text:
package org.apache.geode.admin.jmx.internal;

import java.io.DataInput;
import java.io.DataOutput;
import java.io.IOException;
import java.io.Serializable;

import org.apache.geode.DataSerializable;
import org.apache.geode.DataSerializer;
import org.apache.geode.internal.DataSerializableFixedID;
import org.apache.geode.internal.Version;
import org.apache.geode.internal.admin.StatAlert;
import org.apache.geode.internal.admin.StatAlertDefinition;

/**
 * Notification to be sent to clients (e.g GFMon2.0 ). It incorporates
 *
 * @see StatAlert raised and also Gemfire member id which raised the alert
 *
 *
 * @since GemFire 5.7
 */
public class StatAlertNotification extends StatAlert
    implements Serializable, DataSerializable, DataSerializableFixedID {
  private static final long serialVersionUID = -1634729103430107871L;
  private String memberId;

  public StatAlertNotification() {}

  public StatAlertNotification(StatAlert statAlert, String memberId) {
    this.setDefinitionId(statAlert.getDefinitionId());
    this.setValues(statAlert.getValues());
    this.setTime(statAlert.getTime());
    this.memberId = memberId;
  }

  @Override
  public int getDSFID() {
    return DataSerializableFixedID.STAT_ALERT_NOTIFICATION;
  }

  /**
   * @return the memberId
   */
  public String getMemberId() {
    return memberId;
  }

  /**
   *
   * @param id of gemfire member which raised the alert
   */
  public void setMemberId(String id) {
    memberId = id;
  }

  /**
   * @return String representation of this object
   */
  @Override
  public String toString() {
    StringBuffer buf = new StringBuffer();
    buf.append("[");
    for (int i = 0; i < getValues().length; i++) {
      buf.append(getValues()[i] + ", ");
    }
    buf.append("]");
    return Integer.valueOf(getDefinitionId()) + ":" + buf.toString();
  }

  /**
   * The notification is something like this "For Member ID: <ID> [ <StatName> = <Value> .. ]"
   *
   * @param defn {@link StatAlertDefinition}
   * @return String representation of this object based on {@link StatAlertDefinition}
   */
  public String toString(StatAlertDefinition defn) {
    StringBuffer buf = new StringBuffer();
    buf.append("For Member ID: ");
    buf.append(this.memberId);
    buf.append("\n");
    buf.append("[ ");
    for (int i = 0; i < getValues().length; i++) {
      buf.append(defn.getStatisticInfo()[i].toString() + "=" + getValues()[i] + "\n");
    }
    buf.append("]");
    return getTime().toString() + ":" + buf.toString();
  }

  @Override
  public boolean equals(Object object) {
    if (object != null && !(object instanceof StatAlertNotification)) {
      return false;
    }

    StatAlertNotification other = (StatAlertNotification) object;

    int defId = getDefinitionId();

    if (defId != -1 && defId == other.getDefinitionId() && memberId != null
        && memberId.equals(other.getMemberId())) {
      return true;
    }

    return false;
  }

  @Override
  public int hashCode() {
    return memberId.hashCode();
  }

  @Override
  public void toData(DataOutput out) throws IOException {
    // Do not modify StatAlert to allow 57 cacheservers to function with 57+ agent
    // However, update of a new StatAlertDefn on 57 server from 57+ agent not covered with this
    DataSerializer.writePrimitiveInt(this.getDefinitionId(), out);
    DataSerializer.writeDate(this.getTime(), out);
    DataSerializer.writeObjectArray(this.getValues(), out);

    DataSerializer.writeString(this.memberId, out);
  }

  @Override
  public void fromData(DataInput in) throws IOException, ClassNotFoundException {
    // Do not modify StatAlert to allow 57 cacheservers to function with 57+ agent
    // However, update of a new StatAlertDefn on 57 server from 57+ agent not covered with this
    this.setDefinitionId(DataSerializer.readPrimitiveInt(in));
    this.setTime(DataSerializer.readDate(in));
    this.setValues((Number[]) DataSerializer.readObjectArray(in));

    this.memberId = DataSerializer.readString(in);
  }

  @Override
  public Version[] getSerializationVersions() {
    return null;
  }
}

redpajama_set_name: RedPajamaGithub


text:
1969 Ford Cortina Lotus Mk 2 | London 2014 | RM Sotheby's
1969 Ford Cortina Lotus Mk 2
Erik Fuller ©2014 Courtesy of RM Auctions
London | Lot 113
£22,400 GBP | Sold
| London, United Kingdom
BA91JJ14893
N/Z9268
Presented to Colin Chapman by the Ford Motor Company
Chapman's daily driver for several years
Only two owners from new and 24,000 original miles
Featured in numerous automotive publications
109 bhp, 1,588 cc DOHC inline four-cylinder engine with dual Weber side-draught carburettors, four-speed manual transmission, independent front suspension with McPherson struts, coil springs, and an anti-roll bar, live rear axle suspension with semi-elliptic leaf springs, and front disc and rear drum brakes. Wheelbase: 2,490 mm
The Mk 2 was a worthy successor to the much-loved Lotus Cortina Mk 1 once the latter's production ceased in 1966. Ford was pleased with the Mk 1's competition record, which was aided by legendary driver Jim Clark, who raced L/Cs on the weekends, "in between" grand prix events. Even as a "part-time" entrant, Clark drove the Mk 1 in British, European, Belgian, Austrian, Swedish, South African, and New Zealand championships between 1964 and 1966. He is perhaps best known for his spectacular and daring drive down the bobsled run at Cortina, Italy, when the new model was introduced. Meanwhile, it was up to Sir John Whitmore to capture the European Touring Car Championship for Lotus in 1965.
To resolve some of the complaints about the Mk 1's everyday reliability and quality control, Ford decided to build the new Mk 2 at its own factory in Dagenham, which was a decision that was eased by the fact that Lotus was in the midst of moving its own manufacturing from Cheshunt to Hethel. The second-generation model was named, at Ford's request, the "Ford Cortina Lotus". Whilst it was a bit shorter and heavier than the Mk 1, power was increased to 109 brake horsepower, as per the Mk 1's Special Equipment optional specification. Unlike the Mk 1, which could be had only in white with a green flash, the Mk 2 was available in a broad range of colours and a side stripe was available from dealers. The gear-change was improved, there was a larger petrol tank, and the rear axle ratio changed from 3.9 to 3.77. Racing versions rang up a stellar competition record until it was in turn succeeded by the Ford Escort series.
This Ford Cortina Lotus Mk 2 has an interesting story to tell. Whilst painted a unique shade of amber gold, it was a gift to Lotus founder Colin Chapman by the Ford Motor Company. Some say it was a "good-bye" present, and Chapman is said to have driven it quite enthusiastically until the late 1970s, at which time it was placed in the Lotus museum in Hethel with just 14,223 miles recorded. It was subsequently purchased by the current owner from the factory museum in 1998. It was then treated to a thorough re-commissioning by Paul Matty Sports Cars in Worcestershire before being shipped to the United States.
In 2003, the current owner drove the Mk 2 from New York to Detroit to participate in Ford's 100th anniversary celebration, where it was displayed in the Ford Racing tent next to the John Whitmore racing Mk 1 Cortinas. The car currently shows approximately 24,700 original miles, and its golden finish remains in good condition, as do the excellent tan vinyl upholstery and black carpets. The owner says this car has been driven frequently, regularly maintained, and thoroughly enjoyed. It has also been written about in several U.S. magazines, as well as in England's CAR (October 1999) and the Lotus Club International magazine (Autumn 2009). A large folio of historic documents and receipts and a spare wheel, jack, and tools are included with the purchase of this car.
1932 Ford Model B Pickup
1932 Ford Three-Window Coupe Custom
2021 Ford Shelby GT500

redpajama_set_name: RedPajamaCommonCrawl


The Russian Far East plan was going to include a number of hydro projects on the Amur river basin to control floods and generate electricity. This project never completed preparation phase, the dam was removed from the RusHydro investment plan in 2017.
In 2013, JSC RusHydro announced that it was considering potential cooperation with the China Three Gorges Corporation (CTG) on the construction of storage-based hydroelectric facilities on the feeder rivers of the Amur to contain future flooding in the region, following the massive floods of that same year . According to the Russian company and the Moscow government, significant parts of the Amur River still remains unregulated by reservoirs, leaving it open to periodic catastrophic floods. In order to mitigate the floods and to prevent possible damage, construction of new hydropower dams with large reservoirs is essential, as well as construction of counter-regulator dams in tailrace of the existing large hydropower plants, RusHydro said in a statement. Nizhne-Zeyskaya Hydro (project also known in Soviet times as "Gramatukhinskaya Hydro") was among 9 (and then 4) new hydropower plants proposed by RusHydro to Chinese partners for immediate construction right after the large flood of 2013. It should have been built 200 kilometers downstream from the giant Zeyskaya Hydro on Zeya River (one of the tributaries of Amur). At some point three small "innovative" run of the river power stations were suggested on that river stretch, but by 2005 the design was again consolidated into single large dam with long and wide reservoir. Given already high damage incurred by Zeyskaya Hydro to the Zeya River this was considered an option with lower (but still significant) impact on aquatic ecosystems and local people compared with some other dams planned in Amur River basin. However, according to impact assessments and highlighted by the coalition Rivers without Boundaries, the planned reservoir was effectively dissecting the last remaining mass-migration corridor across the river by the Siberian Roe-deer and zoologists have been fiercely opposing it for years. Nevertheless, a special JSC Nizhne-Zeyskaya HPP was created in 2006 to manage necessary planning\preparation, construction and then exploitation of the new power plant. After several years of delay in construction, late August 2017 Rushydro announced the liquidation of the project "in accordance with the Program for divestment of non-core assets". The Company explains that this is one of steps in comprehensive effort to increase efficiency of management of the Company assets. Rivers Without Boundaries commented that "this is a step in right direction that may end many years of brainwashing about extreme necessity to create "flood-control" hydropower dams in Amur .
RwB, WWF and other conservation groups joined forces with the East Siberia Branch of the Russian Research Institute for Integrated Use and Protection of Water Resources (VostokNIIVH) to develop more comprehensive review of integrated flood management.
Development of Alternatives Opposing groups advocate for a stronger state policy for solar and wind projects.
Why? Explain briefly. Civil society groups and environmental organizations salute the decision to scrap the project.


