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Eagle Mountain is a ghost town in the California desert in Riverside County founded in 1948 by industrialist Henry J. Kaiser. The town is located at the entrance of the now-defunct Eagle Mountain iron mine, once owned by the Southern Pacific Railroad, then Kaiser Steel, and located on the southeastern corner of Joshua Tree National Park. The town's fully integrated medical care system, similar to other Kaiser operations in California, was the genesis of the modern-day Kaiser Permanente health maintenance organization. Eagle Mountain is accessible by Kaiser Road (Riverside County Route R2) from California State Route 177, twelve miles (19 km) north of Desert Center, midway between Indio and the California/Arizona state line along Interstate 10.
History
Founded in 1948 by Kaiser Steel Corporation, Eagle Mountain is located at the entrance of the now-defunct Eagle Mountain iron mine. As the mine expanded, Eagle Mountain grew to a peak population of 4000. It had wide, landscaped streets lined with over four hundred homes, some with as many as four bedrooms. Two hundred trailer spaces and several boarding houses and dormitories provided living space for Kaiser's itinerant workforce. Other amenities included an auditorium, a park, a shopping center, a community swimming pool, lighted tennis courts, and a baseball diamond. Businesses included a bowling alley, two gas stations, eight churches, and three schools.
In the late 1930s, Kaiser built the West Coast's first fully integrated steel mill. In 1942, Kaiser built such a mill at Fontana, California, which is located 112 miles (180 km) west of the Eagle Mountain Mine. Today the Fontana mill site includes other successor mills and the Auto Club Speedway (formerly the California Speedway). Kaiser then purchased the idle mines from the Southern Pacific Railroad as a source of high-grade iron ore. This was a contingent strategy Kaiser used to utilize rail and raw materials for an industrial operation in a previously agricultural (pig farm) area.
Production at Fontana was initiated during WWII, increased iron shipments began in 1948, and a mining town was constructed below what was soon to become Southern California's largest iron mine. It connected to the Southern Pacific Railroad via a 51-mile-long (82 km) railroad branch known as the Eagle Mountain Railroad. It ran southwest from the mine to the northeast shore of the Salton Sea, just north of the Riverside–Imperial county line. Ore shipments to the Fontana steel plant began in October, with five to eight 100-car trains running weekly. The mine's 100 millionth ton of iron ore shipped was commemorated in a ceremony on August 17, 1977.
Shutdown
Increased environmental concerns in the 1970s and stiff foreign competition led to a reduction in iron output and a drop in population to a low of 1980. In the summer of 1980, the mine shut down briefly, reopening on September 23. Only 750 workers were brought back to the town with an additional 150 (with uncertain employment futures) in Indio, some 60 miles (97 km) west.
On November 3, 1981, Kaiser Corporation announced the phasing out of half the Fontana works and the entire Eagle Mountain Mine operation over several years. The population dwindled as layoffs began. The grocery store closed in October 1982, and the post office, which had been active since 1951, closed in 1983. In June of that year, the last official graduating class celebrated their commencement at Eagle Mountain High School, followed by the closing of both the mine and mill.
The ZIP code was 92241 until Eagle Mountain shut down; mail is now sent to the nearby Desert Center at 92239. The community is within area codes 442 and 760.
Resurgence
Eagle Mountain experienced a resurgence in 1986 when the California Department of Corrections proposed placing a unique privately operated prison for low-risk inmates in the town. The shopping center was converted in 1988 into the Eagle Mountain Community Correctional Facility, which operated until state budget problems and a fatal riot led to the closing of the prison in December 2003. Talks resumed in 2005 to reopen the prison facility.
1988 also saw a proposal to turn the gigantic 1.5-mile-long (2.4 km) by half-mile-wide (800 m) open-pit mine into a massive, high-tech sanitary landfill. The landfill, to be operated by a partnership of two privately operated trash collection firms and the successor to Kaiser Steel, Kaiser Ventures, would ship trash by train from metropolitan Los Angeles area via the Eagle Mountain Railroad. A company subsidiary, Mine Reclamation Corp. of Palm Desert, is the landfill developer. Due to numerous lawsuits regarding the environmental effects of the landfill, the project was repeatedly delayed. The private partnership decided in late 1999 to terminate the project. Their share of the project was bought by Kaiser Ventures, making it the controlling owner of the project.
The Riverside County Board of Supervisors approved the project in October 1992 after EPA approval of the project. In August 2000, Kaiser Ventures reached an agreement with the Los Angeles Sanitation District (LASD – a public entity comprising several public waste collection agencies), to purchase the landfill project as a replacement for the Puente Hills Landfill, which would be nearing the end of its useful life. Trash was to be shipped by rail from the Los Angeles area via the abandoned Eagle Mountain Railroad line. The sale agreement states that all lawsuits and claims regarding the project were to be resolved. As of 2008, there was one lawsuit pending. Much has changed in the waste business since 2000. A reduction in waste generated because of recycling has reduced the urgency for the new landfill. In addition, the Los Angeles Sanitation District purchased another landfill site in Imperial County. In May 2013, the LASD discontinued plans to convert the Eagle Mountain mine into a landfill.
A 1300 MW pumped-storage hydroelectricity plant was proposed by Eagle Crest Energy. The company agreed to buy the land from CIL&D (the new name of Kaiser Ventures) in July 2015. The Eagle Mountain Pumped Storage Project would pump groundwater from the Chuckwalla Valley aquifer into two reservoirs comprising former mining pits, where water would be pumped from the lower reservoir to the upper reservoir during low electricity demand and pumped back down through turbines during high electricity demand. In November 2016, NextEra Energy announced their partnership with Eagle Crest in the project. The project is praised by supporters for the purpose of bringing more renewable energy in California, while also being criticized by environmentalists for potential damages to plant and animal life in and around Joshua Tree National Park.
On April 17th, 2023, the land and mining site were purchased for $22.5 million by California-based Ecology Mountain Holdings. It was previously owned by Eagle Mountain Acquisitions, one of the few mining subsidiaries that owned the land within the last 40 years. It is currently unknown what the company intends on doing with the area.
Climate
According to the Köppen Climate Classification system, Eagle Mountain has a hot desert climate, abbreviated "BWh" on climate maps. The hottest temperature recorded in Eagle Mountain was on June 26, 1970, while the coldest temperature recorded was on January 22, 1937.
Schools
The Desert Center Unified School District at one time operated four schools in the Eagle Mountain and Desert Center areas. Eagle Mountain Elementary School was located in the center of the town, Henry J. Kaiser Junior High School and Eagle Mountain High School were located on the east, and Desert Center Elementary School was located in Desert Center, 11 miles away. The class of 1987 was the last to graduate from Eagle Mountain High School. In 1987, the school district converted the high school into the Eagle Mountain Elementary School, in operation since 1983, educating students in the grades kindergarten through 8th grade.
The remaining three school sites were closed and boarded up. Local high school students are bused to Palo Verde High School in Blythe, California, making the 120-mile round trip every day. The remaining students in the school district are children of the few full-time residents of Desert Center and children of the employees of the two nearby Metropolitan Water District pumping plants.
In popular culture
Film
A portion of the Eagle Mountain Railroad was used in the filming of the 1986 movie Tough Guys in a scene wherein a train is hijacked - pulled by a locomotive Southern Pacific 4449 - and run full throttle to the Mexican border. During the filming of the exterior shots of Southern Pacific 4449, the train was stored nightly at the Eagle Mountain rail yards. The local school children from Eagle Mountain School took a field trip in early 1986 to visit the train on the location of the shoot along the Eagle Mountain Railroad south of Interstate 10.
Other films using Eagle Mountain locations include
The Professionals (1966)
Impostor (2001)
Live from Baghdad (2002)
Constantine (2003)
The Island (2005)
Unknown (2006)
Battle of Los Angeles (2011)
Video Game High School (2012)
Tenet (2020)
Television
Top Gear USA has used Eagle Mountain at least 3 times. In season 2's third episode, "America's Strongest Pickup," Eagle Mountain was used for the final challenge including pulling down a house. And episode 8 "Hollywood Cars" racing a Subaru WRX against a motorcycle. The final challenge in the 13th episode of Top Gear USA third season was staged at Eagle Mountain. Entitled 'Doomsday Drive,' Eagle Mountain served as a stand-in for a post-apocalyptic setting.
See also
Desert Center, California
List of ghost towns in California
Colorado Desert topics
References
External links
"From Boom to Bust to Boom to Bust: Eagle Mountain, CA." Sometimes Interesting. 08 Feb 2012
Classic and current photos of Eagle Mountain
History of Eagle Mountain
Pictures of Eagle Mountain
Eagle Mountain, California provides pictures, maps and historic information about Eagle Mountain Ghost Town.
Populated places in the Colorado Desert
Ghost towns in California
Former settlements in Riverside County, California
Communities in Riverside County, California
Mining in Riverside County, California
Desert Center, California
Henry J. Kaiser |
"Zeze" (stylized in all caps) is a song by American rapper Kodak Black featuring fellow American rappers Travis Scott and Offset. It was released by Atlantic Records on October 12, 2018. Produced by D. A. Doman, the song debuted at number two on the US Billboard Hot 100 (behind "Girls Like You" by Maroon 5 featuring Cardi B) and at number one in Canada.
Background
On August 18, 2018, Kodak Black was released from prison after having been arrested on multiple charges in January 2018. Only three weeks later, he was spotted in a recording studio with rapper Travis Scott. The footage of the artists listening to a new beat, which would later turn out to be the instrumental of "Zeze", subsequently became a viral meme.
Remix
On October 24, 2018, American rappers Tyga and Swae Lee released an unofficial remix called "Shine".
On November 5, 2018, South Korean rappers Xbf, Freaky, and Woozieboo released a remix track.
American rapper Joyner Lucas also remixed the song and it was released on November 22, 2018, as a diss track aimed at Tory Lanez.
The song has made a resurgence in 2020 because of short-video sharing platform TikTok in what is called the ZEZE Challenge.
Music video
An official music video of the song was released on November 23, 2018. It showed the cameraman messing up and Travis Scott, the video director fixing the mistakes. Offset could not make the set but however got on the stage for his verse.
Charts
Weekly charts
Year-end charts
Certifications
Release history
References
2018 singles
2018 songs
Atlantic Records singles
Canadian Hot 100 number-one singles
Kodak Black songs
Travis Scott songs
Offset (rapper) songs
Songs written by Offset (rapper)
Songs written by Travis Scott
Warner Records singles
Songs written by Kodak Black
Songs written by D.A. Got That Dope |
```php
<?php
declare(strict_types=1);
/**
*/
namespace OCP\DB\Events;
/**
* Event to allow apps to register information about missing database columns
*
* This event will be dispatched for checking on the admin settings and when running
* occ db:add-missing-columns which will then create those columns
*
* @since 28.0.0
*/
class AddMissingColumnsEvent extends \OCP\EventDispatcher\Event {
/** @var array<array-key, array{tableName: string, columnName: string, typeName: string, options: array{}}> */
private array $missingColumns = [];
/**
* @param mixed[] $options
* @since 28.0.0
*/
public function addMissingColumn(string $tableName, string $columnName, string $typeName, array $options): void {
$this->missingColumns[] = [
'tableName' => $tableName,
'columnName' => $columnName,
'typeName' => $typeName,
'options' => $options,
];
}
/**
* @since 28.0.0
* @return array<array-key, array{tableName: string, columnName: string, typeName: string, options: array{}}>
*/
public function getMissingColumns(): array {
return $this->missingColumns;
}
}
``` |
Sir Clifford Darling (6 February 1922 – 27 December 2011) was the fifth governor-general of the Bahamas from 2 January 1992 until his retirement on 2 January 1995, where he was succeeded by Sir Orville Turnquest.
Life
Darling, who was born in Acklins, originally worked as a taxi cab driver, and served as both the general secretary and president of the Bahamas Taxi Cab Union.
In 1958, he helped make a settlement of a general strike.
He served as a Senator from 1964 to 1967, Deputy Speaker of the House of Assembly from 1967 to 1969, Minister of State in 1969, Minister of Labour and Welfare in 1971 and Minister of Labour and National Insurance from 1974 to 1977. He was Speaker of the House of Assembly from 1977 until becoming Governor-General in 1992, retiring in 1995.
In 1977, he was knighted. He was a member of the Progressive Liberal Party.
He died on 27 December 2011 in Princess Margaret Hospital after a long illness.
References
External links
1922 births
2011 deaths
Knights Bachelor
Knights Grand Cross of the Royal Victorian Order
Governors-General of the Bahamas
Speakers of the House of Assembly of the Bahamas
Members of the House of Assembly of the Bahamas
Members of the Senate of the Bahamas
Taxi drivers
People from Acklins
Labor ministers of the Bahamas |
Mikhail Kryukov (born 1932) is an anthropologist and historian.
Born in Moscow, Kryukov attended Moscow Institute of Oriental Studies, where he received a B.A. in 1954. He earned an M.A. in 1955 from Moscow Institute of International Relations, and from the Peking University in 1962. He earned a Ph.D. degree in 1965 from the USSR Academy of Sciences. Since 1965, he has been Senior Research Fellow of the Institute of Ethnology and Anthropology of the Russian Academy of Sciences.
Kryukov’s major contributions to cultural anthropology belong to two fields: (1) studies of the evolution of kinship terminology and (2) the study of long-term dynamics of the Chinese ethnos. Kryukov undertook the study of the dynamics of kinship terminology among Eurasian ethnic groups having deep historical traditions of written records. However, though he seems to consider his results as having universal applicability, they appear to be most applicable to the evolution of kinship terminology in Eurasia and among the Austronesians. He has shown that among those peoples bifurcate merging systems tended to get transformed either into bifurcate collateral, or generational ones. On the other hand, the lineal kinship terminology developed either from bifurcate collateral ones (this development is most typical for Eurasia), or from generational systems. Note that these are not mere speculations, as Kryukov supported his conclusions with a wealth of diachronic data. Being a sinologist he paid special attention to the evolution of kinship terminology among the Chinese, thoroughly documenting the transition from the bifurcate merging to bifurcate collateral kinship terminology among them in the first millennium BC and its further development up to the present.
Kryukov has written over 15 books and 250 articles dealing with his research interests. These include (1968) Historical Interpretation of Kinship Terminology. Moscow: Institute of Ethnography, USSR Academy of Sciences, (1972) Chinese Kinship System. Moscow: Nauka (in Russian), and (1978–1993) a series of monographs (6 vols.) on historical dynamics of the Chinese ethnos from the 2nd millennium BC to the 20th century (Moscow: Nauka; in Russian).
References
Russian anthropologists
20th-century Russian historians
Russian sinologists
1932 births
Living people
Moscow Institute of Oriental Studies alumni
Etnograficheskoe Obozrenie editors |
By 1965, Bob Dylan was the leading songwriter of the American folk music revival. The response to his albums The Freewheelin' Bob Dylan and The Times They Are a-Changin' led the media to label him the "spokesman of a generation".
In March 1965, Dylan released his fifth album Bringing It All Back Home. Side one features him backed by an electric band, while side two features him accompanying himself on acoustic guitar. On July 20, 1965, he released his single "Like a Rolling Stone" featuring a rock sound. On July 25, 1965, he performed his first electric concert at the Newport Folk Festival, joined by pianist Barry Goldberg and of the Paul Butterfield Blues Band, guitarist Mike Bloomfield, bassist Jerome Arnold and drummer Sam Lay, and with Al Kooper playing organ on "Like a Rolling Stone." Some sections of the audience booed the performance. Members of the folk movement criticized him for moving away from political songwriting and for performing with an electric band, including Irwin Silber and Ewan MacColl. Dylan continued his trend towards electric rock music on his next two albums, Highway 61 Revisited (August 1965) and Blonde on Blonde (June 1966).
On subsequent tours throughout 1965 and 1966, his electric sets (now backed by the Hawks) were often met with derisiveness from the audience. Crowds became particularly acrimonious during a British tour, including an oft-cited incident in Manchester, where a member of the crowd shouted "Judas!" at Dylan. Shows from this tour have been documented in several Dylan documentaries including 2005's No Direction Home. Over time, Dylan continued to evolve musically, turning to country music on Nashville Skyline (April 1969), and drifting through numerous styles throughout the rest of his career. Over time, his electric period has come to be recognized by critics and fans as producing some of his best-received music and his controversial performance at Newport has been considered a pivotal moment in the development of folk rock.
Newport 1965 set
At the 1963 Newport Folk Festival, Dylan had been received enthusiastically when he performed "Blowin' in the Wind" with Joan Baez; Peter, Paul and Mary; and other Festival performers. At the 1964 Newport Folk Festival, Dylan performed "With God on Our Side" and "Mr Tambourine Man". Positive reviews of Dylan's 1964 performance were accompanied by criticisms of Dylan's antics and dismissive nature; one critic wrote that "being stoned had rarely prevented his giving winning performances, but he was clearly out of control".
On Saturday, July 24, 1965, Dylan performed three acoustic songs, "All I Really Want to Do", "If You Gotta Go, Go Now", and "Love Minus Zero/No Limit", at a Newport workshop. According to Jonathan Taplin, a roadie at Newport (and later a road manager for the acts of Dylan's manager Albert Grossman), Dylan made a spontaneous decision on Saturday that he would challenge the Festival by performing with a fully amplified band the following evening. Taplin said that Dylan had been irritated by what he considered condescending remarks which festival organiser Alan Lomax had made about the Paul Butterfield Blues Band when Lomax introduced them for an earlier set at a festival workshop. Dylan's attitude, according to Taplin, was, "Well, fuck them if they think they can keep electricity out of here, I'll do it. On a whim, he said he wanted to play electric." Dylan assembled a band and rehearsed that night at a mansion being used by festival organizer George Wein.
On the night of Sunday, July 25, Dylan's appearance was between Cousin Emmy and the Sea Island singers, two traditional acts. Dylan's band included two musicians who had played on his recently released single "Like a Rolling Stone": Mike Bloomfield on lead guitar and Al Kooper on organ. Two of Bloomfield's bandmates from the Paul Butterfield Blues Band, bassist Jerome Arnold and drummer Sam Lay, also appeared at Newport, as well as Barry Goldberg on piano.
Footage of the Newport performance appears in the documentary films Festival (1967), No Direction Home (2005) and The Other Side of the Mirror: Bob Dylan Live at the Newport Folk Festival 1963–1965 (2007). The footage begins with Dylan being introduced by Master of Ceremonies Peter Yarrow: "Ladies and gentlemen, the person that's going to come up now has a limited amount of time ... His name is Bob Dylan." In the documentary footage, both boos and cheers are heard a few bars into Dylan's first song, "Maggie's Farm", and continue throughout his second, "Like a Rolling Stone". Dylan and his band then performed "Phantom Engineer", an early version of "It Takes a Lot to Laugh, It Takes a Train to Cry". Dylan was said to have "electrified one half of his audience, and electrocuted the other".
After "Phantom Engineer", Dylan and the band left the stage. Booing and clapping are in the background. When Peter Yarrow returned to the microphone, he begged Dylan to continue performing. According to Robert Shelton, when Dylan returned to the stage, he discovered he did not have the right harmonica and said to Yarrow, "What are you doing to me?" Dylan then asked the audience for "an E harmonica". Within a few moments, a clatter of harmonicas hit the stage. Dylan performed two songs on acoustic guitar for the audience: "Mr Tambourine Man" followed by "It's All Over Now, Baby Blue", his farewell to the Newport Folk Festival. The crowd exploded with applause, calling for more. Dylan did not return to the Newport festival for 37 years. In an enigmatic gesture, Dylan performed at Newport in 2002, sporting a wig and fake beard.
Audience reaction
Joe Boyd, who worked with Paul Rothchild on the sound mixing for the festival, described the audience reaction in his memoir, White Bicycles: Making Music in the 1960s.
Filmmaker Murray Lerner and others present at Newport argued that the boos were from outraged folk fans who disliked Dylan playing an electric guitar. Others present, including musician Al Kooper, disagreed, arguing that the audience were upset by poor sound quality and the short duration of the set. "The reason they booed is that he only played for fifteen minutes when everybody else played for forty-five minutes or an hour," Kooper would later recall. "They were feeling ripped off. Wouldn't you? They didn't give a shit about us being electric. They just wanted more." According to performers Ian & Sylvia Tyson, it was "an angry, startled reaction" but that "it was a hostile audience" that year for other performers also.
Boyd said in an interview with Richie Unterberger in 2007: "I think there were a lot of people who were upset about the rock band, but I think it was pretty split. I think probably more people liked it than didn't. But there was certainly a lot of shouting and a lot of arguing, and a sound which, you can hear in a lot of ballparks. You used to get this confusion when Bill Skowron used to come up to the plate for the Yankees, 'cause his nickname was Moose. And everybody used to go, "MOOSE!" And it sounded like they were booing him. Because you don't get the articulation of the consonant, so that a crowd shouting "more, more, more" at the end of Dylan's three songs sounded very much like booing. I've heard recently a recording of that night, and it doesn't sound to me like booing so much as a roar, just a kind of general hubbub between songs, and during Yarrow's attempt to get Dylan back on stage... I really wouldn't be prepared to say it was 50–50, or two thirds/one third, or whatever. But I think that there was a segment of the audience, somewhere between a quarter and a half, that was dismayed or horrified or varying degrees of unhappy about what he was doing."
In 2007, documentary director Murray Lerner released on DVD his complete footage of Dylan's three appearances at Newport: The Other Side of the Mirror: Bob Dylan Live at the Newport Folk Festival 1963–1965. When interviewed by Mojo magazine, Lerner was asked: "There’s been a lot of debate over the years as to who exactly was doing the booing and who were they booing? Dylan? The organizers? The shortness of the set?" Lerner replied: "It's a good question. When we showed the film at The New York Film Festival [in October 2007] one kid gets up and says, 'About this booing... I was sitting right in front of the stage, there was no booing in the audience whatsoever. There was booing from the performers'. So I said, Well, I don't think you're right. Then another kid gets up and says 'I was a little further back and it was the press section that was booing, not the audience', and I said, Well, I don't think you're right. A third guy gets up and says 'I was there, and there was no question, it was the audience that was booing and there was no booing from the stage'. It was fascinating. People remember hearing what they thought they should hear. I think they were definitely booing Dylan and a little bit Pete Yarrow because he was so flustered. He was not expecting that audience's reaction and he was concerned about Bob’s image since they were part of the same family of artists through Al Grossman. But I absolutely think that they were booing Dylan going electric."
Interviewed in San Francisco, on December 3, 1965, Dylan was asked whether he was "surprised the first time the boos came?" He responded: "That was at Newport. Well, I did this very crazy thing, I didn't know what was going to happen, but they certainly booed, I'll tell you that. You could hear it all over the place.... I mean, they must be pretty rich, to be able to go some place and boo. I couldn't afford it if I was in their shoes."
Controversy around Pete Seeger's reaction
Poor sound quality was the reason musician Pete Seeger, who was backstage, gave for disliking the performance: he says he told the audio technicians, "Get that distortion out of his voice ... It's terrible. If I had an axe, I'd chop the microphone cable right now." Seeger has also said, however, that he only wanted to cut the cables because he wanted the audience to hear Dylan's lyrics properly because he thought they were important. Rumors that Seeger actually had an axe, or that a festival board member pulled or wanted to pull out the entire electrical wiring system are apocryphal. In the film No Direction Home, John Cohen of the New Lost City Ramblers, who is Pete Seeger's brother-in-law, states that Seeger wanted to lower the volume of the band because the noise was upsetting his elderly father Charles, who wore a hearing aid. In the same film, Dylan claimed that Seeger's unenthusiastic response to his set was like a "dagger in his heart" and made him "want to go out and get drunk".
According to jazz historian John Szwed, the legend about Pete Seeger cutting the cable or pulling the cords of the acoustic system may have arisen from an actual incident from earlier that afternoon. Szwed writes that Festival organizer Alan Lomax had asked Texas folklorist Mack McCormick, discoverer of Lightnin' Hopkins, to find a Texas prison gang to bring up to Newport to sing work songs, but the Texas Attorney General would not allow it, so McCormick had rounded up a group of ex-convicts. Since they had never performed together in front of an audience, much less a microphone, McCormick wanted to accustom them to the stage before the concert. "But Bob Dylan's electric band had been rehearsing for some time and refused to leave. 'I was trying to tell Dylan, we need the stage', McCormick said. 'He continued to ignore me. So I went over to the junction box and pulled out the cords. Then he listened'."
