text:
2008 Volvo V50 T5 – Not Your Aunt June's Sp-agen
April 20, 2008 · by Neil Johnston	· in Autos by OutDrive.ca, Volvo.	·
Pulling into the parking space a friend, Chris, loudly exclaims, "Very dyke to see you!" With an opener like that I can't resist, "Yes, it's boxy, but good. Would you like to ride my 'vulva'." So much for political correctness, but face it, the 2008 Volvo V50 T5 is fighting a few brand identity issues within the community and some long standing bad puns.
The V50 T5 "Sportwagon", or "sp-agon" as contributors Kevin Miklossy and Justin Mastine-Frost have dubbed the niche, needs to lay waste to a lot of Volvo's historical traits. Luckily, this is not your Aunty June and her "special friend's" Volvo then.
Inside the interior might lead you to believe that Volvo got the "sp-agon" concept wrong, or as passenger Chris puts it, "I feel like I'm in a hockey bag." The seats are upholstered in a hard wearing material called T-Tec with the feel of Kevlar-laced neoprene fused with Cordura and stitched in an industrial feeling orange thread. As JMF quipped, "I feel like I'm sitting on a hockey player. That's not a bad thing."
Right, so the gear fetishists will be happy, and so will the rest of us.
The multi-way adjustable electric seats are comfortable and heated, the cabin nicely trimmed in aluminum accents, 60/40 split rear seats, and an overall sense of solid functionality. Volvo's even kept the up market elegant floating central console faced in aluminum (with an odd storage space behind it), relatively straightforward controls for cabin climate, and enough leftover buttons to build a universal remote. Our tester came equipped with Sirius Satellite Radio, the DynAudio Package, and the least sensible key in the world.
Here's an idea, lets take the worst of all possible key worlds and combine them. Huge fob? Check. Pokey key blade hanging out… Wait that's not fragile enough! Let's make the blade out of breakable plastic! Now where to put the ignition? To the side of the wheel where everyone else puts a Start-Stop button. That way you can stare at the massive fob while stuck in traffic and have endless hours of fun wondering, "Why? Why, why, why skimp there?"
Beyond those foibles, the V50 is no penalty box.
The 2.5-liter inline five-cylinder turbo pumps out 236 ft-lbs of torque, with the power starting low down and pushing late into the RPM range. It's this beautiful mid-range grunt that hustles the sp-agen from 0-100kph in just over eight seconds. Not hugely quick, but Aunty June and her soul mate of the month wouldn't approve.
That meaty mid-range means the V50 T5 is delightfully easy to get along with in traffic.
You don't need to be snick-snick-snicking through the short throws of the slightly notchy six-speed manual transmission, or playing with the light but snatchy clutch.
The Sport Styling package, with the little spoiler hanging off the wagon's back and the 17-inch rims, isn't just an affectation either. It's a declaration of intent. At full boil the engine whips up 227 horsepower.
This is a front wheel drive however, so a planted foot results in torque steer and the squealing of tires. On wet roads, this would be the domain of wheel spin, but the traction control system and spin control (or DSTC as Volvo calls the system) keep it in check. If you call replacing wheel spin with a jackhammering of power throughout the drive train "in check". We'll take the wheel spin thanks. Mind you, most of the V50's intended buyers probably won't be wantonly applying the throttle in cow floating rain.
That will have you grasping the leather sport steering wheel (part of the sport package) with the cold aluminum inlay attentively – and whose idea was that? If this were a Saab, the slippery inlay would come with the marketing spin of, "visually recalling a flight yoke." On the V50 it offers an out of place tactile experience as your grip goes from grippy leather to icy aluminum.
Visually, Mr. Too-Fast-Too-Furious suffered the embarrassment of being 'dissed on the Burrard Street Bridge by his Mom's wagon – redone as a smoothed blur. That will leave you and the soccer moms grinning.
I'm not sure the situation would have been different on the twisting roads. The V50 T5 is a tight and taunt little number with a nicely ridged chassis. Yes, we're still talking about a Volvo here.
Turbo whining away, the wagon has a linear and predictable feel. The handling is crisp and the feel at the wheel nicely communicative. Unlike its larger siblings in the Volvo line it isn't hampered by earth fracturing weight and the accompanied inertia. Things feel a little less planted in sweeping turns, as body roll gets the better of the V50. This all translates to the ability to rail through traffic like nobody's business.
Ah, the endless fun of strapping the kids into integrated child booster seats, then attempting to pin them to the windows at every tight turn. A wagon with sporting pretensions, the V50 can haul – literally and figuratively.
There's 417L/14.7 cu ft from the hatches carpeted floor to the window line and 918L/32.4 cu ft from floor to roof. Fold rear seats flat and that capacity jumps to 2,015 litres/71.2 cu ft. Now assuming Aunt June and her new partner like cats, and what stereotype doesn't, and a cat fits in about 6 liters (give or take), a filled to the gunnels V50 will hold about 330 felines. That's before Aunt June makes a second trip for the white picket fencing. Of course in either case the front seats need to be moved far forwards to fold the back seats flat.
True, the storage space isn't overwhelmingly huge, but this is a small wagon and that provides the benefits of maneuverability and driving ease in traffic. Case in point, we had an Audi Q7 at the same time as the Volvo V50. For those without a sense of cruelty you can't fit any more people in the Audi than the Volvo, and in traffic the lumbering beast is a nightmare thanks to gargantuan proportions. The V50 T5 quickly disappeared into the distance, flitting through traffic with mercurial ease. Meanwhile in the SUV you're left listening for the sound of flanks scraping, a la the Titanic.
Beyond actually being able to avoid an accident, the V50 offers more acronyms than an STD clinic, all of which are devoted to your safety; DSTC (Dynamic Stability and Traction Control System), ABS (Anti-Lock Braking System), EBA (Emergency Brake Assist), IC (Inflatable Side Curtains), SIPS, WHIPS… chains, dips… It's a safety party.
When we first picked up the 2008 Volvo V50 T5 "sp-agon", I'll admit to being unconvinced. The V50 T5's quality, ease of driving, compact utility, usable performance and European sensibility did something few cars have accomplished – it won me over. At the end of a week of testing I ended up enjoying the V50 more than at pick up, a sort of like it warts and all deep resonance of a relationship. Your Aunty June* would appreciate that, indeed maybe she had the Volvo business right all along.
* No cats or composite fictional Aunts were harmed in the writing of this review.
2008 VOLVO V50 T5
Base Price: $38,995; as tested, $47,745
Engine: 2.5-litre, turbocharged, five-cylinder
Horsepower/Torque: 227 hp/236 lb-ft
Drive: Front-wheel-drive
Fuel Economy (litres/100 km): 10.7 city/7.0 highway/14 performance; regular gas
← 2008 Audi Q7 – The Trojan XL Package
2008 Suzuki SX4 Fastback – The Cute'Ute →


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text:
A Thriller Michael Jackson amerikai énekes dala. Rod Temperton szerezte, producere Quincy Jones. 1984. január 23-án jelent meg Jackson Thriller című albumának hetedik, utolsó kislemezeként.

A dal Jackson számos válogatásalbumára felkerült, többek közt a HIStory (1995), Number Ones (2003), The Essential Michael Jackson (2005) és a Michael Jackson's This Is It (2009) címűekre.

A dal hangeffektusai közt hallható ajtónyikorgás, villámlás, léptek zaja, szél fúvása és kutyavonyítás is, a szöveg ijesztő és félelmetes hatást kelt. A dal pozitív kritikákat kapott, de a videóklip még a dal sikerét is elhomályosította. A Thriller Jackson hetedik top 10 dala lett az albumról a Billboard Hot 100 slágerlistán, és más slágerlistákon is előkelő helyezést ért el.

A Thriller videóklipje tizennégy percével jóval hosszabb a dalnál. Egy történetet mesél el, melyben Jackson és a barátnője – akit Ola Ray színésznő alakít – az 1950-es évek horrorfilmjeit idéző közegben láthatóak. A legismertebb jelenetben Jackson zombikkal együtt táncol. Bár kritika érte okkult témája és erőszakos jelenetei miatt, a klip nagyon népszerű lett, és 1984-ben hat MTV Video Music Awardra jelölték, amiből hármat el is nyert. 2009-ben ez lett az első videóklip, amelyet beválogattak az amerikai Nemzeti Filmregiszterbe.

A dalt számos más előadó is feldolgozta, közte Henry Mancini (a Királyi Szimfonikus Zenekarral), Ian Brown, a Ten Masked Men és Imogen Heap.

Háttere
A Thriller zeneszerzője Rod Temperton, producere Quincy Jones. A dal eredeti címe Starlight volt, bár egyes helyeken Starlight Love-ként is említik, de ez soha nem szerepelt a címtervek közt. Eredeti refrénje így hangzott: Starlight! Starlight sun, ebből lett a későbbi Thriller! In the night.

Temperton már az elejétől fogva azt tervezte, a dal végén legyen egy beszélt rész, de nem igazán tudta, mihez kezdjen ezzel az ötletével, végül azonban úgy döntött, olyasvalaki mondja, akinek a hangja jól ismert a horror műfajából. Quincy Jones akkori felesége, Peggy Lipton javasolta egy ismerősét, Vincent Price színészt, és Price vállalta is.

Felvételek

A Thrillert és az album más dalait Jackson nyolc hét leforgása alatt énekelte fel 1982-ben. A dalt a Los Angeles-i Santa Monica Boulevardon található Westlake Recording Studiosban vették fel. Bruce Swedien hangmérnök így emlékezett vissza a felvételre:

Swedien és Jones elmondták, hogy Vincent Price szövegét kétszeri próbálkozásra vették fel. Jones elismerte, hogy nehéz egy dalhoz szöveget felmondani, és dicsérte Price teljesítményét. Swedien így emlékezett vissza: "Mindenfélét kpróbáltunk Michaellel – például elénekelte a fő vokált, aztán megkettőztük, aztán megkértem, hogy lépjen hátrébb a mikrofontól, és énekelje el harmadszor is, és ez megváltoztatta a helyiség akusztikáját, és nagyon egyedi lett tőle Michael énekhangja. A háttérvokálok egy részét a zuhanyfülkében vettük fel."

Kompozíció
A Thriller a funk és diszkóstílus kiemelkedő példája. Hangszerei közt szintetizátor, gitár, trombita, szárnykürt, szaxofon, fuvola és harsona szerepelnek. Tempója 120 BPM. Szövege és hangeffektusai ijesztő hatásra törekednek – ajtónyikorgás, léptek zaja hajópadlón, szél zúgása és kutyavonyítás hallhatóak, amikről Bruce Cannon, a hangeffektusok szerkesztője ezt mondta: "Az ilyenek, mint a villámlás, a régi hollywoodi filmekből jönnek – sosem fogjuk megtudni, melyikekből -, de a legjobbakhoz kimennek a sivatagba és kerítenek egy coyote-ot, szóval van egy olyan érzésem, hogy ez igazi vonyítás volt." A zene, főleg a basszus némileg hasonlít Rick James 1981-ben megjelent R&B-slágeréhez, a Give It to Me Babyhez.