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Inspired by '70s DIY and old-school western gear, Hillary Justin designs pieces that, as she puts it, just make life better. Case in point, this perfectly distressed graphic tee gives a nod to the company mascot, the World's Largest Cactus.
0 (XS), 1 (S), 2 (M), 3 (L).


text:
Flawed but Thrilling Anatomy of Empire
The great sprawling beast known as the British Empire is almost impossible to categorise. Spreading over four centuries in time, and over a quarter of the world's surface in space, it is naturally a favourite subject for modern historians.
Tristram Hunt adopts an original and inventive approach to tackling empire. He investigates ten cities, all of which reveal interesting aspects of the empire. There is, one can detect, a slight bias in the selection of the cities. Nearly all of Hunt's cities are ports. Boston, Bridgetown, Calcutta, Bombay, Liverpool, Hong Kong and Cape Town were all thriving harbour towns which saw an immense commerce carried through on sailing ships to enrich urban traders.
So inevitably Hunt's book regales us with tales of commercial enterprise. Some of this enterprise was tarnished by such barbarities as the slave trade and the brutal exploitation of an urban proletariat. In this vein, Hunt frequently quotes Marx, and, as a reviewer, I was surprised to see Karl Marx's name appear no fewer than seven times in the text, while John Stuart Mill, undoubtedly one of the Victorian empire's greatest intellectual influences, doesn't make an appearance at all. Great military heroes of empire, such as Kitchener and Gordon, are also noticeably absent.
The strength of the book lies in the highly imaginative and vivid portrayals of urban life. This is a book which is experienced though the life on the streets, in the buildings and across the physical layout of large urban centres, where jostled men and women of different races and creeds. As a historian Hunt is long on imagination and colour. The character of puritan Boston in the 1650s, the squalor of mid-19th-century Bombay and the genteel plantation society of Bridgetown are all brought to life.
A slight drawback to all this imagination and colour is a somewhat loose grip on detail. As another reviewer has rightly pointed out, the Corn Laws were repealed in 1846, not 1844. This might be a minor oversight, but when you see a map purporting to be of 1760s Bridgetown, complete with a monument to Nelson and a Trafalgar Square, you begin to ask questions about the production process of the book. It is quite true that the plantation owners of the West Indies were known for their shrewd foresight but I think that it would be too much to credit them with having erected a monument to Nelson when the great sailor was barely ten years old.
All this is perhaps merely the buzzing of flies around a noble house. Hunt's book is readable and engaging. Its scope, in terms of time and geography, is vast. It touches on so many issues relating to race, capitalism, religion and urban society. It is a work of great ambition and is certainly an original contribution to a well-worn subject.
As befitting a historian of imagination and literary skill, Hunt intersperses some references from contemporary novels into his historical descriptions. Thus William Jardine, the Scottish entrepreneur who founded Jardine, Matheson & Co, the Hong Kong trading house, is described by Benjamin Disraeli in his 1845 novel Sybil: "A Scotchman, richer than Croesus, one McDruggy, fresh from Canton, with a million opium in each pocket, denouncing corruption and bellowing free trade."
Jardine, an enterprising Scot who went to China and then made a fortune selling opium, is as archetypal figure of the Hunt view of empire as any other. Above all else, Jardine was a moneymaker. He used opportunities in China and Hong Kong to press a ruthless case for drug dealing. All of this fuelled the indignation of Karl Marx, who was always eager to see the ironies and contradictions of capitalism. The sight of British gunboats being used to force the Chinese to buy opium off British traders provoked howls of derision from the young Marx.
The particular object of Marx's scorn was Sir John Bowring, a disciple of Jeremy Bentham and laissez-faire economics. Bowring, in that typical mid-19th-century way, combined a strong commercial instinct with a powerful brand of evangelical Christianity. The somewhat absurd aphorism "Jesus Christ is Free Trade and Free Trade is Jesus Christ" has been attributed to him. You don't have to be Marx to see the irony of Bowring clutching the Bible in one hand and forcing opium down the throats of the Chinese with another.
As if conscious of an undue emphasis on trade and commerce, Hunt slips in a chapter on New Delhi towards the end of his wide-ranging book. This concentrates on the administrative aspects of empire. Lord Curzon, as Viceroy of India, is described in all his pomposity and grandeur. To Curzon, India was the "lynchpin of British imperial hegemony around the world". He implicitly believed in Britain's imperial destiny, to which he saw India as the key. "If we lose it (India) we shall drop straight away to a third-rate power". Hunt perhaps follows Lord Curzon in the belief that India was the central fact of the British Empire. It is striking that no fewer than three of his ten cities — Calcutta, Bombay and New Delhi — are in India, and a case could have been made for the inclusion of Khartoum, Cairo or even Lagos as illustrative cities of empire.
But all this is to cavil. The range of references is impressive. Hunt's line of attack is a very credible attempt to capture the spirit of empire in a single readable volume. He ends up in Liverpool, describing the urban unrest there in the early 1980s. This is clearly a nod to the well-observed notion that the Empire, with its consequent mass immigration into Britain, ended up affecting the home country as much as the colonies were affected by Britain. It was a two-way process, so the sight of black youths rioting in Toxteth in 1981 is seen by Hunt as an appropriate conclusion to the imperial story.
Despite the references to Marx, Hunt's progression through ten imperial cities seems to confirm the notion of history as being nothing more than "one damn thing after another". His book, however, is energetic and sensitive, without drawing any big conclusions. At the end, one becomes mindful of the old, rather cynical saying that the two greatest legacies of the British Empire were afternoon tea, and a vulgar expression not used in polite company.


An operating system (OS) is System Software. Which give instruction to computer hardware and software resources. So that it provides common services for computer programs. All computer programs, excluding firmware, require an operating system to function. For hardware functions such as input and output and memory allocation.
The operating system acts as an internal mediator between the computer hardware and programs, although the application code is usually executed directly by the hardware and frequently makes system calls to an OS function or is interrupted by it.
The dominant desktop operating system is Microsoft Windows with a market share of around 83.3%. MacOS by Apple Inc. is in second place (11.2%), and the varieties of Linux is in third position (1.55%).
In the mobile (smartphone and tablet combined) sector, according to third quarter 2016 data, Android by Google is dominant with 87.5 percent and a growth rate 10.3 percent per year, followed by iOS Apple with 12.1 percent and a per year decrease in market share of 5.2 percent, while other operating systems amount to just 0.3 percent. Linux distributions are dominant in the server and supercomputing sectors.
What is 32-bit and 64-bit Operating System?
In computer architecture, It's a type of operating system which runs all the versions of the computer. In an operating system, 32-bit integers, memory addresses, or other data units are those that are 32 bits (4 octets) wide. Also, 32-bit CPU and ALU architectures are those that are based on registers, address buses, or data buses of that size. 32-bit micro computers are computers in which 32-bit microprocessors are the norm.
Despite this, such processors could be labeled "32-bit," since they still had 32-bit registers and instructions able to manipulate 32-bit quantities. For example, the original Motorola 68000 had a 16-bit data ALU and a 16-bit external data bus but had 32-bit registers and a 32-bit based instruction set. Such designs were sometimes referred to as "16/32-bit".
In computer architecture, 64-bit computing is the use of processors that have data path widths, integer size, and memory address widths of 64 bits (eight octets). Also, 64-bit computer architectures for central processing units (CPUs) and arithmetic logic units (ALUs) are those that are based on processor registers, address buses or data buses of that size. From the software perspective, 64-bit computing means the use of code with 64-bit virtual memory addresses.
However, not all 64-bit instruction sets support full 64-bit virtual memory addresses; x86-64 and ARMv8, for example, support only 48 bits of virtual address, with the remaining 16 bits of the virtual address required to be all 0's or all 1's, and several 64-bit instruction sets support fewer than 64 bits of physical memory address.
The term 64-bit describes a generation of computers in which 64-bit processors are the norm. 64 bits is a word size that defines certain classes of computer architecture, buses, memory and CPUs, and by extension the software that runs on them.
64-bit CPUs have been used in supercomputers since the 1970s (Cray-1, 1975) and in reduced instruction set computing (RISC) based workstations and server since the early 1990s, notably the MIPS R4000, R8000, and R10000, the DEC Alpha, the Sun UltraSPARC, and the IBM RS64 and POWER3 and later POWER microprocessors.
In 2003, 64-bit CPUs were introduced to the (formerly 32-bit) mainstream personal computer market in the form of x86-64 processors and the PowerPC G5; and in 2012 even into the ARM architecture targeting smartphones and tablet computers.
In this context, the term came about because DOS, Microsoft Windows, and OS/2 were originally written for the 8088/8086 or 80286, 16-bit microprocessors with a segmented address space where programs had to switch between segments to reach more than 64 kilobytes of code or data. As this is quite time-consuming in comparison to other machine operations, the performance may suffer.
Furthermore, programming with segments tend to become complicated; special far and near keywords or memory models had to be used (with care), not only in assembly language but also in high-level languages such as Pascal, compiled BASIC, Fortran, C, etc.
The 80386 and its successors fully support the 16-bit segments of the 80286 but also segments for 32-bit address offsets (using the new 32-bit width of the main registers). If the base address-of all 32-bit segments is set to 0, and segment registers are not used explicitly, the segmentation can be forgotten and the processor appears as having a simple linear 32-bit address space. Operating systems like Windows or OS/2 provide the possibility to run 16-bit (segmented) programs as well as 32-bit programs. The former possibility exists for backward compatibility and the latter is usually meant to be used for new software development.
Daytoday increase in the availability of 64-bit processor and high capacity of RAM, Microsoft and Apple both have upgraded versions of their operating systems for design it to take full advantages of the new technology.
In the case of Microsoft Windows operating systems versions, the basic version of the systems put software limitations on the amount of RAM that can use by applications but even in the ultimate and professional version of the OS, RAM 4GB is the maximum usable memory for the 32-bit OS. So while you using 64-bit OS, you can increase the capability of a processor drastically and the real jump in power comes from software designed with this architecture in mind.
Users are already required high-performance application software for reliable use. To take high-performance application software advantages, increase in available memory, with companies releasing 64-bit versions of their programs.
Like image editing software that opens multiple large files at the same time.
Video games are also uniquely equipped to take advantage of 64-bit processing and the increased memory that comes with it.
So it able to handle more computations at once means more spaceships on screen without lagging and smoother performance from your graphics card, which doesn't have to share a memory with other processes anymore.
Most of the software backward compatible, to allow you to run applications that are in a 64-bit environment without any extra work or issues.
Architecture Turing machine, Post–Turing machine, Universal Turing machine, Quantum Turing machine, Belt machine, Stack machine, Register machine, Counter machine, Pointer machine, Random access machine, Random access stored program machine, Finite-state machine, Queue automaton, Von Neumann, Harvard (Modified), Dataflow, TTA, Cellular, Artificial neural network , Machine learning, Deep learning, ETC.
Types Central processing unit (CPU), GPGPU, AI accelerator Vision processing unit (VPU), Vector processor, Barrel processor, Stream processor, Digital signal processor (DSP), I/O processor/DMA controller, Network processor, Baseband processor, Physics processing unit (PPU), Coprocessor, Secure crypto processor, ASIC, FPGA, FPOA, CPLD, ETC.
Components Execution unit (EU), Arithmetic logic unit (ALU), Address generation unit (AGU), Floating-point unit (FPU), Load-store unit (LSU), Fixed-point unit (FXU), Vector unit (VU), Branch predictor, Branch execution unit (BEU), Instruction Decoder, Instruction Schedule, Instruction Fetch Uni, Instruction Dispatch Unit, Instruction Sequencing Uni, Unified Reservation Statio, Barrel shifter, Uncore, Sum addressed decoder (SAD), Front-side bus, Back-side bus, Northbridge (computing), Southbridge (computing), Adder (electronics, Binary multiplier, Binary decoder, Address decoder, Multiplexer, Demultiplexer, Registers, Cache, Memory management unit (MMU), Input–output memory management unit (IOMMU), Integrated Memory Controller (IMC), Power Management Unit (PMU), Translation lookaside buffer (TLB), Stack engine, Register file, ETC.


