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Charlie Sheen lives in a big yellow house on a T-shaped intersection in the middle of a fake neighborhood in a gated community off Mulholland Drive. When I arrive there on a Saturday afternoon in January, I am intercepted in Sheen's driveway by a security guard, a friendly, not intimidatingly large man who asks me to come with him into the garage to sign a nondisclosure agreement.
This is a first for me. I scan the five pages of legalese, in which the undersigned — me — is referred to as "the Employee." To what extent, I wonder, will signing this document impede my ability to do my actual job of interviewing Sheen and his childhood friend, Roman Coppola, about their new movie, A Glimpse Inside the Mind of Charles Swan III?
Larry Solters, Sheen's personal publicist, materializes to allay my fears. The document, he says, is not about Sheen and his associates trying to control the story I'm here to write. It's about them trying to prevent me from selling a story to TMZ about anything I see inside the house. Standing in the security office built off Sheen's garage, under one of those posters you see in breakrooms advising workers of their fundamental rights, I sign away my right to profit off my visit with Charlie Sheen.
Inside the Mind of Charlie Sheen
Solters is an old-school guy, a second-generation publicist whose clients have included The Eagles and Guns N' Roses. His first publicity coup was issuing a press release stating that Led Zeppelin had been "denied the right" to play Shea Stadium. The story was false — but it made the papers.
Sheen, Solters says, hired him about a year and a half ago, which would be summer 2011, which would be shortly after the period described on Sheen's Wikipedia page under the subhead "Meltdown."
That section does not include details about Sheen's 30-year struggle with substance abuse, his 9/11 truther activism, the time he accidentally shot fiancée Kelly Preston, or other assorted legal issues, reported incidents of domestic violence, and general mischief. It mostly includes the "bizarre statements" Sheen made in TV interviews and on Sheen's Korner, a web video airing of grievances, which Sheen produced for a few days in March 2011 after losing his job, the highest-paid acting gig in television, as star of CBS' Two and a Half Men.
It took only days for Sheen's apparently off-the-leash antics to galvanize a certain kind of attention. In a long essay published by the Daily Beast on March 15, no less a sage than Bret Easton Ellis canonized Sheen as the icon of "post-Empire": "Charlie Sheen doesn't care what you think of him anymore, and he scoffs at the idea that anyone even thinks there's such a thing as PR taboo. 'Hey, suits, I don't give a shit, you suck' is what so many of the disenfranchised have responded to."
But the new world order didn't last long. On April 2, 2011, Sheen took his "act" on the road, launching a tour called "My Violent Torpedo of Truth: Defeat Is Not an Option" at Detroit's Fox Theatre. He delivered what one critic described as "the overwritten, faux-biblical preaching of a self-anointed Messiah who views himself as the most truthful person in the universe" — and was booed offstage. By July, FX had signed Sheen to star in a new series, Anger Management, and by September, he was at the Emmys making nice with his former co-stars.
Is that all there is to a meltdown? Was there ever a solid to melt?
"They hired me when things were really calm and easy," Solters jokes. "I mostly do music, but they couldn't figure out what to do with him, so they figured, give him to the rock 'n' roll guy." Solters, apparently, is not the guy you hire to babysit a man who can't control himself, to wrangle a self-styled outlaw and subdue him into playing the game. He's the guy you hire to sell a brand built on incorrigibility, when the problem is the product.
A few minutes later, Roman Coppola drives up in a scuffed-up black Cadillac. He, like Charlie Sheen, is 47 years old. Two days earlier, he was nominated for his first Oscar, for co-writing Wes Anderson's Moonrise Kingdom. His sister, Sofia, won an Oscar for her Lost in Translation screenplay in 2004, when she was 32; his father, Francis, won his first Oscar for his Patton screenplay in 1971, when he was 32.
Coppola enters Sheen's house through the garage; he is not asked to sign anything. I follow as he walks past a framed dollar bill signed by a super-producer three weeks after Sheen was fired from Men ("Charlie, you are the winner. Warmest, Mike Medavoy"). He turns into the kitchen and beelines to a deluxe espresso machine.
The right side of the double-wide fridge is plastered with drawings apparently done by Sheen's kids (he has five, four of them under age 10). The left side is covered with Ziploc bags containing what appear to be mementos of nights spent with other celebrities. There's a crushed pack of American Spirits in a bag marked "Sean Penn," pot residue in the bag labeled "Dogg," and a cigar stub in a bag with Roman Coppola's name on it, marked August 8, 2011. That was the night Sheen, after much prevarication, finally agreed to star in Coppola's movie.
Coppola, Solters, another publicist, and I gather around a round wooden table, waiting for Sheen — I've been told he could appear at any time. Meanwhile, Coppola and Solters discuss Sheen's role in promoting the movie, which opens theatrically February 8 and already is available via cable video-on-demand. Coppola stresses that it's very important that Sheen talk about the movie in interviews and on talk shows, because Sheen has access to an audience that otherwise might not be exposed to an independent film.
Solters likes the narrative. "He's got the very commercial Anger Management, but then he's an artiste, he's got the independent film. It's a much better story than 'Sheen's Korner Meltdown.' "
The independent film in question happens to be pretty good. Charles Swan follows the title character, a rock-star graphic designer and dandy played by Sheen, as he suffers through a breakup, procrastinates on an album-cover assignment, and commiserates with other wounded men (played by Jason Schwartzman and Bill Murray). The film's nonlinear narrative drifts between dreams, memory, and a skewed present, painting a fractured portrait of an adult man mired in adolescent fantasy. It's a gently self-lacerating satire of entitled masculinity, literalizing "the battle of the sexes" by casting women as hostile Indians to the male characters' cowboys. It's a paean to the woozy comfort of being sad presented in a raucously psychedelic style, drawing on musical numbers and cartoonish costume sequences. It both is and isn't a period piece, set in an imagined Los Angeles that's all classic cars and yachts, smoke-filled recording studios and tropical foliage. It feels like a 1970s issue of Playboy come to life.
Coppola and Sheen have been friends since meeting as boys on the set of Apocalypse Now, in which Sheen's dad, Martin, starred under Coppola's dad's direction. Coppola says the initial seed of the idea for Charles Swan came in 2004, and it stemmed from his own crisis, not Sheen's. "I experienced a breakup, and at the same time, a friend of mine was going through a divorce," he recalls. "And we would just sit around and talk incessantly about the same things in a very loopy way. We'd bring up a memory and be happy, and then be angry. The state of mind one can get into when you go through a breakup can be kind of dazzling and fractured."
So, in other words, in the midst of an intense personal trauma, emotionally we are all Charlie Sheen? "You're using 'Charlie Sheen' as a sort of euphemism for insanity, which is maybe not fair, but I understand what you mean," Coppola says. After all, both Swan and Sheen are on "the feather edge of keeping it together."
The film is Coppola's first directorial effort in a long while. He was one of the top music video directors of the end of the MTV-playing-music era, making iconic clips for Green Day, Fatboy Slim, The Strokes, and Moby. In 2001, Coppola brought his first feature film, a late-'60s pastiche called CQ, to the Cannes Film Festival, where it was overshadowed by another Coppola film, Apocalypse Now Redux. The Village Voice's Dennis Lim summed up CQ thus: "Endearing but pointless, at once cluttered and tinny, this film-dork fantasia suggests a shopping spree at a high-end vintage emporium underwritten by Daddy's blank check."
Over the decade-plus gap between directorial efforts, Coppola collaborated as a writer, producer, and/or second unit director on two Wes Anderson films and three Sofia Coppola films. What became Charles Swan was percolating all the while.
"You work on something, then you set it aside; you can't quite crack it," Coppola says. "And I have a lot of other things that I do in my life. So you know, a year goes by, and you do this, you do that. But I kept coming back to it. All this time goes by and you have one little experience and you put that in, another thing occurs to you and you put that in. Part of its kaleidoscopic personality comes from all the time that it took."
Truly, part of Charles Swan's charm is the kitchen-sink factor — a metaphor that Coppola turns into a visual punch line — but his juxtapositions don't seem haphazard. The film may be an indulgence in the kind of vintage fetishism for which critics blasted CQ, but it's also a sustained and successful riff on the relationship between design and desire, via a lightly comic examination of the process of turning one's collected experiences into a work of commercial art. On that score, it has a direct precedent in Funky Squaredance, a 10-minute video Coppola directed in 2004 for the French band Phoenix, which uses scrolling text and a grab-bag of still images and video clips to describe Coppola's creative process, thus transforming the process into both a conceptual artwork and an advertisement.
"That was a step to coming to this project," Coppola says of Funky Squaredance. "You live your life and the things you're exposed to become collected."
Suddenly, Charlie Sheen bounds into the room, his arms extended in Coppola's direction. "Congratulations, bro."
"Oh, thanks a lot." Coppola stands up, looks Sheen up and down, and says, "You look sharp!" He's wearing a crisp blue button-down untucked over white linen shorts, white socks, and sneakers. He's very thin and very tan. One of his front teeth is gold.
"Thank you," Sheen says, bringing his hands to his face. "I have this burn on my nose. Are we taking photos?"
No photos.
"Really?" Sheen exclaims in semi-mock frustration. "I've been up there fucking trying to put this healing creme on it."
If you'd read my texts, Solters says, you'd know — no photos.
"I know, I know," Sheen says quickly. "But my phone, uh, died, last night."
Solters says, sarcastically, "Oh, I'm sorry to hear that."
"No, I got pissed and just . . . tossed it."
Sheen suggests we do the interview upstairs, which provides an excuse to give us a tour of the wing of the house that's under construction. Downstairs, the living room is being turned into a bowling alley. Upstairs, a slide-away bookcase reveals what will soon be a "1930s martini bar." The remodel is scheduled to be finished in two weeks, although, Sheen says, "They said that four weeks ago."
The house is not the only thing under construction. Sheen has recently made a host of charitable contributions, pledging to give $1 million to the USO, funding the funeral of a paparazzo who died chasing Justin Bieber, and giving Lindsay Lohan $100,000 to pay her taxes. Perhaps a more telling turnaround: He went public with salacious tales of a boozy night in Mexico with Los Angeles Mayor Antonio Villaraigosa — and then quickly apologized.
The five of us — Sheen, Coppola, the two publicists, and I — settle into a room that's finished, a lounge. They sit side by side on a couch, the newly minted Oscar nominee and the sitcom drudge on the upswing from, shall we say, a tumultuous year. ("I would call it embattled," Sheen says. "Erstwhile, I would call it 'roid rage.") How did they get here?
"We met in the Philippines," Sheen says, turning to Roman. "1976? '75?
"'76, '77," Coppola corrects.
What do you remember about that?
Sheen grimaces broadly. "All things traumatizing."
Francis Ford Coppola compared the Apocalypse shoot to the war depicted in the movie: "There were too many of us. We had access to too much equipment, too much money, and, little by little, we went insane." Roman Coppola's dad went into production with a script he wasn't satisfied with and no idea what his Vietnam epic was really about. Martin Sheen was brought in to replace Harvey Keitel in the lead role after the first week of shooting. Sheen, a three-pack-a-day smoker, suffered a heart attack on set, further delaying production. They were shooting amid a civil war, and torrential rains forced the shoot to shut down for two months. Cast and crew members habitually dropped acid and took speed. Oh — and the Coppola family had put up its own assets to fund the film. Through all of this, Roman's mom, Eleanor, kept detailed diaries, shot behind-the-scenes footage, and made clandestine audio recordings, all revealed in the 1991 documentary Hearts of Darkness: A Filmmaker's Apocalypse. The film contains copious footage of Francis Ford Coppola, shirtless and manic, looking nuttier than any footage of Charlie Sheen that I've ever seen.
The on-set chaos fed their friendship. "I'd seen half the world before I was 12," Sheen recalls. When they met, Coppola was 11 and Sheen was 10, and though Sheen would bond with other kids on movie sets, "Ours was a little more special than the norm." Coppola would finagle leftover scar prosthetics from the makeup tent to play with, and borrow prop cameras. They'd run around, playing, taking pictures that would become burned in their memories. As they reminisce, they finish each other's sentences.
"The Kurtz compound was a real, working village," Coppola says. "My dad brought in real Ifugao to populate it . . ."
Sheen interrupts: " . . . and play the Montagnard army, yeah."