Fogadtatása
A Thriller kedvező fogadtatásban részesült a zenekritikusoktól. Ashley Lasimone, az AOL Spinner.com weboldalának munkatársa szerint a dal Jackson legismertebb dala lett, és úgy érezte, a ritmus Michael tökéletes hangjával és mozdulataival "ijesztően nagyszerű dalt hozott létre." Jon Pareles a The New York Timestól megjegyezte, hogy a Thriller album dalai közül a Billie Jean, a Beat It, a Wanna Be Startin' Somethin' és a Thriller azok, amik rekorderré tették az albumot, és Jackson színpadi és klipes megjelenése is hozzájárult ehhez, a hallgatók pedig azonosulni tudtak azzal, ahogy beismeri rettegését."

Ann Powers a Los Angeles Timestól úgy jellemezte a Thrillert, hogy "megfelelően dallamos", "kemény ritmusú" és szövegét "mintha egy kisgyerek ijesztő mesekönyvéből emelték volna át". Jackson halála után az AOL rádiós blogja összeállított egy listát Michael Jackson tíz legjobb daláról, a lista élére a Thriller került. 2009-ben Melissa Cabrera, az AOL Radio Blogs egy munkatársa a negyedik helyre sorolta a Thrillert az 1980-as évek legjobb dalainak listáján. Eliot Glazer, szintén az AOL Radio Blogstól, az első helyre tette az általa összeállított "1984 legjobb dalai" listán. Az AOL Radio Blog ezenkívül a 2. helyre tette a dalt a "legjobb halloweenkori dalok" és "legjobb bulis dalok" listáján is.

A Thriller már hivatalos rádiós megjelenése előtt felkerült a Billboard Dance Music/Club Play Singles slágerlistájára 1983-ban. Az 1984. január 23-án megjelent dal Jackson hetedik és utolsó top 10 dala lett erről az albumról a Billboard Hot 100 slágerlistán. A megjelenése utáni második héten, február 11-én a Hot 100 lista 20. helyére került. A következő héten került be a top 10-be, a 7. helyre. Egy héttel később érte el legmagasabb helyezését, a 4. helyet. A RIAA először aranylemezzé minősítette félmillió, majd 1989. december 4-én platinalemezzé egymillió, a boltokba került példány után. 2010 szeptemberéig 2 432 000-szer töltötték le az internetről.

1984. február 25-én a Thriller a 19. helyre került a Billboard Hot R&B/Hip-Hop Songs slágerlistáján. The following week, the song placed at #5. Március 10-én érte el a 3. helyet, ami legmagasabb helyezése lett. Az Adult Contemporary slágerlistán a 24. helyet érte el. A brit kislemezlistára 1983. november 19-én került fel, a 24. helyre, és a következő héten érte el legmagasabb helyezését, a 10.-et. Összesen huszonöt hetet töltött a listán. A francia kislemezlista első helyét 1984. február 5-én érte el, és négy héten át vezette a listát egyhuzamban. 1984 januárjában két hétig vezette a belga VRT Top 30 slágerlistát is.

Jackson halála után zenéje iránt fokozott érdeklődés támadt, az első héten a Thriller lett Jackson dalai közül a legtöbbször letöltött dal az USA-ban, összesen 167 000-szer töltötték le. Ezzel felkerült Billboard Hot Digital Singles slágerlistára. 2009. július 11-én felkerült ennek a slágerlistának a 2. helyére, és három hétig volt a top 10-ben egyhuzamban. Az Egyesült Királyságban a dal a 23. helyre került a slágerlistán Jackson halálának hetében. A következő héten elérte eddigi legmagasabb helyezését a brit kislemezlistán, a 12. helyet. Július 12-én a 2. helyre került az olasz kislemezlistán. A 3. helyre került az ausztrál és a svájci slágerlistán is, és egy hétig listavezető volt Spanyolországban, valamint az első tízbe került Írországban, Németországban és Norvégiában. A dán slágerlistán a 25. helyre került. Július 3. hetében a 11. helyet érte el a finn slágerlistán.

Videóklip

A dal videóklipjét John Landis rendezte, New Yorkban és Los Angelesben forgatták. Az elterjedt vélekedéssel szemben, miszerint 800 000 és egymillió dollár közti összegbe került, valójában félmilliót költöttek rá, mint azt Landis kijelentette. Jackson így emlékezett vissza a klipforgatásra az MTV 1999. december 11-én sugárzott "A valaha készült 100 legnagyszerűbb videóklip" műsorában:

A klip felkerült Jackson több videoalbumára is: a Video Greatest Hits – HIStory, HIStory on Film, Volume II, Number Ones és a Michael Jackson's Vision címűekre, valamint a Thriller 25 bónusz DVD-jére.

A klip megjelenését követően megjelent egy 45 perces dokumentumfilm is, ami betekintést nyújtott a klip forgatásába. A Michael Jackson Thrillerének készítése filmet a kliphez hasonlóan gyakran adta az MTV, és több mint kilencmillió példányban kelt el, amivel egy ideig minden idők legnagyobb példányszámban elkelt videókazettája volt. Az MTV 250 000 dollárt fizetett, hogy exkluzív joga legyen a dokumentumfilm sugárzásához, a Showtime kábelvétéhálózat 300 000-et fizetett az előfizetéses sugárzásért, a Vestron Video pedig 500 000-et a videókazetta kiadási jogáért.

A klip az 1950-es években játszódik. Michael és barátnője egy sötét fás területen sétálnak. Michael megkéri a lány kezét és egy gyűrűt ad neki, de figyelmezteti, hogy ő más, mint a többiek. Felkel a telihold, és Michael vérfarkassá változik. Barátnője elszalad, de Michael utoléri, és a földre löki. Ezután egy mozi közönségét látjuk, és kiderül, amit eddig láttunk, csak egy film részlete volt. Michael és barátnője a nézők közt ül és nézi a filmet, de a lány túl ijesztőnek tartja és elhagyja a mozit. Michael utánamegy, és ugratni kezdi, hogy megijedt a filmtől, majd elindulnak a ködben. Michael elkezdi a Thrillert énekelni, mindhárom versszakot elénekli, de a refrén nélkül, ami fokozza a feszültséget. Mikor egy temető mellett haladnak el, mögöttük zombik kezdenek kimászni a sírból, miközben Vincent Price szövege hallható. A zombik utolérik Michaelt és barátnőjét, körülveszik őket, és hirtelen Michael is zombivá válik.

Ezután a zombik táncolni kezdenek, sokáig a dal instrumentális részére, majd Michael elkezdi a dal refrénjét énekelni. Barátnője rémülten elrohan. Michael és a többi zombi követik, és utolérik egy elhagyatott háznál, ahová a lány bemenekült. Michael a sarokba szorított lány torka felé nyúl, és a lány felsikolt – de aztán felébred, és kiderül, mindez csak álom volt. Michael felajánlja neki, hogy hazaviszi, a lány beleegyezik és elindulnak, de Michael hátrafordulva a kamerába néz, és látszik, hogy a szeme olyan, mint a lány álmában a vérfarkasé volt, majd Vincent Price kísérteties nevetése hallatszik.

A klip fogadtatása
Leah Greenblatt, az Entertainment Weekly munkatársa így jellemezte a videóklipet: "A 14 perces horrormusicalnek, melyet John Landis rendezett hátborzongató-humoros odaadással, minden mozzanata ikonikus, Michael vörös bőr ruházatától a halhatatlan zombitáncig és Vincent Price narrációjáig". Bár a klipet széles körben dicsérték, tartalma miatt kritika is érte. 1984-ben a televíziós erőszak ellen harcoló National Coalition on Television Violence (NCTV) az MTV-n sugárzott 200 videóklipnek több mint a felét "túl erőszakosank" minősítette.Jackson dalai közül a Thriller és a Paul McCartneyvel énekelt Say Say Say is felkerült a listára. A szervezet elnöke, Dr. Thomas Radecki így nyilatkozott a The Los Angeles Timesban: "Nem nehéz elképzelni, hogy a Thriller ifjú nézői ezt fogják gondolni: 'Ha Michael Jackson rettegésben tarthatja a barátnőjét, én miért ne tehetném?'" A videóklipet hat kategóriában jelölték az 1984-es MTV Video Music Awards díjkiosztón, és három kategóriában győzött is: a Nézők kedvence, a Legjobb előadás és Legjobb koreográfia nevűekben; nem nyert a Legjobb koncepcióvideóklip, a Legjobb videóklip férfi előadótól és Az év videóklipje kategóriákban.

A klipet a legjobb videóklipnek választotta az MTV 1999-ben, amikor a legjobb 100 videóklipet válogatta össze. A VH1 2001-ben szintén összeválogatta a 100 legjobb videóklipet, a Thriller itt is a lista élére került. 2011 júliusában a Time magazin választotta be minden idők 30 legjobb videóklipje közé.

Fellépések
Jackson mindhárom világkörüli szólóturnéján előadta a dalt. A The Jacksons Victory turnéján nem került fel a számok listájára, annak ellenére, hogy Jackson több dalt előadott a Thriller albumról, mert nem tetszett neki, ahogy élőben hangzik. Első, szólóénekesként tartott turnéján, a Bad turnén, ami 1987 és 1989 közt tartott, Jackson mind a 123 fellépésen előadta a dalt. A másodikon, a Dangerous turnén is előadta, összesen körülbelül 3,5 millió ember előtt. A turné 1992-ben kezdődött, és egész 1993-ban tartott volna, de 69 fellépés után megszakadt a Jackson ellen felhozott gyermekmolesztálási vádak és az ez által az énekesnek okozott stressz miatt. Harmadik, utolsó koncertkörútján, a HIStory turnén mind a 82 fellépés alkalmával előadta a dalt. A Bad World Tour alatt Jackson kabátjába villódzó fényeket szereltek, amik a dal közepén és végén világítottak.

Jackson a 2009–2010-re tervezett This Is It koncertsorozaton is előadta volna a dalt. A színpad háttere egy temetőt ábrázolt volna, 3D-effektusokkal. A 2009 márciusában kiadott dallista szerint a Thriller a 16 dal közül utolsóként hangzott volna el, bár a koncertsorozatról szóló Michael Jackson's This Is It dokumentumfilmben 18 dal szerepel, és a Man in the Mirror az utolsó.

Utalások más médiában
A Thriller videóklipjére, különösen a táncmozdulatokra számos filmben és televíziós sorozatban utaltak. A koreográfiát utánozták a Donga (1985), Amerikába jöttem (1988), The Malibu Beach Vampires (1991), Dead & Breakfast (2004), Bo! in the USA (2006), I Am Zombie Man (2007) és a Si j'étais toi (2007) című filmekben, valamint az Alvin és a mókusok rajzfilmsorozat egy epizódjában. Hasonló tánc látható a Varázslók a Waverly helyből sorozat Wizards & Vampires vs. Zombies című epizódjában. A dal egy részlete hallható a Doogal (2006) című filmben, szövegét pedig eléneklik a szereplők Mystery Science Theater 3000 sorozat Soultaker című epizódjában. Rihanna is előadta a táncot Disturbia című dalában, a legvégső jelenetet pedig, amelyben Michael a kamerába nevet, Britney Spears is utánozta I Wanna Go című dalának videóklipjében.

