a Wonderful Life, The Lady Vanishes and other early Hitchcock films. JOE LANDRY (Playwright) At age 12, Joe's first job was in the film department at the library in his hometown of Fairfield, CT. And thanks to you, dear reader, for your interest in retelling this timeless tale. My thanks to all those who have been involved since the beginning of the this journey, including Frances Kondziela, Jim McKenzie, Julie Monahan, George Moredock, Doug Moser, Jane Desy, Barbara Meyer, Cathy Mulligan, Kevin Connors, Colin Eastland, Achilles Tsakiridis, Doug and everyone at and my loving and supportive parents, Paul and Mary, sister Hope and brother Tom. Through word of mouth alone, productions have since taken place around the country, including the noted Chicago premiere at American Theatre Company. It was at Stamford that the play was fine tuned and took shape as the piece published here. This radio play adaptation was originally mounted at Stamford Center for the Arts in 1996, and has been performed there since with great success. When the budget of this (still full-scale, literally putting the film on stage) production skyrocketed and was dropped from the slate, the concept of staging the piece as a live radio play of the period was born. After the premiere of this original incarnation, the piece was produced by TheatreWorks in New Milford, CT, and was then chosen for its first professional production at the legendary Westport Country Playhouse. The following Introduction/Acknowledgments appearīringing Frank Capra's classic film to the stage began almost twenty years ago when longtime friend and teacher Frances Kondziela asked me to pen an adaptation for her high school ensemble. ![]() ![]() This website is a resource for producers interested in staging It's a Wonderful Life: A Live Radio Play, and features an introduction to the play, character breakdown, a review archive and other information. It's a Wonderful Life: A Live Radio Play premiered in 1996 at Stamford Center for the Arts in Stamford, Connecticut, and has since been produced around the country to critical acclaim. Five actors perform the dozens of characters in the radio play as well as produce the sound effects. Inspired by the classic American film, It's a Wonderful Life, It's a Wonderful Life: A Live Radio Play is performed as a 1940s live radio broadcast in front of a studio audience. ![]()
![]() Methods- This article was written under the auspices of the Technology Assessment Committees for both the American Society of Interventional and Therapeutic Neuroradiology and the Society of Interventional Radiology. There is no simple correlation between recanalization and observed clinical benefit in all ischemic stroke patients, because other interactive variables, such as collateral circulation, the ischemic penumbra, lesion location and extent, time to treatment, and hemorrhagic conversion, are all interrelated to outcome. It is not clear to assume that achieving immediate flow restoration due to thrombolytic therapy implies clinical success and improved outcome. These include being able to predict whether a particular site of occlusion can be successfully revascularized, predict an individual patient’s prognosis and outcome after revascularization, and in particular, to predict the development of intracerebral hemorrhage, with and without clinical deterioration. There are additional problems in the assessment of patients eligible for thrombolysis. It is possible that improved imaging that identifies the ischemic penumbra and distinguishes it from irreversibly infarcted tissue will more accurately select patients for therapy than duration of symptoms. One of the most important predictors of clinical success is time to treatment, with early treatment of <3 hours for intravenous tissue plasminogen activator and <6 hours for intra-arterial thrombolysis demonstrating significant improvement in terms of 90-day clinical outcome and reduced cerebral hemorrhage. In addition, there are multiple unanswered questions that require further investigation, in particular, questions as to which patients are best treated with thrombolysis. There is a need for more uniform definitions of multiple variables such as collateral flow, degree of recanalization, assessment of perfusion, and infarct size. Divergent criteria, with disparate reporting standards and definitions, have made direct comparisons between stroke trials difficult to compare and contrast in terms of overall patient outcomes and efficacy of treatment. There is room for improvement in stroke lysis studies. At this time, the only therapy demonstrated to improve outcomes from an acute stroke is thrombolysis of the clot responsible for the ischemic event. These stroke trials have included intravenous studies, intra-arterial studies, and combinations of both, as well as use of mechanical devices for removal of thromboemboli and of neuroprotectant drugs, alone or in combination with thrombolytic therapy. ![]() A number of well-designed randomized stroke trials and case series have now been reported in the literature to evaluate the safety and efficacy of thrombolytic therapy for the treatment of acute ischemic stroke. Stroke is the third leading cause of death and one of the leading causes of adult disability in North America, Europe, and Asia. Customer Service and Ordering Informationīackground and Purpose- The National Institutes of Health (NIH) estimates that stroke costs now exceed $45 billion per year.Journal of the American Heart Association (JAHA).Stroke: Vascular and Interventional Neurology.Circ: Cardiovascular Quality & Outcomes. ![]() ![]()