"So, we were in this world as kids. We would just hang out, amidst all this very far-out imagery. Heads, dead bodies. It's a whole swirl of memories now, 30 years later . . ."
". . . which don't seem real."
"Yeah," Coppola agrees. "But they were very matter-of-fact at the time."
After the shoot, the boys became pen pals. "Over the years, we would see each other," Coppola says. "Sometimes not so frequently, but years would go by and we would always have that bond."
That bond would sustain ups and downs in each man's fortunes. In 1986, Sheen broke out with a lead role in Oliver Stone's Platoon. That same year, Coppola's older brother, Gio, 22, died in a boating accident while working for their father as second unit director on the film Gardens of Stone. After Gio's death, Roman, then a 21-year-old NYU student, stepped into his brother's job.
"I could see his misery," Eleanor Coppola wrote. "He lost the person he was perhaps closest to in all the world and he couldn't escape; each day he will be surrounded by reminders of Gio and will witness his parents' and sister's pain." Roman Coppola has shot second unit on almost every Francis Ford Coppola film, and every Sofia Coppola film, since.
And then, Coppola says, "There was sort of an epic period."
Sheen cackles: "The year of '90!" Sheen appeared in six films that year, including The Rookie (co-starring and directed by Clint Eastwood) and Men at Work (co-starring and directed by his brother, Emilio Estevez). That year, an article about the "Coppola brats" described Roman as having "the ectomorphic look of someone surviving solely on caffeine, cigarettes, and sleep deprivation." He had started producing independent films, most notably a '70s spoof called Spirit of '76, which he also co-wrote. Coppola was toiling to make a name for himself; Sheen was the hugest of young stars.
Stardom has changed so much that there is no direct equivalent to the kind of star Charlie Sheen was in 1990, or what that must have felt like. Think Robert Pattinson, if he had already starred in two Oscar-winning films; Joseph Gordon-Levitt, if he had had all his current success by age 25, and knew that his movie star father had made his greatest film when he was 36; Jennifer Lawrence, if she was a dude. If you were Charlie Sheen in 1990, you wouldn't know that your biggest and best films (Wall Street, Young Guns, Eight Men Out, Major League) were behind you, and that the future of your film career held the Hot Shots movies and Money Talks, and not much else worth mentioning. If you were Charlie Sheen in 1990, you probably would think you were going to live forever.
"Charlie said something to me," Coppola remembers, "and this was a time when you were doing big movies and stuff. You said, 'Dude, we've got to make a movie together.' " Sheen nods vigorously. "And I was just a 25-year-old guy, aspiring to do stuff, and that stuck in my mind. It meant something to me that you would say that."
"Well, it was the sons of the guys who made the greatest film ever," Charlie says. "Period. The end. Sorry, Godfather. Sorry, Dog Day [Afternoon]."
In an interview a week before he was fired by CBS, Sheen encapsulated his state of mind with an Apocalypse reference: "I'm putting up the river to kill another part of me," he said, "Which is Kurtz." Meaning, of course, Marlon Brando's character in the film — a Special Forces officer gone AWOL and insane. Martin Sheen's character, Willard, journeys upriver into the proverbial heart of darkness to confront his own demons and kill the rogue colonel.
Today, Sheen says, "Everything, every lesson about life, every nuance, every hardcore, softcore — everything you need to know about how to be a good person is in Apocalypse." That's been his philosophy, he says, "since I was a young adult, since I started looking at it a little bit differently, about Dad's journey. You know, people try to compare Platoon to Apocalypse, and I'm like, 'Get out of my house.' Our story was pretty good and told from boot level, but I think Apocalypse is about so many other things than just that war, you know?" Gesturing to Coppola, he adds, "We quote the movie incessantly."
Coppola confirms, "If we're together, a day doesn't go by without some reference."
The pair are products, literally and figuratively, of 1970s American cinema, and Coppola used their shared shorthand — as well as visual references, like a photo of Jack Nicholson accepting his Oscar in 1975 — to communicate what he was after with Swan. "That period of time when my dad made those pictures — and [Martin Sheen made] Badlands — it was a big moment in cinema. We would see it with a different perspective years later."
Suddenly, they were 45. After wrestling with the idea of Charles Swan for half a decade, Roman brought the script to the Two and a Half Men set to pitch the project to Sheen.
"I played him some music, I described this character going through the crises. He said, 'Sounds like All That Jazz'" — choreographer-turned-filmmaker Bob Fosse's dark, autobiographical musical, which was released the same year as Apocalypse. "And when he said that, I was like . . ."
" 'He gets it,' " Sheen laughs.
"Yeah: We're back. We're in sync."
This, Coppola hastens to add, was "prior to all the craziness."
"In the world?" Sheen asks. "Or me?"
"You. And the world, too — you're a reflection of the world. You're tapped into the cosmos."
Over the next few months, the two exchanged texts about the project constantly; at one point they went down to Belize, where the Coppolas own a resort, for what Sheen calls a "tropical workshop," to refine the script. But they couldn't nail down a start date.
"I can't speak for you," Coppola starts, "but . . ."
Sheen flicks his lighter and mutters around the Marlboro in his mouth, "Yeah, you can."
"Charlie wanted to do this movie but was hesitant to commit to it."
Sheen exhales smoke. "It was terrifying."
Sheen's last major film role had been in Scary Movie 3 in 2003. Even before the Meltdown of 2011, no one was banging down his door with quality parts; he "didn't want to be, like, Cop Number Four in all the crap Warner Bros. was insultingly offering me." Also, despite his connection to Coppola, "There were too many things he was asking me to do that I'd never done before." Such as? "Speaking another language." Sheen, who was born Carlos Estevez, has a conversation in Spanish in one scene of the movie.
It's interesting that he saw it as unfamiliar territory, I say, as some people may assume he's playing some version of himself.
"How? Why? Based on what?" Sheen snaps, talking over me before I've finished my sentence.
From the character's conspicuous excess to the general theme of a 40-something man broken and then rejuvenated by crisis, there are more than a few similarities that could be drawn between Charlies Swan and Sheen. There's a scene in which Swan's car tips over on Mulholland and has to be towed out of a stranger's pool — an echo of the 2009 incident in which Sheen's Mercedes was mysteriously found in a nearby ravine. There's a hilarious scene in which Swan asks a Russian cab driver to help him score drugs, the punchline of which I won't spoil here, which clearly nods to Sheen's notorious party-by-any-means-necessary proclivities.
In hindsight, I should have reminded Sheen that when his dad asked for guidance about his character in Apocalypse Now, Roman's dad said, "He's you. He's whoever you are." Instead, I let Coppola play diplomat.
"There's very little corollary between the specifics of the story and Charlie's life," Coppola says. "But when an actor brings his life and his experiences, and he's dealt with a breakup, [he's] had experiences that echo what's in the material, that's a great virtue to be able to bring those experiences and put it on the screen. So I say, yeah, it's very much Charlie, because as an actor, that's your job, to bring those feelings and your life experience to it."
Sheen's, er, life experience made casting him look like a gamble. "Financiers, insurance companies, did not like the insurance profile," Coppola admits. "But they're based on dumb . . . not facts, perceptions. We just had to not have insurance, which was fine." Taking a page from the film on which they met, Sheen and Coppola put up personal collateral to secure the budget.
But Sheen still was hesitant, and it was only when it got to the point that they would lose a tax credit if they didn't start shooting immediately that Coppola was finally able to push him in front of a camera.
"I came over here one night to sort of nudge things along," Coppola remembers. "I had this brown velvet suit that was my personal suit, and Charlie had this fedora. And part of the image of this character is, he wears these aviator tinted shades with the fedora." Coppola took a photo of Sheen in the suit, the hat, and the shades, showed it to him, and said, "This is the guy." As if to say, you don't have to worry about pulling it off — you already are.
What did the photo make you understand about the character? "Just how other people saw him," Sheen says. As opposed to how he actually is? Sheen nods, slowly. "Like our lives."
This was Sheen's first acting gig after "the meltdown." Today, Sheen says, "It was a challenge that came at the perfect time. I can't describe why I say that. But I think any other time, it wouldn't have happened."
Coppola reaches over to light the cigarette dangling out of Sheen's mouth, using an antique lighter that Sheen had given him. "You like that fucking lighter, don't you?"
"It's beautiful."
They start chatting about other gifts Sheen has given Coppola, including an ashtray that was used in the film. They're masterfully avoiding the topic that we were just on the brink of broaching, by essentially doing what Sheen's character does in the film: seeking refuge in beautiful, fanciful objects in order to avoid dealing with the substantive, the messy, the uncontrollable, the real.
On Apocalypse, Sheen's dad faced his demons head-on. The first scene of the movie includes footage of an actual drunken breakdown Martin Sheen had on-camera. In a blitz, he smashed his hand through a mirror and continued to perform, refusing medical attention while film rolled. As Martin Sheen put it, he couldn't stop, he was too intent on "facing my worst enemy — myself." Eleanor Coppola's footage of this unfolding on-set, seen in Hearts of Darkness, with Sheen naked and wailing before the camera, is startling, terrifying, uncanny. As Eleanor describes it, "Anything could happen. They were inside somebody." His subsequent heart attack put things in perspective: "I just knew that if I wanted to live, it was my choice," he has said. "If I wanted to die, that was my choice, too."
Was Charlie Sheen's own "meltdown," his "off-script" embrace of total transparency, a worshipful son's wan attempt to retrace the steps of his father, in search of the knowledge and catharsis on the other side? Though Charles Swan doesn't include anything as literally naked as Martin Sheen's breakdown, I ask Charlie Sheen if playing a man in crisis so recently after his own crisis gave him any kind of new perspective about what he had himself gone through. He seems confused by the question.
"My life is so much bigger than any job I've ever had," he says. "I can separate, obviously, because I'm not fucking crazy. It just . . . "
Coppola interrupts: "Well, there was a sense of satisfaction . . . "
"Fuck, yeah, there was!. Yeah!"
"You do the work and you feel you're connected with one another and the other performers . . ."
"I felt I was leaving something good behind," Sheen concurs. He points at Coppola. "And I wasn't letting him down. I wasn't a detriment to the material."
Sheen's concern with his legacy seems to be what's driving him through Anger Management's unusually grueling schedule — they've shot 27 episodes, and plan to crank out 70 more (or about three full regular reasons) in the next 18 months. "I've considered retirement after Anger Management is over," he says. "I need to spend time as a dad. Spend time as a guy who isn't on somebody else's clock." But "I couldn't have the other mess be what I left behind as a legacy in television."
At this point, do you care about how you're perceived?
"Can't control that," he answers. "It's how I perceive myself. It's like in Apocalypse: 'Willard, are you free of the opinion of yourself, are you free of the opinions of others?' It's like, people that don't know Apocalypse suck at life." Sheen turns to Coppola for approval. "Right?"
"I'm with you on that."
On my way out, I overhear Coppola stressing to Sheen, as he did to Solters, how important it is for Sheen to talk about the movie when he does interviews — as though this is Sheen's first time at this rodeo. When they first started talking about making this movie, Sheen was the biggest star on TV, and he would have been taking a chance by expending his celebrity capital on his old friend's unconventional indie. By the time they shot the movie, it was Coppola who was taking a chance on uninsurable damaged goods. Now that it's time to sell the movie, what is Charlie Sheen worth?
Two nights later, Sheen is a guest on Late Show With David Letterman. Over the course of two full segments, "the meltdown" is recycled into a set-up/punch line comic routine, and thereby decontaminated.
Letterman gives him a chance to blame his behavior of 2011 on "crack cocaine." "I wish it was crack cocaine," Sheen responds. "It was just that my brain kind of separated into itself, and I had to take a stand for what I knew was right."
"Are you a different person now?"
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"I am."
"Are you embarrassed about any of this?"
"Of course! Did you see some of those interviews?"
There's no mention of Coppola or the movie until Letterman starts to wrap up. Shaking the host's hand, Sheen blurts out: "I also have a film coming out on February 8. It's on VOD now — A Glimpse Inside the Mind of Charles Swan III." Letterman looks surprised. It's as if he wasn't aware Charlie Sheen was selling anything other than Charlie Sheen.