Feldolgozások
 1989-ben Henry Mancini amerikai zeneszerző és a Royal Filharmonikus Zenekar a dal nagyzenekari változatát rögzítette.
 1999-ben a Ten Masked Men brit metalegyüttes feldolgozta Ten Masked Men című albumán.
 2001-ben Joe Dolce ausztrál énekes dolgozta fel Andrew Denton's Musical Challenge című albumán.
 2003-ban az Aereogramme skór rockegyüttes dolgozta fel a Livers & Lungs EP-n.
 2003-ban a Maybebop a cappella-együttes dolgozta fel Heiße Luft című albumán.
 2007-ben Ian Brown dolgozta fel.
 2008-ban a Wise Guys német együttes a dal a cappella változatát énekelte fel tizedik, Frei! című albumára, Schiller címen. A dal előadásakor a koreográfiát a Jackson-videóklipben láthatóról mintázták. Az együttes egyik tagja, Ferenc előad benne egy részletet Friedrich Schiller A kezesség című verséből.
 2008-ban Ben Gibbard, a Death Cab for Cutie és a The Postal Service együttesek énekese dolgozta fel.
 2008-ban a Gothminister metalegyüttes dolgozta fel Happiness in Darkness című albumán.
 2009 októberében Imogen Heap adta elő a BBC Radio 1 Live Lounge műsorában.

 2011-ben Patrick Stump a cappella mixben dolgozta fel a Thrillert a Billie Jean, Scream Man in the Mirror és több más Jackson-dallal együtt, Jackson emléke előtti tisztelgésül. A Fall Out Boy-jal együtt a Beat Itet is feldolgozta.

Remixek/Részletek átvétele
 2004-ben a The Prodigy angol együttes részletet használt fel a Thrillerből The Way It Is című dalában.
 A Tigerstyle skót együttes a dal egy bhangra remixét készítette el.

Számlista

 7" kislemez'
 Thriller (Special Edit) – 4:37
 Things I Do for You (Live) – 3:31

 7" kislemez
 Thriller – 5:57
 Thriller (Instrumental) – 5:57

 12" maxi kislemez
 Thriller – 5:57
 Thriller (Remixed Short Version) – 4:05
 Things I Do for You (Live) – 3:31

 CD kislemez
 Thriller (Remixed Short Version) – 4:08
 Can't Get Outta the Rain (Album Version) – 4:09

 DualDisc kislemez
 Thriller (Remixed Short Version) – 4:09
 Thriller – 5:58
 Thriller (videóklip) – 13:40

Változatok
 Album Version – 5:58
 Instrumental Version – 5:58
 Radio Edit w/Rap – 5:11
 Special Edit – 4:37
 Remixed Short Version – 4:09
 Def Thrill Mix – 7:22
 Danny Tenaglia Remix (kiadatlan)

Helyezések

Közreműködők

 Rod Temperton: zeneszerző, dalszövegíró, szintetizátorok, vokális, ritmus- és szintetizátorelrendezés
 Quincy Jones: producer
 Michael Jackson: ének, vokálok
 Vincent Price: szöveg (az eredtei kislemezváltozaton nem hallható)
 Greg Phillinganes, Brian Banks: szintetizátorok
 Anthony Marinelli: szintetizátorprogram

 David Williams: gitár
 Jerry Hey, Gary Grant: trombita, szárnykürt
 Larry Williams: szaxofon, fuvola
 Bill Reichenbach: harsona
 Jerry Hey: kürtelrendezés
 Bruce Cannon, Bruce Swedien: hangeffektusok

Jegyzetek

Források

 George, Nelson (2004). Michael Jackson: The Ultimate Collection booklet. Sony BMG.

1984 kislemezei
Michael Jackson-kislemezek
Grammy-díjas dalok

redpajama_set_name: RedPajamaWikipedia


text:
Home/Opportunities & Careers/New Narratives Challenge 2021 By British Council (Prize $500)
New Narratives Challenge 2021 By British Council (Prize $500)
New Narratives Challenge 2021. The #NewNarrativesChallenge is aimed at 18 to 35-year-olds, who are willing to share diverse stories of their countries (Countries of Africa and the UK). British Council is looking for creative submissions that tell 'the other stories' of countries of Africa and the UK. British Council would like to see authentic stories that are not often portrayed in the media.
Requirements For New Narratives Challenge 2021
You must be 18 to 35 years when you apply and be a resident of one of these countries:
Ethiopia, Algeria, Botswana, Kenya, Egypt, Malawi, Rwanda, Libya, Mauritius, England, Scotland, Wales, South Sudan, Morocco, Mozambique, Sudan, Tunisia, Namibia, Northern Ireland, Tanzania, South Africa, Uganda, Zambia, Zimbabwe, Ghana, Nigeria, Senegal, Sierra Leone.
Video submission can be in any language, but the language needs to be specified in the caption.
How to enter New Narratives Challenge 2021
Share a one minute Instagram video or a 30-second Instagram reel with the hashtag #NewNarrativesChallenge #NoToASingleStory on Instagram.
In the video, please state the country where you are from. (This can be written as an onscreen caption and/or in the main caption.)
Submissions should be creative and promote new and diverse narratives of countries of Africa or the UK.
The selection panel will review the video submissions and notify the top ten participants.
Once the selection process is complete, the selection panel will announce and contact the top ten submissions.
The top ten winners will be invited to complete a form and accept the terms and conditions, and privacy notice. We will also require you to submit photographs for publicity materials.
If selected as a winner, you will receive a prize award of £500. Winners will be paid the equivalent of the prize award in their local currency.
Visit the Official Webpage of the New Narratives Challenge 2021
Top 10 Best Students Form Four Results 2021 NECTA
Electrical Engineer At Afroil

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Setting up a Lib Project and Unit Test Project in same workspace I have a codeblocks workspace, with a static lib project in it. I wish to add another project with unit tests (gtest) for the lib, and have it link the static lib to test it. Is there an equivalent to Visual studio's adding a reference on the unit test project to the lib project ?

A: No there isn't.
You can make your unit-test project dependent on your library project,
so that when you rebuild the unit-test project, C::B will check for changes
to the library project and if there are any, rebuild it first.
To do this:

*

*Navigate Properties -> Project's dependencies from your
unit-test project

*In the project dependencies dialog, tick the checkbox for your library
project; then OK out.
But you must still manually configure your unit-test project to link
your library.

*

*Navigate Build options -> Linker -> Libraries -> Add from your
unit-test project.

*Use the "..." filesystem explorer option to navigate to the directory
in which your library gets built; select the libary and OK out. You have a
choice between the Debug and  Release builds of your library (path/to/your/
library/bin/Debug/libYourLib.a v. path/to/your/library/bin/Release/libYourLib.a).
Presumably you your choice will reflect the Debug/Release configuration of your unit-test
project.
Your static library will then be linked when you build the unit test project.

redpajama_set_name: RedPajamaStackExchange


text:
OWEN, OWEN (1850 - 1920), first chief inspector of the Central Welsh Board for Intermediate Education in Wales
Name: Owen Owen
Spouse: S. A. Owen (née Jones)
Occupation: first chief inspector of the Central Welsh Board for Intermediate Education in Wales
Area of activity: Education
Author: Edgar William Jones
Born in the parish of Llaniestyn, Llŷn, Caernarfonshire. He was educated at Botwnnog grammar school, together with his cousin John Owen, later bishop of S. Davids. He proceeded to Jesus College, Oxford, and took honours in classics. From his youth he was interested in music. About 1878 he became headmaster of a private school in Oswestry. The school was successful and developed in 1883 into the Oswestry High School, which became well known, and by its excellent record attracted pupils from all parts of Wales, many of whom became leaders in the public life of Wales. In Oswestry Owen became a justice of the peace, a keen politician, and a leader in the fight for Disestablishment. From 1890 to 1893 he was co-secretary of the joint conferences, which framed the various county schemes under the Welsh Intermediate Education Act of 1889. In 1896 the Central Welsh Board was established and in February 1897 Owen was appointed the first chief inspector for the Board, an office which he held with exceptional ability and conscientiousness until 1915, when he was compelled to resign owing to a painful illness, under which he had suffered long and bravely. [He married S. A. Jones, daughter of John Jones who was at one time Mayor of Oswestry ]. He died at Colwyn Bay, 14 March 1920, and was buried in Llandrillo-yn-Rhos cemetery.
Edgar William Jones, (1868 - 1953)
Personal knowledge.
Wikipedia Article: Owen Owen
Christopher Williams, Owen Owen (1850-1920)
Wikidata: Q14945672
Jones, E. W., (1959). OWEN, OWEN (1850 - 1920), first chief inspector of the Central Welsh Board for Intermediate Education in Wales. Dictionary of Welsh Biography. Retrieved 16 Jan 2021, from https://biography.wales/article/s-OWEN-OWE-1850