Looking for GED® testing in Anvik AK? The examination is only given in pencil and paper format. Typically in order to sit for the GED® test the test taker must be over 17 years old. The GED® testing cost in the state of Alaska ranges from $40-$90.
The exam covers five tests: reading, writing, mathematics, science and social studies. Each section awards a score between 200 and 800. Most states require students to obtain a score of 410 on each of the five tests and an average of 450 for the GED® exam to pass.


text:
Maximilian Friedrich Georg von Engelbrechten (* 2. Juli 1851 in Neustadt am Rübenberge; † 12. Februar 1911) war ein preußischer Generalleutnant.

Leben

Herkunft
Er entstammte der 1728 nobilitierten Familie Engelbrechten. Seine Eltern waren der hannoversche Oberstleutnant Karl von Engelbrechten (1821–1907) und Sophie von Hattdorf (1820–1903). Der preußische General der Infanterie George von Engelbrechten (1855–1935) war sein jüngerer Bruder.

Militärkarriere
Engelbrechten besuchte die Realschule in Hannover und Gymnasien in Hameln und Osnabrück, bevor er am 10. Mai 1869 in das 6. Westfälische Infanterie-Regiment Nr. 55 der Preußischen Armee eintrat. Er nahm mit dem Regiment am Deutsch-Französischen Krieg, insbesondere an der Schlacht bei Colombey und den Gefechten bei Saarbrücken und Forbach teil. Vor Metz wurde er schwer verwundet und erhielt das Eiserne Kreuz II. Klasse.

Am 20. September 1870 avancierte Engelbrechten zum Sekondeleutnant und war vom 17. April 1872 bis zum 1. Oktober 1876 Adjutant des Füsilier-Bataillons. Vom 1. Oktober 1876 bis zum 24. Juli 1880 war er zur Kriegsakademie kommandiert, wurde am 12. August 1879 zum Premierleutnant befördert und war vom 12. Februar 1881 bis zum 24. Mai 1885 Regimentsadjutant. Unter Versetzung und Stellung à la suite des 8. Westfälischen Infanterie-Regiments Nr. 57 wurde er anschließdnals Adjutant zum Gouvernement Ulm kommandiert. Zum Hauptmann avancierte er am 13. Juni 1885 und wurde dann am 12. Januar 1886 als Kompaniechef in das Regiment einrangiert. Am 22. März 1887 wurde Engelbrechten zum Niederrheinischen Füsilier-Regiment Nr. 39 und am 24. März 1890 zum neu aufgestellten zum Infanterie-Regiment Nr. 140 versetzt. Bereits am 20. September 1890 wurde er als Adjutant zur 4. Division kommandiert und stieg am 17. Mai 1892 zum Major auf. Unter Entbindung von seinem Kommando als Bataillonskommandeur wurde er am 14. September 1893 zum Infanterie-Regiment Nr. 24 versetzt. Bei Beauftragung mit den Funktionen eines etatmäßigen Stabsoffiziers erfolgte am 25. November 1898 die erneute Versetzung zum Infanterie-Regiment Nr. 49. Am 17. Dezember 1898 avancierte Engelbrechten zum Oberstleutnant. Seine Beförderung zum Oberst am 18. März 1901 erfolgte gleichzeitig mit der Berufung zum Kommandeur des Infanterie-Regiments Nr. 79. Am 20. Juli 1904 stieg er zum Generalmajor auf und wurde Kommandeur der 36. Infanterie-Brigade in Rendsburg. Am 22. März 1906 wurde Engelbrechten zu den Offizieren von der Armee versetzt und 1907 unter Verleihung des Charakters als Generalleutnant zur Disposition gestellt.

Familie
Er vermählte sich 1881 in Hildesheim mit Frieda Hesse (1860–1924), mit der er vier Kinder hatte:
 Arnold (1883–1956), preußischer Hauptmann und Kompaniechef im Infanterie-Regiment "Bremen" (1. Hanseatisches) Nr. 75 und vormaliger Leutnant bei der Schutztruppe in Kamerun, 1910 in Potsdam in den preußischen Adelstand gehoben ⚭ 1913 Annemarie Freiin von Thüna (1882–1944)
 Karola (* 1885)
 Pauline (* 1889) ⚭ 1909 Wilhelm Prentzel (1878–1945), Admiral in der Reichsmarine
 Karl-Hattorf (* 1899)

Literatur
 Genealogisches Handbuch bürgerlicher Familien. Band 15, 1909, S. 112–113. (Digitalisat)
 Gothaisches Genealogisches Taschenbuch der Adligen Häuser. B. Gotha 1910, S. 183–184.
 Ernst-Adolf Otto Hilmar von Mansberg: Offizier-Stammliste des Königlich Preußischen Infanterie-Regiments Graf Bulow von Dennewitz (6. Westfälischen) Nr. 55, vormals 6. Westfälischen Infanterie-Regiments. Berlin 1900. S. 105–106.

Einzelnachweise

Generalleutnant (Königreich Preußen)
Person im Deutsch-Französischen Krieg
Träger des Eisernen Kreuzes II. Klasse
Infanterist (Preußen)
Maximilian
Adliger
Deutscher
Geboren 1851
Gestorben 1911
Mann