![]() When the indicator reaches theīoundary of the grey area, pitch gestures will control the camera’s pitch speed at a constant rate. Is inside the grey area, the camera will move according to pitch gestures. In Accelerometer Sensor Mode, the pitch angle indicator will show a grey area. Gimbal pitch control (Accelerometer Sensor Mode) The gimbal pitch movement is controlled by moving your mobile device. Green slider indicates currentĪccelerometer Sensor Mode Nikon Camera Control Software Tap up arrow to pitch camera upwards and down arrow to pitch downwards. Pitch Control switch is white tap once to highlight it and enter Accelerometer Sensor Mode. Shots Shutter Button Video Recording Button Camera Settings Hide or Show Flight Parameters Return Camera Pitch Control Flight Attitude and Radar Function Flight Parameters Wi-Fi Signal Strength įlight Battery Level Aircraft GPS Status Micro-SD Card Status Range Extender Battery Level Remaining Some time may be needed for Nikon Transfer 2 to transfer large quantities of files or data, in which case the pictures should be transferred in small batches. Connection between the computer and camera may be via USB cable, or through wired. The link with Camera Control Pro 2 via Show Image Immediately After Shooting cannot be used with Camera Control 2 version 2.33.1 or earlier. ![]() This software enables remote control of the settings on most Nikon digital SLRs. Connection between the computer and camera may be via USB cable, or through wired or wireless LAN using a wireless transmitter. Camera Control Pro 2 software enables remote control of the settings on most Nikon cameras. This Agreement constitutes the complete and exclusive agreement, oral or written, between you and Nikon. ![]() Nikon retain ownership of the Manual and all copies thereof and all related intellectual property rights, and reserves all rights not expressly granted to you under this Agreement. ![]() Frankfinn is promoted throughout the film, though the ending is sponsored by Good Intentions. ![]() The first half has the tang of real life the second, the sterile good cheer of a film that’s literally on foreign ground. The first hour has some of the fast-talking charm of screwball comedy, but when the film swaps Jhansi for Singapore, the writing loses its specificity and bite. See the Box Office tab (Domestic) and International tab (International and Worldwide) for more Cumulative Box Office Records. Khaitan’s writing, with its UP inflections and inexact translations (“turbulence" becomes “maansik santulan"), is quick and funny, words that might also be used to describe Dhawan and Bhatt and Sahil Vaid as Badri’s best friend. Yet, if it were real life we were talking about, Vaidehi probably wouldn’t have emerged from that trunk alive. Khaitan would probably argue that this is how things are in real life in Uttar Pradesh (and pretty much everywhere else in India). On the other hand, there isn’t enough dramatic heft in it to justify the kidnapping-as-plot-device sequence or the threats of honour killing that issue from Badri’s father. There’s a frankness to its discussions of dowry and the diminishing of women’s rights after marriage that’s heartening to see in a mainstream film. Vaidehi was conned by her fiancée, resulting in a loss of money and, perhaps more crucially, agency when Badri proposes marriage as part of a pretty package that’ll see her sister married as well, and her father saved of a dowry payment he can’t afford, she agrees, even though her mind is set on becoming an air hostess.īadrinath Ki Dulhania is a tricky film to unequivocally praise or damn. Badri’s brother was prevented by his class-obsessed conservative cliché of a father from marrying the woman he loves. Like Humpty Sharma Ki Dulhania (2014), to which this is a sequel in spirit, Shashank Khaitan’s film examines how the emotional reverberations of failed and thwarted marriages are felt by the entire family over time. ![]() Vaidehi’s mad for 20 seconds, and then the focus shifts to Badri’s hurt feelings. You’d think this would wreck their relationship forever-not to mention result in some sort of legal action-but no. Badri, along with a friend, abducts Vaidehi off the streets at night, throws her in the trunk of his car, and drives off. If the pass the film grants him is morally dodgy, the sequence that arrives a little after the interval is indefensible. She says “no", he hears “try harder" -a sequence of events that’s stubbornly lodged in the DNA of Hindi cinema. Jhansi boy Badri (Varun Dhawan) blithely pursues the uninterested but amused Vaidehi (Alia Bhatt) through the streets of Kota. The latter occurs after the interval, and is usually a prelude to the male lead discovering the error of his ways.īadrinath Ki Dulhania has good and bad stalking, and both are presented as part of the mating ritual. The former usually takes place in the film’s first hour, is performed with non-threatening charm by the male lead, and is borne by the female lead with exasperated good humour. Stalking is so common in Hindi cinema that our filmmakers have developed a tacit grammar of good stalking versus bad. ![]() "Segoe UI Bold (TrueType)"="segoeuib.ttf" "Segoe UI Black Italic (TrueType)"="seguibli.ttf" "Segoe UI Black (TrueType)"="seguibl.ttf" ![]() ![]() You don’t need to make any changes to this text. To do this, open the “Start” menu, search for “Notepad,” then click the app in the results.Ĭopy the following text and paste it into your new Notepad document. Then, just make a few clicks, and you’re back to the default Windows font. To reset your changes and use the original default font on your PC, you just need to create another Registry hack and enter some code in it (The code is given below.). How to Go Back to the Original Default Font on Windows 10 Then, right-click your file and select “Merge,” followed by “Yes” (twice) to change your default font. To use another font as the default font, right-click your Registry hack and select “Edit.” Replace your current font’s name with your new font name, and click File > Save to save the file. When your computer boots back up, you’ll find your selected font is now the default font for nearly all Windows panels and tools. Lastly, click the “Start” menu, select the power icon, and choose “Restart” to restart your computer. Right-click this file and select “Merge.” This adds the values in your file to the Windows Registry.Ĭlick “Yes” in the prompt, then click “Yes” again to add your new values to the Windows Registry. Open the folder where you saved your newly created Registry hack. Choose “All Files” from the “Save as type” dropdown menu, select a location to save your file in, and click “Save.” For example, to save the file as “mynewfont”, you’d type “mynewfont.reg”. Then enter a name followed by “.reg” in the “File name” field. Make sure that you keep double quotes around the font name as already shown in the code. Then, replace “NEW-FONT” in the code with the name of the font you noted earlier. To start, open the “Start” menu, search for “Notepad,” then click the first result.Ĭopy the following code and paste it into a new Notepad document. You can use a text editor like Notepad to make registry hacks. Now, you need to create a registry hack that adds this font to the Windows Registry. On the right pane, find the font that you want to set as the default and click the font name.Īt the top of your screen, you can see the official name of your font. In Settings, click “Personalization,” then select “Fonts” in the left sidebar. |
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