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text:
Holiday Cottages France
Holiday Cottages Finistère
Holiday Cottages & Country Houses in Finistère of 2023
17 Country houses in Finistère, France from 15€
All holiday cottages & country houses in Finistère to rent. If you're thinking about doing rural tourism in the area, check prices, offers and reviews from other guests, to sleep in one of our rural houses in Finistère. Find charming country houses in Finistère with us for your holidays.
Top 17 country houses in Finistère
Ti Cozy Petit Gîte
Plogoff
Ty Bihan
Rosporden
Ty Bras
Kermor
Fouesnant
Terre de sable
Voile de Mer
Fleur de Galet
Jonc de Plage
Gîte Marine
Plounévez Lochrist
L'Estran - Chambres d'Hôtes
Rédené
Gîte Etable-Fusee
La Fontaine Blanche- La Chaumière
Melgven
Scrignac
Ti ar yer
Milizac
La Fontaine Blanche
La Ferme de Lesseye
Riec sur Bélon
L'Estran - Gîte
Welcome to Finistère
If you have decided to visit this department, you should know that you are in an area known as The End of the Earth. A name that suits this region perfectly if we look at its shape, the ends of which seem to be suspended over the Atlantic.
It is located in the Brittany region, and it also borders with by the English Channel, one of the stops worth making during on your trip. Its beaches, cliffs and the combination of inland and coastal landscapes make Finistère a perfect destination for a few days in France.
Whether you like nature or you prefer to enjoy culture, here you will find a wide variety of points of interest that will make you enjoy your stay in the department to the full, providing you with a very complete rural tourism experience.
What to see in Finistère?
A corner in the western end of Brittany where you can enjoy the best views in its coastal area, full of rugged landscapes, with cliffs and beaches where you can enjoy tranquillity. Don't forget your camera because there won't be a place you don't want to immortalize.
If you like nature, here you will be able to enjoy it to the maximum in its different islands as it is the case of the Tristan Island, a relatively unknown spot and, therefore, one that still maintains its charm a well-kept secret. Visit it and enjoy the tranquillity on board of an electric boat that will allow you to know part of its heritage in a unique experience.
For those who are looking for something more city-like, there is nothing like discovering its capital, Quimper, and learning about its medieval history and heritage, such as Saint Corentin Cathedral, where its striking Gothic style will captivate you. Another of the must visits in the department is the city of Brest, where you can still breathe in its medieval essence in the castle. This city, by the way, is twinned with Cadiz and La Coruña, two Spanish cities.
Finally, you can't miss its gastronomy, which will put the finishing touch to your getaway in Finistère.
What curiosities are there in Finistère?
Welcome to the End of the Earth! Although this name may seem a little scary at first, it is simply the result of its rugged coastline, its cliffs, and its Atlantic Ocean beaches that will let you enjoy the tranquillity of this region, one with the most special views in all of France.
You will be able to do a lot of activities, and get to know in depth the first maritime department of the country, which also has, due to its geography, a great number of harbours with their own history and different utilities. Among those you cannot miss are Concarneau, Douarnenez and Brest.
If you want to enjoy nature, visit the Névet forest, an impressive extension of natural terrain perfect for doing a lot of activities for everyone. But if you prefer something more exclusive, there are several islands you can reach by boat, such as Vierge, where its lighthouse is the main attraction, or Tristan.
On the other hand, there are cities and places of interest you cannot miss: Quimper, its capital, is waiting for you with a lot of places to visit, as well as Brest and Morlaix.
Book your ideal rural house in Finistère
Where to stay in Finistère?
There are many places where you can relax, and many accommodations that this department offers, of different types and for all tastes, which will allow you to discover new and surprising places on your way, as well as providing you a perfect place to stay.
You can start in Quimper, where you can find the most varied offer as it is the capital, and where you can also visit the remains of the ancient Roman city that occupied the place that the city has now. There, you will be able to see different medieval fortifications.
Brest can be another good destination to learn more about the Second World War through the different bunkers that there are. Of course, its castle is one of the most interesting spots, as well as the port.
For lovers of silence and tranquillity there are also options in Île de Batz, which you can reach by ferry, and where you can stay in a hotel or flat that will grant you some spectacular views.
What to do in Finistère?
The countless things that can be done in this department will complete a very pleasant rural touristic experience.
If you like learning about historical and religious heritage, you have the opportunity to visit some religious buildings that you will only find in Brittany. The church of Notre-Dame de Lampaul-Guimiliau is one of them and it is also considered a French Historical Monument.
About 20 kilometres away, we recommend you visit the island of Ouessant, very quiet, with just over 1,000 inhabitants and one of the islands that form the Illes du Ponent. No doubt a visit you can't miss, just like the one to the Huelgoat forest, perfect for a visit with children where they will discover a lot of corners with magic and legends.
Finally, we encourage you to visit the oldest city in Brittany, Quimper, which also has a lively street life, full of shops and cafes, and an imposing cathedral built in the Gothic style. But if you want to visit the biggest city of this department, Brest has a lot of charm and its harbour, which was a naval base during the Second World War, is one of the most popular visits in this city. However, you will understand its maritime essence better at the Musée de la Marine.
What to eat in Finistère?
Finistère's gastronomy is completely fish-based and elaborated with seasonal products, which results in recipes with a lot of flavour that you can't miss.
Due to the location of this department and the large number of fishing harbours it has, this is a region with a marked seafaring identity, so it is no wonder that two of the main products in its kitchens are fish and seafood.
Enjoy tasting the famous fruits de mer in front of the Atlantic or in front of the river, or even, in some of the restaurants of the harbour. These exquisite delicacies in the form of lobsters, prawns, cuttlefish, or mussels will whet your appetite.
But not everything here will be about enjoying the sea. From the land, there are also many products with the characteristic flavour of the area and, depending on the season, you can try some delicious artichokes, or have strawberries for dessert and sweeten them a little with some homemade honey, also traditional from this area. Oh, and don't forget to order a nice glass of cider.
Where are the Finistère festivities?
The well-preserved status of the local identity is something that is very important in Finistère, and that is why the customs of the century-old cultures are shown in many occasions, where you can enjoy songs in the original language, dances and traditions in their different festivities.
They are held throughout the year in different cities and towns, so no matter when you travel, you will have an event to attend.
We highlight the Cournauille Festival, which is held in the city of Quimper every year in summer, during the month of July. It is a celebration that aims to showcase the Breton culture to all the assistants, showing its cultural and traditional richness.
On the same month and held in Carhaix, you will find one of the festivals that attracts more young rockers, with more than 240,000 attendees. It is the festival Les Vieilles Charrues.
Finally, another of the best known events is the Atlantic Jazz Festival, which is held in October in another of the most important cities of Finistère, Brest, where you will be able to enjoy this music style for a few days.
Frequently asked questions about accommodations in Finistère
Where are the best accommodations for rural tourism in Finistère?
In Finistère and its surroundings you can visit the following areas:
What is the average price to sleep in an accommodation in Finistère?
The price may vary depending on the dates you choose, but una country house in Finistère got an average cost of 23€ per person and night according to prices of HolidayCottagesToRent.net
Which ones are the best country houses of Finistère?
Ti Cozy Petit Gîte, Ty Bihan and Ty Bras are some of the country houses that generate more interest in Finistère
How many country houses there is in Finistère?
In Finistère there is a total of 17 charming cottages for rent in full or by rooms
What country houses of Finistère are recommended for couples?
Couples looking for a romantic rural getaway wrote good reviews on these country houses in Finistère: L'Estran - Chambres d'Hôtes, La Ferme de Lesseye and Ti ar yer
What country houses in Finistère are recommended for families?
Some of the accommodations in which the families were happiest were: L'Estran - Chambres d'Hôtes, L'Estran - Gîte and La Fontaine Blanche
Otras Country Houses close to Finistère
Other destinations close to region
Holiday Cottages Côtes d'Armor
Holiday Cottages Morbihan
Holiday Cottages Ille et Vilaine
Holiday Cottages Loire Atlantique
Other locations in the region
Holiday Cottages Roscoff


text:
Q: Does omitting the frame pointers really have a positive effect on performance and a negative effect on debug-ability? As was advised long time ago, I always build my release executables without frame pointers (which is the default if you compile with /Ox).
However, now I read in the paper http://research.microsoft.com/apps/pubs/default.aspx?id=81176, that frame pointers don't have much of an effect on performance.  So optimizing it fully (using /Ox) or optimizing it fully with frame pointers (using /Ox /Oy-) doesn't really make a difference on peformance.
Microsoft seems to indicate that adding frame pointers (/Oy-) makes debugging easier, but is this really the case?
I did some experiments and noticed that:

*

*in a simple 32-bit test executable (compiled using /Ox /Ob0) the omission of frame pointers does increase performance (with about 10%).  But this test executable only performs some function calls, nothing else.

*in my own application the adding/removing of frame pointers don't seem to have a big effect.  Adding frame pointers seems to make the application about 5% faster, but that could be within the error margin.

What is the general advice regarding frame pointers?

*

*should they be omitted (/Ox) in a release executable because they really have a positive effect on performance?

*should they be added (/Ox /Oy-) in a release executable because they improve debug-ablity (when debugging with a crash-dump file)?

Using Visual Studio 2010.

A: Phoronix tested the performance downside of -O2 -fno-omit-frame-pointer with x86-64 GCC 12.1 on a Zen 3 laptop CPU for multiple open-source programs, as proposed for Fedora 37.  Most of them had performance regressions, a few of them very serious, although the biggest ones are probably some kind of fluke or other interaction. Geometric mean slowdown of 14% (including those possible outliers).

Short answer: By omitting the frame pointer,
You need to use the stack pointer to access local variables and arguments. The compiler doesn't mind, but if you are coding in assembler, this makes your life slightly harder. Much harder if you don't use macros.
You save four bytes (32-bit architecture) of stack space per function call. Unless you are using deep recursion, this isn't a win.
You save a memory write to a cached memory (the stack) and you (theoretically) save a few clock ticks on function entry/exit, but you can increase the code size. Unless your function is doing very little very often (in which case it should be inlined), this shouldn't be noticeable.
You free up a general-purpose register. If the compiler can utilize the register, it will produce code that is both substantially smaller and potentially faster. But, if most of the CPU time is spent talking to the main memory (or even the hard drive), omitting the frame pointer is not going save you from that.
The debugger will lose an easy way to generate the stack trace. The debugger might still be able to able to generate the stack trace from a different source (such as a PDB file).

Long answer:
The typical function entry and exit is (16-bit processor):
PUSH BP   ;push the base pointer (frame pointer)
MOV BP,SP ;store the stack pointer in the frame pointer
SUB SP,xx ;allocate space for local variables et al.
...
LEAVE     ;restore the stack pointer and pop the old frame pointer
RET       ;return from the function

An entry and exit without a frame pointer could look like (32-bit processor):
SUB ESP,xx ;allocate space for local variables et al.
...
ADD ESP,xx ;de-allocate space for local variables et al.
RET        ;return from the function.

You will save two instructions, but you also duplicate a literal value, so the code doesn't get shorter (quite the opposite, especially with [esp+xx] addressing modes taking an extra byte vs. [ebp+xx]), but you might have saved a few clock cycles (or not, if it causes a cache miss in the instruction cache). You did save some space on the stack, though.

You do free up a general-purpose register. This has only benefits.
In regcall/fastcall, this is one extra register where you can store arguments to your function. Thus, if your function takes seven (on x86; more on most other architectures) or more arguments (including this), the seventh argument still fits into a register.  (Although most calling conventions don't pass that many in registers, e.g., two for MS fastcall, three for GCC regparm(3) on 32-bit x86.  Up to six integer register arguments on x86-64 System V, or 4 register arguments on most RISC processors.)
The same, more importantly, applies to local variables as well. Arrays and large objects don't fit into registers (but pointers to them do), but if your function is using seven different local variables (including temporary variables needed to calculate complex expressions), chances are the compiler will be able to produce smaller code. Smaller code means lower instruction cache footprint, which means reduced miss rate and thus even less memory access (but Intel Atom has a 32K instruction cache, meaning that your code will probably fit anyway).
The x86 architecture features the [BX/BP/SI/DI] and [BX/BP + SI/DI] addressing modes. This makes the BP register an extremely useful place for a scaled array index, especially if the array pointer resides in the SI or DI registers. Two offset registers are better than one.
Utilising a register avoids memory access, but if a variable is worth storing in a register, chances are it will survive just as fine in an L1 cache (especially since it's going to be on the stack). There is still the cost of moving to/from the cache, but since modern CPUs do a lot move optimisation and parallelisation, it is possible that an L1 access would be just as fast as a register access. Thus, the speed benefit from not moving data around is still present, but not as enormous. I can easily imagine the CPU avoiding the data cache completely, at least as far as reading is concerned (and writing to cache can be done in parallel).
A register that is utilised is a register that needs preserving. It is not worth storing much in the registers if you are going to push it to the stack anyway before you use it again. In preserve-by-caller calling conventions (such as the one above), this means that registers as persistent storage are not as useful in a function that calls other functions a lot.
See What are callee and caller saved registers? for more about how calling conventions are designed with a mix of call-clobbered and call-preserved registers to give compilers a good mix of each, so functions have some scratch registers for temporaries that don't need to live across function calls, but also some registers that callees will preserve.  Also Why make some registers caller-saved and others callee-saved? Why not make the caller save everything it wants saved?
Also note that x86 has a separate register space for floating point registers, meaning that floats cannot utilise the BP register without extra data movement instructions anyway. Only integers and memory pointers do.