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For anyone who might have complained about the quality of our sitting president's addresses, you can write your own with the Obama Board Keyboard. Featured at Maker Faire Detroit, you can remix choice lines from Obama's 2009 inauguration speech to write your own.
It was designed by Canadian Maker Ashley Lewis. If she follows Obama on Twitter, she definitely isn't one to unfollow him. [MAKE]

subset: commoncrawl


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Jason Denham Collection
'The Jason Denham Collection is a celebration of iconic styles that can be mixed-and-matched for everyday versatility,' said Jason Denham, Founder and Chief Creative Officer, DENHAM the Jeanmaker.
'In honour of our brand's 10th anniversary, we looked at our favourite heritage pieces — leather bombers, crombies, cashmere knitwear and of course jeans — and updated them with our DENHAM twist. The collection reflects my passion for beautiful design and timeless style.'
Jason Denham
The Truth is in the Details
I've dedicated my life to making the perfect jeans. They're my passion and my pride. Like a chef, I hand pick all my ingredients: I study tradition and technique, and obsess over every detail. I honour heritage and authenticity, while bringing a modern twist to my craft. I believe 'The Truth is in the Details' and every pair of DENHAM jeans tells a story – one that evolves every time they're worn. I'm excited to share in this journey and story with you.


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|Port Macquarie, Australia
|High School:
|St Columba Anglican School
FRESHMAN (2014): Went 2-3 overall and 2-2 in the Big Sky in singles...Had a 2-1 record at No. 6 singles...Won Big Sky matches 6-2, 6-1 against Portland State and 6-4, 6-1 at Northern Arizona...Had a 6-3, 5-3 lead at No. 6 against UMBC but match was unfinished...Went 1-3 overall and 0-2 in the Big Sky in doubles...Teamed with freshman Alina Soltanici for an 8-5 win at No. 3 doubles against UMBC...Played three doubles matches with freshman Andie Mouzes.
HIGH SCHOOL: Played tennis, soccer, touch football, and threw javelin and shot put at St Columba Anglican School...Twice named Sports Woman of the Year...MVP of open women's tennis 2007-11...Went undefeated as the No. 1 singles player 2008-11 to help her team win two Open Women's Hunter Region Independent School (HRIS) championships...Was the Junior Women's HRIS Champion in 2007 after going undefeated in singles...Also played tennis at the Port Macquarie Tennis Club.
PERSONAL: Parents are Alexander and Laurie McColl...Majoring in history.