redpajama_set_name: RedPajamaWikipedia


This is probably the first book I've ever read where I thought the beginning of the book was better than the middle and ending. I mean the first 50 pages is pure 5-star material. It sets the scene and builds the anticipation perfectly. This story is told from various characters points of view, and we kind of see the electrical storm build and build until it unleashes in the form of a violent lightning bolt. Only, it's not an electrical storm, it's a war between sisters.
Princess Alyss has no care in the world on her seventh birthday. She's got a boring party to attend, and then she begins Queen lessons the next day that will help her build her imagination. No one ever anticipates her Aunt Redd crashing the party. And Redd is even more insane than the person we know as the Queen of Hearts in the classic fairy tale. No wonder I can relate to her more-so than the other characters. Anyways, Alyss flees from her world to our world where everything suddenly becomes more mundane. But Alyss must keep her wits and imagination around in order to get back and take her rightful place on the throne.
Like I said, I loved the beginning. And the middle and ending were good also. It's just after I got over the excitement, I realized this is a bizarre, but good, retelling of Alice in Wonderland. Do I plan on continuing this series? Duh, of course!
"What am I to do with you?" Redd asked.
"M-maybe you could-" Jack began.
The Cat raised a paw. "I know."
"It was a rhetorical question, fools! You don't answer it! Since when do I need help making anyone suffer?"
I've spent the last couple of days work free. My birthday is tomorrow, and I've been having a lot of me-time to enjoy myself. I hope everyone else has a fun week as well!
I saw this in the bargain section at Barnes and Noble. Since I've been wanting to read it for a while, I decided to pick it up.
We've lived here for over two years, but we haven't really seen much in the state. So I figured we'd grab this and go do all the site-seeing we can in Wisconsin over the next couple of years.
A book that will make me miss Utah. But I've been dying to read this one for a while. Super happy to read it asap.
A lot of stories revolving around a man's childhood. And we get to watch as they form the person he becomes as an adult. It's definitely something different from my normal paranormal genre. Thanks goes to David Atkinson for providing me a copy.
We have a new dystopian book coming out, and what better way to announce it than reveal the cover? Isn't it intriguing?!
I've never questioned the Mistress' need for starrbriars.
In the almost fourteen years I've lived under her roof, I've accepted it without thought. But as I pick my way across the cliff, searching the ever-present darkness for the small flowers, I wonder what is so important about them.
The wind picks up and I skid a little, the cliff icy from the spray of the waterfall. I step back as I glance into my bag—it's almost empty. We've exhausted the easily gathered supply of flowers.
I feel someone's gaze, and resist looking behind me. Instead, I crouch down, drawn by a stunted flower growing on the side of the precipice. I tug it free, and stare into the churning water, broken on the rocks far below me. Which child will be lowered into that this time? Who will risk their life at the whim of our Mistress?
A scream, haunting and primal, fills the air, rising above the roar of the waterfall and I jerk, losing my balance for a dizzying moment. My hands slip on the ice, sliding until I find a grip. For a long moment, I stay still, waiting for my heartbeat to steady. Then I crawl backwards, barely breathing as I edge away from the drop-off. I see blood on the rocks, and belatedly, I feel the sting on my palm.
Sam tends to move around a lot. Her family moves from one small town to another. And it prevents Sam from ever forming roots with people; she's doomed to remain an outsider. However, once she's in Lacuna Valley, things start to unfold and make sense. Also, she makes some friends (which is always a plus).
Did I mention there's a paranormal aspect? Sam and her sister, Violet, have some special abilities. Violet, a puppetmaster, can somehow manage to make things happen simply by wishing for it. And when Sam meets a cute boy in town, she realizes it's not just her family that keeps freaky secrets.
With this book, I'm simply torn down the middle. The romance between Sam and Nick (the cute boy mentioned above) was cute, but the paranormal aspects confused me at some points. A plus, Sam does grow throughout the novel. She starts out as very timid and is constantly pushed around. But when push comes to shove and her sister is threatened, she easily has a voice and fights back; it was awesome to 'watch'. And on the negative, there's this whole aspect of child abuse. There are only a few scenes involving it, but I cringed every time I read one of them.
The ending had a second-book-in-a-series feeling. In other words, it didn't exactly end and nicely wrap things up. So, I'm definitely recommending that we read this book with the intention of reading the second one right after. Otherwise, you're going to get an unsatisfied feeling once you're done.
Thanks goes to Faith McKay for providing me a review copy.
I have a weekend free of work. A weekend to read a lot and do absolutely nothing. I'm so looking forward to it.
So, angel books tend to not always spark my interest. And I believe the only bad part of Halflings was the major love triangle. After receiving a request to pick this one up and looking over the reviews (that state this one is better than the first), I figured why not? Crossing my fingers that this is the awesome angel book I've been waiting for. Thanks goes to Heather Burch and Zondervan for providing me a review copy.


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Lynch, population 296, is located in North Central Nebraska near the eastern boundary of Boyd County. Lynch's townsite lies at the junction of Whiskey and Ponca Creeks. The territory around Lynch is largely agricultural, consisting of pasture land, rolling breaks and table lands, and dryland farm ground. Ten miles to the north lies Sunshine Bottom and the Missouri River which was part of the Lewis & Clark Trail and five miles to the south of town runs the Niobrara River. Scenic Nebraska Highway 12 takes you through Lynch and the Ponca Valley.
"Lynch Dawg"
Janie Fisher P.O. Box 113 Lynch, NE 68746 E-mail: ffisher@threeriver.net
Copyright © 1999 Nebraska Public Power District


FISPACT-II utilises a range of nuclear data forms including: particle-induced reactions, particle-induced and spontaneous fission yields, decay data, hazard indices and probability tables to offer robust simulation over a wide variety of applications. This includes the most modern evaluated libraries from around the world and the complete, technological libraries TENDL and GEFY. The most recent TENDL-2015 library contains complete files for 2809 target nuclides, in comparison with the 423 within the ENDF/B-VII.1 library – which notably does not include all stables. This is combined with extended decay libraries for the several hundered thousand reaction channels to provide a robust simulation method without the risk of error by omission. TENDL is the annual product of the most advanced TALYS-based code suite which takes all legacy ENDF6 libraries and the most complete reference nuclear parameter libraries to simulate all reaction channels. The recent libraries have been the subject of several verification and validation reports compiled by the UKAEA with international collaboration.
FISPACT-II has been designed to fit, hand-in-glove, with the sophisticated TENDL nuclear data forms. These include complete energy covariances over all reaction channels. For other libraries, FISPACT-II can accomodate different covariance file formats as well, collapsing incident particle spectra to generate one-group reaction rate uncertainties for all reactions. By themselves, they are not very useful, but coupled with sensitivity/uncertainty analyses or pathways-based reaction rate uncertainty, these produce reliable uncertainty values for observables.
Pathway uncertainty within FISPACT-II relies upon a digraph-theoretic approach to identify the reaction/decay paths which result in the production of some essential nuclides. The dominant nuclides for any required response (heat, activity, etc.) are populated during the solver stage and passed to a pruning algorithm which identifies all combinations of links which contribute significantly to the final nuclide. Uncertainties for each decay half-life and reaction rate are combined to determine uncertainties for each path, providing a robust uncertainty in the inventory of the final nuclide.
These uncertainties can be complemented by other methods, such as sensitivity analyses which can be performed using a built-in sampling engine which reads directly the nuclear data uncertainties and effectively propagates them through the full simulation. Another alternative is the Total-Monte-Carlo method, which uses sets of nuclear data files which have been generated from sampled nuclear parameter inputs. The sampling of fully consistent and complete nuclear data files provides the complete set of correlation effect between channels, energies and every other aspect of the files.
The calculation of the energy distributions of residual and emitted particles resulting from nuclear reactions is an important input to the modelling of radiation damage in materials. The recoiling species, or primary knock-on atom (PKA), can induce cascades of atomic displacements, leading to the accumulation of structural damage with life-limiting consequences. Within FISPACT-II, the output of these distributions for an inventory of nuclides exposed to an input neutron spectrum and flux is accomplished via a specially written routine called spectra pka, which updates and improves upon the historical code specter, written at Argonne National Laboratory in the 1980s by Greenwood and Smitther. spectra pka collapses the input neutron spectrum with the full set of incident-energy vs. recoil-energy cross section matrices for every nuclide in the current inventory, which could be at time t = 0 or at a later time, perhaps after a period of irradiation and cooling. The resulting recoil distributions, one for every (open) reaction channel of every nuclide in the inventory, are subsequently scaled according to the inventory nuclide fractions and summed appropriately, as a function of both nuclide and element, the latter being particularly relevant to computational atomistic modelling of materials. A fuller description of spectra pka is available in this reference.
Self-shielding factors (SSF) for the groupwise cross sections are calculated using the probability tables supplied for ENDF-6 formatted nuclear data. These cover both the unresolved and resolved resonance ranges and offer a variety of options for SSF calculation. For example, the factors may be applied over any reaction channels of interest and against any set of nuclides or reactions, against the total or macro-partial cross sections and as multiplicitive factors or as directly derived self-shielded cross sections. Note that probability tables are provided for only select nuclear data libraries within the standard releases, although more can be made available upon request.
The SSF incorporate temperature and material-dependent effects by their construction and can be directly controlled using the PROBTABLE, SSFFUEL, SSFCHOOSE and SSFDILUTION keywords, which control the probability table reading, nuclides to include, reactions to include and an option to overwrite dilution values on an energy-group dependent basis. The example shown includes self-shielding factors for U238 capture reaction rate (red) superimposed over a PWR spectrum calculated by CASMO-5 (black) and the energy-dependent reaction rate (blue).
Note that there are no self-shielding options (or indeed temperature-dependence) for the legacy EAF libraries, which cannot accurately be used for any non-treshold reactions. Users are strongly encouraged to upgrade to a nuclear data library without these limitations.


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Adaptive Solutions is pleased to announce the addition of Bob Dolinsky as Chief Strategy Officer. Bob will be responsible for consulting law firms and corporate legal departments on business process and technology. He will work with clients to help them gain an advantage in an increasingly challenging environment. This includes assisting with strategy and planning, process improvement as well as risk and organizational management.
Bob comes to ASI with over thirty years of experience in delivering innovative business process and technology strategies and solutions to law firms. He has been recognized for his contributions to the field of law firm management and technology with a membership in the College of Law Practice Management, as well as inclusion in the National Law Journal list of Legal Business Trailblazers and Pioneers. Bob has counseled senior management at many of the largest law firms and has served as the Chief Information Officer at both Sutherland and Howrey, LLP.


I told myself when I was a kid to never grow up. Just like Peter Pan I never wanted to loose the curiosity to explore just because I wondered what was in those woods or under that rock or over that wall. I never wanted, like I saw with adults, to stop creating things just for the sake of creativity and not because I saw a way to monetize it. I never wanted become blind to how full of wonder the world was. I let this wall decal above my kids bed remind to give them the best childhood possible so hopefully just maybe they are one of those rare few whose childhood never dies.