You do lose debugability by omitting frame pointers. This answer show why:
If the code crashes, all the debugger needs to do to generate the stack trace is:
    PUSH BP      ; log the current frame pointer as well
$1: CALL log_BP  ; log the frame pointer currently on stack
    LEAVE        ; pop the frame pointer to get the next one
    CMP [BP+4],0
    JNZ $1       ; until the stack cannot be popped (the return address is some specific value)

If the code crashes without a frame pointer, the debugger might not have any way to generate the stack trace, because it might not know (namely, it needs to locate the function entry/exit point) how much needs to be subtracted from the stack pointer. If the debugger doesn't know the frame pointer is not being used, it might even crash itself.
Modern debug-info formats have metadata that still allows stack backtraces in optimized code where the compiler defaults to not using [E/R]BP as a frame pointer.  Compilers know how to use assembler directives to create this extra metadata, or write it directly in the object file, not in the parts that normally get mapped into memory.  If you don't do this for hand-written assembly, then debugability would suffer, especially for crashes in functions called by a hand-written assembly function.


text:
How 9/11, the economic crisis of 2008 and the Internet conspired to re-invent the business of books in translation. Part01
A summary of the BookExpo America Global Market Forum 2014: Books in Translation. Wanderlust for the Written Word. (Disclosure: The event was curated by Rüdiger Wischenbart for BEA)
Everybody agreed that at once, books in translation found a way out of their obscure niche. But the question as to how, and why, was already widely debated.
It was an incremental process, as we became more cosmopolitan, found Grand Dame of US international publishing, Carol Brown Janeway of Knopf Doubleday, quoting on the late pioneer Alfred Knopf who had introduced her to the magic of books in translation.
It was 9/11, argued translator Esther Allen, as Americans had to find out more, and more truthful accounts on that wide world that they could not grasp, or even less understand, anymore. So paradoxically, that traumatic event had led to new openings, as the wonderful WordsWithoutBorders initiative, whose Susan Harris reported the why and how details.
Or was it rather the economic crisis of 2008, asked literary scout Maria Campbell, as people were looking beyond the rim of their plate, for stuff that was – not the least argument – also more affordable than a US star author system that had become more and more unaffordable, in terms of extremely high advances – while a similar international talent.
Also the context is helping, we found out, as authors could socialize internationally, helped by a boom of hugely successful literary festivals in many countries. And even editions of classics became more international, and help their publisher's bottom line as well, as John Siciliano said, as both Penguin's editor of Classics, and as the one who had acquired a stunningly bold, and young Swiss writer, Joel Dicker, to introduce him as a new rising star to American readers.
"The Truth About the Harry Quebert Affair" is a wildly successful and acclaimed novel launched in the US only the day previous to that debate at the BEA Global Market Forum: Books in Translation.
Co-published initially by a legendary Swiss small press, L'Age d'Homme, together with a tiny Paris boutique publisher, Bernard de Fallois, is the Wunderkind of the season: A 600+ page thriller and a page turner, backed up by intellectual reflections on the art of writing, and in an about-face, a satire of New York's machinery of buzz around books, star authors and their vanity.
Joel Dicker, age 28, politely explained at the opening panel of the forum how he crafted this piece, and how important it was to him that this book would be both entertaining and light, and yet stand up to big American contemporary classics such as Philip Roth.
Translations are a growth segment in the publishing business, clearly, which is clearly highlighted by the news of a stunning, yet also somehow logical merger, which was broken at the event by Maria Campbell: Two internationally leading literary agencies join forces, to dwell and develop the resulting opportunities. The Spanish agent Carmen Balcells and London based Andrew Wylie have announced that they are joining forces, creating an international agency, called Balcells & Wylie.
Still, these are yet the conventional elements of how books in translation are currently re-invented. The wide range of innovative initiatives will be documented here shortly in a separate post.


text:
Jets & Yachts
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Top Most Expensive Cities in Cambodia
5Kampong Cham
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In the past decade, the economy of Cambodia has gone on an upward spiral. In 2015, the country reached a GDP of $18.05 billion. The country which reportedly discovered oil has been heavily dependent of tourism and textiles especially on high-brow cities which are reportedly the most expensive to dwell in. These are a list of the cities that are very costly to live in Cambodia. Kampong Cham is located on the Mekong River in the Southeastern part of Cambodia. The city is the sixth most populous in the country and the third largest. The charming town is known for some of its breathtaking architecture and site attractions. The average cost of renting a one bedroom apartment within the city for a month costs $120, to rent an apartment outside the city for a month costs $105. Click the next ARROW to see the next City!
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text:
Details for: Disenchanting citizenship :
Disenchanting citizenship : Mexican migrants and the boundaries of belonging / Luis F.B. Plascencia.
By: Plascencia, Luis F. B.
Material type: TextSeries: JSTOR eBooks.Latinidad: Publisher: New Brunswick, N.J. : Rutgers University Press, c2012Description: 1 online resource (x, 252 p.).ISBN: 9780813553344 (electronic bk.); 0813553342 (electronic bk.).Subject(s): Mexican Americans -- Ethnic identity | Mexican Americans -- Civil rights | Mexican Americans -- Social conditions | Mexicans -- Migrations | Citizenship -- United States | Aliens -- United States | United States -- Politics and government | United States -- Ethnic relations | United States -- Emigration and immigration -- Government policyAdditional physical formats: Print version:: Disenchanting citizenship.DDC classification: 305.86872073 Online resources: Click here to view this ebook.
Introduction: locating citizenships -- Fields of citizenship -- The Janus face of citizenship: the side of inclusion -- The Janus face of citizenship: the side of exclusion -- The making of citizens: promoting and schooling -- Bearing true faith and allegiance: entering the circle of citizenship -- Desire, sacrifice, and disenchantment -- Epilogue: the boundaries of birth and power.
Summary: Luis F.B. Plascencia & rsquo;s Disenchanting Citizenship explores two interrelated issues: U.S. citizenship and the Mexican migrants & rsquo; position in the United States. Through an extensive and multifaceted collection of interviews, ethnographic fieldwork, ethno-historical research, and public policy analysis, Plascencia probes the ways in which citizenshiop discourses are understood and taken up by individuals. The book uncovers citizenship & rsquo;s root as a Janus-faced construct that encompasses a simultaneous process of inclusion and exclusion. This notion of citizenship is mapped on to t.
Online E184.M5 (Browse shelf) https://ezproxy.uttyler.edu/login?url=http://www.jstor.org/stable/10.2307/j.ctt5hjdhk Available ocn795120243
Luis F.B. Plascencia & rsquo;s Disenchanting Citizenship explores two interrelated issues: U.S. citizenship and the Mexican migrants & rsquo; position in the United States. Through an extensive and multifaceted collection of interviews, ethnographic fieldwork, ethno-historical research, and public policy analysis, Plascencia probes the ways in which citizenshiop discourses are understood and taken up by individuals. The book uncovers citizenship & rsquo;s root as a Janus-faced construct that encompasses a simultaneous process of inclusion and exclusion. This notion of citizenship is mapped on to t.
Description based on print version record.
CHOICE Review
Anthropologist Plascencia (Arizona State) is a new scholar who examines US citizenship and the Mexican migrant in the US. His book is clear, well written, and superbly edited, but it has little to do with Arizona's SB 1070, which is a missed opportunity. Both a strength and weakness of the book are the author's overreliance on his examinations of efforts that promote the acquisition of citizenship, the teaching of citizenship classes, and naturalization ceremonies. Although interesting, they narrow the focus of the monograph, and in the process Plascencia excludes important sources such as William Beezley's Mexican National Identity: Memory, Innuendo, and Popular Culture (2008), Carlos Velez-Ibanez's Border Visions (CH, May'97, 34-5405), and the growing body of literature on transnational studies. Plascencia's fieldwork experiences are more collateral than probative. There are important studies being conducted in the area of Mexican state clubs in the US. Plascencia appears to have a long and productive future ahead of him. Summing Up: Recommended. All levels/libraries. R. Acuna emeritus, California State University, Northridge
LUIS F. B. PLASCENCIA is an assistant professor of anthropology and affiliated faculty in the School of Transborder Studies and the School of Public Affairs at Arizona State University. He has published articles in numerous journals, including Urban Anthropology and International Migration Review. </p>


I'm from the US, and here there are a number of options for staying in a hotel which offer more than one adjoining room. Residence Inns are a great example where I can get a bedroom and a sitting room/kitchen or even 2 bedrooms with a central sitting room/kitchen.
This is great for my wife and me as we travel with our two kids and we can have separate bed rooms.
Now I'm booking a stay in southern England, near Portsmouth; and I can't find anything close to this. Most hotels are showing a "cap" of 2 people in the rooms, some don't even allow children.
Is anyone aware of anything like a multi-room suite, or an extended stay sort of hotel in England?
If I enter 2 people, then they room is available, so clearly it's a problem that rooms don't accommodate more than 2 people... perhaps I need to call and confirm kids count as "people".
In general: Yes, the sort of hotel you're looking for exists in England (arbitrary example, there's a Staybridge Suites in Liverpool), though it doesn't seem there are many in the Portsmouth area in particular. I'd suspect that they're less common in the UK in general, owing to the small overall geographic size of the country. Home is rarely more than a few hours away, which leads to fewer stays extending into the weeks or months category on which many extended stay hotels thrive. But that's just speculation on my part.
One resource that I find very useful when looking for 'Extended Stay' type rooms is the directory at biz-stay.com (link goes to their Southampton/Portsmouth page specifically). In this case, it looks like your only real option is an executive room at the Holiday Inn Portsmouth (which is probably a double room, but likely lacks a kitchenette, in my experience); or looking into AirBNB or other short term apartment rentals.
If you're looking for holiday/vacation accommodation in the UK which includes a kitchen and space for a family, one phrase to search for is "self-catering".
It's not so common for hotels to offer such amenities, but it is certainly possible (for example) to rent a cottage for a few days.
According to the Marriott UK website Residence Inn by Marriott ie Extended Stay Hotels do exist in the UK but not in the Portsmouth area.
If you are currently in the US, I think your best bet would be to contact Marriott to explain your situation.
Travelodge is a chain of hotels in the UK where all four family members can definitely stay in one room. This example is for a Travelodge located in the Portsmouth area. As far as I'm aware Travelodge don't have rooms with a separate sitting area/kitchenette. If such hotel rooms do exist in the UK, which I think Residence Inn by Marriott do cater for, I'm sure you will pay top dollar for one.
Adjoining rooms: have 2 doors to the corridor, but an interconnecting door. These are very common.
So is a kitchen important ? Or are multi rooms important ?
I would recommend you use marriott.com as a yardstick to know if such hotels exist in England. I did a quick find for you in London : 2 Rooms 4 Guests and I assumed you'd need a kitchennete and found this in the marriott.com website : http://www.marriott.com/hotels/travel/lonql-grand-residences-by-marriott-mayfair-london/ So yes, I can see such hotels exist in England.
Most hotels in the UK offer family rooms for up to two adults and (typically) up to two children. It isn't clear from your post whether you specified in your search that the third and fourth guests were children rather than adults - perhaps that's why you didn't get good results?
In many cases a 'family room' will actually be a standard room where the sofa-bed has been folded out and made up as a second double bed. If you'd like a bit more space for spending time in the room during the day, you should be able to fold this bed away and use it as a sofa - either doing it yourselves, or asking the hotel to do it for you. I'd check with the hotel to confirm that this will definitely be possible though.
If you're keen on having separate bedrooms, for example so that you can put the kids to bed in the evening then sit and talk or watch TV without disturbing them, you'd probably prefer the interconnecting rooms option, which doesn't usually seem to be an option on booking websites so would need a call to the hotel to confirm, or to find a hotel offering suites as other answers have suggested. The common term for these here seems to be apartment hotel.
Not the answer you're looking for? Browse other questions tagged hotels children england or ask your own question.
Are there hotels where children are not allowed?
Are there any museums or sites in England honouring Isaac Newton?
Are there any museums or sites in England honouring Isambard Kingdom Brunel?
Are there any museums or sites in England honouring Charles Babbage?
Are there any museums or sites in England or Scotland honouring James Watt?