Joe Boyd recounted events differently in his memoir, "White Bicycles: Making Music in the 1960s". The Texas Prisoners Worksong group had been discovered by musicologist Bruce Jackson, who got permission to bring six of them to Newport. A tree stump was placed on the stage which they chopped with axes as they sang. During the performance, a mic cable disconnected. Boyd ducked in and reconnected it, earning a nod of approval from Seeger. Boyd speculates that somehow those ingredients, "Seeger, axes, cables...got muddled up".
Bruce Jackson, another director of the Newport Folk Festival, called the incident "the myth of Newport". Jackson was present at Dylan's 1965 performance and in 2002 reviewed an audio tape of it. Jackson contends that the booing was directed at Peter Yarrow (also a member of the Festival's Board), who upset the crowd when he attempted to keep Dylan's spot to its proper length; Jackson maintains there's nothing to indicate the crowd disliked Dylan's music, electrified or not.
New York City concert, August 28, 1965
The next concert Dylan played after his Newport performance was on August 28, 1965, at Forest Hills Stadium, in Queens, New York. Dylan appears to have believed that the booing at Newport was a consequence of some fans disliking his electric sound. Photographer Daniel Kramer, who accompanied Dylan to the Forest Hills concert, wrote: "Dylan held a conference with the musicians who were going to accompany him in the second half of the concert. He told them that they should expect anything to happen—he probably was remembering what occurred at Newport. He told them that the audience might yell and boo and that they should not be bothered by it. Their job was to make the best music they were capable of, and let whatever happened happen."
Musician Tony Glover, in his liner notes for the Bob Dylan Live 1966 album, quotes a contemporary account of the concert from Variety: "Bob Dylan split 15,000 of his fans down the middle at Forest Hills Tennis Stadium Sunday night... The most influential writer-performer on the pop music scene during the past decade, Dylan has apparently evolved too fast for some of his young followers, who are ready for radical changes in practically everything else... repeating the same scene that occurred during his performance at the Newport Folk Festival, Dylan delivered a round of folk-rock songs but had to pound his material against a hostile wall of anti-claquers, some of whom berated him for betraying the cause of folk music."
Dylan's "World Tour", 1965–1966
The polarised responses of Dylan's fans were exacerbated by the structure of his concerts in late 1965 and 1966; the first half would be 'folk,' Dylan solo accompanying himself on acoustic guitar and harmonica; with the second half 'rock,' Dylan and the Hawks with electric guitars and a full rock and roll combo. The rock segment was often greeted with hostility, as seen in shows in Sheffield and Newcastle upon Tyne in No Direction Home. Footage from the Manchester concert, at the end of that film, includes the "Judas" heckling incident. During a quiet moment in between songs an audience member shouts loudly: "Judas!" Dylan replies: "I don't believe you, you're a liar" before telling his band to "Play it fucking loud!" as they launch into "Like a Rolling Stone". This incident was recorded, and the full concert was eventually released in 1998 as Live 1966: The "Royal Albert Hall" Concert in Dylan's Bootleg Series. One fan who claimed to have shouted "Judas!" was John Cordwell; when interviewed by Andy Kershaw he said:
Another claimant to the "Judas!" shout was Keith Butler, who was a student at Keele University. Butler's presence was documented in the film Eat the Document, when the 21-year-old was filmed leaving the Manchester Free Trade Hall, saying "Any pop group could produce better rubbish than that! It was a bloody disgrace! He's a traitor!" In 1999, he took part in a BBC Radio documentary about Live 1966, and asked about his reaction at the time, he replied, "I kind of think: 'You silly young bugger.'"
In 2012, Dylan referred to the incident while addressing criticism that he had not clearly acknowledged his lyrical sources for his new album Tempest:
Wussies and pussies complain about that stuff. It's an old thing — it's part of the tradition. It goes way back. These are the same people that tried to pin the name Judas on me. Judas, the most hated name in human history! If you think you've been called a bad name, try to work your way out from under that. Yeah, and for what? For playing an electric guitar? As if that is in some kind of way equatable to betraying our Lord and delivering him up to be crucified. All those evil motherfuckers can rot in hell.
Newport 1966
Despite the mixed reaction afforded to Dylan at the 1965 Newport festival, several electric bands appeared at the following year's event, including the Lovin' Spoonful, Howlin' Wolf, Chuck Berry and the Blues Project. The groups were well received and received no pushback over their appearance. In an article recounting the festival for The New York Times, the critic Robert Shelton suggested that the Lovin' Spoonful's warm reception "reflected the growing acceptance of folk-rock and other amalgamations of contemporary folk songs with electric instruments".
Rediscovery and sale of Dylan's Newport guitar
In July 2012, an episode of the PBS series History Detectives recounted the story of New Jersey resident Dawn Peterson, who said she had the Fender Stratocaster Dylan played at Newport. She explained that Dylan had left the guitar on a plane piloted by her father, Victor Quinto, in 1965. An instrument specialist was convinced that the guitar was genuine, and lyrics of songs in the guitar case were identified as Dylan's work by a memorabilia collector. However, Dylan attorney Orin Snyder said that Dylan still had the guitar he played at Newport, and said: "He did own several other Stratocaster guitars that were stolen from him around that time, as were some handwritten lyrics."
Dylan and Peterson settled a legal dispute over the guitar, and in December 2013 it was sold by Christie's auction house in New York for $965,000. It was purchased by Jim Irsay, owner of the Indianapolis Colts football team. On July 26, 2015, the guitar was publicly played for the first time in 50 years during a tribute set at the Newport Folk Festival honoring the 50th anniversary of Dylan's performance at Newport. The tribute set included Gillian Welch, Dave Rawlings, Willie Watson, the New Orleans Preservation Hall Jazz Band, Jason Isbell, and several others. Isbell played Dylan's guitar during the tribute set and Newport Folk Festival producer Jay Sweet was quoted as saying "Dylan's guitar is home".
Notes
Footnotes
References
External links
Guardian.co.uk: "Bob Dylan's return to the scene of the crime", August 2, 2002
Queens University of Charlotte: Extract from Robert Shelton, No Direction Home: The Life and Music of Bob Dylan, New York, 1986
1965 controversies
1965 in American music
1965 in the United States
American music history
Bob Dylan
Controversies in the United States
Live music |
```python
# coding: utf-8
from __future__ import unicode_literals
from ..util import get_doc
from ...tokens import Doc
from ...vocab import Vocab
import pytest
import numpy
@pytest.mark.parametrize('text', [["one", "two", "three"]])
def test_doc_api_compare_by_string_position(en_vocab, text):
doc = get_doc(en_vocab, text)
# Get the tokens in this order, so their ID ordering doesn't match the idx
token3 = doc[-1]
token2 = doc[-2]
token1 = doc[-1]
token1, token2, token3 = doc
assert token1 < token2 < token3
assert not token1 > token2
assert token2 > token1
assert token2 <= token3
assert token3 >= token1
def test_doc_api_getitem(en_tokenizer):
text = "Give it back! He pleaded."
tokens = en_tokenizer(text)
assert tokens[0].text == 'Give'
assert tokens[-1].text == '.'
with pytest.raises(IndexError):
tokens[len(tokens)]
def to_str(span):
return '/'.join(token.text for token in span)
span = tokens[1:1]
assert not to_str(span)
span = tokens[1:4]
assert to_str(span) == 'it/back/!'
span = tokens[1:4:1]
assert to_str(span) == 'it/back/!'
with pytest.raises(ValueError):
tokens[1:4:2]
with pytest.raises(ValueError):
tokens[1:4:-1]
span = tokens[-3:6]
assert to_str(span) == 'He/pleaded'
span = tokens[4:-1]
assert to_str(span) == 'He/pleaded'
span = tokens[-5:-3]
assert to_str(span) == 'back/!'
span = tokens[5:4]
assert span.start == span.end == 5 and not to_str(span)
span = tokens[4:-3]
assert span.start == span.end == 4 and not to_str(span)
span = tokens[:]
assert to_str(span) == 'Give/it/back/!/He/pleaded/.'
span = tokens[4:]
assert to_str(span) == 'He/pleaded/.'
span = tokens[:4]
assert to_str(span) == 'Give/it/back/!'
span = tokens[:-3]
assert to_str(span) == 'Give/it/back/!'
span = tokens[-3:]
assert to_str(span) == 'He/pleaded/.'
span = tokens[4:50]
assert to_str(span) == 'He/pleaded/.'
span = tokens[-50:4]
assert to_str(span) == 'Give/it/back/!'
span = tokens[-50:-40]
assert span.start == span.end == 0 and not to_str(span)
span = tokens[40:50]
assert span.start == span.end == 7 and not to_str(span)
span = tokens[1:4]
assert span[0].orth_ == 'it'
subspan = span[:]
assert to_str(subspan) == 'it/back/!'
subspan = span[:2]
assert to_str(subspan) == 'it/back'
subspan = span[1:]
assert to_str(subspan) == 'back/!'
subspan = span[:-1]
assert to_str(subspan) == 'it/back'
subspan = span[-2:]
assert to_str(subspan) == 'back/!'
subspan = span[1:2]
assert to_str(subspan) == 'back'
subspan = span[-2:-1]
assert to_str(subspan) == 'back'
subspan = span[-50:50]
assert to_str(subspan) == 'it/back/!'
subspan = span[50:-50]
assert subspan.start == subspan.end == 4 and not to_str(subspan)
@pytest.mark.parametrize('text', ["Give it back! He pleaded.",
" Give it back! He pleaded. "])
def test_doc_api_serialize(en_tokenizer, text):
tokens = en_tokenizer(text)
new_tokens = get_doc(tokens.vocab).from_bytes(tokens.to_bytes())
assert tokens.text == new_tokens.text
assert [t.text for t in tokens] == [t.text for t in new_tokens]
assert [t.orth for t in tokens] == [t.orth for t in new_tokens]
def test_doc_api_set_ents(en_tokenizer):
text = "I use goggle chrone to surf the web"
tokens = en_tokenizer(text)
assert len(tokens.ents) == 0
tokens.ents = [(tokens.vocab.strings['PRODUCT'], 2, 4)]
assert len(list(tokens.ents)) == 1
assert [t.ent_iob for t in tokens] == [0, 0, 3, 1, 0, 0, 0, 0]
assert tokens.ents[0].label_ == 'PRODUCT'
assert tokens.ents[0].start == 2
assert tokens.ents[0].end == 4
def test_doc_api_merge(en_tokenizer):
text = "WKRO played songs by the beach boys all night"
# merge 'The Beach Boys'
doc = en_tokenizer(text)
assert len(doc) == 9
doc.merge(doc[4].idx, doc[6].idx + len(doc[6]), tag='NAMED', lemma='LEMMA',
ent_type='TYPE')
assert len(doc) == 7
assert doc[4].text == 'the beach boys'
assert doc[4].text_with_ws == 'the beach boys '
assert doc[4].tag_ == 'NAMED'
# merge 'all night'
doc = en_tokenizer(text)
assert len(doc) == 9
doc.merge(doc[7].idx, doc[8].idx + len(doc[8]), tag='NAMED', lemma='LEMMA',
ent_type='TYPE')
assert len(doc) == 8
assert doc[7].text == 'all night'
assert doc[7].text_with_ws == 'all night'
def test_doc_api_merge_children(en_tokenizer):
"""Test that attachments work correctly after merging."""
text = "WKRO played songs by the beach boys all night"
doc = en_tokenizer(text)
assert len(doc) == 9
doc.merge(doc[4].idx, doc[6].idx + len(doc[6]), tag='NAMED', lemma='LEMMA',
ent_type='TYPE')
for word in doc:
if word.i < word.head.i:
assert word in list(word.head.lefts)
elif word.i > word.head.i:
assert word in list(word.head.rights)
def test_doc_api_merge_hang(en_tokenizer):
text = "through North and South Carolina"
doc = en_tokenizer(text)
doc.merge(18, 32, tag='', lemma='', ent_type='ORG')
doc.merge(8, 32, tag='', lemma='', ent_type='ORG')
def test_doc_api_sents_empty_string(en_tokenizer):
doc = en_tokenizer("")
doc.is_parsed = True
sents = list(doc.sents)
assert len(sents) == 0
def test_doc_api_runtime_error(en_tokenizer):
# Example that caused run-time error while parsing Reddit
text = "67% of black households are single parent \n\n72% of all black babies born out of wedlock \n\n50% of all black kids don\u2019t finish high school"
deps = ['nsubj', 'prep', 'amod', 'pobj', 'ROOT', 'amod', 'attr', '',
'nummod', 'prep', 'det', 'amod', 'pobj', 'acl', 'prep', 'prep',
'pobj', '', 'nummod', 'prep', 'det', 'amod', 'pobj', 'aux', 'neg',
'ROOT', 'amod', 'dobj']
tokens = en_tokenizer(text)
doc = get_doc(tokens.vocab, [t.text for t in tokens], deps=deps)
nps = []
for np in doc.noun_chunks:
while len(np) > 1 and np[0].dep_ not in ('advmod', 'amod', 'compound'):
np = np[1:]
if len(np) > 1:
nps.append((np.start_char, np.end_char, np.root.tag_, np.text, np.root.ent_type_))
for np in nps:
start, end, tag, lemma, ent_type = np
doc.merge(start, end, tag=tag, lemma=lemma, ent_type=ent_type)
def test_doc_api_right_edge(en_tokenizer):
"""Test for bug occurring from Unshift action, causing incorrect right edge"""
text = "I have proposed to myself, for the sake of such as live under the government of the Romans, to translate those books into the Greek tongue."
heads = [2, 1, 0, -1, -1, -3, 15, 1, -2, -1, 1, -3, -1, -1, 1, -2, -1, 1,
-2, -7, 1, -19, 1, -2, -3, 2, 1, -3, -26]
tokens = en_tokenizer(text)
doc = get_doc(tokens.vocab, [t.text for t in tokens], heads=heads)
assert doc[6].text == 'for'
subtree = [w.text for w in doc[6].subtree]
assert subtree == ['for', 'the', 'sake', 'of', 'such', 'as',
'live', 'under', 'the', 'government', 'of', 'the', 'Romans', ',']
assert doc[6].right_edge.text == ','
def test_doc_api_has_vector():
vocab = Vocab()
vocab.reset_vectors(width=2)
vocab.set_vector('kitten', vector=numpy.asarray([0., 2.], dtype='f'))
doc = Doc(vocab, words=['kitten'])
assert doc.has_vector
def test_doc_api_similarity_match():
doc = Doc(Vocab(), words=['a'])
assert doc.similarity(doc[0]) == 1.0
assert doc.similarity(doc.vocab['a']) == 1.0
doc2 = Doc(doc.vocab, words=['a', 'b', 'c'])
assert doc.similarity(doc2[:1]) == 1.0
assert doc.similarity(doc2) == 0.0
def test_lowest_common_ancestor(en_tokenizer):
tokens = en_tokenizer('the lazy dog slept')
doc = get_doc(tokens.vocab, [t.text for t in tokens], heads=[2, 1, 1, 0])
lca = doc.get_lca_matrix()
assert(lca[1, 1] == 1)
assert(lca[0, 1] == 2)
assert(lca[1, 2] == 2)
def test_parse_tree(en_tokenizer):
"""Tests doc.print_tree() method."""
text = 'I like New York in Autumn.'
heads = [1, 0, 1, -2, -3, -1, -5]
tags = ['PRP', 'IN', 'NNP', 'NNP', 'IN', 'NNP', '.']
tokens = en_tokenizer(text)
doc = get_doc(tokens.vocab, [t.text for t in tokens], heads=heads, tags=tags)
# full method parse_tree(text) is a trivial composition
trees = doc.print_tree()
assert len(trees) > 0
tree = trees[0]
assert all(k in list(tree.keys()) for k in ['word', 'lemma', 'NE', 'POS_fine', 'POS_coarse', 'arc', 'modifiers'])
assert tree['word'] == 'like' # check root is correct
``` |
Emergency with Angela Griffin is a British Sky One documentary show that aired in two series from 4 May 2011 to 19 September 2012. The show is presented by British actress Angela Griffin, who joined Ambulance Services up and down the country to experience and showcase the work of the Ambulance Service, not just frontline Ambulance crews such as paramedics, but also of Emergency Care Practitioners, Call Handlers, Dispatchers and Community First Responders.
Throughout the two series Griffin joined crews from West Midlands Ambulance Service, Welsh Ambulance Service, Scottish Ambulance Service, Devon Air Ambulance,
References
External links
2011 British television series debuts
2012 British television series endings
Sky UK original programming
English-language television shows |
```go
package templates
// This file was generated by the swagger tool.
// Editing this file might prove futile when you re-run the swagger generate command
import (
"net/http"
"time"
"golang.org/x/net/context"
"github.com/go-openapi/errors"
"github.com/go-openapi/runtime"
cr "github.com/go-openapi/runtime/client"
strfmt "github.com/go-openapi/strfmt"
)
// NewTemplatesLibDeleteParams creates a new TemplatesLibDeleteParams object
// with the default values initialized.
func NewTemplatesLibDeleteParams() *TemplatesLibDeleteParams {
var (
scopeDefault = string("global")
)
return &TemplatesLibDeleteParams{
Scope: &scopeDefault,
timeout: cr.DefaultTimeout,
}
}
// NewTemplatesLibDeleteParamsWithTimeout creates a new TemplatesLibDeleteParams object
// with the default values initialized, and the ability to set a timeout on a request
func NewTemplatesLibDeleteParamsWithTimeout(timeout time.Duration) *TemplatesLibDeleteParams {
var (
scopeDefault = string("global")
)
return &TemplatesLibDeleteParams{
Scope: &scopeDefault,
timeout: timeout,
}
}
// NewTemplatesLibDeleteParamsWithContext creates a new TemplatesLibDeleteParams object
// with the default values initialized, and the ability to set a context for a request
func NewTemplatesLibDeleteParamsWithContext(ctx context.Context) *TemplatesLibDeleteParams {
var (
scopeDefault = string("global")
)
return &TemplatesLibDeleteParams{
Scope: &scopeDefault,
Context: ctx,
}
}
// NewTemplatesLibDeleteParamsWithHTTPClient creates a new TemplatesLibDeleteParams object
// with the default values initialized, and the ability to set a custom HTTPClient for a request
func NewTemplatesLibDeleteParamsWithHTTPClient(client *http.Client) *TemplatesLibDeleteParams {
var (
scopeDefault = string("global")
)
return &TemplatesLibDeleteParams{
Scope: &scopeDefault,
HTTPClient: client,
}
}
/*TemplatesLibDeleteParams contains all the parameters to send to the API endpoint
for the templates lib delete operation typically these are written to a http.Request
*/
type TemplatesLibDeleteParams struct {
/*Name
The name of the template
*/
Name string
/*Scope
The template scope
*/
Scope *string
timeout time.Duration
Context context.Context
HTTPClient *http.Client
}
// WithTimeout adds the timeout to the templates lib delete params
func (o *TemplatesLibDeleteParams) WithTimeout(timeout time.Duration) *TemplatesLibDeleteParams {
o.SetTimeout(timeout)
return o
}
// SetTimeout adds the timeout to the templates lib delete params
func (o *TemplatesLibDeleteParams) SetTimeout(timeout time.Duration) {
o.timeout = timeout
}
// WithContext adds the context to the templates lib delete params
func (o *TemplatesLibDeleteParams) WithContext(ctx context.Context) *TemplatesLibDeleteParams {
o.SetContext(ctx)
return o
}
// SetContext adds the context to the templates lib delete params
func (o *TemplatesLibDeleteParams) SetContext(ctx context.Context) {
o.Context = ctx
}
// WithHTTPClient adds the HTTPClient to the templates lib delete params
func (o *TemplatesLibDeleteParams) WithHTTPClient(client *http.Client) *TemplatesLibDeleteParams {
o.SetHTTPClient(client)
return o
}
// SetHTTPClient adds the HTTPClient to the templates lib delete params
func (o *TemplatesLibDeleteParams) SetHTTPClient(client *http.Client) {
o.HTTPClient = client
}
// WithName adds the name to the templates lib delete params
func (o *TemplatesLibDeleteParams) WithName(name string) *TemplatesLibDeleteParams {
o.SetName(name)
return o
}
// SetName adds the name to the templates lib delete params
func (o *TemplatesLibDeleteParams) SetName(name string) {
o.Name = name
}
// WithScope adds the scope to the templates lib delete params
func (o *TemplatesLibDeleteParams) WithScope(scope *string) *TemplatesLibDeleteParams {
o.SetScope(scope)
return o
}
// SetScope adds the scope to the templates lib delete params
func (o *TemplatesLibDeleteParams) SetScope(scope *string) {
o.Scope = scope
}
// WriteToRequest writes these params to a swagger request
func (o *TemplatesLibDeleteParams) WriteToRequest(r runtime.ClientRequest, reg strfmt.Registry) error {
if err := r.SetTimeout(o.timeout); err != nil {
return err
}
var res []error
// path param name
if err := r.SetPathParam("name", o.Name); err != nil {
return err
}
if o.Scope != nil {
// query param scope
var qrScope string
if o.Scope != nil {
qrScope = *o.Scope
}
qScope := qrScope
if qScope != "" {
if err := r.SetQueryParam("scope", qScope); err != nil {
return err
}
}
}
if len(res) > 0 {
return errors.CompositeValidationError(res...)
}
return nil
}
``` |
Trigonoptera laevipunctata is a species of beetle in the family Cerambycidae. It was described by Stephan von Breuning in 1950.
References
Beetles described in 1950
Trigonoptera |
Clivina bullata is a species of ground beetle in the subfamily Scaritinae. It was described by Andrewes in 1927.
References
bullata
Beetles described in 1927 |
The LVG D.III was a German fighter plane built by LVG in World War I.
Design
The D.III was similar to the LVG D.II in that it was a single-seat biplane fighter with wings of unequal span and a plywood covered semi-monocoque fuselage. N struts between the wings and two sets of 'V' struts held the center section of the upper wing above the fuselage. The lower wing had rounded tips, while upper wings had straight tips with a slight angle.
Development
Test flights began in May 1917 and were completed by 2 June 1917. However, the Idflieg decided that the D.III was too large and too heavy, so the D.III remained a prototype.
Specifications
References
Bibliography
1910s German fighter aircraft
D 03
Rotary-engined aircraft
Biplanes
Aircraft first flown in 1917 |
Rolfe R. Kent (born 18 April 1963) is an English film score composer.
Biography
Kent was born in St Albans, Hertfordshire, England. He attended St Albans School, worked at Balrossie School in Renfrewshire, Scotland, then graduated in Psychology (BSc) from the University of Leeds in 1986. 1986-1988 he taught psychology at Leeds Polytechnic (now Leeds Beckett University) before moving to London to concentrate on film scoring.
Kent resides in Los Angeles. He was nominated for a Golden Globe Award in the "Best Original Score" category for Sideways. He also composed the music for the movies Slums of Beverly Hills, The Men Who Stare at Goats, Killers, Wedding Crashers, Legally Blonde, About Schmidt, Freaky Friday, Mean Girls, Election, Town & Country, Kate & Leopold, The Matador, 17 Again, Reign Over Me, Thank You for Smoking, The Hunting Party, The Lucky Ones, Gun Shy, Ghosts of Girlfriends Past, Just Like Heaven, Gambit, Dom Hemingway, Magic Camp, Up in the Air and Rock Dog. In addition, he composed the theme song to the Showtime Original Series Dexter, for which he was nominated for the Primetime Emmy Award for Outstanding Main Title Theme Music. In 2013, he scored Jason Reitman's Labor Day, Nicolas Bary's Au bonheur des ogres, and Jason Bateman's directorial debut Bad Words. He scored the 2017 film Downsizing by Alexander Payne.
References
External links
Official site
1963 births
Alumni of the University of Leeds
English film score composers
English male film score composers
Living people
Musicians from St Albans
Varèse Sarabande Records artists |
```go
// Code generated by go-swagger; DO NOT EDIT.
package models
// This file was generated by the swagger tool.