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Small Cap Value Fund (HWSAX)
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The Fund seeks capital appreciation using a disciplined, value-oriented investment process. Through our consistent process and independent research, we own small cap companies that we believe are undervalued relative to their tangible assets, have sustainable cash flow and potential for improving business performance. The Fund is well diversified and seeks to own small U.S. based companies that offer the best combination of value and potential for price appreciation. The Fund typically holds 50-100 securities and generally invests in small companies with a market capitalization ranging from $100 million to $4 billion.
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* As of 06/30/2019
David Green, CFA
22 Years with H&W
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24 Years with H&W
31 Years of Experience
Mr. Green and Mr. Miles coordinate the day-to-day management of the Small Cap Value Fund portfolio. They also represent the Small Cap Value Fund to current and prospective shareholders.
To view the full investment team, click here. You will be leaving the mutual fund site and a separate browser window will open to the advisor site.
You should consider the Hotchkis & Wiley Small Cap Value Fund's investment objectives, risks, and charges and expenses carefully before you invest. This and other important information is contained in the Fund's summary prospectus and prospectus, which can be obtained by calling 800-796-5606. Read carefully before you invest.
Mutual fund investing involves risk. Principal loss is possible. Investing in smaller and/or newer companies involves greater risks than those associated with investing in larger companies, such as business risk, significant stock price fluctuations and illiquidity. The Fund may invest in ETFs, which are subject to additional risks that do not apply to conventional mutual funds, including the risks that the market price of an ETF's shares may trade at a discount to its net asset value ("NAV"), an active secondary trading market may not develop or be maintained, or trading may be halted by the exchange in which they trade, which may impact a Fund's ability to sell its shares. The Fund may invest in foreign securities which involve greater volatility and political, economic and currency risks and differences in accounting methods.
Diversification does not assure a profit nor protect against loss in a declining market.
©2019 Morningstar, Inc. All Rights Reserved. The information contained herein (1) is proprietary to Morningstar (2) may not be copied or distributed and (3) is not warranted to be accurate, complete or timely. Neither Morningstar nor its content providers are responsible for any damages or losses arising from any use of this information. Past performance is no guarantee of future performance.
The Morningstar Style BoxTM reveals a fund's investment strategy. For equity funds the vertical axis shows the market capitalization of the stocks owned and the horizontal axis shows investment style (value, blend or growth).
The Hotchkis & Wiley Funds are distributed by Quasar Distributors, LLC