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Summer School: 'Toy Story 3' (2010)
Once again, I'm looking back at previous installments of some of this summer's big returning franchises.
By the time Pixar got around to Toy Story 3, 11 years after the release of Toy Story 2, the property was deeply entrenched as a major part of people's childhoods -- and their adulthoods, too, thanks to the relatable themes of growing up and moving on. The third movie really leans into those themes, with a story that repeats a lot of the plot elements of the second movie, but with higher stakes, more intense emotions and more beautifully rendered computer animation. Often regarded as the best movie in the series, Toy Story 3 gets a little too emotionally manipulative for my tastes, but it's still wonderfully entertaining and emotionally rich, a perfect capper to the trilogy (even if a fourth movie is on the way this week).
Once again, the toys are worried about being discarded, this time because Andy is all grown up and headed to college. And once again, a mix-up leads to some of the toys being carted off to an unfamiliar place, in this case to the seemingly idyllic Sunnyside Daycare. While in Toy Story 2, it was just Woody (Tom Hanks) who'd been taken away, here it's Buzz Lightyear (Tim Allen) and all the remaining supporting toys who get donated to Sunnyside, and Woody, who's been packed away to join Andy in his college dorm, must break in and save them from being demolished by reckless toddlers. So there's another rescue mission in another location where the toys meet a whole bunch of new characters, only this time the stakes are even higher (by the end, the toys are in imminent danger of being incinerated).
Still, the Sunnyside location is impressively envisioned, and the tyrannical Lots-o'-Huggin' Bear (Ned Beatty) is easily the series' best villain. Woody's fixation on staying with Andy at all costs is starting to get a little tiresome by this point, and the reversion of Buzz to an oblivious simpleton who thinks he's an actual Space Ranger seems like a step backward for the character, who's never been as fully developed as Woody in the later movies. All of the plot and character elements come together perfectly in the central prison-break sequence, though, which is far more elaborate than the breakout in Toy Story 2 and benefits from even further advances in computer animation. The new and returning characters fit together well to create an immersive world of toy-based conflict.
And then the movie kind of overplays its hand with the climax at the garbage dump, which puts the toys in actual mortal peril for the first time, and features multiple fake-outs that string the audience along (even though it's obvious that Disney/Pixar isn't going to kill off some of its most popular characters in a movie aimed at kids). The final scene between Andy and young Bonnie, as he passes his toys to a new generation, is equally manipulative in a different way, pressing way too hard on the feelings of nostalgia and regret that were more gently evoked in the second movie. Sure, it gets (mostly adult) viewers to cry, but it's a little cheap. That said, the overall sentiment is lovely, and it does find a satisfying way to end the story, while emphasizing the circle of life (to quote another Disney movie). If Pixar is getting corporate pressure to keep returning to this well, at least they do justice to it each time.
Posted by Josh at Wednesday, June 19, 2019 No comments:
Labels: Movies, Summer School
Although the original Toy Story was a huge success and a major catalyst for the shift from hand-drawn to computer animation in feature films, 1999's Toy Story 2, released four years after the first movie, is really what cemented the series' reputation as Pixar's crown jewel and a wellspring of melancholy emotion. In the first movie, the toys were a little concerned about being usurped in Andy's favor by new arrivals, but it was a relatively minor issue that was mainly a plot device to generate conflict between Woody (Tom Hanks) and Buzz Lightyear (Tim Allen). The sequel is all about the fear of mortality and obsolescence, with Woody experiencing an existential crisis after his arm gets torn and he's accidentally put out at a garage sale.
Before Woody can get back to the other toys in Andy's room, he's snatched up by greedy toy collector Al (Wayne Knight) and placed in a display case in Al's apartment for imminent sale to a vintage toy museum in Japan. It turns out that Woody is based on an obscure children's TV character from the 1950s, and any toys of the characters from Woody's Roundup are now sought-after collector's items. While the first movie provided plenty of back story for the Buzz Lightyear character, the sequel does the same for Woody, including giving him a group of supporting characters. The toys for Woody's pals Jessie (Joan Cusack), Stinky Pete (Kelsey Grammer) and Bullseye the horse are already in Al's possession, just waiting for Woody to arrive so they can be a full set suitable for museum display.
Jessie has become an integral part of the Toy Story franchise, and she has lively chemistry with Woody, who of course just wants to get home to Andy. The other toys mount an extensive rescue mission to save Woody from Al's high-rise apartment, taking a detour to Al's Toy Barn, where they encounter new friends and foes. The rescue operation and the new toy-filled environment are the core elements of each movie in the series, but this movie offers probably the best versions of them, especially in the aisles of the toy store. What happens when kids leave their toys behind has emerged as the central theme of the franchise, and Woody's big decision here is whether to join the museum display or return to Andy's room and risk eventually being discarded.
Al and Stinky Pete are both worthy villains, especially since Pete's motives are not hard to understand (he wants the Roundup gang to stay together so they aren't put back into deep storage). The mission to infiltrate Al's apartment is fun and suspenseful, and the balance between humor and pathos is well-maintained. Even just four years after the original movie, techniques for computer animation have improved dramatically, and the opening Star Wars-style sequence of Buzz's adventures in space (as part of a video game) is still pretty awe-inspiring. Toy Story 2 has often been cited as the rare sequel that improves on its predecessor, but all of this movie's strengths come from the groundwork laid in the first installment. It's an expert expansion on an elegant, resonant concept.
Posted by Josh at Tuesday, June 18, 2019 No comments:
Summer School: 'Toy Story' (1995)
With the current proliferation of computer-animated movies, it's easy to forget how revolutionary Pixar's Toy Story was when it was released in 1995. The idea of a full-length feature created entirely via CGI that could rival the hand-drawn animated movies from Disney was unimaginable just a few years earlier, and probably still unimaginable to many when Toy Story was released. From the perspective of 2019, Toy Story looks a bit unsophisticated, with animation less detailed and elaborate than in much lower-profile current CG-animated movies (and the human characters are stuck in the uncanny valley). But even if Pixar's animators didn't have as many strands of hair or facial details to work with, they still make every character distinctive and appealing, and it's a testament to the creativity of this movie that even as CGI technology has improved drastically, the core design of all these characters has remained the same.
The cutting-edge visuals wouldn't mean much without great characters and an engaging narrative, though, and while Toy Story may seem a little thematically slight compared to later Pixar movies (and to its own sequels), it's still consistently entertaining, with a lively story, clever dialogue and well-drawn characters who've deservedly become part of the Disney pantheon (now that Disney owns Pixar). Tom Hanks' cowboy toy Woody and Tim Allen's space-ranger toy Buzz Lightyear have such great chemistry that I had forgotten that the first movie was about a rivalry between the two, with Buzz as the fancy new toy that young Andy (John Morris) gets for his birthday. Woody is insecure and jealous that Buzz may become Andy's new favorite toy, while Buzz is oblivious to his existence as an action figure and believes that he's a real space explorer.
It's a simple, straightforward story that allows for simple, straightforward lessons about believing in yourself and embracing differences, and celebrates the power of friendship (as expressed in Randy Newman's theme song "You've Got a Friend in Me," easily one of the best songs in Disney animated cinema). Woody and Buzz are both a bit self-centered and inconsiderate, which gets them into increasingly desperate situations as Andy's family prepares to move into a new house and the toys need to ensure that they aren't left behind. But the main characters are never unpleasant or irritating, and their screw-ups come from places of wanting to do better and be better, so they are always likable. The supporting characters are charming and funny, with great voice work all around (it's no wonder that Toy Story 4 plans to use archival recordings of Don Rickles as Mr. Potato Head, since he seems irreplaceable).
The idea of toys that come to life when kids aren't around is such a strong hook that this movie doesn't need much else. Woody and Buzz's odyssey away from Andy's house drags at times, and its outcome is of course predetermined, but exploring the secret world of toys is the real appeal here. There's genuine creepiness among the cobbled-together toys of neighborhood bully Sid, and there's a sense of wonder to the whole new universe of toys at the kid-friendly arcade Pizza Planet. Toy Story only scratches the surface of a world with endless possibilities. It's a sweet, low-key beginning to a sweeping saga.
Posted by Josh at Monday, June 17, 2019 No comments:
Triskaidekaphilia: '13 Style Strike' (1979)
I've written about numerous martial arts movies over the course of this project, and they've almost all been terrible: cheap-looking, poorly written, incomprehensibly plotted, broadly acted and completely lacking in suspense or excitement. Probably that's a byproduct of the kinds of movies that end up being retitled for home video with the number 13 in them; most of the horror movies I've written about suffer from the same problems. But since I have a general aversion to martial arts movies, I probably have less patience for these shoddy examples than I do for the many, many terrible horror movies I've seen over the years. I tend to tune out during even the most elegantly staged fight scenes, which I find inherently repetitive and dull. That's not to say that I've never enjoyed a martial arts movie, but it's often other elements (plot, character, set and costume design, cinematography) that draw me in.
All of which is to say that 1979's 13 Style Strike (also known as Eighth Wonder of Kung Fu) is very bad, and not just because it's a cheap martial arts movie. The plot is more or less incomprehensible, the characters are difficult to tell apart, the editing is choppy, and the fight scenes are sloppily staged, with punches and kicks that often land only vaguely near their targets. Some of the flaws can be blamed on the English-language version available to watch on Amazon Prime, which in addition to its laughable dubbing may have been edited for the American market (it runs just 76 minutes) and had its sound effects added or changed (the entire soundtrack, not just the dialogue, sounds like it was overdubbed). Amazon's video was clearly copied directly from VHS (including multiple tracking problems, which are always hilarious to see on streaming video), and no one's bothered to restore this poorly made obscurity.
I've thus far avoided recounting the plot, because I'm not quite sure I know what it is. There's a kung-fu school in what characters keep referring to as Shanghai, even though the movie is from Taiwan. A couple of white American businessmen have imported an American martial-arts champion to fight against Chinese kung-fu masters for some reason. There are references to the combination between Western and Eastern styles (maybe 13 of them?), and in an early scene, one of the kung-fu champions fights an American boxer, complete with boxing gloves. I'm tempted to credit this movie with inventing mixed martial arts, but that would imply that I understood what was happening.
There's also a rivalry between local kung-fu masters, one of whom is also a crime lord, maybe. There's a kung-fu champion taking the fall for an accidental killing by his brother (or student?), getting sent to jail, breaking out of jail, becoming a kung-fu clown (?), and then triumphantly returning to take on the American challenger. I guess this guy is the hero of the movie, although he doesn't really seem any more important than any of the other characters, whose relationships to each other are always unclear, until the movie gets close to its climax. There are a handful of cool moments in a late-film fight sequence at a construction site, but otherwise the action is listless, and since it's hard to figure out what the characters are fighting for and why, there's very little rooting interest in these anonymous ciphers. This certainly isn't a kung-fu movie for anyone but the most dedicated schlock fans.
Posted by Josh at Thursday, June 13, 2019 No comments:
Summer School: 'Shaft' (2000)
When John Singleton died a few months ago, not many tributes mentioned his 2000 reboot of the Shaft series starring Samuel L. Jackson as the title character. And it's not hard to see why, since Singleton's Shaft doesn't have the social conscience or personal vision of movies like Boyz n the Hood, Poetic Justice or Baby Boy, and it's not a big blockbuster product like 2 Fast 2 Furious. It's sort of a transitional piece for Singleton, mixing in the social realism and political commentary of his early work with the glossy action he shifted to later in his career. Those two elements don't always fit together neatly, but in that sense, this movie is just carrying on the Shaft tradition.
Although he's only six years younger than Richard Roundtree, Jackson plays the nephew of Roundtree's original John Shaft, who shows up briefly in a handful of scenes but doesn't have any role in the plot. Jackson's Shaft is an NYPD detective who still believes that the system works, but he loses his faith when spoiled rich white scion Walter Wade Jr. (Christian Bale, basically playing Donald Trump Jr.) is granted bail on a murder charge against an innocent black man, and then flees the country. Shaft dedicates the next two years of his life to building a case against Wade, which mainly involves tracking down a bartender (Toni Collette) who witnessed the murder but is afraid to testify. Once Wade returns to NYC, he crosses paths with ambitious Dominican drug dealer Peoples Hernandez (Jeffrey Wright), and the two form an uneasy alliance of convenience against Shaft.
The movie is a bit ahead of its time with its focus on systemic racism and double standards in the justice system, and Bale's performance feels more relevant than ever. Wade is an over-the-top racist, but he's also sadly believable, and Bale is a more restrained villain than Wright, who puts on such a broad, cartoonish accent that I kept expecting him to ask people to say hello to his little friend. So certain aspects of this movie have aged better than others, and the details of the plot are not all that exciting (which, really, is standard for this franchise). Jackson is a good choice to take up the Shaft mantle, but his performance here is really more about playing his typical badass, wise-cracking Samuel L. Jackson character than it is about embodying the suave, righteous Shaft.
This Shaft is still committed to justice, though, even if he has to mow down a bunch of faceless henchmen in order to get it. The most iconic moments in this movie connect to Shaft's fury at injustice (when he hurls his police badge into a courtroom wall like a ninja star) and his way with the ladies (when he tells a lover "It's my duty to please that booty"), and those two elements are really what define the character, whatever generation he comes from. Singleton's movie is uneven, and it ends with a bit of a whimper, but he mostly proves himself worthy of picking up where Gordon Parks and Ernest Tidyman left off.
Summer School: 'Men in Black 3' (2012)
Despite the box-office success of Men in Black II in 2002 and Will Smith's continued dominance as a blockbuster action star, it took a decade for the creative team to return with Men in Black 3, and the time off seems to have been well spent. MIB3 doesn't have the same spark and excitement of the original movie, but it's definite improvement on MIB2, in terms of plotting, character development and visuals, and it makes a better case for the continued exploration of the MIB world (as is coming in this week's sequel/spin-off Men in Black: International). The dynamic between MIB agents Jay (Smith) and Kay (Tommy Lee Jones) that was subdued in the second movie returns to the central focus here, albeit with an entertaining twist, and the special effects are much stronger, showcasing a new range of weird alien creations.
Jay and Kay spend the whole movie bantering and bickering, but Jones is only in about 30 minutes of the 106-minute movie, because the plot involves Jay traveling back in time to 1969 and teaming up with the younger Kay (Josh Brolin). Whether Jones wanted a reduced role or the story just called for him to be sidelined, the casting of Brolin turns out to be a genius move, and he riffs alongside Smith just as well as Jones did in the first movie. The villain here is more menacing than Lara Flynn Boyle was in MIB2, although nothing quite compares to Vincent D'Onofrio's turn in the first movie. Jemaine Clement plays Boris the Animal, a dangerous alien assassin who breaks out of a prison on the moon and travels back in time to kill Kay before Kay can capture him and lock him up.