// Editing this file might prove futile when you re-run the swagger generate command
import (
"context"
"github.com/go-openapi/errors"
"github.com/go-openapi/strfmt"
"github.com/go-openapi/swag"
)
// EntropyDevice Defines an entropy device.
//
// swagger:model EntropyDevice
type EntropyDevice struct {
// rate limiter
RateLimiter *RateLimiter `json:"rate_limiter,omitempty"`
}
// Validate validates this entropy device
func (m *EntropyDevice) Validate(formats strfmt.Registry) error {
var res []error
if err := m.validateRateLimiter(formats); err != nil {
res = append(res, err)
}
if len(res) > 0 {
return errors.CompositeValidationError(res...)
}
return nil
}
func (m *EntropyDevice) validateRateLimiter(formats strfmt.Registry) error {
if swag.IsZero(m.RateLimiter) { // not required
return nil
}
if m.RateLimiter != nil {
if err := m.RateLimiter.Validate(formats); err != nil {
if ve, ok := err.(*errors.Validation); ok {
return ve.ValidateName("rate_limiter")
} else if ce, ok := err.(*errors.CompositeError); ok {
return ce.ValidateName("rate_limiter")
}
return err
}
}
return nil
}
// ContextValidate validate this entropy device based on the context it is used
func (m *EntropyDevice) ContextValidate(ctx context.Context, formats strfmt.Registry) error {
var res []error
if err := m.contextValidateRateLimiter(ctx, formats); err != nil {
res = append(res, err)
}
if len(res) > 0 {
return errors.CompositeValidationError(res...)
}
return nil
}
func (m *EntropyDevice) contextValidateRateLimiter(ctx context.Context, formats strfmt.Registry) error {
if m.RateLimiter != nil {
if err := m.RateLimiter.ContextValidate(ctx, formats); err != nil {
if ve, ok := err.(*errors.Validation); ok {
return ve.ValidateName("rate_limiter")
} else if ce, ok := err.(*errors.CompositeError); ok {
return ce.ValidateName("rate_limiter")
}
return err
}
}
return nil
}
// MarshalBinary interface implementation
func (m *EntropyDevice) MarshalBinary() ([]byte, error) {
if m == nil {
return nil, nil
}
return swag.WriteJSON(m)
}
// UnmarshalBinary interface implementation
func (m *EntropyDevice) UnmarshalBinary(b []byte) error {
var res EntropyDevice
if err := swag.ReadJSON(b, &res); err != nil {
return err
}
*m = res
return nil
}
``` |
Sidney Leavitt Pressey (Brooklyn, New York, December 28, 1888 – July 1, 1979) was professor of psychology at Ohio State University for many years. He is famous for having invented a teaching machine many years before the idea became popular.
"The first.. [teaching machine] was developed by Sidney L. Pressey... While originally developed as a self-scoring machine... [it] demonstrated its ability to actually teach".
Pressey joined Ohio State in 1921, and stayed there until he retired in 1959. He continued publishing after retirement, with 18 papers between 1959 and 1967. He was a cognitive psychologist who "rejected a view of learning as an accumulation of responses governed by environmental stimuli in favor of one governed by meaning, intention, and purpose". In fact, he had been a cognitive psychologist his entire life, well before the "mythical birthday of the cognitive revolution in psychology". He helped create the American Association of Applied Psychology and later helped merge this group with the APA, after World War Two. In 1964 he was given the first E. L. Thorndike Award. The next year he became a charter member for National Academy of Education. After his retirement he created a scholarship program for honor students at Ohio State. In 1976, Ohio State named a learning resource building Sidney L. Pressey Hall.
The 'teaching machine'
Pressey's idea started as a machine for administering multiple-choice questions (MCQs) to students. MCQs were (and are still) a basic method for testing students in the United States. Pressey's machine had a window with a question and four answers. The student pressed the key to the chosen answer. The machine recorded the answer on a counter to the back of the machine, and showed the next question.
The great idea was to fix the machine so that it would not move on until the student chose the right answer. Then it was easy to show that this second arrangement taught the students which were the right answers. This was the first demonstration that a machine could teach, and also a demonstration that knowledge of results was the cause of the learning. This kind of feedback to the learner is basic: it just tells the learner whether they are right or not. Later work on other kinds of learning material showed that even better results were got when the feedback contained more explanatory material.
Pressey continued to improve his devices after World War II, and the papers of Pressey and his colleagues are reprinted in a leading sourcebook.
A number of reviews credit Pressey with being the originator of teaching machines, and of important aspects of programmed learning. This was long before the better known efforts of B.F. Skinner. The review by Klaus gave a special appreciation of Pressey and his work. Skinner, who was responsible for bringing the whole subject into popular view, acknowledged Pressey's work in his 1958 paper on teaching machines.
Sidney was displeased by the “crass commercialization” of teaching machines. He objected to this use of teaching machines feeling they had a lack of questioning about basic theory. He also felt that their full potential was not being fully utilized. He felt that programmed texts were “no more learning than simple silent reading”.
Pressey's own term was "adjunct autoinstruction". He thought it important to follow learning by questions "to enhance the clarity and stability of cognitive structure by correcting misapprehensions, and deferring the instruction of new matter until there had been such clarification and elucidation". The topic itself might be programmed, or it might not.
Introduction to the Use of Standard Tests
One of Pressey's most underrated contributions was the creation of Introduction to the Use of Standard Tests: A Brief Manual in the Use of Tests of Both Ability and Achievement in the School Subjects. Pressey created this in 1922. The purpose of this book was to address the need for a manual covering tests of ability and achievement, clarifying of the fundamental facts regarding tests, the handling of tests results, and the significance of test results. Pressey felt the need for this manual as he witnessed tests being used more and more in everyday life. Tests were not only being used more by teachers; they were also being used more by those not especially trained in their use. The manual was to act as an introductory handbook for tests.
Pressey's major textbook
Pressey's major textbook Psychology and the new education, 1937 and 1944,
is a prototypical cognitive text for student teachers. He writes (p369) of a diagnostic attack on teaching problems:
"For example, analysis of error, and remedial work based on the analysis, was found to improve greatly the mastery of algebra. In another experiment, individualization and diagnosis caused great improvement, as shown by actual performance, in the mastery of vocational agriculture".
Pressey goes on to quote more published examples, and gives the data from some of these studies. The whole of chapter 10, The nature and control of the learning process, is directly relevant to the ideas of programmed learning which developed after World War II in the United States.
Pressey's whole approach to educational psychology ran in opposition to the influence of B.F. Skinner and the behaviorists, as this quotation illustrates:
"The archvillain, leading so many people astray, is declared to be learning theory! No less a charge is made than that the whole trend of American research and theory as regards learning has been based on a false premisethat the important features of human learning are to be found in animals. Instead, the all-important fact is that humans have transcended animal learning. Language, number, such skills as silent reading, make possible facilitations of learning, and kinds of learning, impossible even for the apes, Autoinstruction should enhance such potentials. Instead, current animal derived procedures in autoinstruction destroy meaningful structure to present material serially in programs, and replace processes of cognitive clarification and largely rote reinforcements of bit learnings".
Books by Pressey
Pressey S.L. & Pressey L.C. 1923. Introduction to the use of standard tests. Harrap.
Pressey S.L. & Pressey L.C. 1927. Mental abnormality and deficiency. Macmillan.
Pressey S.L. 1933. Psychology and the new education. Harper.
Pressey S.L. & Robinson F.P. 1944. Psychology and the new education. Revised edition, Harper.
Pressey S.L. & Janney J.E. 1937. Casebook of research in education. Harper.
Pressey S.L; Janney J.E. & Kuhlen R.G. 1939. Life: a psychological survey. Harper.
Pressey S.L. & Kuhlen R.G. 1957. Psychological development through the life span. Harper & Row.
Pressey S.L; Robinson F.P & Horrocks J.E. 1959. Psychology in education. Harper.
Autobiographies
Pressey, Sidney L. 1967. Autobiography. In A history of psychology in autobiography, vol 5. eds Edward G. Boring and Gardner Lindzey. New York: Appleton-Century-Croft.
Pressey, Sidney L. 1971. Sidney Leavitt Pressey, Part I: An autobiography. In Leaders in American education, ed. Robert J. Havighurst. Chicago: University of Chicago Press.
References
1888 births
1979 deaths
20th-century American educators
20th-century American psychologists
American cognitive psychologists
American educational psychologists
People in educational technology
Ohio State University faculty |
```xml
import * as dotenv from "dotenv";
dotenv.config();
import "./instrument";
import * as http from "http";
import * as cookieParser from "cookie-parser";
import userMiddleware from "./middlewares/userMiddleware";
import pubsub from "./subscription/pubsub";
import {
setAfterMutations,
setBeforeResolvers,
setAfterQueries
} from "./redis";
import * as cors from "cors";
import { retryGetProxyTargets, ErxesProxyTarget } from "./proxy/targets";
import { applyProxiesCoreless, applyProxyToCore } from "./proxy/middleware";
import { startRouter, stopRouter } from "./apollo-router";
import {
startSubscriptionServer,
stopSubscriptionServer
} from "./subscription";
import { applyInspectorEndpoints } from "@erxes/api-utils/src/inspect";
import app from "@erxes/api-utils/src/app";
import { sanitizeHeaders } from "@erxes/api-utils/src/headers";
import { applyGraphqlLimiters } from "./middlewares/graphql-limiter";
import * as Sentry from "@sentry/node";
const { DOMAIN, WIDGETS_DOMAIN, CLIENT_PORTAL_DOMAINS, ALLOWED_ORIGINS, PORT } =
process.env;
(async () => {
app.use((req, _res, next) => {
sanitizeHeaders(req.headers);
next();
});
app.use(cookieParser());
app.use(userMiddleware);
const corsOptions = {
credentials: true,
origin: [
DOMAIN ? DOMAIN : "path_to_url",
WIDGETS_DOMAIN ? WIDGETS_DOMAIN : "path_to_url",
...(CLIENT_PORTAL_DOMAINS || "").split(","),
"path_to_url",
...(ALLOWED_ORIGINS || "").split(",").map(c => c && RegExp(c))
]
};
app.use(cors(corsOptions));
const targets: ErxesProxyTarget[] = await retryGetProxyTargets();
await startRouter(targets);
Sentry.setupExpressErrorHandler(app);
applyGraphqlLimiters(app);
applyProxiesCoreless(app, targets);
const httpServer = http.createServer(app);
httpServer.on("close", () => {
try {
pubsub.close();
} catch (e) {
console.log("PubSub client disconnected");
}
});
await startSubscriptionServer(httpServer);
applyInspectorEndpoints("gateway");
const port = PORT || 4000;
await new Promise<void>(resolve => httpServer.listen({ port }, resolve));
await setBeforeResolvers();
await setAfterMutations();
await setAfterQueries();
await applyProxyToCore(app, targets);
console.log(`Erxes gateway ready at path_to_url{port}/`);
})();
(["SIGINT", "SIGTERM"] as NodeJS.Signals[]).forEach(sig => {
process.on(sig, async () => {
console.log(`Exiting on signal ${sig}`);
await stopSubscriptionServer();
await stopRouter(sig);
process.exit(0);
});
});
``` |
Sports form a part of the culture of Lesotho. Football is the most popular sport in the country.
History
Lesotho first participated at the Olympic Games in 1972.
By sport
Cricket
The Lesotho national cricket team is an associate member of the ICC.
Football
Football is the most popular sport in the country. The national team, governed by the Lesotho Football Association represents Lesotho in various competitions, however, it has never qualified for the FIFA World Cup. The Lesotho Premier League is the top league of the country.
Rugby Union
References |
Nigel Wykes (19 March 1906 – 4 December 1991 - born Norman Gordon Wykes) was an English cricketer. He was educated at Oundle School and played for Essex between 1925 and 1936.
References
External links
1906 births
1991 deaths
English cricketers
Essex cricketers
People from Woodford, London
Sportspeople from the London Borough of Redbridge
Cambridge University cricketers
People educated at Oundle School |
Ben Pollock (born 6 January 1998) is an English footballer who plays as a defender for club Spennymoor Town.
Career
Pollock spent his youth with Middlesbrough, Leeds United, and Newcastle United, before he signed his first professional contract with Hartlepool United in May 2016, following a successful trial spell. He made his senior debut in a 1–0 defeat to Sunderland U23 in an EFL Trophy group match at Victoria Park on 4 October 2016.
On 27 July 2017, Pollock scored for Grimsby Town in a 7–0 win against Winterton Rangers whilst on trial. During the same pre-season, Pollock also went on trial with Harrogate Town.
In July 2018, Pollock signed for Northern League Division Two club Billingham Synthonia after his father, Jamie, took over the club as chairman and manager. While at the club, Pollock made the transition from a defender to a centre midfielder.
On 4 October 2019, following 37 appearances for Billingham Synthonia, Pollock joined National League North side Hereford after his move to then EFL League Two side Bury fell through. He was made available for Hereford's FA Cup third qualifying round tie at Tamworth the following day. He won the club's Player of the Year award for the 2021–22 season. Pollock announced his departure from the club on 1 June 2022.
Pollock signed for Boston United on 7 June 2022.
On 20 June 2023, Pollock signed for Spennymoor Town.
Style of play
Pollock is a versatile footballer and can play centre back, right back and centre midfield.
Personal life
Ben's father, Jamie Pollock, is also a former professional footballer. His brother, Mattie Pollock, plays for Watford.
Career statistics
References
External links
Spennymoor Town profile
Boston United profile
1998 births
Living people
Footballers from Bolton
English men's footballers
Men's association football defenders
Middlesbrough F.C. players
Leeds United F.C. players
Newcastle United F.C. players
Hartlepool United F.C. players
Dunston UTS F.C. players
Billingham Synthonia F.C. players
Hereford F.C. players
Boston United F.C. players
English Football League players
Spennymoor Town F.C. players |
Mireya Aleshannee Delta Grey (born 7 September 1998) is an American-born Jamaican footballer who plays as a forward for Seattle Sounders Women and the Jamaica women's national team.
International career
Grey represented Jamaica at the 2018 CONCACAF Women's U-20 Championship. She made her senior debut in a 3–1 friendly win against Panama on 19 May 2019. She was a last minute replacement for injured Kayla McCoy taking her place at the 2019 FIFA Women's World Cup.
International goals
Scores and results list Jamaica's goal tally first
References
External links
1998 births
Living people
Citizens of Jamaica through descent
Jamaican women's footballers
Women's association football forwards
Jamaica women's international footballers
2019 FIFA Women's World Cup players
Pan American Games competitors for Jamaica
Footballers at the 2019 Pan American Games
Soccer players from Seattle
American women's soccer players
Washington Huskies women's soccer players
Seattle Sounders Women players
Women's Premier Soccer League players
African-American women's soccer players
American sportspeople of Jamaican descent
21st-century African-American sportspeople
21st-century African-American women
Competitors at the 2023 Central American and Caribbean Games |
The men's 60 metres hurdles event at the 1997 IAAF World Indoor Championships was held on March 8–9.
Doping disqualification
Jonathan N'Senga of Belgium originally qualified for the final and finished 6th, but was later disqualified for doping.
Medalists
Results
Heats
The first 2 of each heat (Q) and next 2 fastest (q) qualified for the semifinals.
Semifinals
First 3 of each semifinal (Q) qualified directly for the final.
Final
References
Hurdles
60 metres hurdles at the World Athletics Indoor Championships |
```shell
How to unmodify a modified file
Using aliases for git commands
Remote repositories: viewing, editing and deleting
Recover lost code
Dates in git
``` |
```turing
#!/bin/sh
# $FreeBSD: src/tools/regression/fstest/tests/link/08.t,v 1.1 2007/01/17 01:42:09 pjd Exp $
desc="link returns ELOOP if too many symbolic links were encountered in translating one of the pathnames"
n0=`namegen`
n1=`namegen`
n2=`namegen`
expect 0 symlink ${n0} ${n1}
expect 0 symlink ${n1} ${n0}
expect ELOOP link ${n0}/test ${n2}
expect ELOOP link ${n1}/test ${n2}
expect 0 create ${n2} 0644
expect ELOOP link ${n2} ${n0}/test
expect ELOOP link ${n2} ${n1}/test
expect 0 unlink ${n0}
expect 0 unlink ${n1}
expect 0 unlink ${n2}
``` |
```java
/*
* DO NOT ALTER OR REMOVE COPYRIGHT NOTICES OR THIS FILE HEADER.
*
* This code is free software; you can redistribute it and/or modify it
* published by the Free Software Foundation. Oracle designates this
* particular file as subject to the "Classpath" exception as provided
* by Oracle in the LICENSE file that accompanied this code.
*
* This code is distributed in the hope that it will be useful, but WITHOUT
* ANY WARRANTY; without even the implied warranty of MERCHANTABILITY or
* version 2 for more details (a copy is included in the LICENSE file that
* accompanied this code).
*
* 2 along with this work; if not, write to the Free Software Foundation,
* Inc., 51 Franklin St, Fifth Floor, Boston, MA 02110-1301 USA.
*
* Please contact Oracle, 500 Oracle Parkway, Redwood Shores, CA 94065 USA
* or visit www.oracle.com if you need additional information or have any
* questions.
*/
package jdk.graal.compiler.replacements.test;
import jdk.vm.ci.code.InstalledCode;
import jdk.vm.ci.meta.ResolvedJavaMethod;
import jdk.graal.compiler.nodes.StructuredGraph;
import jdk.graal.compiler.nodes.graphbuilderconf.GraphBuilderConfiguration;
import jdk.graal.compiler.options.OptionValues;
import jdk.graal.compiler.replacements.ConstantBindingParameterPlugin;
import org.junit.Test;
public class StringIndexOfConstantTest extends StringIndexOfTestBase {
public StringIndexOfConstantTest(String sourceString, String constantString) {
super(sourceString, constantString);
}
/*
* These test definitions could live in the superclass except that the mx junit individual test
* runner can't find tests in superclasses.
*/
@Override
@Test
public void testStringIndexOfConstant() {
super.testStringIndexOfConstant();
}
@Override
@Test
public void testStringIndexOfConstantOffset() {
super.testStringIndexOfConstantOffset();
}
@Override
@Test
public void testStringBuilderIndexOfConstant() {
super.testStringBuilderIndexOfConstant();
}
@Override
@Test
public void testStringBuilderIndexOfConstantOffset() {
super.testStringBuilderIndexOfConstantOffset();
}
Object[] constantArgs;
@Override
protected GraphBuilderConfiguration editGraphBuilderConfiguration(GraphBuilderConfiguration conf) {
if (constantArgs != null) {
ConstantBindingParameterPlugin constantBinding = new ConstantBindingParameterPlugin(constantArgs, this.getMetaAccess(), this.getSnippetReflection());
conf.getPlugins().appendParameterPlugin(constantBinding);
}
return super.editGraphBuilderConfiguration(conf);
}
@Override
protected Result test(OptionValues options, ResolvedJavaMethod method, Object receiver, Object... args) {
constantArgs = new Object[args.length + 1];
for (int i = 0; i < args.length; i++) {
if (args[i] == constantString) {
constantArgs[i + 1] = constantString;
}
}
return super.test(options, method, receiver, args);
}
@Override
protected InstalledCode getCode(final ResolvedJavaMethod installedCodeOwner, StructuredGraph graph0, boolean ignoreForceCompile, boolean ignoreInstallAsDefault, OptionValues options) {
// Force recompile if constant binding should be done
return super.getCode(installedCodeOwner, graph0,
/* forceCompile */ true, /* installAsDefault */ false, options);
}
}
``` |
is a Japanese photographer.
He is a student of photographer Ōtsuji Kiyoji, and husband to Tokuko Ushioda.
External links
Artist website: http://www.catnet.ne.jp/usimaoda/
References
Japanese photographers
1948 births
Living people
People from Kobe |
John Pesutto (; born 5 September 1970) is an Australian politician and lawyer serving as the Leader of the Opposition in Victoria, holding office as the leader of the Victorian Branch of the Liberal Party of Australia. He has been a member of the Legislative Assembly (MLA) for the inner-city division of Hawthorn since 2022, and previously from 2014 to 2018.
Early life and career
Pesutto studied at Catholic Regional College Traralgon from 1983 to 1988, and studied a Bachelor of Laws / Bachelor of Commerce at the University of Melbourne from 1989 to 1993. He worked as a lawyer for Littleton Hackford from 1994 to 1996, as an Electorate Officer for Russell Broadbent from 1996 to 1997, as a lawyer for Henty Jepson & Kelly from 1997 to 2006, as a lawyer for Phillips Fox from 2006 to 2009, as a self-employed consultant from 2009 to 2011 and Director of the Productivity and Employment Unit with the Institute of Public Affairs in 2010, and in the Office of the Premier from 2011 to 2014 as Counsel to Denis Napthine, Chief of Staff to the Health Minister and as a senior advisor to Ted Baillieu. During his career in private legal practice, Pesutto practised with a focus on industrial relations and employment matters, while his consultancy had a focus on advising government departments and public sector agencies on governance and performance issues.
After losing his seat in the 2018 Victorian state election, Pesutto took up an honorary post in the school of government at the University of Melbourne, established his own consultancy firm called Hugo Benice Advisory offering legal work and media, government and competition advice, and maintained a presence in the media through writing columns for The Age and appearing on ABC Radio and Joy FM.
Political career
Pesutto ran for Liberal preselection for Kooyong at the 2010 federal election but lost to Josh Frydenberg.
Pesutto was pre-selected as Liberal Party candidate for Hawthorn after defeating John Roskam of the Institute of Public Affairs for the position. He was successful at the 2014 state election. He was Shadow Attorney-General in Matthew Guy's first shadow ministry. He was defeated at the 2018 state election. He was a panelist on ABC on election night when he was told on live television that he had lost his seat to Labor's John Kennedy.
On 14 December 2021, John Pesutto was again endorsed as the Liberal candidate for Hawthorn at the 2022 Victorian state election. Pesutto won re-election in the state election on 26 November 2022 against Labor incumbent John Kennedy and teal independent challenger Melissa Lowe on a 1.7% margin. After Liberal leader Matthew Guy announced his resignation, Pesutto announced his candidacy for Liberal leader. Pesutto was elected leader of the Liberal Party on 8 December 2022, winning the party room ballot by one vote against Brad Battin.
Under Pesutto's leadership, in March 2023 his party considered expelling Liberal MP Moira Deeming from the party, but opted to suspend her from the party room for nine months. Deeming later initiated legal action against Pesutto after he declined her demand to issue a media statement saying that he does not consider her a Nazi or Nazi sympathiser. This saga was part of a crisis within the Victorian Liberal Party in May 2023, when Pesutto's leadership was undermined by members of the hard-right faction of the Liberal Party, who two Liberal MPs labelled ‘terrorists’. Liberal Party elder Tony Barry described the situation as “The Victorian Liberal Party is like the space shuttle Columbia slamming into the Hindenburg and then landing on the deck of the Titanic". Federal Liberal Party leader Peter Dutton on 5 May 2023, refused to rule out an intervention into the Victorian Liberal Party. Deeming was eventually expelled on May 11, 2023, by a vote of 19–11. The vote was widely considered a test of Pesutto's leadership of the parliamentary Liberal party. At the 20th of May 2023 Liberal state council meeting in Bendigo, Pesutto was booed by attendees for his handling of situation. The controversy resulted in the Victorian Liberals recording their lowest ever primary vote of 23% in published opinion polls. The Federal Liberal Women's Committee condemned Pesutto for suspending Deeming, and demanded Pesutto apologise and immediately reinstate Deeming to the partyroom.
Pesutto is considered to be factionally moderate within the Liberal Party.
Personal life
A resident of Hawthorn for over 25 years, Pesutto is married to Betty Pesutto, and has three daughters.
He has described himself of being "from the Greek parts of Italy".