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text:
Data protection declaration
The controller within the meaning of the General Data Protection Regulation (GDPR) and other national data protection laws and regulations is:
Bleikenstrasse 11
9630 Wattwil
The data protection officer for Germany is:
Mr. Ingo Wolff
tacticx GmbH
Walbecker Straße 53
47608 Geldern
No differentiation has been made between the male and female form for ease of reading.
1. General information on data processing
1.1. Processing of personal data and its purpose
SAURER AG (hereinafter referred to as "SAURER" or "we") processes personal user data solely to the extent required for providing a functioning website, our contents and services. The following data is processed when visiting our website:
- User IP address
- Browser (type, version, language)
- Operating system
- Internet service provider of the user
- Time and date of access to our website
- Files accessed on our website
- Website from which the user has arrived on our website
- Website which the user accesses from our website.
The IP address has to be processed and stored temporarily to make it possible to display the website on the user's computer. The user IP address has to be stored for the duration of the session for this purpose. The log files contain IP addresses or other data that makes it possible to allocate the user. The log files are stored to ensure the functionality of the website. The data also serves to optimise our website and ensures the security of our IT systems. The personal data is solely processed for the purposes stated within the scope required for achieving them.
1.2. Legal bases for the processing of personal data
The personal data of our users is usually processed with the users' consent. Cases in which it is impossible to obtain consent in advance for genuine reasons and we are permitted by law to process the data are an exception. The data and log files are stored in accordance with Art. 6 (1) lit.f GDPR.
1.3. Data deletion and storage period
We delete or block the personal data of the affected persons once the purpose for its storage ceases to exist. Data processed for the purpose of displaying the website is deleted once the session has expired. Personal data stored in log files is deleted after no more than 30 days. Longer storage periods are possible if the user's IP address has previously been deleted or defaced so that it can no longer be allocated to the accessing client.
2. Cookies
We use cookies on several pages of our website. A cookie can be stored on the user's operating system when a user accesses the pages of our website. A cookie usually contains a characteristic string of characters that make it possible to identify the browser when re-visiting our website. Cookies are used for creating a more user-friendly website. The personal data is processed whilst using cookies in accordance with Art. 6 (1) lit.f GDPR. Cookies are stored on the user's computer from where they are transferred to our website. Users can change their browser settings to deactivate or limit the transfer of cookies. Previously stored cookies can be deleted at any time. Deactivating cookies on our website may result in the limited functionality of our website.
3. Google Analytics
4. Google Maps
Our website uses Google Maps API by Google Inc., 1600 Amphitheatre Parkway, Mountain View, CA 94043, USA, for visually displaying geographical information. When using Google Maps, Google also processes data on the use of the map functions by website users. The legal basis for the processing of the data is Art. 6 (1) lit. f GDPR. We have a justified interest in an appealing design of our website and an easy process for finding the locations specified on our website. For further information on the processing of data by Google, please read the Google data protection policy at https://policies.google.com/privacy?hl=en-GB.
5. Social Media
We use social media plug-ins ("plug-ins") of the social networks LinkedIn, YouTube, WhatsApp and Facebook on our website. They create a link to the respective service provider. Data on the user's browsing activities is transferred. When users click on one of the plug-ins, the personal data (user's IP address and URL of the page recently visited by the user, including time and location) is transferred to and processed by the respective service provider. For further information on data processing, please read the data protection policies of the respective service providers:
- LinkedIn: https://www.linkedin.com/legal/privacy-policy
- You Tube: https://policies.google.com/privacy?hl=en-GB
- WhatsApp: https://www.whatsapp.com/legal/?lang=en
- Facebook: https://www.facebook.com/policy.php
Users who are members of the above social networks and who do not wish for user data to be collected by the respective social network via our website must log out of their respective social media accounts before visiting our website. We display YouTube videos on our website. These videos are embedded in our website by integrating the URL with iframes in extended data protection mode. The domain is replaced with the official YouTube nocookie domain in this case. According to the current information provided by YouTube, information on visits to our website is only stored if the video is played, and not when the page with the embedded video is accessed only, when using this variant. For further information on the collection and use of the data by YouTube and the rights of the users regarding the protection of their privacy, please read the data protection policy at https://policies.google.com/privacy?hl=en-GB.
6. Contact by e-mail
We state various e-mail addresses on our website that can be used for contacting us electronically. In this case, we store the personal user data transferred in the e-mail. The legal basis for the processing of the data is Art. 6 (1) lit. f GDPR. The data is used for the sole purpose of processing the query and subsequent communications. It is not transferred to third parties in this respect. We always obtain the user's consent prior to using the data for any other purpose. The personal data entered in the input mask of the contact form and personal data sent via e-mail is deleted once the respective communication with the user has ended, i.e. as soon as the circumstances give reason to believe that the matter at hand has been concluded in full and final. The additional personal data collected during the sending process is deleted no later than 30 days from its collection.
7. Newsletter
Our website provides the option of subscribing to our free newsletter. We process the following personal data when users subscribe to our newsletter:
- Company (voluntary)
- Position (voluntary)
- First name (voluntary)
- Surname (voluntary)
- Address (street, house number, post code, city and country) (voluntary)
- Phone number (voluntary)
- E-mail address
- Language (voluntary)
- Empty field for individual messages (voluntary)
- Sending date.
Consent is obtained from the user for the processing of the data and reference is made to this data protection declaration during the subscription process. The legal basis for the processing of the personal data in this respect is Art. 6 (1) lit. a GDPR. We store the user's personal data for as long as the newsletter subscription is active. Users can withdraw their consent by clicking on the corresponding link contained in the newsletter. The personal data will then be deleted immediately.
8. Compliance – reporting form
Our website contains a form that can be used for reporting improper conduct, such as unjust and illegal practices, to the SAURER Compliance department. When users avail themselves of this option, the data entered by the users in the input mask is transferred to and stored by us:
- Name (voluntary)
- E-mail (voluntary)
- Phone number (voluntary)
- Empty field for individual messages
The legal basis for the processing of the data is Art. 6 (1) lit. f GDPR. The data is used exclusively for processing the report. The personal data entered in the input mask of the reporting form is deleted by us once the respective communication with the user has ended, i.e. as soon as the circumstances give reason to believe that the matter at hand has been concluded in full and final. The additional personal data collected during the sending process is deleted no later than 30 days from its collection.
9. Application form
Applicants can apply for jobs on our website. To do so, they have to enter personal data. The data is entered in an input mask, transferred to us and stored. The following data is collected:
- Title (voluntary)
- First name
- Last name
- Country
- E-mail address
- Telephone number
- Availability (voluntary)
- Vocational training
- Higher-level study
- Last job
- Requested location of employment
- Requested salary (voluntary)
- Empty field for individual messages (voluntary)
- Application documents (covering letter, CV, certificates)
- Application photo
- Sending date
We use the personal data disclosed during the application process for the sole purpose of selecting applicants. We restrict our application processing activities to the information directly provided by the applicant. This may include information that applicants have uploaded to professional online networks or job sites. We may ask about the gender of applicants by asking about their preferred form of address during the application process for the sole reason of wishing to address applicants in the correct manner. The personal data is processed in accordance with Art. 6 (1) lit.a GDPR and Art. 88 (1) GDPR in conjunction with the respective relevant national data protection laws, such as Section 26 of the Federal Data Protection Act (Bundesdatenschutzgesetz – BDSG). We delete the data six months from the rejection of an application, unless applicants have given their consent to include their personal data in our applicant pool.
We offer applicants who applied for a specific position and whose application we were unable to consider for the specific position to include their application in our applicant pool and make it available to other areas within SAURER in the search for suitable applicants. We shall contact applicants in advance so that they can decide if they are interested in such inclusion. The personal data is processed within the scope of the applicant pool in accordance with Art. 6 (1) lit.a GDPR and Art. 88 (1) GDPR in conjunction with the respective relevant national data protection laws, such as Section 26 of the Federal Data Protection Act (Bundesdatenschutzgesetz – BDSG).
Applicants under the age of 16 must send us a declaration by their parents or legal guardians in the post in which the latter approve the inclusion of the underaged applicant in our applicant pool and the processing of their personal data in accordance with this data protection declaration and the approvals issued.
10. Security
SAURER uses technical and organisational security measures to protect users' personal data against accidental or malicious manipulation, loss, destruction and unauthorised access. We continuously improve our security measures to reflect the latest technological developments.
11. Rights of the affected person
In the event of SAURER processing your personal data, you are an affected person in accordance with Art. 4 no. 1 GDPR and have the following rights:
11.1. Right to information
In accordance with Art. 15 GDPR, you may request that we provide you with confirmation if we process your personal data. If we process your personal data, you may request for us to provide you with the following information:
- Processing purpose;
- Categories of your personal data that we process;
- Recipients and/or categories of recipients to whom we have, or are going to, disclosed your personal data;
- Planned storage period (if possible) of your personal data or, if this is impossible, criteria for determining the storage period;
- Existence of the right to correction or deletion of your personal data, the right to limitation of processing by us or objection to such processing;
- Existence of the right to complain to a supervisory authority;
- All available information on the origin of the data, unless the personal data has been collected from you;
- Existence of an automatic decision-making process, including profiling (Art. 22 (1) and (4) GDPR) and, at least in such cases, pertinent information on the logic involved as well as the scope and planned effects of such processing on you.
You may request information if your personal data is transferred to a third country or international organisation. In this respect, you may request information on suitable guarantees in accordance with Art. 46 GDPR with regard to the transfer.
11.2. Right to correction
In accordance with Art. 16 GDPR, you may request that we correct and/or complete your incorrect personal data.
11.3. Right to deletion
In accordance with Art. 17 GDPR, you may request that we delete your personal data immediately. We must delete your data immediately if one of the following reasons applies:
- Your personal data is no longer required for the purposes for which it was collected or processed in any other form.
- You withdraw your consent on which we have based our processing activities in accordance with Art. 6 (1) lit. a GDPR or Art. 9 (2) lit. a GDPR and there is no other legal basis for such processing.
- You object to the processing in accordance with Art. 21 (1) GDPR and there are no superordinated justified reasons for the processing activities or you object against the processing in accordance with Art. 21 (2) GDPR.
- Your personal data has been illegally processed.
- Your personal data must be deleted to meet a legal obligation in accordance with EU law or the laws of the member states to which we are subject.
- Your personal data was collected with regard to services offered by the information company in accordance with Art. 8 (1) GDPR.
If we have published your personal data and are obliged to delete it in accordance with Art. 17 (1) GDPR, we shall implement suitable measures, including technical measures, to inform those persons responsible for processing the data that you, as the affected person, have requested the deletion of all links to your personal data or copies or duplicates thereof, taking into consideration the available technology and implementation costs.
The right to deletion does not exist if the processing activities are required
- To exercise the right to freedom of speech and information;
- To meet a legal obligation to which we are subject or fulfil a task that we have been assigned that is within the interest of the general public or is performed due to a public authority exercising its force;
- For reasons of public interest in terms of public health (Art. 9 (2) lit. h and i and Art. 9 (3) GDPR);
- For archiving purposes, scientific or historical research purposes or statistical purposes in accordance with Art. 89 (1) GDPR that are in the public interest if the stated right is likely to make it impossible to achieve the purposes of such processing or would severely impede it; or
- To raise, enforce and defend legal claims.
11.4. Right to limitation of processing
In accordance with Art. 18 GDPR, you can request for the processing of your personal data to be limited under following conditions:
- If you dispute the accuracy of your personal data in such a way that enables us to check the accuracy of your personal data;
- If the processing activities are illegal and you reject the deletion of your personal data and request for the use of your personal data to be limited instead;
- If we no longer require your personal data for processing purposes, but you require it for raising, enforcing or defending legal claims; or
- If you have objected to the processing in accordance with Art. 21 (1) GDPR and it has not yet been established if our justified reasons outweigh your reasons.
If the processing of your personal data has been limited, such data may only be processed with your consent or to raise, enforce or defend legal claims or to protect the rights of another natural person or legal entity or to maintain important public interests of the EU or one of its member states, with the exception of data storage. If the limitation of processing is based on the above conditions, we shall inform you prior to repealing such limitation.
11.5. Right to information
In accordance with Art. 19 GDPR, if you have enforced the right to correction, deletion or limitation of processing against us, we must inform all of the recipients to whom we disclosed your personal data of such fact, unless this proves to be impossible or would cause unreasonable effort and expense. You may request for us to disclose to you these recipients.
11.6. Right to data transferability
In accordance with Art. 20 GDPR, you have the right to receive your personal data that you have provided to us in a structured, standard and machine-readable format. You also have the right to transfer this data to another controller without any obstruction by us if
- The processing activities are based on consent (Art. 6 (1) lit. a GDPR and/or Art. 9 (2) lit. a GDPR) or a contract in accordance with Art. 6 (1) lit. b GDPR and
- The data is processed using automated methods.
If executing this right, you may further request for us to transfer your personal data directly to another controller if this is technically possible. Such transfer must not impair the freedoms and rights of other persons. The right to data transferability does not apply to the processing of personal data that is required for fulfilling a task that we have been assigned that is within the interest of the general public or is performed due to a public authority exercising its force.
11.7. Right to objection
In accordance with Art. 21 GDPR, you may object to the processing of your personal data on the basis of Art. 6 (1) lit. e or f GDPR at any time for reasons arising from your specific situation. This also applies to any profiling based on these regulations. If you object, we shall no longer process your personal data, unless we can provide evidence of urgent reasons for our processing activities that are worth protecting and that outweigh your interests, rights and freedoms, or the data is processed to raise, enforce or defend legal claims.
11.8. Right to withdraw the declaration of consent regarding data protection
You may withdraw your declaration of consent regarding data protection at any time by sending us a notice to the effect, for example in the form of an e-mail to [firstname.lastname@example.com]. Your withdrawal of the declaration of consent does not affect the legality of the processing activities performed on the basis of the declaration of consent until receipt of your notice of withdrawal.
11.9. Automatic individual decision, including profiling
In accordance with Art. 22 GDPR, you have the right not to be subjected to decisions solely based on automatic processing, including profiling, that have legal consequences for you or otherwise significantly impair you. This does not apply if the decision
- Is required for concluding or fulfilling a contract between you and us,
- Is permissible in accordance with legal provisions of the EU or its member states to which we are subject and these legal provisions contain appropriate measures for maintaining your rights, freedoms and justified interests, or
- Is made with your explicit consent.
11.10. Right to complain to a supervisory authority
Notwithstanding any other legal remedies under administration law or before the courts, you have the right to complain to a supervisory authority, particularly in the member state in which you reside, work or where the alleged violation has taken place, if you believe that our processing of your personal data violates the General Data Protection Declaration.
12. Responsibility for contents and information
Our website contains links to third-party websites. When linking these third-party websites, we checked their contents to ensure that they do not violate civil or criminal laws. However, it cannot be ruled out that these contents could be changed at a later date by the respective providers. Please notify us if you believe that linked third-party websites violate applicable laws or contain other inappropriate contents. We shall investigate your concerns and remove the external link, if necessary. SAURER is not responsible for the contents and availability of the linked external websites.
13. Inclusion and validity of the data protection declaration
By using this website, you agree to the data processing activities described above. This data protection declaration only applies to the contents of our website. Other data protection and security regulations apply to the linked external contents. You can find out the controllers of these contents in the respective legal disclaimers of the websites.
The further development of our website or implementation of new technologies may make it necessary to amend this data protection declaration. We therefore reserve the right to amend this data protection declaration at any time with future effect. The respective version that can be accessed at the time of your website visit shall apply at all times.
Version: May 2018