본 연구는 오늘날 인문사회학계의 중요한 화두가 된 생태비평(ecocriticism)적 시각을 미국 문학의 자연주의(naturalism) 전통에 투영해 보고자 하는 시도이었다. 생태적 관점과 자연주의적 관점 사이의 유사성과 대조점을 찾아보려는 시도는 자연에 대한 보다 깊은 성찰을 가능케 할 것이라는 가능성을 염두에 두었다. 이에 미국 주요 자연주의 작가 잭 런던(Jack London 1876 1916)을 표본으로 설정하고, 그의 대표작으로 손꼽히는 『야성의 부름』(The Call of the Wild 1903)과 단편 소설 「불을 지피다」 ("To Build a Fire" 1908)를 분석 대상 작품으로 연구를 진행하였다. 그 결과 두 작품에 속에서 생태비평적으로 유의미한 재해석의 가능성을 찾을 수 있었다. 다른 한편 생태비평과 자연주의 문학 사이에는 '자연'이라는 담론 대상의 연관성과는 대조적으로 자연관에 있어 많은 대조적인 면모 또한 존재한다는 것을 발견하였다. 즉, 자연이라는 큰 화두를 두고 생태비평과 자연주의 사이에 다소 좁혀지기 어려운 자연에 대한 시각과 견해가 존재한다는 점이 두드러진다.
This paper explores the possible connections between naturalism and ecocriticism in the sense that the two literary positions seem to regard nature as the main target of study. The rationale behind this endeavor is to deepen our understanding of nature by exploring the links between naturalism and ecocriticism. Given that Jack London is one of the quintessential American naturalist writers, The Call of the Wild and "To Build a Fire" are chosen as sample texts that represent the naturalist tradition. This research, on the one hand, shows that there exist possibilities to rethink the naturalist works from an ecocritical perspective. On the other hand, it also shows that there lies a conceptual gap between the naturalist and ecocritical camps with regard to their notion of nature.


You're a trichromat. That means you have three types of cones in your eye in the purple/blue, green, and red area. Dervals says trichromats enjoy different colors and can appreciate them. About 50 percent of the population is a trichromat.
Just like a bumblebee, you're a tetrachromat. Dervals says these kinds of people have four types of cones. They also get irritated by yellow and will most likely never wear it. About 25 percent of the population is a tetrachromat.
You better count again! Dervals says there are only 39 different colors in the test and probably only 35 are properly translated by the computer screen.


text:
Miles dashes Cada's bid for second WSOP Main Event crown
LAS VEGAS -- By maneuvering through the second-largest World Series of Poker Main Event field in history and making it to a second final table, Joe Cada was on the precipice of etching his name even further in the poker history books when he arrived at the Rio All-Suite Hotel & Casino on Friday night. He already became just the second player to win a WSOP Main Event and return to the final table (Daniel Harrington, 2004), but a win would have made him just the fifth player in history to win multiple Main Events (Stu Ungar, Johnny Moss, Doyle Brunson and Johnny Chan) He also would have soared from 60th on the all-time money winning list to 18 at the age of just 30 years old. Cada's bid to join that elite class fell short on Friday night when his all-in call with pocket 10s got out-flopped by Miles' A-K: A king hit the board, sending Cada to the rail in fifth place, which earned him $2.15 million.
Joe Cada built up his chips to over 47,000,000 and looked for more when he shoved over Tony Miles open with pocket 10's. After a long think, Miles called with AK.
The board ran out Ks 9h 8d Qd 9s, sending Cada to the rail in 5th for $2,150,000.
(photo credit @JoeGironPhoto ) pic.twitter.com/7ThbaN5ytX
— WSOP (@WSOP) July 14, 2018
Cada, who became the youngest player to win the WSOP Main Event back in 2009 when he was 21 years old, uncharacteristically skipped out of his bustout interview with ESPN and other reporters and quickly made a stage-left exit out of the Amazon Room with a group of friends. When we caught up with him in the hallway, he told us he wasn't about to complain. "Sometimes you win flips. Sometimes you lose," the 30-year-old said calmly in between posing for pictures with fans. "I ran good (at the final table in 2009). Today it was my turn to lose a flip." As for his chance to make history, Cada scoffed at the idea that his exit was more painful than anyone else's. "Yes, I had a lot at stake. It would have been cool to be able to win it again," he said. "But everyone had something big at stake. I wasn't the only one."
Miles dashes Cada's bid for second WSOP Main Event crown is republished from Online.CasinoCity.com.


text:
bool GenericPoint::Init(const char *start, const char **endptr,
                        string *error_msg) {
  error_msg->clear();
  const char *first_char = strutil::SkipSpaces(start);

  if (SharpPoint::InitFromSpec(first_char, endptr, error_msg)) {
    *endptr = ParseNext(*endptr, 'z', 1, 2, &fuzzy_type_, error_msg);
    if (!error_msg->empty()) return false;
    if (fuzzy_type_ != UNDEFINED) {
      if (hour_ != UNDEFINED ||
          minute_ != UNDEFINED || second_ != UNDEFINED) {
        *error_msg =
          "hour/minute/second cannot be combined with "
          "fuzzy timepoint specifications";
        return false;
      }
    }
    else {
      // no fuzzy spec; try to set default values for SharpPoint
      SharpPoint::SetDefaultValues();
    }
    is_pure_fuzzy_ = (fuzzy_type_ != UNDEFINED && SharpPoint::AllEmpty());
    return true;
  }
  else
    return false;
}

// given a time, find the next time point that matches this specification
// -- return true if successful ("next" is set)
// -- return false if such a time cannot be found
bool GenericPoint::GetNext(const LocalTime& current, const Place *place,
                           LocalTime *next) const {
  Timezone tz = place->get_tz();
  LocalTime base = current;
  for (int i = 0; i < 2; i++) {
    LocalTime ref;
    bool exists = SharpPoint::GetNext(base, NULL, &ref);
    if (!exists) {
      *next = LocalTime::InfiniteFuture();
      return false;
    }

    switch (fuzzy_type_) {
    case UNDEFINED: {
      *next = ref;
      return exists;
    }
    case FUZZY_SUNRISE: {
      *next = Nature::NextSunrise(Time::GetUniversalTime(tz, ref),
                                  *place).GetLocalTime(tz);
      if (!(next->IsFinite()) || is_pure_fuzzy_ || next->SameDay(ref))
        return next->IsFinite();
      else {
        // not pure fuzzy, and NextSunrise results in another day.
        // let's try twice (break out of switch statement and let
        // "for" loop take care of another trial)
        base = *next;
        break;
      }
    }
    case FUZZY_SUNSET: {
      *next = Nature::NextSunset(Time::GetUniversalTime(tz, ref),
                                 *place).GetLocalTime(tz);
      if (!(next->IsFinite()) || is_pure_fuzzy_ || next->SameDay(ref))
        return next->IsFinite();
      else {
        // not pure fuzzy, and NextSunset results in another day.
        // let's try twice (break out of switch statement and let
        // "for" loop take care of another trial)
        base = *next;
        break;
      }
    }
    default:
      ASSERT(false) << "Invalid fuzzy_type";
    }
  }
  // if control reaches here, we are unable to find sunset/sunrise for this day
  *next = LocalTime::InfiniteFuture();
  return false;
}

// given a time, return the previous time point that matches this
// specification
bool GenericPoint::GetPrevious(const LocalTime& current, const Place *place,
                               LocalTime *previous) const {
  Timezone tz = place->get_tz();
  LocalTime base = current;
  for (int i = 0; i < 2; i++) {
    LocalTime ref;
    bool exists = SharpPoint::GetPrevious(base, NULL, &ref);
    if (!exists) {
      *previous = LocalTime::InfinitePast();
      return false;
    }

    switch (fuzzy_type_) {
    case UNDEFINED: {
      *previous = ref;
      return exists;
    }
    case FUZZY_SUNRISE: {
      *previous = Nature::PreviousSunrise(Time::GetUniversalTime(tz, ref),
                                          *place).GetLocalTime(tz);
      if (!(previous->IsFinite()) || is_pure_fuzzy_ || previous->SameDay(ref))
        return previous->IsFinite();
      else {
        // not pure fuzzy, and PreviousSunrise results in another day.
        // let's try twice (break out of switch statement and let
        // "for" loop take care of another trial)
        base = *previous;
        break;
      }
    }
    case FUZZY_SUNSET: {
      *previous = Nature::PreviousSunset(Time::GetUniversalTime(tz, ref),
                                         *place).GetLocalTime(tz);
      if (!(previous->IsFinite()) || is_pure_fuzzy_ || previous->SameDay(ref))
        return previous->IsFinite();
      else {
        // not pure fuzzy, and PreviousSunset results in another day.
        // let's try twice (break out of switch statement and let
        // "for" loop take care of another trial)
        base = *previous;
        break;
      }
    }
    default:
      ASSERT(false) << "Invalid fuzzy_type";
    }
  }
  // if control reaches here, we are unable to find sunset/sunrise for this day
  *previous = LocalTime::InfinitePast();
  return false;
}

// return human-redable string describing this object
string GenericPoint::Print() const {
  stringstream ss;
  ss << SharpPoint::Print();
  switch (fuzzy_type_) {
  case FUZZY_SUNRISE: {
    ss << " (sunrise)";
    break;
  }
  case FUZZY_SUNSET: {
    ss << " (sunset)";
    break;
  }
  }
  return ss.str();
}

string GenericPoint::PrintShort() const {
  stringstream ss;
  ss << SharpPoint::PrintShort();
  if (fuzzy_type_ == FUZZY_SUNRISE ||
      fuzzy_type_ == FUZZY_SUNSET)
    ss << "z" << fuzzy_type_;
  return ss.str();
}

redpajama_set_name: RedPajamaGithub


The Garo home charger release 2 is an Electric Vehicle Supply Equipment (EVSE). It provides a private solution for an electric vehicle battery charging in Mode 3 as defined on IEC 61851-1 and 61851-22 and is compatible with EV's with IEC 62196-1, with type 1 socket also complying with SAE J1772 and type 2 sockets.
The homecharger has its own RCBO( Residual Current Circuit Breaker with Overcurrent Protection) for the user's protection. It provides an A class earth fault protection, <30mA. The circuit breaker is located behind the transparent window on the side of the equipment.
The green ready light indicates the homecharger is ready to be connected to the vehicle. When connected to the vehicle, the blue light (charge) is on, indicating the recognition of a valid vehicle and the power is available on the vehicle socket.
The red fault light indicates a circuit breaker trip. If all signaling lights are off it means that there is a problem with the homecharger energy supply, and so the existence of grid energy supply must be checked. In case of fault, please refer to the troubleshooting section.