See also
Shadow ministry of John Pesutto
References
External links
1970 births
Living people
Liberal Party of Australia members of the Parliament of Victoria
Members of the Victorian Legislative Assembly
20th-century Australian lawyers
University of Melbourne alumni politicians
Melbourne Law School alumni
Australian politicians of Italian descent
People from Traralgon
21st-century Australian politicians
21st-century Australian lawyers
People from Hawthorn, Victoria |
Taigum is a northern suburb in the City of Brisbane, Queensland, Australia. In the , Taigum had a population of 6,495 people.
Geography
The suburb is bounded to the west and north by Cabbage Tree Creek, to the east by Muller Road, and to the south by Beams Road.
History
The Tighgum area (now known as Taigum) was first developed around 1853, as part of a subdivision of the Nundah Division. In 1891, it was suggested, unsuccessfully, by the board that the name be changed to "Tyghum Divisional Board" and Tighgum Creek was also the original and alternate name in brackets for Cabbage tree Creek.
The suburb name was officially recognized on . The name is derived from an Aboriginal word for lawyer cane. The word Taghum was used as alternative to cabbage in Cabbage Tree Creek.
Zillmere North State School opened on 29 January 1957 on a site. In 1993, it was renamed Taigum State School.
Taigum Square shopping centre opened in 1982 and was expanded in 2001.
St. Paraskevi Greek Orthodox Church at 241 Church Road was founded on . It was named after Paraskevi of Rome. The cornerstone was laid on by Archbishop Stylianos and the church officially opened on . It serves as home to the Taigum Child Care Centre.
The Centrepoint Church in Taigum opened at 205 Beams Road on as a second church location of the Centrepoint Church in Chermside. The building formerly belonged to the iSee Church.
Demographics
In the , the population of Taigum was 5,619, 53.7% female and 46.3% male. The median age of the Taigum population was 39 years, 2 years above the Australian median. 65.9% of people living in Taigum were born in Australia, compared to the national average of 69.8%; the next most common countries of birth were New Zealand 5.2%, Philippines 3.8%, England 3.7%, India 3.2%, Fiji 1.2%. 78.1% of people spoke only English at home; the next most common languages were 2.1% Tagalog, 1.5% Punjabi, 1.2% Filipino, 1.1% Hindi, 1.1% Italian. Over 38% of households in this area were couples with children, 40% were of couples without children and 18% were single parent households. Over 61% of residential developments were houses and another 25% were townhouses.
In the , Taigum had a population of 6,495 people.
Education
Taigum State School is a government primary (Early Childhood-6) school for boys and girls at 266 Handford Road (). In 2018, the school had an enrolment of 406 students with 35 teachers (30 full-time equivalent) and 28 non-teaching staff (15 full-time equivalent). It includes a special education program.
There are no secondary schools in Taigum. The nearest government secondary schools are Sandgate District State High School in neighbouring Deagon to the north and Aspley State High School in Aspley to the south-west.
Amenities
Taigum Square shopping centre is at 217 Beams Road ().
Centrepoint Church is at 203 Beams Road (). It is part of the Australian Christian Churches network.
St Paraskevi Greek Orthodox Church is at 241 Church Road (). It is a parish of the Greek Orthodox Archdiocese of Australia, part of the Ecumenical Patriarchate of Constantinople.
References
External links |
```yaml
apiVersion: release-notes/v2
kind: feature
area: traffic-management
releaseNotes:
- |
**Fixed** an issue causing `hostNetwork` pods to be ignored in ambient mode.
``` |
The following is a list of notable events and releases of the year 2003 in Norwegian music.
Events
January
17 – The 22nd annual Djangofestival started on Cosmopolite in Oslo, Norway (January 17 – 19).
30 – The 6th Polarjazz started in Longyearbyen, Svalbard (January 30 – February 2).
February
6 – Kristiansund Opera Festival opened (February 6 – 22).
March
13 – The annual By:Larm started in Trondheim (March 13 – 16).
April
11
The 30th Vossajazz started at Voss (April 11 – 13).
Kåre Opheim was awarded Vossajazzprisen 2003.
3 – Terje Rypdal performs the commissioned work Vossabrygg for Vossajazz 2003.
25 – Ole Blues started in Bergen (April 25 – May 3).
May
6 – The 14th MaiJazz started in Stavanger (May 6 – 10).
21
The start of Bergen International Music Festival Festspillene i Bergen (May 21 – June 1).
The 31st Nattjazz 2004 started in Bergen (May 21 – 31).
June
13 – Norwegian Wood started in Oslo (June 13 – 15).
July
2 – The 39th Kongsberg Jazzfestival started in Kongsberg (July 2 – 5).
12 – The 43rd Moldejazz started in Molde (July 12 – 17).
August
6 – The 17th Sildajazz started in Haugesund (August 6 – 10).
7 – The annual Øyafestivalen started in Oslo (August 7 – 9).
11 – The 18th Oslo Jazzfestival started in Oslo (August 11 – 17).
September
3 – The 2nd Insomnia Festival started in Tromsø (September 3 – 6).
30 – The 1st Ekkofestival started in Bergen (September 30 – Oktober 3.
October
1 – The DølaJazz started in Lillehammer.
2 – The Ultima Oslo Contemporary Music Festival started in Oslo (October 2 – 12).
31 – The Trondheim Jazz Festival started in Trondheim (October 31 – November 8).
November
4 – The Oslo World Music Festival started in Oslo (November 4 – 9).
December
11– The Nobel Peace Prize Concert was held in Oslo Spektrum.
Albums released
November
Unknown date
A
Arild Andersen
Moon Water (NorCD), with Carsten Dahl and Patrice Heral
B
Jon Balke
Trialogue (Jazzland Recordings), with Lars Møller and Morten Lund
I
Terje Isungset
Middle Of Mist (Jazzland Recordings)
N
Paal Nilssen-Love
Schlinger (Smalltown Supersound), with Håkon Kornstad
Births
April
11 – Aksel Rykkvin, boy soprano.
Deaths
January
June
5 – Ola Calmeyer, jazz pianist (born 1930).
November
6 – Hallvard Johnsen, composer and flautist (born 1916).
December
12 – Peder Alhaug, tenor (born 1921).
See also
2003 in Norway
Music of Norway
Norway in the Eurovision Song Contest 2003
2003 in jazz
References
Norwegian music
Norwegian
Music
2000s in Norwegian music |
```rust
/*
*
* This software may be used and distributed according to the terms of the
*/
use dag::idmap::IdMap;
use dag::idmap::IdMapAssignHead;
use dag::ops::Persist;
use dag::Group;
use dag::Id;
use dag::IdDag;
use dag::IdSet;
use dag::Vertex;
use minibench::bench;
use minibench::elapsed;
use nonblocking::non_blocking_result as nbr;
use tempfile::tempdir;
type ParentsFunc<'a> = Box<dyn Fn(Vertex) -> dag::Result<Vec<Vertex>> + Send + Sync + 'a>;
pub fn main() {
let parents = bindag::parse_bindag(bindag::MOZILLA);
let head_name = Vertex::copy_from(format!("{}", parents.len() - 1).as_bytes());
let parents_by_name = |name: Vertex| -> dag::Result<Vec<Vertex>> {
let i = String::from_utf8(name.as_ref().to_vec())
.unwrap()
.parse::<usize>()
.unwrap();
Ok(parents[i]
.iter()
.map(|p| format!("{}", p).as_bytes().to_vec().into())
.collect())
};
let id_map_dir = tempdir().unwrap();
let mut id_map = IdMap::open(id_map_dir.path()).unwrap();
let mut covered_ids = IdSet::empty();
let reserved_ids = IdSet::empty();
let prepared_segments = nbr(id_map.assign_head(
head_name,
&(Box::new(parents_by_name) as ParentsFunc),
Group::MASTER,
&mut covered_ids,
&reserved_ids,
))
.unwrap();
// Test the size, and generation speed, and ancestor calcuation speed
// with some different segment sizes.
for segment_size in [4, 8, 10, 12, 14, 16, 18, 20, 22, 24, 32, 64, 128] {
let dag_dir = tempdir().unwrap();
let mut dag = IdDag::open(dag_dir.path()).unwrap();
dag.set_new_segment_size(segment_size);
let segment_len = dag
.build_segments_from_prepared_flat_segments(&prepared_segments)
.unwrap();
{
let locked = dag.lock().unwrap();
dag.persist(&locked).unwrap();
}
let log_len = dag_dir.path().join("log").metadata().unwrap().len();
eprintln!("segments: {} log len: {}", segment_len, log_len);
bench(
format!("ancestor calcuation segment_size={}", segment_size),
|| {
let dag = IdDag::open(dag_dir.path()).unwrap();
elapsed(|| {
for i in (0..parents.len() as u64).step_by(10079) {
for j in (1..parents.len() as u64).step_by(2351) {
dag.gca_one((Id(i), Id(j)).into()).unwrap();
}
}
})
},
);
}
}
``` |
Gmina Czastary is a rural gmina (administrative district) in Wieruszów County, Łódź Voivodeship, in central Poland. Its seat is the village of Czastary, which lies approximately east of Wieruszów and south-west of the regional capital Łódź.
The gmina covers an area of , and as of 2006 its total population is 4,041.
Villages
Gmina Czastary contains the villages and settlements of Chorobel, Czastary, Dolina, Jaworek, Józefów, Kąty, Kniatowy, Krajanka, Krzyż, Nalepa, Parcice, Przywory, Radostów Drugi, Radostów Pierwszy and Stępna.
Neighbouring gminas
Gmina Czastary is bordered by the gminas of Biała, Bolesławiec, Łubnice, Sokolniki and Wieruszów.
References
Polish official population figures 2006
Czastary
Wieruszów County |
```c
/*
*
* This file is part of System Informer.
*
* Authors:
*
* dmex 2015-2023
*
*/
#include "toolstatus.h"
static PPH_LIST PhpToolbarGraphList = NULL;
static PPH_HASHTABLE PhpToolbarGraphHashtable = NULL;
typedef struct _TB_GRAPH_CONTEXT
{
LONG GraphDpi;
} TB_GRAPH_CONTEXT, *PTB_GRAPH_CONTEXT;
ULONG CpuHistoryGraphColor1 = 0;
ULONG CpuHistoryGraphColor2 = 0;
ULONG PhysicalHistoryGraphColor1 = 0;
ULONG CommitHistoryGraph1Color1 = 0;
ULONG IoHistoryGraphColor1 = 0;
ULONG IoHistoryGraphColor2 = 0;
TOOLSTATUS_GRAPH_MESSAGE_CALLBACK_DECLARE(CpuHistoryGraphMessageCallback);
TOOLSTATUS_GRAPH_MESSAGE_CALLBACK_DECLARE(PhysicalHistoryGraphMessageCallback);
TOOLSTATUS_GRAPH_MESSAGE_CALLBACK_DECLARE(CommitHistoryGraphMessageCallback);
TOOLSTATUS_GRAPH_MESSAGE_CALLBACK_DECLARE(IoHistoryGraphMessageCallback);
TB_GRAPH_CONTEXT CpuHistoryGraphContext = { 0 };
TB_GRAPH_CONTEXT PhysicalHistoryGraphContext = { 0 };
TB_GRAPH_CONTEXT CommitHistoryGraphContext = { 0 };
TB_GRAPH_CONTEXT IoHistoryGraphContext = { 0 };
VOID ToolbarGraphLoadSettings(
VOID
)
{
PPH_STRING settingsString;
PH_STRINGREF remaining;
settingsString = PhGetStringSetting(SETTING_NAME_TOOLBAR_GRAPH_CONFIG);
if (PhIsNullOrEmptyString(settingsString))
return;
remaining = PhGetStringRef(settingsString);
while (remaining.Length != 0)
{
PH_STRINGREF idPart;
PH_STRINGREF flagsPart;
PH_STRINGREF pluginNamePart;
LONG64 idInteger;
LONG64 flagsInteger;
PhSplitStringRefAtChar(&remaining, L'|', &idPart, &remaining);
PhSplitStringRefAtChar(&remaining, L'|', &flagsPart, &remaining);
PhSplitStringRefAtChar(&remaining, L'|', &pluginNamePart, &remaining);
if (!PhStringToInteger64(&idPart, 10, &idInteger))
break;
if (!PhStringToInteger64(&flagsPart, 10, &flagsInteger))
break;
if (flagsInteger)
{
PPH_TOOLBAR_GRAPH graph;
if (pluginNamePart.Length)
{
if (graph = ToolbarGraphFindByName(&pluginNamePart, (ULONG)idInteger))
{
SetFlag(graph->Flags, TOOLSTATUS_GRAPH_ENABLED);
}
}
else
{
if (graph = ToolbarGraphFindById((ULONG)idInteger))
{
SetFlag(graph->Flags, TOOLSTATUS_GRAPH_ENABLED);
}
}
}
}
PhDereferenceObject(settingsString);
}
VOID ToolbarGraphSaveSettings(
VOID
)
{
PPH_STRING settingsString;
PH_STRING_BUILDER graphListBuilder;
PhInitializeStringBuilder(&graphListBuilder, 100);
for (ULONG i = 0; i < PhpToolbarGraphList->Count; i++)
{
PPH_TOOLBAR_GRAPH graph = PhpToolbarGraphList->Items[i];
PPH_STRING pluginName;
if (!FlagOn(graph->Flags, TOOLSTATUS_GRAPH_ENABLED))
continue;
pluginName = graph->Plugin ? PhGetPluginName(graph->Plugin) : NULL;
PhAppendFormatStringBuilder(
&graphListBuilder,
L"%lu|%lu|%s|",
graph->GraphId,
FlagOn(graph->Flags, TOOLSTATUS_GRAPH_ENABLED) ? 1 : 0,
PhGetStringOrEmpty(pluginName)
);
if (pluginName)
PhDereferenceObject(pluginName);
}
if (graphListBuilder.String->Length != 0)
PhRemoveEndStringBuilder(&graphListBuilder, 1);
settingsString = PhFinalStringBuilderString(&graphListBuilder);
PhSetStringSetting2(SETTING_NAME_TOOLBAR_GRAPH_CONFIG, &settingsString->sr);
PhDereferenceObject(settingsString);
}
VOID ToolbarGraphsInitialize(
VOID
)
{
if (!PhpToolbarGraphList)
{
PhpToolbarGraphList = PhCreateList(10);
PhpToolbarGraphHashtable = PhCreateSimpleHashtable(10);
}
ToolbarRegisterGraph(
PluginInstance,
1,
L"CPU history",
0,
&CpuHistoryGraphContext,
CpuHistoryGraphMessageCallback
);
ToolbarRegisterGraph(
PluginInstance,
2,
L"Physical memory history",
0,
&PhysicalHistoryGraphContext,
PhysicalHistoryGraphMessageCallback
);
ToolbarRegisterGraph(
PluginInstance,
3,
L"Commit charge history",
0,
&CommitHistoryGraphContext,
CommitHistoryGraphMessageCallback
);
ToolbarRegisterGraph(
PluginInstance,
4,
L"I/O history",
0,
&IoHistoryGraphContext,
IoHistoryGraphMessageCallback
);
}
VOID ToolbarGraphsInitializeDpi(
VOID
)
{
memset(&CpuHistoryGraphContext, 0, sizeof(TB_GRAPH_CONTEXT));
memset(&PhysicalHistoryGraphContext, 0, sizeof(TB_GRAPH_CONTEXT));
memset(&CommitHistoryGraphContext, 0, sizeof(TB_GRAPH_CONTEXT));
memset(&IoHistoryGraphContext, 0, sizeof(TB_GRAPH_CONTEXT));
}
VOID ToolbarRegisterGraph(
_In_ struct _PH_PLUGIN *Plugin,
_In_ ULONG Id,
_In_ PWSTR Text,
_In_ ULONG Flags,
_In_opt_ PVOID Context,
_In_opt_ PTOOLSTATUS_GRAPH_MESSAGE_CALLBACK MessageCallback
)
{
PPH_TOOLBAR_GRAPH graph;
//PPH_STRING pluginName;
graph = PhAllocateZero(sizeof(PH_TOOLBAR_GRAPH));
graph->Plugin = Plugin;
graph->Text = Text;
graph->Flags = Flags;
graph->Context = Context;
graph->MessageCallback = MessageCallback;
graph->GraphId = 1000 + Id;
//pluginName = PhGetPluginName(graph->Plugin);
//graph->GraphId = (PhHashStringRef(&pluginName->sr, TRUE) & 0xFFFF) + Id;
//PhDereferenceObject(pluginName);
PhAddItemList(PhpToolbarGraphList, graph);
}
BOOLEAN ToolbarAddGraph(
_In_ PPH_TOOLBAR_GRAPH Graph
)
{
if (!Graph->GraphHandle && RebarHandle && ToolStatusConfig.ToolBarEnabled)
{
UINT rebarHeight = (UINT)SendMessage(RebarHandle, RB_GETROWHEIGHT, REBAR_BAND_ID_TOOLBAR, 0);
if (Graph->GraphHandle = CreateWindow(
PH_GRAPH_CLASSNAME,
NULL,
WS_VISIBLE | WS_CHILD | WS_BORDER,
0,
0,
0,
0,
RebarHandle,
NULL,
NULL,
NULL
))
{
Graph_SetTooltip(Graph->GraphHandle, TRUE);
PhInitializeGraphState(&Graph->GraphState);
PhAddItemSimpleHashtable(PhpToolbarGraphHashtable, Graph->GraphHandle, Graph);
if (!RebarBandExists(Graph->GraphId))
RebarBandInsert(Graph->GraphId, Graph->GraphHandle, 145, rebarHeight); // height: 85
if (!IsWindowVisible(Graph->GraphHandle))
ShowWindow(Graph->GraphHandle, SW_SHOW);
}
}
return TRUE;
}
BOOLEAN ToolbarRemoveGraph(
_In_ PPH_TOOLBAR_GRAPH Graph
)
{
if (RebarBandExists(Graph->GraphId))
RebarBandRemove(Graph->GraphId);
if (Graph->GraphHandle)
{
PhRemoveItemSimpleHashtable(PhpToolbarGraphHashtable, Graph->GraphHandle);
PhDeleteGraphState(&Graph->GraphState);
DestroyWindow(Graph->GraphHandle);
Graph->GraphHandle = NULL;
}
return TRUE;
}
VOID ToolbarCreateGraphs(
VOID
)
{
ToolbarGraphLoadSettings();
for (ULONG i = 0; i < PhpToolbarGraphList->Count; i++)
{
PPH_TOOLBAR_GRAPH graph = PhpToolbarGraphList->Items[i];
if (!FlagOn(graph->Flags, TOOLSTATUS_GRAPH_ENABLED))
continue;
ToolbarAddGraph(graph);
}
}
VOID ToolbarUpdateGraphs(
VOID
)
{
for (ULONG i = 0; i < PhpToolbarGraphList->Count; i++)
{
PPH_TOOLBAR_GRAPH graph = PhpToolbarGraphList->Items[i];
if (!FlagOn(graph->Flags, TOOLSTATUS_GRAPH_ENABLED))
continue;
if (!graph->GraphHandle)
continue;
graph->GraphState.Valid = FALSE;
graph->GraphState.TooltipIndex = ULONG_MAX;
Graph_MoveGrid(graph->GraphHandle, 1);
Graph_Draw(graph->GraphHandle);
Graph_UpdateTooltip(graph->GraphHandle);
InvalidateRect(graph->GraphHandle, NULL, FALSE);
}
}
VOID ToolbarUpdateGraphVisualStates(
VOID
)
{
if (!ToolStatusConfig.ToolBarEnabled)
return;
for (ULONG i = 0; i < PhpToolbarGraphList->Count; i++)
{
PPH_TOOLBAR_GRAPH graph = PhpToolbarGraphList->Items[i];
if (!FlagOn(graph->Flags, TOOLSTATUS_GRAPH_ENABLED))
continue;
if (!graph->GraphHandle)
continue;
graph->GraphState.Valid = FALSE;
graph->GraphState.TooltipIndex = ULONG_MAX;
Graph_Draw(graph->GraphHandle);
}
}
BOOLEAN ToolbarUpdateGraphsInfo(
_In_ HWND WindowHandle,
_In_ LPNMHDR Header
)
{
PPH_TOOLBAR_GRAPH graph;
if (graph = PhFindItemSimpleHashtable2(PhpToolbarGraphHashtable, Header->hwndFrom))
{
if (Header->code == GCN_MOUSEEVENT) // HACK
{
PPH_GRAPH_MOUSEEVENT mouseEvent = (PPH_GRAPH_MOUSEEVENT)Header;
if (mouseEvent->Message == WM_RBUTTONUP)
{
ShowCustomizeMenu(WindowHandle);
}
}
graph->MessageCallback(graph, graph->GraphHandle, &graph->GraphState, Header, graph->Context);
return TRUE;
}
return FALSE;
}
VOID ToolbarSetVisibleGraph(
_In_ PPH_TOOLBAR_GRAPH Graph,
_In_ BOOLEAN Visible
)
{
if (Visible)
{
SetFlag(Graph->Flags, TOOLSTATUS_GRAPH_ENABLED);
ToolbarAddGraph(Graph);
}
else
{
ClearFlag(Graph->Flags, TOOLSTATUS_GRAPH_ENABLED);
ToolbarRemoveGraph(Graph);
}
}
BOOLEAN ToolbarGraphsEnabled(
VOID
)
{
BOOLEAN enabled = FALSE;
for (ULONG i = 0; i < PhpToolbarGraphList->Count; i++)
{
PPH_TOOLBAR_GRAPH graph = PhpToolbarGraphList->Items[i];
if (FlagOn(graph->Flags, TOOLSTATUS_GRAPH_ENABLED))
{
enabled = TRUE;
break;
}
}
return enabled;
}
PPH_TOOLBAR_GRAPH ToolbarGraphFindById(
_In_ ULONG GraphId
)
{
for (ULONG i = 0; i < PhpToolbarGraphList->Count; i++)
{
PPH_TOOLBAR_GRAPH graph = PhpToolbarGraphList->Items[i];
if (graph->GraphId == GraphId)
return graph;
}
return NULL;
}
PPH_TOOLBAR_GRAPH ToolbarGraphFindByName(
_In_ PPH_STRINGREF PluginName,
_In_ ULONG GraphId
)
{
for (ULONG i = 0; i < PhpToolbarGraphList->Count; i++)
{
PPH_TOOLBAR_GRAPH graph = PhpToolbarGraphList->Items[i];
if (graph->Plugin)
{
PPH_STRING pluginName;
pluginName = PhGetPluginName(graph->Plugin);
if (graph->GraphId == GraphId &&
PhEqualStringRef(PluginName, &pluginName->sr, TRUE))
{
PhDereferenceObject(pluginName);
return graph;
}
PhDereferenceObject(pluginName);
}
}
return NULL;
}
VOID ToolbarGraphCreateMenu(
_In_ PPH_EMENU ParentMenu,
_In_ ULONG MenuId
)
{
for (ULONG i = 0; i < PhpToolbarGraphList->Count; i++)
{
PPH_TOOLBAR_GRAPH graph;
PPH_EMENU menuItem;
graph = PhpToolbarGraphList->Items[i];
menuItem = PhCreateEMenuItem(0, MenuId, graph->Text, NULL, graph);
if (FlagOn(graph->Flags, TOOLSTATUS_GRAPH_ENABLED))
{
SetFlag(menuItem->Flags, PH_EMENU_CHECKED);
}
if (FlagOn(graph->Flags, TOOLSTATUS_GRAPH_UNAVAILABLE))
{
PPH_STRING newText;
newText = PhaConcatStrings2(graph->Text, L" (Unavailable)");
PhModifyEMenuItem(menuItem, PH_EMENU_MODIFY_TEXT, PH_EMENU_TEXT_OWNED,
PhAllocateCopy(newText->Buffer, newText->Length + sizeof(UNICODE_NULL)), NULL);
}
PhInsertEMenuItem(ParentMenu, menuItem, ULONG_MAX);
}
}
VOID ToolbarGraphCreatePluginMenu(
_In_ PPH_EMENU ParentMenu,
_In_ ULONG MenuId
)
{
for (ULONG i = 0; i < PhpToolbarGraphList->Count; i++)
{
PPH_TOOLBAR_GRAPH graph;
PPH_EMENU menuItem;
graph = PhpToolbarGraphList->Items[i];
menuItem = PhPluginCreateEMenuItem(PluginInstance, 0, MenuId, graph->Text, graph);
if (FlagOn(graph->Flags, TOOLSTATUS_GRAPH_ENABLED))
{
SetFlag(menuItem->Flags, PH_EMENU_CHECKED);
}
if (FlagOn(graph->Flags, TOOLSTATUS_GRAPH_UNAVAILABLE))
{
PPH_STRING newText;
newText = PhaConcatStrings2(graph->Text, L" (Unavailable)");
PhModifyEMenuItem(menuItem, PH_EMENU_MODIFY_TEXT, PH_EMENU_TEXT_OWNED,
PhAllocateCopy(newText->Buffer, newText->Length + sizeof(UNICODE_NULL)), NULL);
}
PhInsertEMenuItem(ParentMenu, menuItem, ULONG_MAX);
}
}
//
// BEGIN copied from ProcessHacker/sysinfo.c
//
static PPH_PROCESS_RECORD PhSipReferenceMaxCpuRecord(
_In_ LONG Index
)
{
LARGE_INTEGER time;
LONG maxProcessIdLong;
HANDLE maxProcessId;
if (!SystemStatistics.MaxCpuHistory)
return NULL;
// Find the process record for the max. CPU process for the particular time.
maxProcessIdLong = PhGetItemCircularBuffer_ULONG(SystemStatistics.MaxCpuHistory, Index);
if (!maxProcessIdLong)
return NULL;
// This must be treated as a signed integer to handle Interrupts correctly.
maxProcessId = LongToHandle(maxProcessIdLong);
// Note that the time we get has its components beyond seconds cleared.