text:
Diamondbacks beat Giants 6-5 in 10 innings
SAN FRANCISCO (AP) Tony Campana and Cliff Pennington made the most of their rare starts for the Arizona Diamondbacks.
Campana drove Pennington in with the go-ahead run on an RBI single with two outs in the 10th inning to lead the Diamondbacks to their first back-to-back wins of the season with a 6-5 victory over the San Francisco Giants on Thursday night.
''It's just us being ready,'' Campana said. ''We both kind of kept our routine the same. You kind of come in every day ready to play. Today we got the start and both did a pretty good job at the plate and got the win.''
Campana had a career-high four hits and Pennington added three, including a two-run single as both players made just their second starts of the young season.
''They're not rookies, and they prepare themselves properly,'' manager Kirk Gibson said. ''They were ready to play tonight.''
Miguel Montero also drove in two runs for the Diamondbacks, who won the final two games of the series.
Michael Morse hit a two-run double that gave the Giants the lead, but an error by third baseman Pablo Sandoval allowed the tying run to score in the eighth and San Francisco fell in extra innings to lose their first home series since last August against Boston.
Pennington hit a one-out single off Yusmeiro Petit (0-1) in the 10th and then stole second base on a 2-2 pitch to Campana with two outs. Campana then blooped a single just over the outstretched glove of second baseman Brandon Hicks to score the go-ahead run.
''It took some pressure off once he got to second,'' Campana said. ''I knew I just had to get it through the infield somehow. Got jammed and got over his head barely.''
J.J. Putz (1-0) pitched a scoreless ninth for the win and Addison Reed got three outs for his third save in as many chances.
The Diamondbacks failed to score in the seventh after loading the bases with no outs, but got the tying run an inning later on Sandoval's bad throw.
With runners on first and second and two outs in the eighth, Campana hit a slow grounder to Sandoval, who rushed his throw to first. The ball sailed over Brandon Belt's head allowing Gerardo Parra to score the tying run from second.
''You have to keep your poise,'' manager Bruce Bochy said. ''He got in a rush mode there. With the game on the line, you have to be a bit more cautious. You have to know the situation.''
Sandoval had a chance to make up for that mistake in the bottom half but couldn't deliver. The Giants loaded the bases with one out with help from a fly to center that Campana misjudged to give Brandon Crawford a leadoff double.
Belt hit a fly ball to left field that was not deep enough to let Crawford tag from third. Sandoval then flied out to deep right to end the inning.
The Diamondbacks jumped on top early against Ryan Vogelsong with a two-run single by Pennington in the second inning and a two-run double by Montero in the third to take a 4-1 lead.
The Giants' hitters chipped away after the early deficit, getting a run in the third on the first bunt single of Buster Posey's career when he surprised Arizona with a two-out bunt with Angel Pagan on third.
Back-to-back doubles by Morse and Crawford to open the fourth made it 4-3 and Morse's double off Will Harris in the fifth gave the Giants the lead.
NOTES: Arizona manager Kirk Gibson unsuccessfully challenged a play at second base in the first inning when Campana was caught stealing to end the inning after a strikeout to Paul Goldschmidt. ... The Giants held a pregame ceremony honoring their former home, Candlestick Park, which is set to be torn down later this year. ... Madison Bumgarner (1-0) takes the mound for the Giants on Friday when they open a series against Colorado. ... Brandon McCarthy (0-1) is set to take the mound for Arizona on Friday in the opener of a three-game series against the Los Angeles Dodgers.