Celebrity hair stylist John Masters created this luxury beauty line that treats the earth with respect. John Masters supports a simple and clean approach not just to how he creates his products, but also in how he delivers them to my customers - no artificial colors, or fragrances ever. Also why use harsh chemicals in shampoos, styling gels, skin moisturizers and soaps? They were created as cheap substitutes for organic compounds that do a better job. It's better for the body and the earth to simply return to the source: super natural botanicals. Always natural, always earth-friendly, and always with your beauty and health in mind.


MXT CTF Server; Wanna Control the Lag?
We will run a Temp CTF Server for 5 days. It should run better (that's what Gameservers.com said). If It does, we will stay there. If not, we will go back to the old IP. Meanwhile, the old Server will run in Control Gamemode.
UPDATE: The server is back to normal. We will continue running in the same IP's, since we didn't detect any improvement in the new location. Furthermore some issues were detected with the server listing.
We will continue with this IP while we find a better hosting option.
Soy de esas personas que siguen trabajando hasta que no son capaces de seguir haciéndolo.
FEAR Combat map making: Final Form!
© 2019 - Fred.cpp Web Page. All rights reserved.Beans theme for WordPress.


text:
package OpenXPKI::Crypto::Tool::SCEP::Command::create_certificate_reply;

use strict;
use warnings;

use Class::Std;

use OpenXPKI::Debug;
use OpenXPKI::FileUtils;
use Data::Dumper;

my %fu_of      :ATTR; # a FileUtils instance
my %outfile_of :ATTR;
my %tmp_of     :ATTR;
my %pkcs7_of   :ATTR;
my %cert_of    :ATTR;
my %engine_of  :ATTR;
my %enc_alg_of :ATTR;
my %hash_alg_of  :ATTR;

sub START {
    my ($self, $ident, $arg_ref) = @_;

    $fu_of     {$ident} = OpenXPKI::FileUtils->new();
    $engine_of {$ident} = $arg_ref->{ENGINE};
    $tmp_of    {$ident} = $arg_ref->{TMP};
    $pkcs7_of  {$ident} = $arg_ref->{PKCS7};
    $cert_of   {$ident} = $arg_ref->{CERTIFICATE};
    $enc_alg_of{$ident} = $arg_ref->{ENCRYPTION_ALG};
    $hash_alg_of {$ident} = $arg_ref->{HASH_ALG};

}

sub get_command {
    my $self  = shift;
    my $ident = ident $self;

    # keyfile, signcert, passin
    if (! defined $engine_of{$ident}) {
        OpenXPKI::Exception->throw(
            message => 'I18N_OPENXPKI_CRYPTO_TOOL_SCEP_COMMAND_CREATE_PENDING_REPLY_NO_ENGINE',
        );
    }
    ##! 64: 'engine: ' . Dumper($engine_of{$ident})
    my $keyfile  = $engine_of{$ident}->get_keyfile();
    if (! defined $keyfile || $keyfile eq '') {
        OpenXPKI::Exception->throw(
            message => 'I18N_OPENXPKI_CRYPTO_TOOL_SCEP_COMMAND_CREATE_PENDING_REPLY_KEYFILE_MISSING',
        );
    }
    my $certfile = $engine_of{$ident}->get_certfile();
    if (! defined $certfile || $certfile eq '') {
        OpenXPKI::Exception->throw(
            message => 'I18N_OPENXPKI_CRYPTO_TOOL_SCEP_COMMAND_CREATE_PENDING_REPLY_CERTFILE_MISSING',
        );
    }
    $ENV{pwd}    = $engine_of{$ident}->get_passwd();

    my $in_filename = $fu_of{$ident}->get_safe_tmpfile({
        'TMP' => $tmp_of{$ident},
    });
    $outfile_of{$ident} = $fu_of{$ident}->get_safe_tmpfile({
        'TMP' => $tmp_of{$ident},
    });
    $fu_of{$ident}->write_file({
        FILENAME => $in_filename,
        CONTENT  => $pkcs7_of{$ident},
        FORCE    => 1,
    });
    my $issued_certfile = $fu_of{$ident}->get_safe_tmpfile({
        'TMP' => $tmp_of{$ident},
    });
    $fu_of{$ident}->write_file({
        FILENAME => $issued_certfile,
        CONTENT  => $cert_of{$ident},
        FORCE    => 1,
    });

    my $command = " -new -passin env:pwd -signcert $certfile -msgtype CertRep -status SUCCESS -keyfile $keyfile -inform DER -in $in_filename -outform DER -out $outfile_of{$ident} -issuedcert $issued_certfile ";

    if ($enc_alg_of{$ident} eq 'DES') {
        # if the configured encryption algorithm is DES, append the
        # appropriate option. This is for example needed for
        # Netscreen devices
        $command .= " -des ";
    }

    if ($hash_alg_of{$ident}) {
        $command .= ' -'.$hash_alg_of{$ident};
    }
    return $command;
}

sub hide_output
{
    return 0;
}

sub key_usage
{
    return 0;
}

sub get_result
{
    my $self = shift;
    my $ident = ident $self;

    my $reply = $fu_of{$ident}->read_file($outfile_of{$ident});

    return $reply;
}

sub cleanup {

    my $self = shift;
    my $ident = ident $self;

    $ENV{pwd} = '';
    $fu_of{$ident}->cleanup();
}

1;
__END__

=head1 Name

OpenXPKI::Crypto::Tool::SCEP::Command::create_certificate_reply

=head1 Functions

=head2 get_command

=over

=item * PKCS7

=back

=head2 hide_output

returns 0

=head2 key_usage

returns 0

=head2 get_result

Creates an SCEP reply containing the issued certificate.


text:
Q: ASP.NET Core - using a form to partially update existing data How do I update a model partially using a form? In other words, how do I update the data in a database for a model that may have 50 fields, but I only want to update two of them via a form? I have a model that has a form. That model has 30 fields, but I only want to update the date of birth and a description in the model's data through the form.
How do I do that without having to grab the data from the database beforehand?
For example:
Applicant has 30 fields, but I only need to update the Applicant's last name and date of birth, so my form ONLY has these fields in it for updating. How do I update JUST those two fields without wiping out or using default values for the others? Is that a view model?
Thank you!

A: Try Attach method. You will need to set primary key for the entity and mark fields you need to update as modified
var entity = new SomeEntity()
{
    Id = id, // primary key
    SomeProperty = newvalue,
};

dbContext.SomeEntities.Attach(entity);
dbContext.Entry(entity).Property(x => x.SomeProperty).IsModified = true;
dbContext.SaveChanges();