// For example:
// * At 2.5 seconds a process is started.
// * At 2.75 seconds our process provider is fired, and the process is determined
// to have 75% CPU usage, which happens to be the maximum CPU usage.
// * However the 2.75 seconds is recorded as 2 seconds due to
// RtlTimeToSecondsSince1980.
// * If we call PhFindProcessRecord, it cannot find the process because it was
// started at 2.5 seconds, not 2 seconds or older.
//
// This means we must add one second minus one tick (100ns) to the time, giving us
// 2.9999999 seconds. This will then make sure we find the process.
PhGetStatisticsTime(NULL, Index, &time);
time.QuadPart += PH_TICKS_PER_SEC - 1;
return PhFindProcessRecord(maxProcessId, &time);
}
static PPH_STRING PhSipGetMaxCpuString(
_In_ LONG Index
)
{
PPH_PROCESS_RECORD maxProcessRecord;
FLOAT maxCpuUsage;
if (!SystemStatistics.MaxCpuUsageHistory)
return PhReferenceEmptyString();
if (maxProcessRecord = PhSipReferenceMaxCpuRecord(Index))
{
PPH_STRING maxUsageString;
// We found the process record, so now we construct the max. usage string.
maxCpuUsage = PhGetItemCircularBuffer_FLOAT(SystemStatistics.MaxCpuUsageHistory, Index);
// Make sure we don't try to display the PID of DPCs or Interrupts.
if (!PH_IS_FAKE_PROCESS_ID(maxProcessRecord->ProcessId))
{
PH_FORMAT format[7];
// \n%s (%u): %.2f%%
PhInitFormatC(&format[0], L'\n');
PhInitFormatSR(&format[1], maxProcessRecord->ProcessName->sr);
PhInitFormatS(&format[2], L" (");
PhInitFormatU(&format[3], HandleToUlong(maxProcessRecord->ProcessId));
PhInitFormatS(&format[4], L"): ");
PhInitFormatF(&format[5], maxCpuUsage * 100, 2);
PhInitFormatC(&format[6], L'%');
maxUsageString = PhFormat(format, RTL_NUMBER_OF(format), 128);
}
else
{
PH_FORMAT format[5];
// \n%s: %.2f%%
PhInitFormatC(&format[0], L'\n');
PhInitFormatSR(&format[1], maxProcessRecord->ProcessName->sr);
PhInitFormatS(&format[2], L": ");
PhInitFormatF(&format[3], maxCpuUsage * 100, 2);
PhInitFormatC(&format[4], L'%');
maxUsageString = PhFormat(format, RTL_NUMBER_OF(format), 128);
}
PhDereferenceProcessRecord(maxProcessRecord);
return maxUsageString;
}
return PhReferenceEmptyString();
}
static PPH_PROCESS_RECORD PhSipReferenceMaxIoRecord(
_In_ LONG Index
)
{
LARGE_INTEGER time;
ULONG maxProcessId;
if (!SystemStatistics.MaxIoHistory)
return NULL;
// Find the process record for the max. I/O process for the particular time.
maxProcessId = PhGetItemCircularBuffer_ULONG(SystemStatistics.MaxIoHistory, Index);
if (!maxProcessId)
return NULL;
// See above for the explanation.
PhGetStatisticsTime(NULL, Index, &time);
time.QuadPart += PH_TICKS_PER_SEC - 1;
return PhFindProcessRecord(UlongToHandle(maxProcessId), &time);
}
static PPH_STRING PhSipGetMaxIoString(
_In_ LONG Index
)
{
PPH_PROCESS_RECORD maxProcessRecord;
ULONG64 maxIoReadOther;
ULONG64 maxIoWrite;
if (!(SystemStatistics.MaxIoReadOtherHistory && SystemStatistics.MaxIoWriteHistory))
return PhReferenceEmptyString();
if (maxProcessRecord = PhSipReferenceMaxIoRecord(Index))
{
PPH_STRING maxUsageString;
// We found the process record, so now we construct the max. usage string.
maxIoReadOther = PhGetItemCircularBuffer_ULONG64(SystemStatistics.MaxIoReadOtherHistory, Index);
maxIoWrite = PhGetItemCircularBuffer_ULONG64(SystemStatistics.MaxIoWriteHistory, Index);
if (!PH_IS_FAKE_PROCESS_ID(maxProcessRecord->ProcessId))
{
PH_FORMAT format[8];
// \n%s (%u): R+O: %s, W: %s
PhInitFormatC(&format[0], L'\n');
PhInitFormatSR(&format[1], maxProcessRecord->ProcessName->sr);
PhInitFormatS(&format[2], L" (");
PhInitFormatU(&format[3], HandleToUlong(maxProcessRecord->ProcessId));
PhInitFormatS(&format[4], L"): R+O: ");
PhInitFormatSize(&format[5], maxIoReadOther);
PhInitFormatS(&format[6], L", W: ");
PhInitFormatSize(&format[7], maxIoWrite);
maxUsageString = PhFormat(format, RTL_NUMBER_OF(format), 128);
}
else
{
PH_FORMAT format[6];
// \n%s: R+O: %s, W: %s
PhInitFormatC(&format[0], L'\n');
PhInitFormatSR(&format[1], maxProcessRecord->ProcessName->sr);
PhInitFormatS(&format[2], L": R+O: ");
PhInitFormatSize(&format[3], maxIoReadOther);
PhInitFormatS(&format[4], L", W: ");
PhInitFormatSize(&format[5], maxIoWrite);
maxUsageString = PhFormat(format, RTL_NUMBER_OF(format), 128);
}
PhDereferenceProcessRecord(maxProcessRecord);
return maxUsageString;
}
return PhReferenceEmptyString();
}
//
// END copied from ProcessHacker/sysinfo.c
//
TOOLSTATUS_GRAPH_MESSAGE_CALLBACK_DECLARE(CpuHistoryGraphMessageCallback)
{
switch (Header->code)
{
case GCN_GETDRAWINFO:
{
PTB_GRAPH_CONTEXT context = (PTB_GRAPH_CONTEXT)Context;
PPH_GRAPH_GETDRAWINFO getDrawInfo = (PPH_GRAPH_GETDRAWINFO)Header;
PPH_GRAPH_DRAW_INFO drawInfo = getDrawInfo->DrawInfo;
if (context->GraphDpi == 0)
context->GraphDpi = PhGetWindowDpi(GraphHandle);
drawInfo->Flags = PH_GRAPH_USE_GRID_X | PH_GRAPH_USE_LINE_2;
PhSiSetColorsGraphDrawInfo(drawInfo, CpuHistoryGraphColor1, CpuHistoryGraphColor2, context->GraphDpi);
if (!(SystemStatistics.CpuKernelHistory && SystemStatistics.CpuUserHistory))
break;
PhGraphStateGetDrawInfo(GraphState, getDrawInfo, SystemStatistics.CpuUserHistory->Count);
if (!GraphState->Valid)
{
PhCopyCircularBuffer_FLOAT(SystemStatistics.CpuKernelHistory, GraphState->Data1, drawInfo->LineDataCount);
PhCopyCircularBuffer_FLOAT(SystemStatistics.CpuUserHistory, GraphState->Data2, drawInfo->LineDataCount);
GraphState->Valid = TRUE;
}
}
break;
case GCN_GETTOOLTIPTEXT:
{
PPH_GRAPH_GETTOOLTIPTEXT getTooltipText = (PPH_GRAPH_GETTOOLTIPTEXT)Header;
if (getTooltipText->Index < getTooltipText->TotalCount)
{
if (GraphState->TooltipIndex != getTooltipText->Index)
{
FLOAT cpuKernel;
FLOAT cpuUser;
PH_FORMAT format[5];
cpuKernel = PhGetItemCircularBuffer_FLOAT(SystemStatistics.CpuKernelHistory, getTooltipText->Index);
cpuUser = PhGetItemCircularBuffer_FLOAT(SystemStatistics.CpuUserHistory, getTooltipText->Index);
// %.2f%%%s\n%s
PhInitFormatF(&format[0], ((DOUBLE)cpuKernel + cpuUser) * 100, 2);
PhInitFormatC(&format[1], L'%');
PhInitFormatSR(&format[2], PH_AUTO_T(PH_STRING, PhSipGetMaxCpuString(getTooltipText->Index))->sr);
PhInitFormatC(&format[3], L'\n');
PhInitFormatSR(&format[4], PH_AUTO_T(PH_STRING, PhGetStatisticsTimeString(NULL, getTooltipText->Index))->sr);
PhMoveReference(&GraphState->TooltipText, PhFormat(format, RTL_NUMBER_OF(format), 128));
}
getTooltipText->Text = PhGetStringRef(GraphState->TooltipText);
}
}
break;
case GCN_MOUSEEVENT:
{
PPH_GRAPH_MOUSEEVENT mouseEvent = (PPH_GRAPH_MOUSEEVENT)Header;
PPH_PROCESS_RECORD record = NULL;
if (mouseEvent->Message == WM_LBUTTONDBLCLK)
{
if (PhGetIntegerSetting(SETTING_NAME_SHOWSYSINFOGRAPH))
{
PhShowSystemInformationDialog(L"CPU");
}
else
{
if (mouseEvent->Index < mouseEvent->TotalCount)
{
record = PhSipReferenceMaxCpuRecord(mouseEvent->Index);
}
if (record)
{
PhShowProcessRecordDialog(PhMainWndHandle, record);
PhDereferenceProcessRecord(record);
}
}
}
}
break;
}
}
TOOLSTATUS_GRAPH_MESSAGE_CALLBACK_DECLARE(PhysicalHistoryGraphMessageCallback)
{
switch (Header->code)
{
case GCN_GETDRAWINFO:
{
PTB_GRAPH_CONTEXT context = (PTB_GRAPH_CONTEXT)Context;
PPH_GRAPH_GETDRAWINFO getDrawInfo = (PPH_GRAPH_GETDRAWINFO)Header;
PPH_GRAPH_DRAW_INFO drawInfo = getDrawInfo->DrawInfo;
if (context->GraphDpi == 0)
context->GraphDpi = PhGetWindowDpi(GraphHandle);
drawInfo->Flags = PH_GRAPH_USE_GRID_X;
PhSiSetColorsGraphDrawInfo(drawInfo, PhysicalHistoryGraphColor1, 0, context->GraphDpi);
if (!SystemStatistics.PhysicalHistory)
break;
PhGraphStateGetDrawInfo(GraphState, getDrawInfo, SystemStatistics.PhysicalHistory->Count);
if (!GraphState->Valid)
{
for (ULONG i = 0; i < drawInfo->LineDataCount; i++)
{
GraphState->Data1[i] = (FLOAT)PhGetItemCircularBuffer_ULONG(SystemStatistics.PhysicalHistory, i);
}
PhDivideSinglesBySingle(
GraphState->Data1,
(FLOAT)PhSystemBasicInformation.NumberOfPhysicalPages,
drawInfo->LineDataCount
);
GraphState->Valid = TRUE;
}
}
break;
case GCN_GETTOOLTIPTEXT:
{
PPH_GRAPH_GETTOOLTIPTEXT getTooltipText = (PPH_GRAPH_GETTOOLTIPTEXT)Header;
if (getTooltipText->Index < getTooltipText->TotalCount)
{
if (GraphState->TooltipIndex != getTooltipText->Index)
{
ULONG physicalUsage;
PH_FORMAT format[4];
if (!SystemStatistics.PhysicalHistory)
break;
physicalUsage = PhGetItemCircularBuffer_ULONG(SystemStatistics.PhysicalHistory, getTooltipText->Index);
// Physical memory: %s\n%s
PhInitFormatS(&format[0], L"Physical memory: ");
PhInitFormatSize(&format[1], UInt32x32To64(physicalUsage, PAGE_SIZE));
PhInitFormatC(&format[2], L'\n');
PhInitFormatSR(&format[3], PH_AUTO_T(PH_STRING, PhGetStatisticsTimeString(NULL, getTooltipText->Index))->sr);
PhMoveReference(&GraphState->TooltipText, PhFormat(format, RTL_NUMBER_OF(format), 128));
}
getTooltipText->Text = PhGetStringRef(GraphState->TooltipText);
}
}
break;
case GCN_MOUSEEVENT:
{
PPH_GRAPH_MOUSEEVENT mouseEvent = (PPH_GRAPH_MOUSEEVENT)Header;
if (mouseEvent->Message == WM_LBUTTONDBLCLK)
{
if (PhGetIntegerSetting(SETTING_NAME_SHOWSYSINFOGRAPH))
{
PhShowSystemInformationDialog(L"Memory");
}
}
}
break;
}
}
TOOLSTATUS_GRAPH_MESSAGE_CALLBACK_DECLARE(CommitHistoryGraphMessageCallback)
{
switch (Header->code)
{
case GCN_GETDRAWINFO:
{
PTB_GRAPH_CONTEXT context = (PTB_GRAPH_CONTEXT)Context;
PPH_GRAPH_GETDRAWINFO getDrawInfo = (PPH_GRAPH_GETDRAWINFO)Header;
PPH_GRAPH_DRAW_INFO drawInfo = getDrawInfo->DrawInfo;
if (context->GraphDpi == 0)
context->GraphDpi = PhGetWindowDpi(GraphHandle);
drawInfo->Flags = PH_GRAPH_USE_GRID_X;
PhSiSetColorsGraphDrawInfo(drawInfo, CommitHistoryGraph1Color1, 0, context->GraphDpi);
if (!(SystemStatistics.CommitHistory && SystemStatistics.Performance))
break;
PhGraphStateGetDrawInfo(GraphState, getDrawInfo, SystemStatistics.CommitHistory->Count);
if (!GraphState->Valid)
{
for (ULONG i = 0; i < drawInfo->LineDataCount; i++)
{
GraphState->Data1[i] = (FLOAT)PhGetItemCircularBuffer_ULONG(SystemStatistics.CommitHistory, i);
}
PhDivideSinglesBySingle(
GraphState->Data1,
(FLOAT)SystemStatistics.Performance->CommitLimit,
drawInfo->LineDataCount
);
GraphState->Valid = TRUE;
}
}
break;
case GCN_GETTOOLTIPTEXT:
{
PPH_GRAPH_GETTOOLTIPTEXT getTooltipText = (PPH_GRAPH_GETTOOLTIPTEXT)Header;
if (getTooltipText->Index < getTooltipText->TotalCount)
{
if (GraphState->TooltipIndex != getTooltipText->Index)
{
ULONG commitUsage;
PH_FORMAT format[4];
if (!SystemStatistics.CommitHistory)
break;
commitUsage = PhGetItemCircularBuffer_ULONG(SystemStatistics.CommitHistory, getTooltipText->Index);
// Commit charge: %s\n%s
PhInitFormatS(&format[0], L"Commit charge: ");
PhInitFormatSize(&format[1], UInt32x32To64(commitUsage, PAGE_SIZE));
PhInitFormatC(&format[2], L'\n');
PhInitFormatSR(&format[3], PH_AUTO_T(PH_STRING, PhGetStatisticsTimeString(NULL, getTooltipText->Index))->sr);
PhMoveReference(&GraphState->TooltipText, PhFormat(format, RTL_NUMBER_OF(format), 128));
}
getTooltipText->Text = PhGetStringRef(GraphState->TooltipText);
}
}
break;
case GCN_MOUSEEVENT:
{
PPH_GRAPH_MOUSEEVENT mouseEvent = (PPH_GRAPH_MOUSEEVENT)Header;
if (mouseEvent->Message == WM_LBUTTONDBLCLK)
{
if (PhGetIntegerSetting(SETTING_NAME_SHOWSYSINFOGRAPH))
{
PhShowSystemInformationDialog(L"Memory");
}
}
}
break;
}
}
TOOLSTATUS_GRAPH_MESSAGE_CALLBACK_DECLARE(IoHistoryGraphMessageCallback)
{
switch (Header->code)
{
case GCN_GETDRAWINFO:
{
PTB_GRAPH_CONTEXT context = (PTB_GRAPH_CONTEXT)Context;
PPH_GRAPH_GETDRAWINFO getDrawInfo = (PPH_GRAPH_GETDRAWINFO)Header;
PPH_GRAPH_DRAW_INFO drawInfo = getDrawInfo->DrawInfo;
if (context->GraphDpi == 0)
context->GraphDpi = PhGetWindowDpi(GraphHandle);
drawInfo->Flags = PH_GRAPH_USE_GRID_X | PH_GRAPH_USE_LINE_2;
PhSiSetColorsGraphDrawInfo(drawInfo, IoHistoryGraphColor1, IoHistoryGraphColor2, context->GraphDpi);
if (!(SystemStatistics.IoReadHistory && SystemStatistics.IoOtherHistory && SystemStatistics.IoWriteHistory))
break;
PhGraphStateGetDrawInfo(GraphState, getDrawInfo, SystemStatistics.IoReadHistory->Count);
if (!GraphState->Valid)
{
FLOAT max = 1024 * 1024; // minimum scaling of 1 MB.
for (ULONG i = 0; i < drawInfo->LineDataCount; i++)
{
GraphState->Data1[i] =
(FLOAT)PhGetItemCircularBuffer_ULONG64(SystemStatistics.IoReadHistory, i) +
(FLOAT)PhGetItemCircularBuffer_ULONG64(SystemStatistics.IoOtherHistory, i);
GraphState->Data2[i] =
(FLOAT)PhGetItemCircularBuffer_ULONG64(SystemStatistics.IoWriteHistory, i);
if (max < GraphState->Data1[i] + GraphState->Data2[i])
max = GraphState->Data1[i] + GraphState->Data2[i];
}
PhDivideSinglesBySingle(GraphState->Data1, max, drawInfo->LineDataCount);
PhDivideSinglesBySingle(GraphState->Data2, max, drawInfo->LineDataCount);
GraphState->Valid = TRUE;
}
}
break;
case GCN_GETTOOLTIPTEXT:
{
PPH_GRAPH_GETTOOLTIPTEXT getTooltipText = (PPH_GRAPH_GETTOOLTIPTEXT)Header;
if (getTooltipText->Index < getTooltipText->TotalCount)
{
if (GraphState->TooltipIndex != getTooltipText->Index)
{
ULONG64 ioRead;
ULONG64 ioWrite;
ULONG64 ioOther;
PH_FORMAT format[9];
if (!(SystemStatistics.IoReadHistory && SystemStatistics.IoOtherHistory && SystemStatistics.IoWriteHistory))
break;
ioRead = PhGetItemCircularBuffer_ULONG64(SystemStatistics.IoReadHistory, getTooltipText->Index);
ioWrite = PhGetItemCircularBuffer_ULONG64(SystemStatistics.IoWriteHistory, getTooltipText->Index);
ioOther = PhGetItemCircularBuffer_ULONG64(SystemStatistics.IoOtherHistory, getTooltipText->Index);
// R: %s\nW: %s\nO: %s%s\n%s
PhInitFormatS(&format[0], L"R: ");
PhInitFormatSize(&format[1], ioRead);
PhInitFormatS(&format[2], L"\nW: ");
PhInitFormatSize(&format[3], ioWrite);
PhInitFormatS(&format[4], L"\nO: ");
PhInitFormatSize(&format[5], ioOther);
PhInitFormatSR(&format[6], PH_AUTO_T(PH_STRING, PhSipGetMaxIoString(getTooltipText->Index))->sr);
PhInitFormatC(&format[7], L'\n');
PhInitFormatSR(&format[8], PH_AUTO_T(PH_STRING, PhGetStatisticsTimeString(NULL, getTooltipText->Index))->sr);
PhMoveReference(&GraphState->TooltipText, PhFormat(format, RTL_NUMBER_OF(format), 128));
}
getTooltipText->Text = PhGetStringRef(GraphState->TooltipText);
}
}
break;
case GCN_MOUSEEVENT:
{
PPH_GRAPH_MOUSEEVENT mouseEvent = (PPH_GRAPH_MOUSEEVENT)Header;
PPH_PROCESS_RECORD record = NULL;
if (mouseEvent->Message == WM_LBUTTONDBLCLK)
{
if (PhGetIntegerSetting(SETTING_NAME_SHOWSYSINFOGRAPH))
{
PhShowSystemInformationDialog(L"I/O");
}
else
{
if (mouseEvent->Index < mouseEvent->TotalCount)
{
record = PhSipReferenceMaxIoRecord(mouseEvent->Index);
}
if (record)
{
PhShowProcessRecordDialog(PhMainWndHandle, record);
PhDereferenceProcessRecord(record);
}
}
}
}
break;
}
}
``` |
Hamadou Evelé (born 15 October 1949) is a Cameroonian athlete. He competed in the men's high jump at the 1972 Summer Olympics.
References
1949 births
Living people
Athletes (track and field) at the 1972 Summer Olympics
Cameroonian male high jumpers
Olympic athletes for Cameroon
Place of birth missing (living people) |
The Ring Virus () is a 1999 South Korean horror film adapted from the Japanese novel Ring by Koji Suzuki. A joint project between Japan and Korea, this version has Park Eun-Suh as the creator of the cursed videotape. Although the filmmakers claimed that the film was adapted from the novel only, it differs from the novel in some ways that match the 1998 film Ring (also known as Ringu in the US), such as having a female lead character, and several scenes were directly copied, including some of the scenes on the videotape and the film's climax.
This remake only exists because South Korea had a ban on Japanese cultural imports, preventing Ring from being released over there. A remake for the South Korean market had to be commissioned instead. The ban was eventually lifted in late 1998, but production for the film had already been completed.
Plot
Followed by the death of her friends, journalist Hong Sun-Joo comes across a videotape containing incomprehensible images. Towards the end of the tape, she finds the curse which states that the viewer would die at the same time next week if they do not perform certain tasks. However, the next scene explaining the nature of the task has been erased. Sun-Joo and a doctor named Choi-Yul embark on a journey to break the curse placed upon them. They discover that the videotape was made by the psychic called Park Eun-Suh. Eun-Suh was an illegitimate daughter of a female psychic and was born intersex. She was romantically involved with her half-brother and worked in a night club for a while. There, a man who found out about her secrets was killed as she had the uncanny ability to protect herself. The video tape is the medium Eun-Suh uses to reveal herself to the society. Her first exposure to the media was a painful experience, which caused her to withdraw from the outside world. When it became difficult for her to relate to the society, she retaliated by infiltrating it like a virus. The way of infiltration is one-way only and any attempt to block the process ends in extremely negative consequences.
Cast
Jung Jin-young as Choi Yeol
Shin Eun-kyung as Hong Sun-joo
Kim Chang-wan as Reporter Kim
Bae Doona as Park Eun-suh
Lee Seung-hyeon
Kim Ggoch-ji
Yu Yeon-su
Release
The Ring Virus was released in South Korea on 12 June 1999.