Of course, the fate of Earth is also on the line, and Jay has to keep young Kay from being killed (and thus erased from the timeline) as well as make sure that Boris doesn't pave the way for a full-on alien invasion. As in most time travel movies, the rules are pretty inconsistent, and the franchise continuity doesn't entirely track, but as long as the story is entertaining, it doesn't really matter. For the third time in a row, Kay's character arc hinges on his longtime unrequited love for a woman (here, it's fellow MIB agent O, played in the present by Emma Thompson and in the past by Alice Eve), and that device has lost its impact from overuse. But the MIB movies are best when they focus on snappy banter and goofy aliens, and the worst elements of MIB3 are its attempts to wring emotional resonance from the relationship between Jay and Kay (including a particularly egregious retcon during the overly sentimental ending).
Clement doesn't really get to use his comedic skills as the humorless Boris, and MIB3 overall is more serious and action-oriented than the previous movies. But returning director Barry Sonnenfeld gets plenty of entertainment value out of the period setting, even if the movie's depiction of 1969 is about as realistic as Austin Powers. Brolin does a great approximation of Jones' gruff drawl, and Smith remains charismatic and likable. Thompson provides a suitable replacement for Rip Torn (whose character's funeral opens the movie) as the head of MIB, and at least the Burger King and Sprint store inside MIB headquarters are gone. Nothing has quite lived up to the potential that the first MIB offered, but at least MIB3 comes close.
Summer School: 'Shaft in Africa' (1973)
If Shaft's Big Score! turned Richard Roundtree's Harlem private eye John Shaft into a typical action hero, Shaft in Africa attempts to turn him into James Bond, a misguided effort that put an end to the Shaft franchise on the big screen for nearly 30 years (the character made it seven episodes into a CBS TV series the following year). It's one thing to add more action to a story of corruption and gang warfare in New York City, with Shaft caught in the middle. But taking the detective out of NYC (and out of the U.S. entirely) and turning him into some sort of globe-trotting superspy loses everything that was interesting and unique about Shaft in the first place.
Sure, he still sleeps with every beautiful woman he encounters (no matter which side she's on), and he occasionally makes a comment about contemporary race relations. But most of this movie is about Shaft using ridiculous weapons and affecting silly accents and fighting a series of interchangeable henchmen en route to a cartoonish big boss. He even ends up in a Bond-style elaborate death trap early in the movie, although it's just an effort by an African tribal leader to test Shaft's worthiness for a mission to infiltrate the human trafficking route bringing unwitting Africans to work in Europe for slave-labor wages.
That's a socially conscious (and unfortunately still timely) theme for a Shaft movie to explore, but the filmmakers are far more interested in fisticuffs and explosions than they are in taking on serious issues. Both original director Gordon Parks and original writer Ernest Tidyman are gone, replaced by journeyman director John Guillerman and veteran screenwriter Stirling Silliphant (who won an Oscar for socially conscious detective story In the Heat of the Night), and even the music sounds more like a typical action-adventure score rather than the funk and jazz that Parks and Isaac Hayes brought to the first two movies. At one point when he's being presented with a bunch of Q-style gadgets, Shaft protests that he's not James Bond (he prefers to compare himself to Sam Spade), but the movie clearly lacks that perspective.
None of the other characters from the previous movies return, and the villain this time is even more of a Bond-style evil industrialist, complete with English accent, sprawling estate headquarters, seemingly endless supply of henchmen, and ridiculously gorgeous arm-candy girlfriend whom he treats with contempt. Refreshingly, the villain's girlfriend is hornier than Shaft himself, and she's the one who seduces Shaft when she's sent to help with the mission to take him out. (Of course, she then gets killed by a knife meant for Shaft, which is a very James Bond move.) Shaft's main love interest is the tribal leader's daughter, who talks casually about her clitorectemy, which is treated as a lighthearted plot point and not as evidence of barbaric misogyny. Between that tone-deaf subplot and the backward depiction of Africans, Shaft in Africa is much less progressive than its predecessors. By trying to broaden its hero's appeal, it killed anything unique and compelling about him.
Summer School: 'Men in Black II' (2002)
As much as I was a big fan of the original Men in Black and of director Barry Sonnenfeld's work at the time, I don't quite remember what I thought of Men in Black II when I first saw it. It came three years after Sonnenfeld and Will Smith's notorious flop Wild Wild West (which I still haven't seen), and my expectations were probably a bit lower by that time. Still, I don't remember particularly disliking it, but watching it again so soon after rewatching the first movie, I can see how significant a step down it really is. Nearly every element of the sequel is worse this time around, all the way through Smith's typically silly plot song during the closing credits.
Even the chemistry between Smith and Tommy Lee Jones as MIB agents Jay and Kay suffers, since it takes nearly half the movie for Kay to get back in action. The rather sweet ending of the first movie, in which Kay has his memory wiped so he can return to a simple existence with the love of his life, has to be undone, but first Jay has to encounter the latest world-ending alien threat, here in the form of an alien queen (Lara Flynn Boyle) who is after an all-powerful MacGuffin hidden on Earth. Kay was the one originally responsible for hiding it, so Jay has to bring him in and get his memories restored.
The easy chemistry that defined Jay and Kay's relationship last time around only surfaces in bits and pieces in the second half, and before that Smith has to carry the movie on his own (Linda Fiorentino's character, who was set up as his partner at the end of the first movie, gets written out in a single line). He's paired first with a dopey new agent played by Patrick Warburton and then with Frank the alien pug, who's one example of how this movie takes a clever background element from the original and runs it into the ground (it does the same with the "worm guys" who hang around the MIB office, and the idea of celebrities as aliens). The jokes are mostly strained and awkward (the Michael Jackson cameo especially has aged very, very poorly), Boyle's Serleena is a pretty ineffective villain (and Johnny Knoxville as her two-headed henchman is even worse), the romantic subplot between Jay and a pizza parlor employee (Rosario Dawson) is useless, and the rampant product placement is cringe-inducing.
Perhaps worst of all, the special effects are terrible, almost universally unconvincing and substantially worse than the effects in the previous movie. Maybe the problem is the overreliance on CGI (the original had quite a few practical effects), but even the CGI looked better last time around. The most amusing part of the movie is the opening clip from an In Search Of-style supernatural mystery show hosted by Peter Graves (playing himself) that lays out the back story in intentionally cheesy, low-budget fashion. And even that gets run into the ground, played again almost in its entirety later in the movie when Kay needs to be caught up. Running barely 80 minutes before the credits, MIB2 is a disappointing, half-hearted follow-up to one of the most entertaining summer blockbusters of the '90s.
Summer School: 'Shaft's Big Score!' (1972)
From the beginning, Shaft was a more polished mainstream studio production than most blaxploitation movies, and thanks to the first movie's success, the sequel Shaft's Big Score! (released just a year later) obviously had a bigger budget to work with (alongside higher expectations). The result is a larger-scale action movie that has even less of a social or political perspective than the previous movie. Director Gordon Parks and screenwriter Ernest Tidyman (author of the Shaft novels) both return alongside star Richard Roundtree, but Big Score is about cool fight scenes and big set pieces far more than it is about making a statement on American culture.
For starters, most of Big Score takes place in the middle-class suburban areas of Queens, rather than in Harlem as the first movie did. Even gangster Bumpy Jonas (Moses Gunn), the only other returning character, now wears more traditional tailored suits. The somewhat convoluted story involves Shaft's old friend Cal Asby (Robert Kya-Hill), brother of Shaft's current main squeeze (although of course he has plenty of other squeezes), getting killed by his business partner, casualty of another turf war between white and black gangsters.
Cal and his partner Johnny Kelly (Wally Taylor) ran an illegal numbers racket out of their combined insurance and funeral home business, and Kelly wants to take it over for himself, while also using Cal's money to pay off his gambling debts to crime boss Gus Mascola (Joseph Mascolo). With both Kelly and Mascola looking to have Shaft taken out, Big Score has more clearly defined villains than the first movie did, and Mascola in particular is a typical ridiculous action-movie bad guy, complete with random eccentricities (he lounges around his house in what looks like a kimono, and spends his time playing the clarinet).
Shaft's previous police contact, the rumpled, old-school white Lt. Vic Androzzi (Charles Cioffi), is gone, replaced by the humorless Capt. Bollin (Julius W. Harris), whom Shaft accuses of being a "black honky" in one of the movie's few instances of pointed commentary (there's also a moment when Bollin says "Fuck your rights!" to a black suspect protesting about being roughed up). Bollin isn't a particularly strong addition, but Mascola makes for a fun (if not very credible) villain, and Roundtree remains as charismatic as ever as Shaft. Parks himself takes over the music from Isaac Hayes this time, delivering a jazzier, more disco-oriented score that works best in an extended scene that cross-cuts between a club striptease and Shaft getting beat up by Mascola's goons.
The movie ends with a lengthy helicopter/boat/car/foot chase that shows off the increased resources but goes on way, way too long, and by the time it gets to the final confrontation, Shaft's motivations for taking on the gangsters are a bit confused. The first Shaft movie positioned its title character as a new kind of socially conscious detective; Big Score turns him into just another action hero.
Summer School: 'Men in Black' (1997)
In his early films, Barry Sonnenfeld seemed like the perfect melding of Tim Burton and the Coen brothers, and since they were some of my favorite filmmakers at the time, I was a huge Sonnenfeld fan from the start. After his work on Get Shorty and the Addams Family movies, Men in Black was the perfect fit for Sonnenfeld's blend of whimsy and snark, and the first MIB film is pretty much the zenith of his career (it was definitely all downhill from there). Based on a comic book in the days before every comic book property was made into a movie, MIB has a clear, instantly appealing premise, following the secret agency tasked with protecting humans from the aliens who live covertly on Earth.
Most of these aliens are harmless and friendly, and MIB gets a lot of mileage out of the gently antagonistic relationship between the human agents and the aliens trying to go about their business. The talking pug, the tentacled newborn, and the worm-like creatures in the breakroom are all instantly memorable, and their brief appearances give a perfect glimpse into the wider alien world that the main characters are working within. The mix of practical effects and CGI holds up remarkably well, and the creature design is inventive and fun. The core of the movie, though, are the human characters, and Will Smith and Tommy Lee Jones are at the height of their respective personas as the mismatched Agents Jay and Kay, who have a well-worn but entertaining buddy-cop dynamic.
Smith is the brash NYPD detective recruited into the secretive MIB organization, and Jones is the world-weary veteran who's seen it all and is ready for retirement. Although their styles clash, they clearly respect each other from the start, and their riffing is never insulting or unpleasant, just a string of clever, sometimes goofy jokes delivered with impeccable timing. The supporting cast is great, too, including Vincent D'Onofrio as the nasty bug alien wearing a suit of human skin, Rip Torn as the gruff MIB boss, and Tony Shalhoub as a fidgety alien dealer in stolen goods. I was especially disappointed to be reminded that Linda Fiorentino's career essentially ended not long after she made this movie, and her smart, alluring coroner character, who has great chemistry with Smith's Jay and ends the movie clearly set for a major role in the sequel, never returned.
The details of the plot are a little underwhelming at times, and the ticking-clock finale doesn't quite have the urgency that it needs. But it's also refreshing that a comic book-based summer blockbuster didn't feel the need to stage a massive action climax with an entire city being demolished. Jay, Kay and Fiorentino's Laurel fight off the gross, evil bug alien, and that's all it takes to save the Earth. It reinforces the idea that the MIB are always saving humanity without anyone realizing it, and it places this story in the overall context of their ongoing adventures. The ending makes the prospect of a series of sequels enticing, and I'm already bracing for the inevitable disappointments of returning to the second and third movies.
Although the blaxploitation movement is generally built around scrappy, sometimes very rough low-budget productions, the genre's most famous movie is actually a slick, studio-backed film that won an Oscar. I haven't seen a lot of blaxploitation films (I'm pretty sure Super Fly and Black Caesar are the only other ones I've watched), but Shaft is definitely the best of what I've seen, an entertaining, well-acted detective story that effectively mixes social commentary with its old-fashioned crime story. It's still gritty and authentic, showing audiences a side of New York City that mainstream moviegoers wouldn't have been familiar with, but it's less confrontational than some movies in the genre, making more of an effort to reach a wider range of viewers (i.e., white people).
That's not necessarily a criticism, since one of the key themes is the way that private detective John Shaft (Richard Roundtree) is able to move between two worlds, connecting with the white police establishment and with the underground of Black Power groups and low-level hustlers. It's an ability that serves him well as a private detective, but it also means that he's never quite accepted by any of the people he interacts with. The cops don't trust him to give them all the information they need to bring in the criminals he associates with, and the African-American activists see him as a sell-out. There's no indication that any of this bothers him, though, and he sticks to his personal code of ethics regardless of who he's dealing with.
The specific plot, taken from the novel by Ernest Tidyman (who co-wrote the screenplay with John D.F. Black), isn't all that innovative or exciting, and it proceeds in a pretty straightforward manner, without any big twists. Shaft gets hired by Harlem crime boss Bumpy Jonas (Moses Gunn) to find Bumpy's kidnapped daughter, who's become a pawn in the war between Bumpy and white mobsters from out of town. Once Shaft figures out who took the daughter, he basically just goes in and gets her, in an impressively staged action sequence at a hotel. What's more interesting than the plot is the way the movie follows Shaft around NYC, giving a tour of the city's underrepresented areas and presenting a range of colorful characters.
Roundtree, in his first film role, is fantastic as Shaft, making the detective charismatic and sharp and, of course, sexy, as Isaac Hayes' iconic, Oscar-winning theme song describes him. Shaft's dalliances with women are an essential part of his character, and while he casually sleeps around, he never mistreats the women he's with. The sex scenes are sensual but not sleazy, and director Gordon Parks, who worked mainly as a photographer, has an eye for artful compositions in the bedroom as well as on the streets. Hayes' funky, off-kilter music perfectly complements Parks' imagery, and I was more impressed with the use of music here even than with Curtis Mayfield's equally famous soundtrack to Super Fly.
Shaft's narrative drags in the middle, as the title character spends a lot of time just walking around aimlessly, but it's a solid mystery framework for the movie's exploration of contemporary NYC life, and it's no surprise that Shaft returned for more movie adventures (as well as a short-lived TV series). He's an appealing, durable character, and the movie effectively sparks interest in more of his cases.