text:
By: Andy Callan
Review: The Rolex Lady-Datejust ref. 69178
Last Modified: December 28, 2020 at 2:15 pm
Not only is the Lady-Datejust the archetypal women's Rolex, it could legitimately be described as the one truly essential women's watch from any brand.
Of course, there are significantly fewer lady's models out there on the market and so competition is far lower than among men's watches—just one reason so many women are now wearing pieces originally created for a male audience. However, that takes nothing away from the unprecedented success of the Lady-Datejust series, which has actually been Rolex's biggest selling range ever.
The ref. 69XXX emerged in 1983, only the third generation of the family of watches that debuted in 1957, some 12-years after the full size men's Datejust made its entrance. At the time, the entire collection was presented in a diminutive 26mm, as opposed to today's offerings which start at 28mm (the lone model still officially called a Lady-Datejust) and now include 31mm, 34mm (known simply as The Date) and even 36mm—all listed on the 'Women's' pages of the Rolex website. Only the relatively new 41mm is missing, still obviously thought of as an exclusively men's piece, although by no means too large for modern female tastes.
True to form, the ref. 69XXX was released in a number of different metals options and the usual utterly bewildering array of possible dial, bezel and bracelet combinations, much like previous iterations. In fact, as far as outward aesthetics were concerned, there was little to choose between the incoming references and those they replaced, with the biggest changes reserved for the movement. Yet, even there, there were far more similarities than differences with the new and old calibers; the upgrade doing little more than adding some small but welcome conveniences.
Of all the various models in the collection, the ref. 69178 is arguably the most classic Lady-Datejust look. Small, elegant and perfectly formed, it has just enough flamboyance to its personality to attract appreciative glances without overpowering.
Below we take a closer look at this beautiful Rolex watch.
Rolex Lady-Datejust ref. 69178 Metal and Bezels
By the eighties, Rolex had brought a certain Swiss regimentation to their numbering system which had previously been somewhat lacking.
So the 69178 reference tells us the basic information we need about the watch, with 691 describing a Lady-Datejust model of the series powered by the Cal. 2135 movement.
The final digit, 8, is to denote the piece is forged from 18k yellow gold, and the 7 indicates it is topped off with a fluted bezel, one of the oldest traditional types Rolex uses.
The fluted surround actually evolved out of the original coin-edged style, a design that was developed for a practical purpose in that it gave watchmakers a way to grip the bezel as they screwed it into the case to form a watertight seal.
Along with the solid gold model, others in the series included the ref. 69173, with Rolex's own blending of yellow gold and steel known as Rolesor. As well as that came the ref. 69174, another Rolesor piece but using white gold that was confined only to the bezel (the yellow Rolesor has the precious metal on the bezel, crown and central bracelet links).
The ref. 69179 was purely 18k white gold and the ref. 69138 had factory-fitted diamond bezels on a yellow gold case.
There were also more understated and cheaper versions in stainless steel, such as the ref. 69160. That number covered examples with both smooth polished bezels as well as those with what are called engine-turned, which feature intricately engraved patterns, alternatively titled guilloché.
Rolex Lady-Datejust ref. 69178 Movements
Obviously the most notable difference between the men's and women's Datejust models is their respective size, with the lady's watches being vastly smaller. That, understandably, leads to their internal movements having to be similarly pared down—something that gives rise to severe challenges for Rolex's engineers.
However, not only does the caliber inside the ref. 691XX match the accuracy and resilience of the far larger one in the same period's men's Datejust, but actually exceeds it in some respects.
The Cal. 2135 was in the second crop of movements from Rolex's Cal. 2000 collection and was the replacement for the original Cal. 2035 found in the previous four-digit reference series of the watch.
But while it offered a few upgrades, the majority of components in the older caliber were carried over into the new. So elements such as the Glucydur balance wheel, made from an alloy of copper and beryllium that left it antimagnetic and impervious to temperature-induced shape change, was retained. Likewise for the Nivarox hairspring with Breguet overcoil and Kif shock absorbers. The 28,800vph frequency was the same, now the standard speed for all Rolex engines and, interestingly, it was introduced onto the Lady-Datejust several years before the men's.
The one main difference, and it was apparently big enough for the model to be granted an all new series, was the introduction of the Quickset feature. This gave the wearer the ability to alter the date, in its little window at the three o'clock, independently of the hour hands. Pulling the winding crown out to a second position unlocked the function, and meant it was no longer necessary to the spin the main hands through 24-hours to advance the numeral.
Beyond that there was clearly no need to mess with a winning formula, and the Cal. 2135 manages to pack an incredible level of performance into its diminutive 20mm x 5.83mm dimensions. Most impressively of all it, and the no-date equivalent used in the Oyster Perpetual range, the Cal. 2130, still hold the record for highest first time pass rate for timekeeping precision at the COSC, the Swiss Official Chronometer Testing Institute.
Rolex Lady-Datejust ref. 69178 Dials
With so few watches in the rota dedicated solely to women, the Lady-Datejust has always had a certain amount of heavy lifting to do in order to appeal to as many diverse tastes as possible.
To that end, it has long been issued with a staggering selection of dials, differing in both colors and materials.
Arguably the most classic Rolex look is a yellow gold watch with matching champagne face, leaving the owner wearing what appears to be a solid ingot on the wrist. But while that much gold could leave the watch looking flashy and garish, the tiny 26mm size leaves it just the right side of ostentatious.
Elsewhere, contrasting shades like black, white or silver break up all that glimmering precious metal nicely, leaving the whole thing a little more understated.
You will also see plenty in more delicate tones, such as faded pink, as well as vignette dials which start out relatively light in the middle before darkening to near black around the outside.
Further offbeat versions are easily found too, made with all manner of semiprecious stones such as mother-of-pearl, malachite or lapis lazuli—their biggest draw being the one-of-a-kind nature of their individual surface patterns.
In 1985, the original Datejust celebrated its 40th birthday and to acknowledge it, the brand introduced the Jubilee dial which featured the Rolex name repeatedly engraved across the entire face. It became a popular addition to the collection, particularly in the logo-obsessed 80s, and is still a fixture in the modern day range.
As for hour markers, they could be either Roman or Arabic numerals, plain stick batons or, seeing as the ref. 69178 was the top of the line model, beautiful handset diamonds.
Another welcome first with the series was the introduction of a sapphire crystal to cover the dial, taking over from the former acrylic, the harder mineral adding a greater protection as well as being more scratchproof.
Rolex Lady-Datejust ref. 69178 Bracelets
The ref. 69178 was officially released with a choice of any of the three metal bracelets in Rolex's inventory, unlike the men's Datejust which only had two.
Because of its sportier nature, the three-link Oyster was actually the least common, although it still makes for a graceful addition.
The five semicircular-link Jubilee, created specifically for the inaugural Datejust reference from 1945, brings more of an intricate counterpoint to all that gold, but it is the striking President bracelet which is found far more frequently with this particular reference.
Really a mix of the best of the other two examples, in that it has three oval links, it is the perfect accompaniment to such a beautiful watch. Models with this style of band are known as Lady-Datejust Presidents.
The ref. 691XX really carried on where the previous series had left off, continuing the Lady-Datejust's phenomenal success in the market. By the time it arrived, all the outward design elements had been more than nailed down and all that was really required was to keep appealing to as many people as possible, while adding a touch more convenience to an already record-breaking movement.
It did its job superbly, taking the range all the way up to 1999, and stayed as Rolex's best seller the whole time.
The solid yellow gold ref. 69178 was the flagship model, a wonderfully elegant piece of pure luxury. Yet, even with all that precious metal it remains an attainable preowned purchase.
— Featured and Body Photo Credits: BeckerTime's Archive.
Review: The Rolex Submariner ref. 14060
The Comparison Series: The Rolex Datejust Vs. The Vacheron Constantin FiftySix
How Long Does a Rolex Last?


text:
Marc Chagall's WWII-era letters going to auction in September
By Cindy Adams
August 26, 2019 | 6:31pm
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Marc Chagall left us in '85. His handiwork lives on — even in correspondence.
On Sept. 19, Guernsey Auction House is putting up 12 of his private, not-before-seen, pen and ink letters. Written in French.
1941. Wartime. Nazi-occupied France. Russian Jew Chagall lived in Paris. His life in jeopardy, his avant-garde work another hatred of those commanding the Occupation. High on their hit list, desperate to get out, his letters reached the Joint Distribution Committee, which dealt with USA immigration.
Chagall and his wife, no place to live upon arrival in NYC, spoke no English. His contact was the Museum of Modern Art. MoMA became their address.
One letter from New York speaks of family back home "having such a very, very hard time … forgive us please, our hearts ache thinking of the others … we have such terrible news … we are advised there's possibility to come to New York on another boat … is it possible to make life somewhat easier for them … can you get them passes … I am troubling you … courage to write you is to ask for help if possible."
This auction coincides with the Jewish High Holidays and coming of Rosh Hashanah and will — a first-ever — be held in the 62nd Street synagogue between Madison and Fifth.
Guernsey's president Arlan Ettinger allowed me to handle the letters, which are stored in an air-conditioned vault. The paper remains durable. Ink, clear. Language, French. The collection includes a book with Chagall's signed self-portrait. The sale is estimated to bring $25,000.
One more thing. Twenty years ago Princess Diana's cherished South Sea pearl and diamond necklace, crafted by Britain's crown jeweler, paid for by then-lover Dodi Fayed, was immortalized by cameras when HRH unveiled it at Royal Albert Hall's opening of "Swan Lake."
Soon again it's for auction. It comes with the crown jeweler's documents and GIA certificates. Estimate? Says Ettinger: "Seven figures. About $10 million."
It's back to the 'Matrix' again
Warner's "The Matrix," begun as a 1999 sci-fi try, relives. Back again. Third sequel. Keanu Reeves once more rushing around liberating humans in some simulated reality called the Matrix. Producers are pushing to shoot scenes here. Unlike 20 years ago, the green screen can now insert any city skyline into any futuristic battle between any man and any machine. Still, they're looking to film in New York. Worst comes to real worst, Chicago. Listen, everything old is returning. Soon the Dumbocrats will dump socialist Warren, Bonky Sanders, VP Joe Burden, Baby Bootleg, Kirsten Killherbrand and just put up Honey Boo Boo for president.
Nice, rich guy
David Koch lived nice. In '85, he paid Sotheby's $4.2 million for a Modigliani. Unloaded $2,700 for a deli snack at Hotel du Cap in France. Donated $100,000 for an audience with Jordan's Queen Rania. Did a party celebrating whomever's the Duchess of Marlborough. Was at Ivana's second wedding.
For a lifetime, Jackie O and I lived one house away. When she passed on, he bought her Fifth Avenue apartment. Rich, rich David then complained she was chintzy. Her 15-room apartment had old-time junky wiring, and he told me that just to redo her antique hang-out-the-window air conditioner system cost him $3 million.
David Koch. One of Barbara Walters' 10 Most Fascinating People.
At the 2nd Ave. Deli, talking through an egg-salad sandwich — on white bread yet — this guy said: "My friend's wife bought him a primer on sex. The problem was it started without him."
Only in New York, kids, only in New York.
Filed under david koch , keanu reeves , princess diana
Meghan King Edmonds shares son's milestone following brain...


text:
package metrics

import (
	"encoding/json"
	"log"
	"net/http"
	"net/http/httptest"
	"testing"

	types "github.com/openfaas/faas-provider/types"
)

type FakePrometheusQueryFetcher struct {
}

func (q FakePrometheusQueryFetcher) Fetch(query string) (*VectorQueryResponse, error) {
	val := []byte(`{"status":"success","data":{"resultType":"vector","result":[{"metric":{"code":"200","function_name":"func_echoit.openfaas-fn"},"value":[1509267827.752,"1"]}]}}`)
	queryRes := VectorQueryResponse{}
	err := json.Unmarshal(val, &queryRes)
	return &queryRes, err
}

func makeFakePrometheusQueryFetcher() FakePrometheusQueryFetcher {
	return FakePrometheusQueryFetcher{}
}

func Test_PrometheusMetrics_MixedInto_Services(t *testing.T) {
	functionsHandler := makeFunctionsHandler()
	fakeQuery := makeFakePrometheusQueryFetcher()

	handler := AddMetricsHandler(functionsHandler, fakeQuery)

	rr := httptest.NewRecorder()
	request, _ := http.NewRequest(http.MethodGet, "/system/functions", nil)
	handler.ServeHTTP(rr, request)

	if status := rr.Code; status != http.StatusOK {
		t.Errorf("handler returned wrong status code: got %v want %v", status, http.StatusOK)
	}

	if rr.Header().Get("Content-Type") != "application/json" {
		t.Errorf("Want application/json content-type, got: %s", rr.Header().Get("Content-Type"))
	}
	body := rr.Body.String()
	if len(body) == 0 {
		t.Errorf("Want content-length > 0, got: %d", len(rr.Body.String()))
	}
	results := []types.FunctionStatus{}
	json.Unmarshal([]byte(rr.Body.String()), &results)
	if len(results) == 0 {
		t.Errorf("Want %d function, got: %d", 1, len(results))
	}
	if results[0].InvocationCount != 1 {
		t.Errorf("InvocationCount want: %d , got: %f", 1, results[0].InvocationCount)
	}
}

func Test_FunctionsHandler_ReturnsJSONAndOneFunction(t *testing.T) {
	functionsHandler := makeFunctionsHandler()

	rr := httptest.NewRecorder()
	request, err := http.NewRequest(http.MethodGet, "/system/functions", nil)
	if err != nil {
		t.Fatal(err)
	}

	functionsHandler.ServeHTTP(rr, request)

	if status := rr.Code; status != http.StatusOK {
		t.Errorf("handler returned wrong status code: got %v want %v", status, http.StatusOK)
	}

	if rr.Header().Get("Content-Type") != "application/json" {
		t.Errorf("Want application/json content-type, got: %s", rr.Header().Get("Content-Type"))
	}

	if len(rr.Body.String()) == 0 {
		t.Errorf("Want content-length > 0, got: %d", len(rr.Body.String()))
	}

}

func makeFunctionsHandler() http.HandlerFunc {
	return func(w http.ResponseWriter, r *http.Request) {
		functions := []types.FunctionStatus{
			types.FunctionStatus{
				Name:      "func_echoit",
				Replicas:  0,
				Namespace: "openfaas-fn",
			},
		}
		bytesOut, marshalErr := json.Marshal(&functions)
		if marshalErr != nil {
			log.Fatal(marshalErr.Error())
		}

		w.Header().Set("Content-Type", "application/json")
		w.WriteHeader(http.StatusOK)
		_, err := w.Write(bytesOut)
		if err != nil {
			log.Fatal(err)
		}
	}
}


text:
var demo = {
    constructor: CreateCSGTestScene,
    onload: function () {
    }
};


text:
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