See also
List of South Korean films of 1999
References
External links
Snowblood Apple Ring Comparison - comparison of Ring, The Ring, and The Ring Virus films.
The Ring (franchise)
1999 horror films
South Korean ghost films
South Korean horror films
Films based on Japanese novels
1999 films
South Korean remakes of Japanese films
1990s South Korean films |
Sam Levene (born Scholem Lewin; August 28, 1905 – December 28, 1980) was a Russian-American Broadway, films, radio, and television actor and director. In a career spanning over five decades, he appeared in over 50 comedy and drama theatrical stage productions. He also acted in over 50 films across the United States and abroad.
Early life
Levene was born as Scholem Lewin in Belarus, the youngest of five children by a dozen years. He immigrated to the United States when he was two years old. He grew up on the Lower East Side of Manhattan on Avenue D and 8th Street and attended Public School 64. In 1923, Levene dropped out of Stuyvesant High School. Since he had been in the class of Broadway for over five decades, the illustrious dropout was given a special award, his Stuyvesant High School diploma, in a 1976 ceremony held at the New York's Princeton Club.
Broadway
On April 20, 1927, Levene made his Broadway stage debut earning 60 dollars a week with his first Actor's Equity contract. A five-line role, Levene acted as District Attorney William Thompson in the original Broadway melodrama Wall Street, a play that only ran for three weeks at the Hudson Theatre.
In 1980, Levene's last and thirty-ninth Broadway credit was his starring role as Daniel Horowitz in the 1980 comedy Horowitz and Mrs. Washington directed by Joshua Logan which closed after a run of only 10 previews and six performances at the John Golden Theatre. Although the Henry Denker comedy was panned, Levene's star power and comedic performance enabled a five-month tour of Horowitz and Mrs. Washington which went on Christmas hiatus on Saturday December 13, 1980, and turned out to be Levene's final stage performance in Canada, just two weeks prior to his death on December 28, 1980.
Levene's Broadway career began with five years of steady employment in nondescript roles in ten Broadway plays, including a series of flops. One titled Solitaire (1929), was a Broadway play about a Coney Island midget that only ran four performances at the now demolished Waldorf Theatre, partially financed with a $500 last-minute investment from Levene's older brother Joe.
Emanuel Azenberg and Eugene Wolsk worked with Levene twice in two Broadway productions and two national tours; the first time as company managers when Levene replaced Alan King in the starring role of Dr. Jack Kingsley in the original Broadway production of The Impossible Years (1966), which Levene performed 322 times on Broadway and later headlined and starred in the national tour. Six years later, Azenberrg and Wolsk were lead producers when Levene was cast as Al Lewis opposite Jack Albertson as Willie Clark to co-star in Neil Simon's The Sunshine Boys (1972); after performing the role of Al Lewis 466 times in the original Broadway production, Levene and Albertson headlined the subsequent national tour. In his December 21, 1972, review of the original Broadway production of The Sunshine Boys in The New York Times, theatre critic Clive Barnes wrote, "Jack Albertson as the heart-stricken comic never puts a line wrong. He is always pathetic but never enough to make you cry. Lovely. His acerbic partner, Sam Levene, is as tough as vintage chewing gum, and yet with a sort of credible lovability."
Theatrical career
Levene appeared in over 50 theatrical stage productions in the United States and abroad. A master of farce and comedy, Levene was equally effective in drama as well. Levene's Broadway credits include performances in 39 Broadway productions, 33 of which were performances Levene created in the original Broadway productions, and a 10-month USO tour.
Over his 54-year Broadway career, Levene performed in 39 Broadway productions at 29 different Broadway Theaters, and at some Theaters, several times. Levene performed over 1,600 times at the now demolished Playhouse Theater in four original Broadway productions, three of which Levene had starring roles after first appearing in Street Scene (1929), Three Men on a Horse (1935), Make a Million (1958) and The Impossible Years (1966). In a 1976 interview with Tom McMorrow for the New York Daily News.
Levene's Broadway credits include starring roles in three Broadway revivals, portraying businessmen Boss Mangan in George Bernard Shaw's Heartbreak House (1959) directed by Harold Clurman, recreating his original Broadway performance as Patsy, the racetrack gambler originated three decades earlier, in the acclaimed all-star Broadway revival of the smash hit farce Three Men on a Horse (1969) and performing the role of veteran theatre producer Oscar Wolfe in the all-star 1975-19976 Broadway revival of George S. Kaufman and Edna Ferber's The Royal Family (1975) directed by Ellis Rabb; the production was filmed for the series Great Performances on November 9, 1977.
Levene starred in two major UK productions; in 1953, he recreated his original Broadway performance as Nathan Detroit in the first UK production of Guys and Dolls which opened at The Coliseum a few days before the 1953 Coronation which had a run of 553 performances. In 1954, Sam Levene originated the role of Horace Vandergelder in the world premiere production of Thornton Wilder's The Matchmaker (1954), initially at the Edinburgh Festival in Scotland.
Levene originated the "craps-shooter extraordinaire" Nathan Detroit in the American musical Guys and Dolls on the Great White Way in the original 1950 Broadway production directed by the inimitable George S. Kaufman. Levene has been synonymous with the role of Nathan Detroit for seven decades; Guys and Dolls book co-author Abe Burrows specifically crafted the role of Nathan Detroit around and for Levene who signed for the project long before Burrows ever wrote a single word of dialogue, a similar break Burrows said he had when he wrote Cactus Flower for Lauren Bacall. In Honest, Abe: Is There Really No Business Like Show Business?, Burrows recalled: "I had the sound of their voices in my head. I knew the rhythm of their speech and it helped make the dialogue sharper and more real." Burrows had the advantage of writing dialogue built around Sam Levene's New York Jewish cadences. The creative talent of Guys and Dolls agreed Levene was perfect for the role of Nathan Detroit (Damon Runyon had been one of Levene's fans). Frank Loesser agreed it was easier adjusting the music to Levene's limitations than substituting a better singer who couldn't act. Levene is the reason the lead role of Nathan Detroit has one major song, the duet "Sue Me".
Hundreds of productions of Guys and Dolls are staged annually and Sam Levene's comedic performance as Nathan Detroit still makes headlines, largely because it became the gold standard classic. Frank Rich, Chief Theatre Critic, The New York Times, like most critics, lauded the 1992 Guys and Dolls revival directed by Jerry Zaks stating: "this is an enchanting rebirth of the show that defines Broadway dazzle." However, regarding Nathan Lane's performance as Nathan Detroit, Frank Rich observed, "The supremely gifted actor Nathan Lane does not remotely echo the first Nathan Detroit, Sam Levene, for whose New York Jewish cadences the role was written. Mr. Lane is more like a young Jackie Gleason and usually funny in his own right, though expressions like 'all right, already' and 'so nu?' do not fall trippingly from his tongue." Los Angeles Times Critic Emeritus Sylvie Drake reviewed the 1993 Guys and Dolls touring production also directed by Jerry Zaks at the Hollywood Pantages Theatre had a similar observation, comparing David Garrison's portrayal of Nathan Detroit to Sam Levene's original 1950 Broadway performance, writing: "The wiry Garrison's Detroit physically harks back more to the 1950 original played by Sam Levene, than to Nathan Lane, who played the role on Broadway last year. But unlike Levene, Garrison doesn't come across down, dirty or gritty. Knowing this actor's talent, one finds his amiable New York gangster surprisingly bloodless and almost genteel."
Levene performed the role of Nathan Detroit in Guys and Dolls over 1,600 times, initially 41 times in the 1950 pre-Broadway Philadelphia tryout where each performance was different, two years performing his classic role in the original Broadway production, a week's stint at London's Bristol Hippodrome before co-starring with Vivian Blaine for a year in the first UK production, six months performing the role twice daily in a one and half hour version of the Broadway hit at the Royal Nevada's Theatre-in-the Desert, the first Las Vegas production and the 15th anniversary six week production, three weeks in Mineola, New York and three weeks in Paramus, New Jersey in 1965.
Levene reprised his performance as Nathan Detroit on the Decca's original cast recording of the Broadway musical Guys and Dolls according to Variety, original cast album sales totaled 250,000 as of September 1, 1954. Guys and Dolls composer and lyricist Frank Loesser specifically wrote "Sue Me" in one octave for Levene and structured the song so he and Vivian Blaine never sang their show-stopping duet number together; the son of a cantor, Levene was fluent in Yiddish: "Alright, already, I'm just a no-goodnick; alright, already, it's true, so nu? So sue me." Frank Loesser felt "Nathan Detroit should be played as a brassy Broadway tough guy who sang with more grits than gravy." Levene sang "Sue Me" with "such a wonderful Runyonesque flavor that his singing had been easy to forgive, in fact it had been quite charming in its ineptitude."
Alan Alda, son of Guys and Dolls co-star Robert Alda, recalls watching Levene perform Nathan Detroit while standing in the wings. In Never Have Your Dog Stuffed; And Other Things I’ve Learned, Alan Alda recalls, "Watching Sam Levene was thrilling. He could ride a moment as if a wild animal. New meanings occurred to him on the spot. Not only did he play the same lines differently every night, but the laughs rolled in from the audience in different places. How did he do it? This kind of spontaneity and this utter commitment to the moment became what I wanted to have. As good as my father was, what I was seeing as they played together a few feet away was the difference between burlesque and theatre, between performing and acting. I chose acting. I wanted to be Sam."
For three decades Levene reprised his role as Patsy from Three Men on a Horse (1935) numerous times on stage, film, TV and radio; the first time when he made his motion picture debut in Three Men on a Horse (1936) directed and produced by Mervyn LeRoy; three times on radio, two USO tours playing 200 shows to 120,000 servicemen, the first legitimate U.S. theatrical production mounted overseas. Due to security, the USO cast was reduced from 12 to 7 without losing a minute of running dialogue. According to a May 26, 1945 Billboard interview, Levene said, "the G.I.s' gratefulness is absolutely embarrassing. They express it not only by applause but by meeting you personally and giving you objects which they have fought and bled for. They lose sight of the fact that they are the ones fighting the war."
Levene as Patsy and Shirley Booth as Mabel reprised their original Broadway roles in two ABC radio versions produced by the Theatre Guild on the Air, the first adapted by playwright Arthur Miller aired January 6, 1946; the second aired June 1, 1947 with David Wayne as Erwin. Three decades after creating the role of Patsy in the Broadway production of Three Men On A Horse, Levene reprised the role of Patsy on Broadway in Let It Ride (1961), a Broadway musical which had an abbreviated run of 69 performances at the Eugene O'Neill Theatre. Let It Ride (1961) boasted a score by the songwriting team of Jay Livingston and Ray Evans, best known for creating three Oscar-winning songs, Buttons and Bows, Mona Lisa and Que Sera, Sera and two other movie songs that were smash hits, Silver Bells and Tammy; on television, the team wrote the Bonanza and Mister Ed theme songs. Levene performed the Let It Ride title song on the Let It Ride float in the 1961 Macy's Thanksgiving Day Parade. Levene performed the role of Patsy one last time in the 1969 all-star Broadway revival of Three Men On A Horse directed by George Abbott, the original Broadway director and co-author which was preceded by a national tour Levene directed, starring Levene as Patsy and Bert Parks as Erwin. In a 1969 review of the all-star Broadway revival of Three Men on a Horse, The New York Times theatre critic Clive Barnes wrote "Sam Levene originated the role of Patsy in 1935—by now it’s his. Still looking like a man whose eyes have been allocated the wrong size eyelids, still mugging, double taking, offering his celebrated impersonation of an actor impersonating a character that would based himself on Damon Runyon, Mr. Levene is great. No one in the world plays Mr. Levene as he does, And what’s more, no one ever will".
After making his Broadway debut 43 years earlier, Levene made his Off-Broadway debut, starring in Irv Bauer's A Dream Out of Time at the Promenade Theatre, Levene's only Off-Broadway appearance. In 1976, Levene was cast as Tubal, Shylock's business partner, in the Broadway production of The Merchant based on an adaptation of The Merchant of Venice but withdrew from the Philadelphia tryout after Zero Mostel, the play's star and Levene's lifelong dear friend died after first collapsing in his dressing room; Levene observed, "I was too close to Zero and a play we both loved, to do it without him." When John Dexter, the director, asked Levene if he would continue in the show, Levene told Dexter, "We just had one death; we don't need two." Understudy Joseph Leon replaced Zero Mostel for the Broadway production of The Merchant which closed November 19, 1977, after five performances. Levene's final Broadway credit was performing the starring role of Samuel Horowitz in the Broadway comedy Horowitz and Mrs. Washington (1980) co-starring Esther Rolle, directed by Joshua Logan. In 1980, Levene starred in a summer stock and national tour of Horowitz and Mrs. Washington co-starring Claudia McNeil.
Film career
Nine years after making his Broadway debut, Levene was lured and moved to Hollywood in 1936 when he made his motion picture debut as Patsy in the Warner Bros. film Three Men on a Horse (1936) directed and produced by Mervyn LeRoy. Levene earned $1,000 a week to recreate on film his comedic Broadway role as Patsy he had played for seventy weeks in the original Broadway production of Three Men on a Horse (1935).
Levene had 50 film credits. Levene worked with every major Hollywood studio over his five-decade Hollywood career; 14 of Levene's films were at MGM, which include two appearances as Police Lieutenant Abrams in the Thin Man series: After the Thin Man (1936) and Shadow of the Thin Man (1941), plus Yellow Jack (1938), The Shopworn Angel (1938), Married Bachelor (1941), Sunday Punch (1942), Grand Central Murder (1942), Whistling in Brooklyn (1943), I Dood It (1943), Shoe Shine Boy (1943 short), Dial 1119 1950, The Opposite Sex (1956), Designing Woman (1957) and The Champ (1979). Levene appeared in five RKO films, including The Mad Miss Manton (1938); Sing Your Worries Away (1942); The Big Street (1942) and A Likely Story (1947) and Crossfire, the first B picture to receive a best picture nomination. Levene appeared in six Universal Pictures films: Destination Unknown (1942), Gung Ho! (1943), The Killers (1946), Brute Force (1947), Slaughter on Tenth Avenue (1957), and Kathy O' (1958). His final film was ...And Justice for All (1979).
Levene worked with Barbara Stanwyck in two films, in 1938, Sam Levene co-starred as Lieutenant Brent who "steals a few scenes with his great delivery of lines", in The Mad Miss Manton (1938), a screwball comedy that starred Henry Fonda; 31-year-old Stanwyck earned $60,000 for the film; 33-year-old Fonda earned $25,000, and 35-year-old Sam Levene earned $1,500 a week. The following year Levene appeared as Siggie in film version of Golden Boy, replacing John Garfield who performed the role in the original Broadway production of the Clifford Odets play about the brutality of prizefighting; critics praised the performance of William Holden as boxer Joe Bonaparte, but it was 27-year-old Lee J. Cobb as the senior Bonaparte and Sam Levene as Holden's taxi driver brother-in-law who walked away with the picture and the reviews.
Film noir
Levene established himself as one of the stalwarts of film noir. He is one of several veterans of the genre who are graduates of the American Academy of Dramatic Arts, including Lauren Bacall, Hume Cronyn, Kirk Douglas, Nina Foch, Agnes Moorehead, Thelma Ritter and Edward G. Robinson. Levene's best known film noir credits include his performance as Samuels, the murdered GI, in Crossfire (1947) and as Lieutenant Lubinsky in The Killers (1946). The Killers features the movie debut of Burt Lancaster, who just a year prior was professionally credited as Burton Lancaster when Levene helped the former circus acrobat land a part in the original Broadway production of A Sound of Hunting starring Levene. In The Killers, Sam Levene plays Police Lt. Sam Lubinsky, a childhood friend of the Swede, played by Lancaster; Levene's co-starring role was fortuitous as he was credited in making Lancaster feel at ease in his motion picture debut. It was lucky he was on the set with Burt Lancaster maintained actor Jeff Corey because Burt didn't feel too comfortable in his first film. Sam would frequently get on his ass. C'mon, c'mon. Do the goddamn thing. You pick up the piece of jewelry. Can't you do that and say the f....ing line? Lancaster was never offended. He appreciated, because he loved Sam; everyone did. When several Hollywood studios initially wanted to sign Lancaster, Levene, who was Lancaster's co-star in the 1946 Broadway melodrama A Sound of Hunting, agreed to represent him; eventually the two actors became lifelong friends. Together Lancaster and Levene fielded offers from David O. Selznick, 20th Century-Fox and Hal B. Wallis, who had a deal at Paramount Pictures, ultimately introducing Lancaster to Harold Hecht, who became Lancaster's long-time agent and Hollywood film production partner. Burt Lancaster and Sam Levene also worked together in two other film noirs, the 1947 Brute Force, directed by Jules Dassin, Lancaster's second film, which appears on several film noir lists and the acclaimed film noir Sweet Smell of Success included on AFI's Catalogue of Feature Films.
Other Sam Levene noir credits include: Dave Woods, as a newspaper reporter, who gives a performance not to be missed who steals the show as a dirt digging journalist who is ultimately fighting for righteousness, writing hard-hitting articles attacking the police in Elia Kazan's crime film noir Boomerang, Dr. John Faron, a psychiatrist in Dial 1119, Capt. Tonetti in the 1950 Guilty Bystander and Howard Rysdale in the 1957 Slaughter on Tenth Avenue (1957). Alan K. Rode observed "Slaughter on Tenth Avenue was bolstered by a terrific ensemble cast headed by Richard Egan, Jan Sterling, Julie Adams, Walter Matthau, Dan Duryea, Charles McGraw and Sam Levene, who performs yeoman work as a realpolitik Manhattan district attorney, forced to temper the hard-charging idealism of assistant Egan who inevitably triumphs in the end".
Radio
For most of his early film and Broadway stage career, Sam Levene straddled an active schedule with starring roles in a range of productions on all radio networks, including comedic performances and skits along with dramatic and comedy roles in abridged versions of important theatrical stage productions and adaptations on leading series, often reprising roles he had previously played on the Broadway stage and on film. Levene co-starred with Orson Welles in two important adaptations of stage productions for Welles' The Campbell Playhouse, first as Lefty in Burlesque, February 17, 1939 and five weeks later, March 24, 1939, as Owen O'Malley, the John Barrymore part, in Twentieth Century. Levene starred in nine Theatre Guild on the Air productions; two radio versions of Three Men on a Horsethe first adapted by Arthur Miller aired January 6, 1946; the second June 1, 1947 with David Wayne joining the cast as Erwin. A third Three Men on a Horse production sponsored by Lady Esther for the Screen Guild Players aired February 28, 1944 with Levene as Patsy and Charlie Ruggles as Erwin. Other Theatre Guild on the Air radio appearances include performing the role of "Banjo" with Fred Allen as Sheridan Whiteside in George S. Kaufman and Moss Hart's The Man Who Came to Dinner. Levene recreated his original Broadway performance as Sidney Black, the loud-mouth producer, in Moss Hart's Light Up the Sky opposite Joan Bennett and Thelma Ritter for the Theatre Guild on the Air, April 16, 1951, a role he performed in a live performance on Ford Theatre on CBS TV.
Levene reprised his film role as Dave Woods, the reporter in Elia Kazan's Boomerang for Theatre Guild on the Air; and appeared as Moody, the fight manager, in Golden Boy by Clifford Odets opposite long-time friend and co-star June Havoc and Dana Andrews whom Levene had just worked with filming Boomerang. For Suspense Radio on CBS, Levene reprised his film role as Samuels, the murdered Jewish soldier, in Crossfire, April 10, 1948. Levene and Havoc worked with each many times in radio, film, theatre and television. In 1942, Havoc and Levene co-starred in the RKO film Sing Your Worries Away. In 1957, Havoc and Levene guest-starred on The Mother Bit in Season 9 of TV's Studio One series; in 1959 Levene and Havoc were guest stars in The Larry Fay Story for Season 2 of The Untouchables; in a dramatic role, Sam Levene was nightclub owner and mob boss Larry Fay, accused of price fixing milk and June Havoc was Sally Kansas, Fay's lover, who also appeared as a lounge singer in one of Fay's nite clubs.
Levene frequently appeared on Fred Allen's Texaco Star Theatre in a sketch comedy segment known as Allen's Alley. Sam Levene along with 12 major Hollywood and Broadway stars, including Helen Hayes, Fredric March and Ralph Bellamy created 13 episodes of Lest We Forget, a series of radio programs that directly addressed prejudice and discrimination. Created by the Institute for Democratic Education and Boston University Radio Institute, Sam Levene starred as a cab driver who becomes in a hero in Hey Cabbie, an episode that unabashedly addresses anti-semitism. Levene along with Edward G. Robinson and Frank Sinatra made a series of appearances in We Will Never Die, a memorial pageant dedicated to the victims of the Holocaust; performed around the country at major venues, including Madison Square Garden and the Hollywood Bowl, the elaborate production, also broadcast on radio, was co-authored by Ben Hecht and Kurt Weill and directed by Moss Hart. On a lighter note, Levene made a New Year's Eve appearance on The Big Show with his Guys and Dolls co-star Vivian Blaine on December 31, 1950; Levene performed a skit with Tallulah Bankhead who had declined an invitation to appear on Ken Murray's show so that she could obtain theatre tickets to Guys and Dolls.
Jewish heritage
Sam Levene was one of the few Jewish actors who played characters who had a Jewish name in the 1930s and 1940s; notably in The Purple Heart (1944) Levene played the role of Lt. Wayne Greenbaum, a level-headed, brave, New York-bred Jewish lawyer who is defender and spokesman for a group of eight aviators brought to trial when they are downed in Japanese-held territory; in The Killers (1946), he was Police Lt. Sam Lubinsky; in Crossfire (1947), Levene was cast as Samuels, a Jewish civilian who was murdered at the start of the film; in a 1947 personal appearance, Levene said "Crossfire is a powerful denunciation of anti-Semitism and naturally I played the Jew and naturally I was killed." Cy Feuer, co-producer of the original Broadway production of Guys and Dolls (1950) said in a New York Times interview "Sam Levene was the ultimate Jew," referring to the original Nathan Detroit. "It was perfect casting. He created the character by living." Unanimous raves greeted Sam Levene for his portrayal of the skeptical but good-hearted Jewish doctor, Dr. Aldo Mayer, in the 1961 Broadway production of "The Devil's Advocate".
Levene lost the role of Nathan Detroit to Frank Sinatra in the film version. "You can't have a Jew playing a Jew; it wouldn't work on screen," producer Samuel Goldwyn argued, explaining why he wanted Sinatra rather than Levene—who had originated the role—to play the part of Nathan Detroit in the film version even though film director Joseph L. Mankiewicz wanted Levene, the original Broadway star. Mankiewicz said, "If there could be one person in the world more miscast as Nathan Detroit than Frank Sinatra that would be Laurence Olivier and I am one of his greatest fans; the role had been written for Sam Levene who was divine in it."
Fordham University Professor of Music Larry Stempel, author of Showtime: A History of the Broadway Musical Theater, said if given a choice, he would cast Levene, who created the role on Broadway, as the ideal Nathan Detroit instead of Nathan Lane, who played the part in the Broadway revival, or Frank Sinatra, who played the part on film, stating, "Musically, he may have been tone-deaf, but he inhabited Frank Loesser’s world as a character more than a caricature."