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text:
- Published: 27 February 2013
- Written by Editor
UniPixel Reports Fourth Quarter and Full Year 2012 Results
UniPixel, Inc. ( NASDAQ : UNXL ), a provider of Performance Engineered Films™ to the touch screen, flexible printed electronics, and lighting and display markets, reported results for the fourth quarter and year ended December 31, 2012.
Fourth Quarter 2012 Operational Highlights
- Entered a multi-million dollar preferred price and capacity license agreement with a major manufacturer of personal computers to introduce products that feature next-generation touch screens based on UniPixel's UniBoss™ pro-cap, multi-touch sensor film.
- Collaborated with N-trig, provider of the DuoSense® pen and multi-touch user interface, to develop metal mesh sensors for the DuoSense pen and multi-touch input. UniPixel has qualified functional prototypes that integrate N-trig's DuoSense controller with UniBoss touchscreen film. The performance increase over ITO proved significant in touch sensitivity and active pen based precision.
- Enhanced UniPixel's IP portfolio with eight patent applications submitted during the quarter. The company's IP portfolio currently totals 71 patent applications submitted with three patents issued. Enhancing the IP portfolio remains a priority for creating strategic value and establishing barriers to entry, and there are currently more than 20 patent applications the company is preparing to submit over the next six months.
Management Commentary
"In 2012, we established a solid foundation toward the commercialization of our two flagship products, UniBoss and Diamond Guard™," said Reed Killion, CEO of UniPixel. "After engaging with Texas Instruments, Carestream and N-trig, qualifying multiple touch controller manufacturers and building out our downstream supply chain, our efforts culminated with the signing of a multi-million dollar preferred price and capacity license agreement with a major PC maker. Together, we are working to introduce products that feature next-generation touch screens based on our UniBoss pro-cap, multi-touch sensor film.
"With UniBoss, we offer the touch ecosystem the unique advantages of metal mesh touch sensors based on an additive, roll-to-roll, flexible electronics process, as compared to the traditional subtractive ITO-based and subtractive ITO replacement based touch sensor solutions. Our UniBoss manufacturing process continues to be the only additive process that reduces manufacturing costs and supply chain complexity of current ITO and other ITO replacement sensors by minimizing manufacturing steps from about 40 to less than 10. Other production advantages include lower material costs and a simplified supply chain, as well as extensibility to many sizes and form factors.
"A UniBoss touch-screen offers higher touch response and sensitivity, superior touch distinction, better durability, and lower power requirements. UniBoss is coming into a touch module market that Display Search estimates will grow from $13 billion to $32 billion by 2018.
"We are addressing the large market opportunity of UniBoss by leveraging licensees and partner infrastructure in order to scale our manufacturing capacity quickly to meet anticipated demand while maintaining a very efficient organizational structure with UniPixel. We continue to add to our employee base and staff with exceptional new hires to support our operational platform and global commercialization efforts. This includes the recent appointment of Robert Berg to the newly created position of vice president of global sales. Robert brings to UniPixel 25 years of sales and marketing management experience in the touch solutions, printed and flexible circuits industries. This includes a strong track record of exceeding revenue and profitability targets, improving time-to-market performance, and establishing global sales channels and supply chain partnerships.
"Looking ahead in 2013, we plan to execute additional preferred price and capacity license agreements as well as consider potential joint ventures relationships. We will continue to focus on building out capacity and developing our supply chain as we work closely with our new PC partner to bring their new UniBoss-based products to market. We recently placed purchase orders for two new printing and two plating machines, which we will modify with UniBoss technology and calibrate for the UniBoss process. Each printer will be capable of printing trace widths down to 5 microns and produce, in a roll-to-roll process, 1 million units or square feet per month.
"Given our strong progress, we expect to recognize approximately $5 million in revenue in the current first quarter. We are planning to begin limited production in the second quarter and ramp up to volume production in the third. We are targeting 60,000 units or square feet per month by the end of April, 200,000 by the end of June, 700,000 by the end of September and then achieving 1.3 million units monthly by January of 2014.
"In 2012 we achieved production-level qualification of our Diamond Guard™ Hard Coat film with our manufacturing and distribution partner, Carestream Tollcoating. The unique performance characteristics of Diamond Guard make it an ideal cover glass alternative and decorative graphics scratch-resistant film. Given our current focus on the greater opportunity with UniBoss, we see UniBoss driving initial Diamond Guard adoption as an integrated touch screen solution.
"Through the process of UniBoss development, we have become experts at engineering micro and nano structures, and applying ultra-thin conductive elements on film surfaces. Since our proprietary and patented thin-film technologies can be applied to a wide variety of applications beyond touch screens, we are enjoying a very exciting outlook for UniPixel over the coming months and years."
2012 Financial Summary
Revenues totaled $76,200 in 2012, as compared to $195,200 in 2011, reflecting the company's continued development stage status as it transitions to a production stage company.
Selling, general and administrative (SG&A) expenses in 2012 totaled $4.0 million, as compared to $4.2 million in 2011. The decrease was primarily due to a decreased stock compensation expense.
Research and development expenses in 2012 totaled $5.1 million, as compared to $4.5 million in 2011. The increase was primarily due to increased lab expense related to prototype development.
Net loss was $9.0 million or $(1.11) per share in 2012, as compared to a net loss of $8.6 million or $(1.20) per share in 2011.
Cash and cash equivalents totaled $13.0 million at December 31, 2012, as compared to $7.2 million at December 31, 2011. The increase in cash was primarily due to a $12.3 million (net) equity raise completed in the third quarter of 2012.
Conference Call
UniPixel President and CEO Reed Killion and CFO Jeff Tomz will host a conference call later today to discuss 2012 and outlook for 2013, followed by a question and answer period.
Date: Tuesday, February 26, 2013
Time: 4:30 p.m. Eastern time (3:30 p.m. Central time)
Dial-In Number: 1-877-941-4774
International: 1-480-629-9760
Conference ID#: 4593770
Webcast: http://public.viavid.com/index.php?id=103296
The conference call will be broadcast live and available for replay via the Investors section of the company's website at www.unipixel.com.
Please call the conference telephone number 5-10 minutes prior to the start time. An operator will register your name and organization. If you have any difficulty connecting with the conference call, please contact Liolios Group at 1-949-574-3860.
A replay of the call will be available after 7:30 p.m. Eastern time on the same day through March 26, 2013.
Toll-free replay number: 1-877-870-5176
International replay number: 1-858-384-5517
Replay pin number: 4593770
About UniPixel
Headquartered in The Woodlands, Texas, UniPixel, Inc. ( NASDAQ : UNXL ) delivers Performance Engineered Films to the Lighting, Display and Flexible Electronics markets. UniPixel's high-volume roll-to-roll or continuous flow manufacturing process offers high-fidelity replication of advanced micro-optic structures and surface characteristics over large areas. A key focus for UniPixel is developing electronic conductive films for use in electronic sensors for consumer and industrial applications. The company's newly developed UniBoss™ roll-to-roll electronics manufacturing process prints conductive elements on thin film with trace widths down to ~ 5um. The company is marketing its films for touch panel sensor, cover glass replacement, protective cover film, antenna and custom circuitry applications under the UniPixel label, and potentially under private label or Original Equipment Manufacturers (OEM) brands. UniPixel's brands include Clearly Superior™, Diamond Guard™ and others. For further information, visit www.unipixel.com.
Forward-looking Statements
All statements in this news release that are not based on historical fact are "forward-looking statements" within the meaning of the Private Securities Litigation Reform Act of 1995 and the provisions of Section 27A of the Securities Act of 1933, as amended, and Section 21E of the Securities Exchange Act of 1934, as amended. While management has based any forward-looking statements contained herein on its current expectations, the information on which such expectations were based may change. These forward-looking statements rely on a number of assumptions concerning future events and are subject to a number of risks, uncertainties, and other factors, many of which are outside of our control, that could cause actual results to materially differ from such statements. Such risks, uncertainties, and other factors include, but are not necessarily limited to, those set forth under Item 1A "Risk Factors" in the company's Annual Report on Form 10-K for the year ended December 31, 2012. We operate in a highly competitive and rapidly changing environment, thus new or unforeseen risks may arise. Accordingly, investors should not place any reliance on forward-looking statements as a prediction of actual results. We disclaim any intention to, and undertake no obligation to, update or revise any forward-looking statements. Readers are also urged to carefully review and consider the other various disclosures in the company's Annual Report on Form 10-K, quarterly reports on Form 10-Q and Current Reports on Form 8-K.
Trademarks in this release are the property of their respective owners.
|Uni-Pixel, Inc.
|Consolidated Balance Sheets
|December 31,
|December 31,
|Current assets
|Cash and cash equivalents
|Accounts receivable, net
|Prepaid expenses
|Total current assets
|Property and equipment, net of accumulated depreciation of $2,531,917 and $1,977,241, at December 31, 2012 and 2011, respectively
|Restricted cash
|Total assets
|Current liabilities
|Accounts payable
|Total current liabilities
|Total liabilities
|Commitments and contingencies
|Shareholders' equity
|Common stock, $0.001 par value; 100,000,000 shares authorized, 9,854,268 shares and 7,142,307 shares issued and outstanding at December 31, 2012 and 2011, respectively
|Additional paid-in capital
|Accumulated deficit
|Total shareholders' equity
|Total liabilities and shareholders' equity
|Uni-Pixel, Inc.
|Consolidated Statements of Operations
|Year Ended December 31,
|Cost of revenues
|Gross margin
|Selling, general and administrative expenses
|Research and development
|Operating loss
|Other income
|Interest income, net
|Net loss
|Per share information
|Net loss - basic
|Net loss - diluted
|Weighted average number of basic common shares outstanding
|Weighted average number of diluted common shares outstanding
Jeff Tomz, CFO
UniPixel, Inc.
Tel 281-825-4500
Investor Relations
Scott Liolios or Ron Both
Liolios Group, Inc.
Tel 949-574-3860


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What recruitment or talent management project can we help you with today? We want to hear from you. As an expert recruitment agency in Oslo, our consultants are ready to learn about your human resource management challenges and create the specialised recruitment solutions that will bring great people to great performance!
Hudson is a global talent solutions company. We help transform the workplace and unleash the full potential of organizations and individuals. Our expert team and proprietary tools provide you with unique insights and services that help you maximize your success. Across 20 countries, we deliver a range of recruitment, talent management and recruitment process outsourcing solutions to get you and your business where you want to be.


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Emergency and Terrorism Preparedness for Environmental Health Practitioners (ETP)
For more information on EHS resources for emergency preparedness see our Environmental Health Training in Emergency Response (EHTER) page. EHTER is a set of 10 training modules that focus on key environmental health issues and challenges for emergency response.
Environmental health professionals play extremely important roles in all-hazards emergency preparedness, response, recovery, and mitigation. Their understanding of how disasters impact the environment is essential to protecting public health before, during, and after an emergency or disaster.
Carrying out the traditional functions of environmental health, such as safeguarding drinking water supplies, controlling disease-causing vectors, conducting food safety inspections, and ensuring safe and healthy building environments, may be challenging after extreme events. Practitioners must be able to anticipate, recognize, and respond to many issues. They need access to guidance, information, and resources that will assist them in preparing for, responding to, and recovering from the adverse impacts of emergencies and disasters.
The ETP site provides a variety of disaster-related resources grouped according to specific environmental health-related categories and issues. Because environmental health is a system in which different areas are interconnected, there may be some overlap of resources in these categories. We hope the guidance and information in these links will help better prepare environmental health professionals to protect the public health and safety of their communities before, during, and after an emergency or disaster.
- Biologic and Infectious Waste
- Building Environment
- Food Protection
- General Preparedness
- Hazardous Materials
- Shelters (Evacuation and Emergency)
- Vector Control
- Water Security


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We are happy to announce that Zimtstern is happy to announce that one of Canada's best backcountry riders joins the Zimtstern International Snowboard Team.
To support the constant growth of Zimtstern in the North American markets Brendan Keenan is just the right guy: a many-sided charismatic Snowboarder. His older brother, Jeff has a distinct description for his style: "clean and prissiest: Backcountry knowledge mixed with a bit of Seymour ghettoness". Damon Pyett from Coastal Riders describes his personality: "Brendan is a leader, when he is in your crew shit gets done. He knows when it's go time!" – That's our man we thought. And now he rides Zimtstern outerwear.
Stay tuned about Brendan's season on the Zimtstern Blog: blog.zimtstern.com/board/


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City earns award of excellence for Lakeview Commons
The California Park and Recreation Society has honored the city of South Lake Tahoe with an Award of Excellence for Lakeview Commons at El Dorado Beach.
On June 20, Lakeview Commons was dedicated to the public for its use, recreation and enjoyment of the surroundings. The facility was a team effort among the California Tahoe Conservancy, the city of South Lake Tahoe and El Dorado County. The project was made possible by the families and friends who provided the land to El Dorado County and to the California voters who passed Proposition 84, the 2006 Parks and Water Bond Act, which funded the majority of the costs of this project.
"The CPRS awards program is the highest recognition our agency can receive and our award is a credit to the (staff, volunteers, partners, etc) that made this happen," city recreation coordinator Lauren Thomaselli stated in a press release. We are honored to receive this award on behalf of our residents."
The city will be honored at the 2013 California and Pacific Southwest Recreation and Park Training Conference, which will be held March 6-8 in San Jose.