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text:
Kantha Loop Key Clip
World Finds
Carry your keys in style with this beaded loop key clip. It's made with recycled kantha, a bright and colorful tradition Indian textile, accented with brass beads and a vegan leather band. Each is one-of-a-kind.
Approximately 7" long
Handmade by women artisans in India who are changing their lives and communities through fair trade.
Each comes with a tag that explains the materials and origin, ready for gifting.
About World Finds
Kelly Weinberger founded WorldFinds in 2000 after traveling around the world with her husband David. While in Asia, Kelly was struck by the talented artisans and concerned for their lack of income when tourism faded, and vowed to do something about it when she returned to the States. The remainder of the trip was spent learning about the plight of artisans and fair trade, and culminated in an all-important visit to Traid Aid, a fair trade company, in New Zealand.
Back in the States Kelly began to test products she had purchased and learned the ins and outs of importing while David got his MBA. WorldFinds soon became a member of the Fair Trade Federation where Kelly now serves on the Bord of Directors.
WorldFinds created their Girl's Education Fund to help provide scholarships to the most marginalized families in our artisan's communities in India. A portion of every WorldFinds purchase contributes to the fund. Last year alone, an increase in orders allowed our artisan groups to send three times as many girls to school, and we are hoping to increase this even more before the end of the year.
Williams Clutch
Frankie & Coco PDX
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Peacock Scarf
Hand Woven Winter Brights Scarf