Caricatures
Over five decades Al Hirschfeld, considered the greatest caricaturist of the 20th century, created nine caricatures capturing seven original Broadway performances created by Levene, the first in 1935, the last 1975. A Hirschfeld caricature of Levene captures his performance as Nathan Detroit wearing his pinstripe suit designed by Alvin Colt in the original 1950 Broadway production of Guys and Dolls and published in The New York Times November 19, 1950. In 2000, the Guys and Dolls caricature included in The Museum of The City of New York exhibition "Guys and Dolls: The Fabled Musical of Broadway". In 2015, the caricature was exhibited in "The Hirschfeld Century" at The New York Historical Society. The first time Hirschfeld captured Levene was his Broadway performance as Patsy along with Shirley Booth as Mabel in the 1935 original Broadway production of Three Men on a Horse; a second caricature of Levene and Booth featuring the Broadway casts from Tobacco Road and The Children's Hour published in the New York Herald Tribune June 7, 1936 celebrates Broadway long-runs. Hirschfeld created two caricatures of Levene's critically acclaimed performance as Max Gordon, the shoestring producer, in the original 1937 Broadway production of Room Service, published in the New York Herald Tribune and The Brooklyn Eagle. Hirschfeld captured Levene's poignant performance as Al Lewis giving Willie Clark "the finger" in the original Broadway production of The Sunshine Boys published in The New York Times on December 13, 1972. Hirschfeld also captured Levene's original Broadway performances in Margin For Error and Light Up The Sky. Other notable caricaturists who memorialized Levene's stage performances include Sam Norkin, Al Frueh and William Auerbach-Levy. Al Frueh, who created caricatures of Broadway shows, mostly for The New Yorker for three decades until 1962, captured six of Levene's original Broadway performances, including Busch from the original Broadway production of Yellow Jack (1934), Patsy from the original Broadway production of Three Men on a Horse (1935), Sidney Black from the original Broadway production of Light Up The Sky, Nathan Detroit from the 1950 original Broadway production of Guys and Dolls; Boss Mangan in the 1959 all-star Broadway revival of Heartbreak House, directed and co-starring Maurice Evans and Officer Finkelstein, the Jewish policeman, in the 1939 original Broadway production of Margin for Error. Over a period of four decades William Auerbach-Levy (1889-1964) created 15 caricatures celebrating ten Sam Levene original Broadway starring performances including: Nathan Detroit in Guys and Dolls (1950), five caricatures; Patsy in Three Men on a Horse (1935), Officer Finkelstein in Margin for Error (1939), Pvt. Dino Collucci in A Sound of Hunting (1945), Sidney Black in Light Up The Sky (1948), Lou Winkler in Fair Game (1957), Sid Gray in Make A Million (1958), Odilon in The Good Soup (1960), Patsy in Let It Ride (1961), Dr. Aldo Meyer in The Devil's Advocate (1961), Morris Seidman in Seidman and Son (1962).
Personal life
Levene married Constance Kane in 1953. The couple had one son together, Joseph K. Levene, before their divorce. On December 28, 1980, Levene died of an apparent heart attack in New York City. He was buried in Mount Carmel Cemetery, Glendale, Queens.
Filmography
Awards
Nominated for the 1961 Tony Award for Best Actor in a play for The Devil's Advocate, Levene never received a Tony Award; by the time the Tony Award's were established in 1947, Levene had already created roles in 19 original Broadway shows, none Tony eligible, including performances in the original Broadway productions of Dinner at Eight (1932), Three Men on a Horse (1935), Room Service (1937) and Margin for Error (1939). In 1960, Levene was awarded the Actors Fund Medal of Honor, at the time, the second actor awarded the honor.
On April 9, 1984, Levene was posthumously inducted in the American Theatre Hall of Fame; his son, Joseph K. Levene, accepted the American Theatre Hall of Fame award from Dorothy Loudon who co-starred as Mabel with Levene in 1969 all-star revival of Three Men on a Horse.
In 1998, Sam Levene, Robert Alda, Vivian Blaine, Isabel Bigley and Pat Rooney, Sr. were posthumously inducted into the Grammy Hall of Fame for the 1950 Decca original cast album of Guys and Dolls.
In a 1996 New York letter to the editor, Sam Levene's son Joseph K. Levene, thanked film critic David Denby stating, “My father, the late great Sam Levene, has received many kudos illuminating his career as an actor, none recalled the passion for the theater more clearly than David Denby's comment in his review of Everyone Says I Love You: Sam Levene playing Nathan Detroit in the original Guys and Dolls couldn't sing a note but his gruff toneless outbursts could break your heart. Levene was not cautious and that made all the difference. Joseph added, "There were no Tony's in his career but thanks for the Denby."
References
External links
Sam Levene at American Film Institute
1905 births
1980 deaths
Russian male film actors
Russian male stage actors
American male musical theatre actors
American male television actors
Emigrants from the Russian Empire to the United States
American people of Russian-Jewish descent
American male film actors
American male stage actors
20th-century American male actors
Jewish American male actors
Jewish American male comedians
Jewish male comedians
Jewish singers
Grammy Award winners
Grammy Hall of Fame Award recipients
20th-century American comedians
20th-century American dancers
American male radio actors
Male actors from New York (state)
American Academy of Dramatic Arts alumni
Actors Fund of America
Metro-Goldwyn-Mayer contract players
RKO Pictures contract players
Warner Bros. contract players
Columbia Pictures contract players
20th-century American male singers
20th-century American singers
20th-century American Jews |
Euseius orientalis is a species of mite in the family Phytoseiidae.
References
orientalis
Articles created by Qbugbot
Animals described in 1968 |
```c++
/* -*- mode: C++; c-basic-offset: 4; indent-tabs-mode: nil -*- */
// vim: ft=cpp:expandtab:ts=8:sw=4:softtabstop=4:
#ident "$Id: memory.cc 52238 2013-01-18 20:21:22Z zardosht $"
/*
COPYING CONDITIONS NOTICE:
This program is free software; you can redistribute it and/or modify
published by the Free Software Foundation, and provided that the
following conditions are met:
* Redistributions of source code must retain this COPYING
CONDITIONS NOTICE, the COPYRIGHT NOTICE (below), the
DISCLAIMER (below), the UNIVERSITY PATENT NOTICE (below), the
PATENT MARKING NOTICE (below), and the PATENT RIGHTS
GRANT (below).
* Redistributions in binary form must reproduce this COPYING
CONDITIONS NOTICE, the COPYRIGHT NOTICE (below), the
DISCLAIMER (below), the UNIVERSITY PATENT NOTICE (below), the
PATENT MARKING NOTICE (below), and the PATENT RIGHTS
GRANT (below) in the documentation and/or other materials
provided with the distribution.
along with this program; if not, write to the Free Software
Foundation, Inc., 51 Franklin Street, Fifth Floor, Boston, MA
02110-1301, USA.
COPYRIGHT NOTICE:
TokuFT, Tokutek Fractal Tree Indexing Library.
DISCLAIMER:
This program is distributed in the hope that it will be useful, but
WITHOUT ANY WARRANTY; without even the implied warranty of
MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the GNU
UNIVERSITY PATENT NOTICE:
The technology is licensed by the Massachusetts Institute of
Technology, Rutgers State University of New Jersey, and the Research
Foundation of State University of New York at Stony Brook under
United States of America Serial No. 11/760379 and to the patents
and/or patent applications resulting from it.
PATENT MARKING NOTICE:
This software is covered by US Patent No. 8,185,551.
This software is covered by US Patent No. 8,489,638.
PATENT RIGHTS GRANT:
"THIS IMPLEMENTATION" means the copyrightable works distributed by
Tokutek as part of the Fractal Tree project.
"PATENT CLAIMS" means the claims of patents that are owned or
licensable by Tokutek, both currently or in the future; and that in
the absence of this license would be infringed by THIS
IMPLEMENTATION or by using or running THIS IMPLEMENTATION.
"PATENT CHALLENGE" shall mean a challenge to the validity,
patentability, enforceability and/or non-infringement of any of the
PATENT CLAIMS or otherwise opposing any of the PATENT CLAIMS.
Tokutek hereby grants to you, for the term and geographical scope of
the PATENT CLAIMS, a non-exclusive, no-charge, royalty-free,
irrevocable (except as stated in this section) patent license to
make, have made, use, offer to sell, sell, import, transfer, and
otherwise run, modify, and propagate the contents of THIS
IMPLEMENTATION, where such license applies only to the PATENT
CLAIMS. This grant does not include claims that would be infringed
only as a consequence of further modifications of THIS
IMPLEMENTATION. If you or your agent or licensee institute or order
or agree to the institution of patent litigation against any entity
(including a cross-claim or counterclaim in a lawsuit) alleging that
THIS IMPLEMENTATION constitutes direct or contributory patent
infringement, or inducement of patent infringement, then any rights
such litigation is filed. If you or your agent or exclusive
licensee institute or order or agree to the institution of a PATENT
CHALLENGE, then Tokutek may terminate any rights granted to you
*/
#include <sys/mman.h>
#include <stdlib.h>
#include <stdio.h>
#include <string.h>
#include <portability/toku_assert.h>
#include <portability/toku_os.h>
static bool check_huge_pages_config_file(const char *fname)
// Effect: Return true if huge pages are there. If so, print diagnostics.
{
bool huge_pages_enabled = false;
FILE *f = fopen(fname, "r");
if (f) {
// It's redhat and the feature appears to be there. Is it enabled?
char buf[1000];
char *r = fgets(buf, sizeof(buf), f);
assert(r != NULL);
if (strstr(buf, "[always]")) {
fprintf(stderr, "Transparent huge pages are enabled, according to %s\n", fname);
huge_pages_enabled = true;
} else {
huge_pages_enabled =false;
}
fclose(f);
}
return huge_pages_enabled;
}
static bool check_huge_pages_in_practice(void)
// Effect: Return true if huge pages appear to be defined in practice.
{
#ifdef HAVE_MINCORE
#ifdef HAVE_MAP_ANONYMOUS
const int map_anonymous = MAP_ANONYMOUS;
#else
const int map_anonymous = MAP_ANON;
#endif
const size_t TWO_MB = 2UL*1024UL*1024UL;
void *first = mmap(NULL, 2*TWO_MB, PROT_READ|PROT_WRITE, MAP_PRIVATE|map_anonymous, -1, 0);
if ((long)first==-1) perror("mmap failed");
{
int r = munmap(first, 2*TWO_MB);
assert(r==0);
}
void *second_addr = (void*)(((unsigned long)first + TWO_MB) & ~(TWO_MB -1));
void *second = mmap(second_addr, TWO_MB, PROT_READ|PROT_WRITE, MAP_FIXED|MAP_PRIVATE|map_anonymous, -1, 0);
if ((long)second==-1) perror("mmap failed");
assert((long)second%TWO_MB == 0);
const long pagesize = 4096;
const long n_pages = TWO_MB/pagesize;
unsigned char vec[n_pages];
{
int r = mincore(second, TWO_MB, vec);
if (r!=0 && errno==ENOMEM) {
// On some kernels (e.g., Centos 5.8), mincore doesn't work. It seems unlikely that huge pages are here.
munmap(second, TWO_MB);
return false;
}
assert(r==0);
}
for (long i=0; i<n_pages; i++) {
assert(!vec[i]);
}
((char*)second)[0] = 1;
{
int r = mincore(second, TWO_MB, vec);
// If the mincore worked the first time, it probably works here too.x
assert(r==0);
}
assert(vec[0]);
{
int r = munmap(second, TWO_MB);
assert(r==0);
}
if (vec[1]) {
fprintf(stderr, "Transparent huge pages appear to be enabled according to mincore()\n");
return true;
} else {
return false;
}
#else
// No mincore, so no way to check this in practice
return false;
#endif
}
bool toku_os_huge_pages_enabled(void)
// Effect: Return true if huge pages appear to be enabled. If so, print some diagnostics to stderr.
// If environment variable TOKU_HUGE_PAGES_OK is set, then don't complain.
{
char *toku_huge_pages_ok = getenv("TOKU_HUGE_PAGES_OK");
if (toku_huge_pages_ok) {
return false;
} else {
bool conf1 = check_huge_pages_config_file("/sys/kernel/mm/redhat_transparent_hugepage/enabled");
bool conf2 = check_huge_pages_config_file("/sys/kernel/mm/transparent_hugepage/enabled");
bool prac = check_huge_pages_in_practice();
return conf1|conf2|prac;
}
}
``` |
DPY or dpy can refer to:
dpy, a gene class that contains the DPY19L2 gene
Oreoicidae, a family of songbirds from New Guinea and Australia, by Catalogue of Life identifier
Departure Yard Railway Station, a train station in Karachi, Pakistan
See also
DPYS, a gene that codes for the metabolic enzyme dihydropyrimidase |
Powders is the fifth studio album by American experimental musician Eartheater. It was released September 20, 2023, via Chemical X under exclusive license to Mad Decent. It is a sister album to the upcoming album titled Aftermath, expected for release in 2024.
It was supported by the singles "Pure Smile Snake Venom" and "Chop Suey". The former single and "Crushing" feature music videos directed by Daniel Sannwald and Andrew Thomas Huang, respectively.
Reception
Online retailer Bandcamp spotlighted Powders as Album of the Day, with critic Andrew Parks writing that the music "finds much of its power in minimalism and making every last sound count" and that it is "an incredibly cohesive listen despite its moving parts and myriad co-producers". In The Fader, Raphael Helfand called the cover of System of a Down's "Chop Suey!" "tranquil" and wrote that it does the song justice. The Line of Best Fits Callum Foulds rated Powders a 9 out of 10, writing that the album "displays Eartheater’s talents for creating worlds of hyper-saturated textures and sounds" and is "is another masterwork and continues her steady ascension". Colin Lodewick of Pitchfork scored Powders a 7.5 out of 10, calling it a "radiant new album [that] explores love’s rapture within the confines of more traditional pop structures" and praising Eartheater's voice but criticizing that the structure of some songs holds back her singing. At that same site, Peyton Toups gave a positive review to "Crushing", calling it "a calming sea of trip-hop". Online streaming service Tidal published a spotlight on this album, with Gabriel Szatan calling the music a set "driven by a rhythmic pulse, with textural accents that twist like curlicues of smoke into inky air", with "more concentrated guitarwork than has ever been heard on a record of" Eartheater's.
Track listing
"Sugarcane Switch" (Alexandra Drewchin, Elliott Kozel, and Casey Manierka-Quaile) – 4:10
"Crushing" (Drewchin) – 4:32
"Face in the Moon" (Drewchin and Yves Rothman) – 4:45
"Clean Break" (Drewchin, Manierka-Quaile, and Lecx Stacy) – 3:09
"Chop Suey" (John Dolmayan, Daron Malakian, Shavo Odadjian, and Serj Tankian) – 4:02
"Heels over Head" (Drewchin, Antonio Felipe Hernandez, and Sawaya Sophie Macarthur) – 3:07
"Mona Lisa Moan" (Samuel Burgess, Drewchin, and Stensby) – 3:27
"Pure Smile Snake Venom" (Drewchin and Salvador Navarrete) – 3:41
"Salt of the Earth (H2ome)" (Drewchin) – 3:09
Personnel
Eartheater – instrumentation, vocals, production
Luis Aponte – drums on "Chop Suey"
Ben Babbitt – mixing on "Salt of the Earth (H2ome)"
Isaiah Barr – bass guitar on "Chop Suey"
Silas Drewchin – guitar on "Salt of the Earth (H2ome)"
Hannah Khymych – photography
Elliott Kozel – production on "Sugarcane Switch"
Joe LaPorta – mastering
Lolahol – backing vocals on "Mona Lisa Moan"
Sawaya Sophie Macarthur – production on "Heels over Head"
Casey Manierka-Quaile – production on "Sugarcane Switch" and "Clean Break"
Mom – violin on "Salt of the Earth (H2ome)"
Kayla Reagan – mixing on "Face in the Moon"
Yves Rothman – production on "Face in the Moon" and "Mona Lisa Moan", additional production on "Clean Break"
Gabriel Schuman – mixing on "Sugarcane Switch", "Clean Break", "Chop Suey", "Mona Lisa Moan", and "Pure Smile Snake Venom"
Sega Bodega – production on "Pure Smile Snake Venom"
Tony Seltzer – production on "Heels over Head"
Lecx Stacy – production on "Clean Break"
Kiri Stenby – production on "Clean Break", "Chop Suey", and "Mona Lisa Moan", mixing on "Sugarcane Switch", "Clean Break", "Chop Suey", and "Mona Lisa Moan"
Alonzo Vargas – mixing on "Crushing" and "Heels over Head"
Christian Velasquez – art direction
References
External links
2023 albums
Albums produced by Casey Manierka-Quaile
Albums produced by Sega Bodega
Eartheater (musician) albums
Self-released albums |
The National Black United Front (NBUF) is an African-American organization formed in the late 1970s in Brooklyn, New York. Its headquarters are in South Shore, Chicago, Illinois.
It has been described as Christian, Left-leaning, somewhat Black nationalist and working in the tradition of the Million Man March and Malcolm X. The organization held its 30th annual convention from July 16 to July 19, 2009 in Chicago, Illinois.
Philosophy and mission statement
The National Black United Front (NBUF) was officially founded in 1980 in Brooklyn, New York, after being hindered by assassinations and FBI counterintelligence work of the 1970s. A politically radical, grass-roots organization supporting the Pan-African movement championed by Marcus Garvey, the NBUF focuses on the advancement of all people of African descent. They have been described as “comfortable and adamant in defining a racial history and racial solidarity,” and they focus on controversial issues and pressing inequalities. These issues include demanding reparations for ancestors of slaves, disaster relief, prison reform, advocating Afrikan-centered education, get out the vote campaigns, and a petition to the United Nations that the United States has and continues to commit genocide against African Americans.
Community involvement and other activities
They have aided in criminal justice cases, including the release of exonerated death-row inmate Clarence Brandley and involvement in the Shaka Sankofa case, hold Sankofa Study Circles to teach black history, host various black artists through the Black Arts Movement, participate in the Feed the Hood Project, and are involved in the Haitian outreach program (Haitian Ministries formed by one of NBUF'S past National Secretaries and member of the Houston chapter). The NBUF also sponsors cultural programs, including the Frontlines Album Project, sponsorship of annual Kwanzaa Programs, and African Liberation Day activities. Internationally, the NBUF was involved with the Free South Africa Movement, supported Prime Minister Maurice Bishop of Grenada, and donated to victims of the mass slaughter in Rwanda.
The National Black United Front Human Rights and Genocide Campaign is a Petition/Declaration to the Office of the High Commissioner for Human Rights of the United Nations in Geneva, Switzerland. The Petition/Declaration of more than 200,000 signatures of African people who agree that the U.S. government has committed and continues to commit genocide against the African population in the United States has been a major focus of the Campaign. In the submission of the Petition/Declaration, they also submitted preliminary information in a 38 count indictment against the United States for a variety of Human Rights violations against African people in the country. The NBUF also recently become a certified organization with the National Black Federation of Charities, an arm of the National Black United Fund, Inc. and are now able to receive donations through payroll deduction from people in the federal workplace throughout the world.
Controversy
Some controversy has surrounded the NBUF during its existence. Early in its formation, female activists involved with the organization, including Loretta Ross, Nkenge Touré, and Jamala Rogers, felt resistance in the form of sexism from other leaders within the organization. There was a difficult struggle to form a women's section, and the most blatant manifestation of sexism came in the resistance to sending a delegation from the NBUF to the 1985 Decade for Women Conference in Nairobi, Kenya. Those against sending a delegation argued the women were “abandoning the black struggle and blindly following the white feminist movement,” going so far as to boo the women at the NBUF conference that year. The NBUF sisters did end up attending the conference and made a significant contribution by networking with African women from all over the world and presenting a paper on “The Presence of African Women in America.” Jamala Rogers offered another example of sexism, stating that when the St. Louis branch of a different organization, the Organization for Black Struggle, merged with the NBUF St. Louis chapter, they eventually broke off from the NBUF due to issues of patriarchy and sectarianism. More recently, NBUF leader Dr. Charles Worrill has been criticized for his extreme political militancy and for continuing to support and work with the controversial Nation of Islam leader Louis Farrakhan, who is also known for extreme anti-Semitic remarks.
Important People and Chapters
Notable People
Dr. Conrad Worrill: chairman of NBUF until 2009, educator, newspaper columnist, community organizer, and radio talk-show host, critic of racism and exponent of economic and political enfranchisement for Black people.
Rev. Jew Don Boney: Activist and politician, won City Council seat in Houston, Texas, with NBUF help Served on city council until 2001 and afterwards was appointed Associate Director of the Mickey Leland Center on World Hunger and Peace at Texas Southern University. There he administered the Center's widely acclaimed leadership development programs, including the Texas Legislative Internship, the Mickey Leland Congressional Internship and the Mickey Leland International Enhancement Program for study abroad opportunities.
Rev. Herbert Daughtry: "The People's Pastor," Founding chairman of NBUF. National Presiding Minister of The House of the Lord Churches (1958-2019), founder and president of the African People's Christian Organization
References
External links
NBUF website
NBUF podcast
African-American organizations
African Americans' rights organizations
African-American history between emancipation and the civil rights movement
1980 establishments in New York City
Organizations established in 1980 |
Evan Paul Moon (born 18 October 1968) is a New Zealand historian and a professor at the Auckland University of Technology. He is a writer of New Zealand history and biography, specialising in Māori history, the Treaty of Waitangi and the early period of Crown rule.
Education
Moon holds a Bachelor of Arts degree in history and political studies, a Master of Philosophy degree with distinction, a Master of Arts degree with honours, a PhD, and a Doctor of Literature degree. In 2003, he was elected as a Fellow of the Royal Historical Society at University College London, and is also a Fellow of the Royal Society of Arts.
Career
Moon is recognised for his study of the Treaty of Waitangi, and has published two books on the topic. He has also produced the biographies of Governors William Hobson and Robert FitzRoy, and the Ngā Puhi chief Hone Heke. In 2003, he published the book Tohunga: Hohepa Kereopa, an explication regarding tohunga of the Ngāi Tūhoe. He has also written a major biography of the Ngā Puhi politician and Kotahitanga leader Hone Heke Ngapua (1869–1909), and wrote Fatal Frontiers – a history of New Zealand in the 1830s. In addition to writing books, Moon is a frequent contributor to national and international academic journals on a variety of history-related topics.
Currently, Moon is professor of history at Auckland University of Technology's Te Ara Poutama, the Faculty of Māori Development, where he has taught since 1993.
In the 2022 New Year Honours, Moon was appointed an Officer of the New Zealand Order of Merit, for services to education and historical research.
Media appearances
Moon has appeared on TVNZ's Frontier of Dreams programme explaining the history of the Waitangi Treaty, on Prime TV's New Zealand's Top 100 History Makers programme, on TVNZ's Close Up, Marae, Te Karere, and Waka Huia programmes, on TV3 News, on Sky News Australia, and on Māori Television as an election night analyst. He is a frequent commentator on Treaty-related issues on Radio New Zealand's Morning Report programme, on Newstalk ZB, Radio Pacific, and Radio Live.
Controversies
Moon's criticism of Bishop Pompallier
Moon's 2001 biography of Hone Heke caused a major controversy because of its treatment of Bishop Jean Baptiste Pompallier, whom Moon described as 'seditious' and 'treasonous' – a view fellow historian Michael King rejected as "Absolute nonsense...reflecting the anti-Catholic prejudices widespread among Protestant missionaries at the time".
Māori cannibalism
Moon's 2008 book This Horrid Practice, in which he discusses cannibalism amongst historical Māori, has also drawn criticism. It sparked accusations that Moon was demonising Māori, and some argued the book was "a return to Victorian values". Moon responded in a newspaper article in which he accused the critics of the book of attempting to censor him. He also was critical of some of the superficial commentaries made by particular academics, and noted that many people had criticised the book before it had even been released.
Heke's flagpole
In 2009 the auction firm Dunbar Sloane announced its intention to sell a piece of wood allegedly taken from the flagpole Hōne Heke chopped down at Russell in the mid-1840s. Moon was asked for a professional opinion and stated that the piece of wood was almost certainly a late nineteenth century fake. The item was withdrawn from auction, but sold privately to the Russell Museum later in the year for an undisclosed sum.
Personal
Family
Moon was born in Auckland, the son of Evan Moon, a solicitor, and Dragica Moon (née Pavličević) who emigrated to New Zealand from Montenegro in 1966. His father's family came to New Zealand from Sussex, in the mid-1880s, and was involved in the establishment of the Auckland Star newspaper.
Religion
Moon identifies as a Congregationalist, and in July 2007 completed a history of Three Kings Congregational Church, in Mt. Roskill, Auckland, for its centenary. Moon's wife, Milica, is Serbian Orthodox.