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Deluxe [Double] Room Reservation
Exclusive post-opening prices excluding taxes for a limited period only. Kindly re-check with hotel before confirming booking.
(This pricing will be changed in about 6 months time so we require flexibility to change these prices and update accordingly)
- Deluxe [Double] Room Features
- Cane and bamboo furniture
- Sensor based automatic door locks
- 5 star rated AC, TV, Water Heater & Fan
- Recycled wood based tables
- Battery back up for 1 fan and light
- Backup generator
- Wi-fi
- Electric kettle and complimentary tea/ coffee
- Balcony for smokers
- Jug of water
- Insulated Glass
- Rain Shower
- Complementary toiletry kit
- Sewing kit & shoe brush
get in touch
RainsInn Guwahati
A unit of Paramount Hotels Pvt. Ltd. Solapara Road, Opposite Capital Tours and Travels Paltan Bazar, Guwahati - 781008, Assam, India
Telephone : +91 9957223131
E-mail : firstname.lastname@example.com
Rains Inn Eco Hotel
A Unit Of Paramount Hotels Pvt.Ltd Opp. SBI, Khatkhati, (Karbi Anglong) Near Dimapur 782480
Mobile : +91 8811061333, 8811060333
Landline : 03675-248008


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Information about handheld GPS units and using them in the sugarbush
Use this control to limit the display of threads to those newer than the specified time frame.
Allows you to choose the data by which the thread list will be sorted.
Order threads in...
Note: when sorting by date, 'descending order' will show the newest results first.
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We can all agree that multiple sclerosis is a thief. It takes things away from us upon which we rely and from which we derive much. Of all the things that MS has taken from me; a career, a marriage (MS was only part of that), a lifestyle, a persona, you know what I miss most?
A hot tub.
Far greater a number are affected by heat than cold (though I know we've had those conversations as well) so I suspect I'm not alone here.
On cold winter evenings or when a muscle is just out of place, a romantic getaway or just when it would be nice to relax at the gym, I miss a hot tub.
The weekend after I was diagnosed in 2001, my former wife made reservation at a local spa hotel for us to recoup. I had great treatments like hot stone massage, a hot seaweed bath, I spent lots of time in the steam room and relaxing in a hot tub of water in our room.
Boy was that a mistake!!!
I was flat out for two weeks after that...but it felt good that weekend.
I've been very busy this week and I seem to have some muscles which are crying out for a little hot water and some soothing water jets. I just know it would be back in the recovery bed if I succumbed.
I know that it's not the greatest sacrifice in the world; not being able to jump in a hot vat of bubbling water; but I miss it.
I'm whining, I know and that's one of my only rules in life; No Whining!!!
So I'll stop.
What might you say you miss most of all? You can plant your tongue in your cheek as I have or you could list more serious matters that MS has taken from you.
It's ok: Vent A Little!!!
Wishing you and your family the best of health.


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April 2008 E-newsletter
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YWLC Spring Happenings
by Nicole Clark
PEP Young Women's Leadership Council
Members of the Young Women's Leadership Council (YWLC) met in New York (PEP Headquarters!) for our 2008 Winter Convening. We always share a lot of ideas, personal stories, aspirations, and food at our Convenings, and this Convening was no different.
Abstinence is the New Feminism (and other things I learned at Harvard)
by Shelby Knox
PEP Young Women's Leadership Council
The chastity movement has grown up and gone off to college, which is no wonder, really, since legislators recently decided to focus attention and federal money on keeping unmarried adults abstaining until at least their 29th birthday. The members of Harvard's True Love Revolution, a campus chastity club, are the newest crusaders on the celibacy bandwagon.
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Ironically, today's column includes two tales of old Chico businesses reborn. One, in real estate, took back its original name. The other found a new name.
Those in the real estate world might pause for a second when they see the sign at 180 E. Fourth St.
It's been a number of years since we've seen BAYWOOD REAL ESTATE, but there it is again.
Current broker/owner PETER TICHININ explains that the local office decided to split from the Canadian energy and real estate company Brookfield that recently bought PRUDENTIAL CALIFORNIA REALTY. The Chico office of the latter was established in 1998 as a franchise.
A short history from Tichinin: Baywood was founded in 1962 by Carl Cunningham at the corner of First and Main streets, and moved between various downtown locations.
A number of presidents of the Chico Association of Realtors and its predecessor Chico Board of Realtors, have emerged from that office, including Tichinin, SANDY ANDERSON, ANDREA MOTTA, TIM FERRIS, DENNIS DEROMEDI and SANDY BOYD.
Ferris is a local attorney now, and Deromedi has his own firm, DENNIS DEROMEDI and ASSOCIATES.
There's also ADAM FEDELI, who is with Baywood now, and has served two terms as association president.
Now for the second business. ROYAL HAWKLEY is celebrating ROYAL AIRE's first year as a new, old business, but there are years of experience under its Chico roof at 2530 Zanella Way.
Chico-born Hawkley got into the heating and air conditioning business in 1974, as an ARTIC AIR employee. Yes, it was spelled incorrectly.
Owners BART BLAIR and JOHN WARNER brought him in as a partner in the early '80s. They retired in the '90s, he said, and Warner's stepson BRAD LOCKHART became a partner. The company shifted away from new construction, focusing on residential work.
Hawkley remembered what his father went through as an independent pharmacy being squeezed out by powerful national chains. A lot of companies were getting into the heating and AC business.
Artic Aire was sold to Service Experts, and Hawkley worked in Chico as general manager, later shifting to area sales manager, but said he wasn't happy.
Knowing there must be a multitude of customers that would remember his company, Hawkley relaunched his business career by starting Royal Aire, bringing on partners BOB BROWN and JESSE ROBLES, both experienced in the business. Most of his eight employees have years with him.
He said he's happy with his company's work ethic and services, which include sales, service and repairs, solar installations, air duct cleaning and more.
And 100 "likes" on the company's Facebook page equals $250 to Chico Rotary for community causes.
Normally, a workshop like this would be sent to my business calendar, but with what's been happening around Butte County, I think it deserves up-front presentation.
The city of Oroville is sponsoring a free workshop on the Americans With Disabilities Act, which has a number of repercussions in the area.
Many businesses don't understand the access law, but need to. The Oroville Chamber of Commerce has been among those warning the community about ADA lawsuits over access.
Put on by Oroville and local building officials, the free event is 9 a.m. to noon May 16 at the Oroville City Hall Council Chambers, 1735 Montgomery St.
Reach Laura Urseny at 896-7756, email@example.com or on Twitter @LauraUrseny.


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Pajhwok Report
Article Images
KABUL (Pajhwok) The third ship carrying complimentary wheat from India to Afghanistan docked at Chabahar port in Iran on Saturday, a media report said Sunday. Behrouz Aqaee, Director General of Ports and Maritime Organization in Iran's Sistan and... read more
The Election & Transparency Watch Organization of Afghanistan (ETWA) examined the recent Presidential order in light of the Electoral Law, the electoral principles and the expectations of civil society and political parties... read more
AIBAK (Pajhwok): Work on consolidating five canals has been completed at a cost of 28.5 million afghanis by the World Bank in northern Samangan province. Homayoon Habib, head of agriculture, irrigation and livestock, told Pajhwok Afghan News the... read more
GARDEZ (Pajhwok): High dowry still persisted notorious culture in southeastern Paktia and other provinces of the country that made the lives of young men and women difficult. Zarghoona Hemmat, head of the Afghan Women Network (AWN), said young... read more
KABUL (Pajhwok): Afghanistan and Uzbekistan on Wednesday signed an air services agreement to start direct flights between Kabul and Tashkent, according to a statement by the Afghanistan Civil Aviation Authority (ACAA). Capt. Ghulam JelaniWafa,... read more
KABUL (Pajhwok): Chief Executive Officer Abdullah Abdullah has informed the United Nations Secretary General of no change in Pakistan's policy on terrorist safe havens, a statement said on Tuesday. Abdullah, who met UN chief Antonio Gutter in New... read more
FARAH CITY (Pajhwok): Three policemen, including a unit commander, have been killed in a clash with insurgents in western Farah province, an official said on Friday. At least nine police personnel were wounded in the gunbattle that erupted in the... read more
KABUL (Pajhwok): Iran has condemned a deadly suicide attack in Kabul, killing at least 19 people and wounding many others. Iranian Foreign Ministry spokesman Bahram Qassemi, according to Tasnim news agency, denounced the attack claimed by Daesh (... read more
PESHAWAR (Pajhwok): Pakistan must prevent all militants from operating within and across its borders, a senior US military commander says, renewing the Trump administration's demand for eradication of terror safe havens. Central Command (Centcom)... read more
KABUL (Pajhwok): With the death of a TV cameraman on Friday, the toll from the Kabul suicide bombing has increased to 19. Rah-e-Farda TV cameraman Husain Nazari sustained serious wounds in the attack outside a restaurant on Thursday afternoon... read more