After passing through the ECP the Ktarian physician had returned to his quarters to freshen up. When he did so he had caught a glance of himself in the mirror and frowned at the deep purple bruise forming across his frontal lobe. He kept a dermal regenerator in his quarters - not technically a violation of regulations given his status as Chief Medical Officer - and had used it to quiet the stimulated muscle and nerve tissue beneath the surface. Now it was only slightly red but, since it was still in formation, it would likely be worse within an hour or two.
Deciding he was presentable for his most important patient, the Captain, he left his quarters and made his way to the bridge. There he spoke briefly with Lieutenant Redson, made sure she was recovering from the explosion in the torpedo bay, and then made his way to the briefing room.
Entering, he was surprised to find only Captain Raiser in attendance.
He checked the wall chronometer. He was a few minutes early. Still ... the recall had been a general recall, right? This wasn't some kind of intervention - for what he could only imagine. "Captain," he greeted her professionally.
Waiting only a beat he then stepped around the side of the table. He until he was told otherwise he would proceed with the knowledge he currently had - that the Captain had called a meeting of the senior staff and he was the first to arrive. If the situation were any different he'd find out soon enough.
"Bolian tonic water. Sealed bottle," he ordered from the replicator once he arrived beside the device.


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Жан-Оноре́ Фрагона́р (; 5 апреля 1732, Грас, Королевство Франция — 22 апреля 1806, Париж, Первая Французская империя) — французский живописец, рисовальщик и , ассоциированный член Королевской академии живописи и скульптуры (с 1765); один из наиболее значительных и плодовитых мастеров искусства позднего Старого порядка, известный как автор более чем 550 картин: жанровых, исторических и религиозных сцен, пейзажей и портретов.

Биография
Жан-Оноре Фрагонар родился в Грасе, в семье перчаточника Франсуа Фрагонара и Франсуазы Пети. Двоюродный брат анатома Оноре Фрагонара. Сперва ученик Жана-Симеона Шардена, а потом Франсуа Буше. Прежде чем отправиться в Рим, он продолжал учиться в течение трёх лет под руководством Шарля-Андре ван Лоо. В 1752 году за картину «Жертвоприношение Иеровоама» получил Большую Римскую премию и отправился в Рим. В Риме значительное влияние оказали на него итальянские мастера XVII века Бароччо, Солимена, Пьетро да Кортона и в особенности Тьеполо. Подружившись здесь с живописцем Юбером Робером, он совершил вместе с ним и с любителем искусства Сен-Ноном поездку на юг Италии. Плодом этой поездки было издание увража «Voyage de Naples et de Sicile», в котором большинство рисунков гравировано Фрагонаром. По возвращении в Париж он выставил в салоне 1765 года картину «Корес и Каллироя» (находится в Луврском музее в Париже), за которую королевская академия художеств приняла его в свои члены.

Однако вскоре после того он прекратил заниматься историческим родом живописи и, последовав вкусам эпохи, стал писать идеалистические жанры и пасторали в духе Ватто и Буше, сцены интимной жизни пикантного, иногда беззастенчиво-эротического содержания, декоративные панно, портреты, миниатюры, акварели, пастели и по временам заниматься офортным гравированием. Произведения его вошли в большую моду и продавались по высокой цене, благодаря чему он заработал хорошие средства. Но вспыхнувшая революция разорила его, а классицизм, новый стиль во французском искусстве, основанный Жаком-Луи Давидом, лишил его прежней популярности. В 1769 году он женился на Мари-Анне Жерар (1745—1823), которая также была художницей; у них родилось двое детей: дочь Розали (1769—1788) и сын Александр-Эварист (1780–1850), вслед за отцом также ставший живописцем.

В 1793 году Фрагонар уехал из Парижа в Грас. В начале XIX века он вернулся в Париж, где умер в 1806 году, почти полностью забытый.

Творчество

В больших исторических картинах Фрагонара мало оригинальности; в его пейзажах природа является слишком переиначенной и приукрашенной; зато жанровые его картины, хотя и не чуждые манерности, пленяют зрителя умно изобретённой композицией, грациозностью рисунка, изящностью и деликатностью колоритных тонов, плавностью и сочностью письма и вообще большим вкусом исполнения. К числу известнейших принадлежат: «Урок музыки», «Пастораль» (амуры указывают отдыхающим под деревом любовникам на циферблат), «Купальщицы», «Спящая нимфа», «Амур, снимающий сорочку с красавицы» (La chemise enlevée), «Молодой гитарист»; «Молодая читательница» в вашингтонской галерее искусства; «Вдохновение» и «Задвижка» в Луврском музее; «Семейство фермера» и «Поцелуй украдкой» в Эрмитаже; «В отсутствие отца и матери», «Прятки», «Генрих IV и Габриэль» и «Учёные собаки» — в разных частных коллекциях.

Из гравюр Фрагонара особенно интересны: «Шкаф» (родители девушки находят возлюбленного дочери, спрятанного в шкафу, собственная композиция художника; очень редкий лист), «Обрезание» с Тьеполо, «Антоний и Клеопатра», с Либери, «Вечеря в Эммаусе» с картины Риччи, и «Сретение Господне» с картины Тинторетто.

В течение полувека или более Фрагонар был настолько непопулярен, что Вильгельм Любке в 1873 году в книге по истории искусств опускает само упоминание его имени. Последующая переоценка подтвердила его положение среди бессменных мастеров французской живописи. Картины Фрагонара, наряду с картинами Франсуа Буше подводят итог целой эпохе.

Память
В честь Жана-Оноре Фрагонара названы фабрика и музей духов Fragonard. Фабрики расположены в Грасе и в Эзе, также музей в Париже.

Примечания

Литература

Полные биографии

Каталоги творчества

Каталоги выставок

Очерки отдельных аспектов творчества

Альбомы

Другие работы

Словари и энциклопедии

Справочные указатели

Ссылки

Художники рококо
Художники эротики
Французские живописцы рококо
Художники Франции XVIII века
Лауреаты Римской премии
Родившиеся в Грасе
Похороненные на кладбище Монмартр
Похороненные в церкви Святого Роха


Sometimes, a few people like to remain followers while they let others to rule over them. Even the best minds need supervisors who can bring out the best in them. However, there comes a time for promotion where you have to leave your field job and get stuck to your chair. Or better still, stop working and start managing. Are you that manager? Here are four ways to find out if you can step into the shoes of a leader.
You've been at the grind for far too long to know everything about it. Which is why, people come to you with questions. If you like answering them with relish, you are just what the HR personnel ordered. You are manager material. On the other hand, if you feel that people are throwing a spanner in the works every time you decide to tick off things on your to-do-list, you might reconsider that offer of a manager's post. Perhaps, you are better off as a follower of the herd.
If you have a penchant for perfection and realise that no one measures up to it, you will end up micro managing everyone if you become the manager. Usually, this is frowned upon. It shows that you don't trust your subordinates, and they will, in turn, not trust you. Two, you like to control everything and will not allow them to learn on the job. You should give your juniors some leeway to err and learn, rather than always try to make them stick to your style of working. Everyone should be only responsible for the end result, not how they get to that destination. If you can lose control over them and still make them meet their deadlines and be just as qualitative, you've got a team you can lead with pride.
By that, we don't mean being extrovert. We meant a team member who likes to hear out everyone on what they have to say about a problem or challenge you are facing at work. If you like brainstorming sessions and endless strategy meetings, you are manager material, because you appear to thrive in others' company. That's what a manager's job is all about. Everything you does away from the seat is more important than what you do at your work desk.
If you find yourself squirming every time any team member wins a new contract or does something laudable, you are definitely not manager material. In a team, if you are the senior most person and you love it if someone younger to you has done something great at work, you are the doting manager they need. All a manager needs is empathy and sympathy to do his job well. And for that to happen, you need to have a paternal instinct, who can only celebrate others' wins and feel part of their story. That's when you can say for sure that you are leadership material as you consider your juniors your budding students who need all the encouragement they need to advance in their careers. Step up. Take your managerial job. And if you've not been offered one, it's time to change jobs and get to that position in a different firm. It's time.
When should you gladly accept a job offer?