Books by Paul Moon
References
External links
Paul Moon – staff profile at the Auckland University of Technology
1968 births
Living people
New Zealand Congregationalists
Academic staff of the Auckland University of Technology
20th-century New Zealand historians
New Zealand biographers
Male biographers
Writers from Auckland
People educated at Massey High School
New Zealand people of English descent
New Zealand people of Montenegrin descent
Officers of the New Zealand Order of Merit
21st-century New Zealand historians
Auckland University of Technology alumni
Massey University alumni |
New Hampshire's 23rd State Senate district is one of 24 districts in the New Hampshire Senate. It has been represented by Republican Bill Gannon since 2020, following his defeat of Democratic incumbent Jon Morgan. Gannon first represented the district from 2016-2018.
Geography
District 23 is based in Rockingham County. The district is entirely located within New Hampshire's 1st congressional district.
Rockingham County - 18.2%
Seabrook
Kensington
South Hampton
Newton
Kingston
East Kingston
Brentwood
Epping
Fremont
Sandown
Danville
Chester
Federal and statewide results in District 23
Results are of elections held under 2022 district lines.
Recent election results
Historical election results
All election results below took place prior to 2012 redistricting, and thus were held under different district lines.
2020
2018
2016
2014
2012
2010
References
23
Rockingham County, New Hampshire |
```groff
.\" $OpenBSD: pw_init.3,v 1.15 2022/02/18 23:17:15 jsg Exp $
.\"
.\" The Regents of the University of California. All rights reserved.
.\"
.\" This code is derived from software developed by the Computer Systems
.\" Engineering group at Lawrence Berkeley Laboratory under DARPA contract
.\" BG 91-66 and contributed to Berkeley.
.\"
.\" Redistribution and use in source and binary forms, with or without
.\" modification, are permitted provided that the following conditions
.\" are met:
.\" 1. Redistributions of source code must retain the above copyright
.\" notice, this list of conditions and the following disclaimer.
.\" 2. Redistributions in binary form must reproduce the above copyright
.\" notice, this list of conditions and the following disclaimer in the
.\" documentation and/or other materials provided with the distribution.
.\" 3. Neither the name of the University nor the names of its contributors
.\" may be used to endorse or promote products derived from this software
.\" without specific prior written permission.
.\"
.\" THIS SOFTWARE IS PROVIDED BY THE REGENTS AND CONTRIBUTORS ``AS IS'' AND
.\" ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE
.\" IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE
.\" ARE DISCLAIMED. IN NO EVENT SHALL THE REGENTS OR CONTRIBUTORS BE LIABLE
.\" FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL
.\" DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS
.\" OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION)
.\" HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT
.\" LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY
.\" OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF
.\" SUCH DAMAGE.
.\"
.Dd $Mdocdate: February 18 2022 $
.Dt PW_INIT 3
.Os
.Sh NAME
.Nm pw_init ,
.Nm pw_setdir ,
.Nm pw_file ,
.Nm pw_edit ,
.Nm pw_prompt ,
.Nm pw_copy ,
.Nm pw_scan ,
.Nm pw_error
.Nd utility functions for interactive passwd file updates
.Sh SYNOPSIS
.In pwd.h
.In util.h
.Ft void
.Fn pw_init void
.Ft void
.Fn pw_setdir "const char *directory"
.Ft char *
.Fn pw_file "const char *filename"
.Ft void
.Fn pw_edit "int notsetuid" "const char *filename"
.Ft void
.Fn pw_prompt void
.Ft void
.Fn pw_copy "int ffd" "int tfd" "const struct passwd *pw" "const struct passwd *opw"
.Ft int
.Fn pw_scan "char *bp" "struct passwd *pw" "int *flags"
.Ft void
.Fn pw_error "const char *name" "int err" "int eval"
.Sh DESCRIPTION
These functions are designed as conveniences for interactive programs
which update the passwd file and do nothing else.
They generally
handle errors by printing out a message to the standard error stream
and possibly aborting the process.
.Pp
The
.Fn pw_init
function prepares for a passwd update by unlimiting all resource
constraints, disabling core dumps (thus preventing dumping the
contents of the passwd database into a world-readable file), and
disabling most signals.
.Pp
The
.Fn pw_setdir
function sets an alternative directory where the rest of the functions look
for password-related files.
Use this if you are writing utilities that should
be able to handle password files outside of
.Pa /etc .
.Pp
The
.Fn pw_file
function transforms filenames so that they end up in the directory specified
to the latest
.Fn pw_setdir
call.
The rule is that all directories are stripped of the given name and
only the filename is appended to the directory.
.Pp
The
.Fn pw_edit
function runs an editor (named by the environment variable EDITOR, or
.Pa /usr/bin/vi
if EDITOR is not set) on the file
.Fa filename
(or
.Pa /etc/ptmp
if
.Fa filename
is NULL).
If
.Fa notsetuid
is nonzero,
.Fn pw_edit
will set the effective user and group ID to the real user and group ID
before running the editor.
.Pp
The
.Fn pw_prompt
function asks the user whether they want to re-edit the password
file; if the answer is no,
.Fn pw_prompt
deletes the lock file and exits the process.
.Pp
The
.Fn pw_copy
function reads a passwd file from
.Fa ffd
and writes it to
.Fa tfd ,
updating the entry corresponding to pw-\*(Gtpw_name
with the information in
.Fa pw .
If
.Fa opw
is not NULL, opw-\*(Gtpw_name will be used for matching instead.
Additionally, if the existing entry does not match
.Fa opw ,
the operation is aborted.
The use of
.Fa opw
allows the caller to change the user name in an entry as well as
guarantee that the entry being replaced has not changed in the
meantime.
.Pp
The
.Fn pw_scan
function accepts in
.Fa bp
a passwd entry as it would be represented in
.Pa /etc/master.passwd
and fills in
.Fa pw
with corresponding values; string fields in
.Fa pw
will be pointers into
.Fa bp .
Some characters in
.Fa bp
will be overwritten with 0s in order to terminate the strings pointed
to by
.Fa pw .
If
.Fa flags
is non-null, it is filled in with the following flags:
.Bl -tag -width _PASSWORD_NOGIDxxx
.It Dv _PASSWORD_NOUID
The uid field of
.Fa bp
is empty.
.It Dv _PASSWORD_NOGID
The gid field of
.Fa bp
is empty.
.It Dv _PASSWD_NOCHG
The change field of
.Fa bp
is empty.
.It Dv _PASSWD_NOEXP
The expire field of
.Fa bp
is empty.
.El
.Pp
The
.Fn pw_error
function displays an error message, aborts the current passwd update,
and exits the current process.
If
.Fa err
is non-zero, a warning message beginning with
.Fa name
is printed for the current value of
.Va errno .
The process exits with status
.Fa eval .
.Sh RETURN VALUES
The
.Fn pw_scan
function prints a warning message and returns 0 if the string in the
.Fa bp
argument is not a valid passwd string.
Otherwise,
.Fn pw_scan
returns 1.
.Sh FILES
.Bl -tag -width "/etc/master.passwdXXX" -compact
.It Pa /etc/master.passwd
Current password file.
.It Pa /etc/passwd
Legacy password file.
.It Pa /etc/ptmp
Password lock file.
.It Pa /etc/pwd.db
Insecure password database file.
.It Pa /etc/spwd.db
Secure password database file.
.El
.Sh SEE ALSO
.Xr pw_lock 3 ,
.Xr passwd 5
``` |
Joanna Rajkowska (born 1968) is a Polish contemporary artist who came onto the Polish art scene in the 1990s. Her most famous work is called "Greetings from Jerusalem Avenue", a 15-meter-tall (50-foot) artificial palm tree installed on Warsaw's Jerusalem Avenue.
The installation was organized by the Warsaw Centre for Contemporary Art (13 December 2002 – 13 December 2003). Since then, the palm tree has become a permanent fixture of Warsaw, as it was not removed at the end of the official exhibition but instead came under the protection of the President of Warsaw.
It went neglected and leafless two years later, until the artist and friends mounted its restoration. It still stands in the center of the city. In the summer of 2007, the palm underwent a complete makeover, becoming more weatherproof and easier to maintain (unlike natural palms, its fronds require periodic manual replacement).
Life
Born in Bydgoszcz, Poland, Joanna Rajkowska studied painting at the Academy of Fine Arts in Kraków, Poland (1988–1993), and art history at Jagiellonian University, Kraków, Poland (1988–1993). She also completed the Studio Semester Program at the State University of New York, U.S. (1994–1995).
Work
Rajkowska describes the sense of her activity as building relationships with other people. She often only sets up the context of a meeting, allowing it to be an open experience. She usually engages a number of people as participants, and she also uses herself in her work. For example, in Satisfaction Guaranteed, her body was being symbolically consumed by other people .
Greetings from Jerusalem Avenue
Greetings from Jerusalem Avenue – the 15-meter (50-foot) tall artificial palm tree installed in the centre of Warsaw – an installation created by Rajkowska after her trip with Artur Żmijewski to Israel in the spring of 2001. It is an attempt to infuse with Israel's scenery Warsaw's Jerusalem Avenue – a street whose name and history, in return, sends the observer back to Israel. In another way, the palm tree refers to a popular idiomatic expression in the Polish language ( – literally: "the palm tree sprouts/bounces back") that indicates something unthinkable, outside common understanding, escaping the usual way of reasoning, simply – something idiotic. On the other hand, through the very presence of the palm tree in the middle of Warsaw's centre, it may signify that the commonly accepted way of reasoning does not fit the real world.
Exhibitions
2012 Born in Berlin, 7th Berlin Biennale, Berlin, Germany
2008 Spitoon Zachęta, Warsaw, Poland
2007 Oxygenator (), (public project), Warsaw, Poland
2005 Twenty-Two Tasks, Program Gallery, Warsaw, Poland
2004 Only Love, (public project), Warsaw, Poland
2003 Formal Promise. Artist For Rent, Mullerdechiara Gallery, Berlin, Germany
2002 Greetings from Jerusalem Avenue, (public project), Warsaw, Poland
2002 My Great-Grandmother Rosa Stern, (Photofestival), Skulpturen Hus, Stockholm, Sweden
2001 Stockholm International Art Fair, Stockholm, Sweden
2000 The Diary of Dreams, XX1 Gallery, Warsaw, Poland
2000 Satisfaction Guaranteed, Centre for Contemporary Art, Ujazdowski Castle, Warsaw, Poland
2000 Satisfaction Guaranteed, AMS – Outdoor Gallery, 400 billboards all over Poland
1999 On Saturday I Eat Sweets and I Masturbate, Open Gallery, Kraków, Poland
1999 Things I Do In the Evenings, Manhattan Gallery, Łódź, Poland
1998 Menu of Desires, Bunkier Sztuki Gallery, Kraków, Poland
1998 The Love of a Man Named Dog, Contemporary Art Gallery Zachęta, Warsaw, Poland
1997 Lobster Lovers, Hallwalls Contemporary Art Center, Buffalo, New York, USA
1996 Trio for Skin, Voice and the Madman, Bucklein Theatre, Kraków, Poland
1996 Water-Tower. Headache, Centre for Contemporary Art, Warsaw, Poland
1995 No Sign of Dying Soon. The Past – the Physical Presence, State University of NY, NYC, USA
1995 Irritation, Zderzak Gallery, Kraków, Poland
1994 Fluids, Zderzak Gallery, Kraków, Poland
Awards
2001 The Ministry of Culture and National Heritage Scholarship, Poland
1998 The Civitella Ranieri Fellowship
1997 The Skowhegan School of Painting and Sculpture Fellowship
1996 The ArtsLink Partnership, Buffalo, USA
President's Award of the City of Kraków, Kraków, Poland
See also
Profile at culture.pl
References
Satisfaction Guaranteed exhibition in The Centre for Contemporary Art, Warsaw, Poland
A WATER-TOWER. A HEADACHE. exhibition in Laboratorium Gallery, The Centre for Conterporary Art, Warsaw, Poland
Official website of Joanna Rajkowska
Official website of the Greetings from Jerusalem Avenue palm tree (Palma)
Joanna Rajkowska at the gallery Żak | Branicka
1968 births
Living people
Jagiellonian University alumni
Polish contemporary artists |
William Werner Mwaningange (born 25 November 1945) is a Namibian politician who has served in the Cabinet of Namibia as Deputy Minister of Defence since 2015. A member of SWAPO, Mwaningange was elected to the National Assembly of Namibia in the 2009 general election. He previously served as Governor of Ohangwena Region and since 2008 he has been a member of the SWAPO Central Committee.
He was born in Eembidi, Ovamboland, which was also the birthplace of fellow SWAPO politician Erkki Nghimtina. He earned the nickname Comrade Billy during the Namibian War of Independence from occupying South Africa.
On Heroes' Day 2014 he was conferred the Excellent Order of the Eagle, third Class.
References
1945 births
Living people
Members of the National Assembly (Namibia)
SWAPO politicians
People from Ohangwena Region |
Mikhail Zaritskiy (; born 3 January 1973) is a retired Luxembourgian professional footballer. He was born in Leningrad, now St. Petersburg, Russian SFSR, grew up in the Soviet Union and later gained Luxembourg citizenship through marriage.
Zaritskiy spent most of his career in Luxembourg, starting with FC Avenir Beggen and having two spells at Sporting Mertzig, either side of a spell in Germany and Greece. In his seven years playing in the Luxembourg National Division, Zaritskiy was the league's top goal-scorer four times. He was named Luxembourgian Footballer of the Year twice.
Honours
Luxembourg National Division champion: 1994.
Luxembourgian Footballer of the Year: 1997, 1998.
Luxembourg National Division top scorer: 1996 (18 goals), 1997 (19 goals), 1998 (29 goals), 2001 (23 goals).
References
External links
1973 births
Living people
Soviet men's footballers
Soviet expatriate men's footballers
Russian men's footballers
Russian expatriate men's footballers
Expatriate men's footballers in Germany
Expatriate men's footballers in Luxembourg
Expatriate men's footballers in Greece
Luxembourgian men's footballers
Luxembourg men's international footballers
Luxembourgian expatriate men's footballers
Luxembourgian expatriate sportspeople in Greece
FC Zenit Saint Petersburg players
FC Avenir Beggen players
SC Fortuna Köln players
Borussia Mönchengladbach II players
Russian emigrants
Immigrants to Luxembourg
Footballers from Saint Petersburg
Luxembourgian football managers
FC Blue Boys Muhlenbach managers
CS Grevenmacher managers
Men's association football forwards |
```sqlpl
SET enable_analyzer=1;
-- Illegal column String of first argument of function concatWithSeparator. Must be a constant String.
SELECT concatWithSeparator('a', 'b') GROUP BY 'a';
-- use-of-uninitialized-value
SELECT concatWithSeparator('|', 'a', concatWithSeparator('|', CAST('a', 'LowCardinality(String)'))) GROUP BY 'a';
SELECT concatWithSeparator('|', 'a', concatWithSeparator('|', CAST('x', 'LowCardinality(String)'))) GROUP BY 'a';
-- should be const like for the query w/o GROUP BY
select dumpColumnStructure('x') GROUP BY 'x';
select dumpColumnStructure('x');
-- from path_to_url
SELECT cityHash64('limit', _CAST(materialize('World'), 'LowCardinality(String)')) FROM system.one GROUP BY GROUPING SETS ('limit');
WITH (
SELECT dummy AS x
FROM system.one
) AS y
SELECT
y,
min(dummy)
FROM remote('127.0.0.{1,2}', system.one)
GROUP BY y;
WITH (
SELECT dummy AS x
FROM system.one
) AS y
SELECT
y,
min(dummy)
FROM remote('127.0.0.{2,3}', system.one)
GROUP BY y;
CREATE TABLE ttt (hr DateTime, ts DateTime) ENGINE=Memory
as select '2000-01-01' d, d;
SELECT
count(),
now() AS c1
FROM remote('127.0.0.{1,2}', currentDatabase(), ttt)
GROUP BY c1 FORMAT Null;
SELECT
count(),
now() AS c1
FROM remote('127.0.0.{3,2}', currentDatabase(), ttt)
GROUP BY c1 FORMAT Null;
SELECT
count(),
now() AS c1
FROM remote('127.0.0.{1,2}', currentDatabase(), ttt)
GROUP BY c1 + 1 FORMAT Null;
SELECT
count(),
now() AS c1
FROM remote('127.0.0.{3,2}', currentDatabase(), ttt)
GROUP BY c1 + 1 FORMAT Null;
SELECT
count(),
tuple(nullIf(toDateTime(formatDateTime(hr, '%F %T', 'America/Los_Angeles'), 'America/Los_Angeles'), toDateTime(0))) as c1,
defaultValueOfArgumentType(toTimeZone(ts, 'America/Los_Angeles')) as c2,
formatDateTime(hr, '%F %T', 'America/Los_Angeles') as c3
FROM remote('127.0.0.{1,2}', currentDatabase(), ttt)
GROUP BY c1, c2, c3 FORMAT Null;
SELECT
count(),
tuple(nullIf(toDateTime(formatDateTime(hr, '%F %T', 'America/Los_Angeles'), 'America/Los_Angeles'), toDateTime(0))) as c1,
defaultValueOfArgumentType(toTimeZone(ts, 'America/Los_Angeles')) as c2,
formatDateTime(hr, '%F %T', 'America/Los_Angeles') as c3
FROM remote('127.0.0.{3,2}', currentDatabase(), ttt)
GROUP BY c1, c2, c3 FORMAT Null;
``` |
```javascript
#version 310 es
precision mediump float;
layout(location = 0) out vec4 FragColor;
struct Str
{
mat4 foo;
};
layout(binding = 0, std140) uniform UBO1
{
layout(row_major) Str foo;
} ubo1;
layout(binding = 1, std140) uniform UBO2
{
layout(column_major) Str foo;
} ubo0;
void main()
{
FragColor = ubo1.foo.foo[0] + ubo0.foo.foo[0];
}
``` |
Hudson Ford were a UK rock band-style duo, formed when John Ford and Richard Hudson left Strawbs in 1973. The original line-up featured Hudson (now playing guitar instead of drums) and Ford along with Chris Parren on keyboards, Mickey Keen on guitars, and Gerry Conway on drums. Conway left in May 1974 prior to the recording of Free Spirit and was replaced by Ken Laws. Mickey Keen left the band in December 1974 and was replaced briefly by Mick Clarke, formerly of The Roy Young Band. Clarke moved to the United States in 1975 and was not replaced. The line-up remained stable from that point until the group dissolved in late 1977.
The first album Nickelodeon also featured session musicians including Rick Wakeman.
In 1979 they re-surfaced billed as The Monks.
Hudson and Ford had been in Elmer Gantry's Velvet Opera in the mid 1960s and they both left that group and joined Strawbs, where they stayed until forming Hudson Ford.
Personnel
John Ford – vocals, bass guitar, guitar (1973-1977)
Richard Hudson – vocals, guitar, sitar (1973-1977)
Chris Parren – keyboards (1973-1977)
Mickey Keen - guitar (1973-1974; died 2008)
Gerry Conway - drums (1973-1974)
Ken Laws – drums (1974-1977; died 2007)
Mick Clarke - guitar (1974-1975)
Discography
Albums
Nickelodeon (A&M 1973)
Free Spirit (A&M 1974)
Worlds Collide (A&M 1975)
Repertoire (1976) - compilation
Daylight (1977)
Hudson Ford - The A&M Albums (Universal Music Group/Caroline Records 2017)
Singles
See also
List of performers on Top of the Pops
List of former A&M Records artists
References
External links
English rock music groups
Musical groups established in 1973
English musical duos
Rock music duos |
In mathematics, Aleksandrov–Clark (AC) measures are specially constructed measures named after the two mathematicians, A. B. Aleksandrov and Douglas Clark, who discovered some of their deepest properties. The measures are also called either Aleksandrov measures, Clark measures, or occasionally spectral measures.
AC measures are used to extract information about self-maps of the unit disc, and have applications in a number of areas of complex analysis, most notably those related to operator theory. Systems of AC measures have also been constructed for higher dimensions, and for the half-plane.
Construction of the measures
The original construction of Clark relates to one-dimensional perturbations of compressed shift operators on subspaces of the Hardy space:
By virtue of Beurling's theorem, any shift-invariant subspace of this space is of the form
where is an inner function. As such, any invariant subspace of the adjoint of the shift is of the form
We now define to be the shift operator compressed to , that is
Clark noticed that all the one-dimensional perturbations of , which were also unitary maps, were of the form
and related each such map to a measure, on the unit circle, via the Spectral theorem. This collection of measures, one for each on the unit circle , is then called the collection of AC measures associated with .
An alternative construction
The collection of measures may also be constructed for any analytic function (that is, not necessarily an inner function). Given an analytic self map, , of the unit disc, , we can construct a collection of functions, , given by
one for each . Each of these functions is positive and harmonic, so by Herglotz' Theorem each is the Poisson integral of some positive measure on . This collection is the set of AC measures associated with . It can be shown that the two definitions coincide for inner functions.
References
Hardy spaces |
```c++
/// Source : path_to_url
/// Author : liuyubobobo
/// Time : 2020-10-15
#include <iostream>
#include <vector>
using namespace std;
/// Inoder to store all the elements
/// Time Complexity: init: O(n)
/// others: O(1)
/// Space Complexity: O(n)
/// Definition for a binary tree node.
struct TreeNode {
int val;
TreeNode *left;
TreeNode *right;
TreeNode() : val(0), left(nullptr), right(nullptr) {}
TreeNode(int x) : val(x), left(nullptr), right(nullptr) {}
TreeNode(int x, TreeNode *left, TreeNode *right) : val(x), left(left), right(right) {}
};
class BSTIterator {
private:
vector<int> v;
int p = -1;
public:
BSTIterator(TreeNode* root): v(), p(-1) {
inorder(root);
}
bool hasNext() {
return p + 1 < v.size();
}
int next() {
return v[++p];
}
bool hasPrev() {
return p - 1 >= 0;
}
int prev() {
return v[--p];
}
private:
void inorder(TreeNode* node){
if(!node) return;
inorder(node->left);
v.push_back(node->val);
inorder(node->right);
}
};
int main() {
return 0;
}
``` |
Antennes Locales (later Cap Télé Groupe) was a French television network established in 2002 and closed in 2011. It aimed to become the country's first private national network by aggregating local stations, either pre-existing or created for the country's then-new digital terrestrial television service (DTT). It eventually succumbed to a combination of low revenue and undercapitalization at parent company Groupe Hersant Média.
History
Origins
Antennes Locales was launched in July 2002 by Jacques Rosselin, co-founder of Courrier International and Emmanuel de Moutis, president of Wunderman-Cato-Johnson France. As with Courrier International, Pierre Bergé and Yves Saint-Laurent's investment fund Berlys Développement was an early backer. The company's aim was to position itself early on in the local TV market, which was primed for a massive overhaul in the following years. Historically, local TV had been a low value segment of the French television market, often merely subsidized by municipalities for the purpose of boosting the local public cable company's channel count. But the advent of DTT, which by law would guarantee slots to so-called "chaînes de proximité", seemingly held the potential of greater visibility – and viability – for those channels.
Groupe France Antilles was a major newspaper publisher although, as one of the entities resulting from the 1986 antitrust split of media mogul Robert Hersant's empire, its portfolio of titles was viewed as unbalanced. France Antilles had owned a stake in Canal 32, a local channel based in Troyes, since its inception in 2001. The market was a stronghold of the group as it owned both the city's liberal and conservative dailies. Philippe Hersant, son of Robert and principal of Groupe France Antilles, saw a strategic opportunity to re-expand his side of the empire through television.
Takeover and growth
In March 2004, Groupe France Antilles acquired 34 percent of Antennes Locales. By November 2007, the now renamed Groupe Hersant Média had brought its stake to 100 percent. In early 2008, the Antennes Locales moniker was discontinued as Hersant Média' TV division was reorganized as "Cap Télé Groupe" under newly appointed director general Eric Hersant, Philippe's nephew.
At its peak, the network had seven channels, often co-owned with local investors such as regional branches of the Crédit Agricole and Caisse d'Epargne banks:
Cap 24 (Greater Paris)
Canal 32 (Troyes, Aube)
CityZen TV (Caen-Hérouville, Calvados)
Orléans TV
TéléGrenoble
TéléAlsace
TéléMiroir (Nîmes, Gard)
In addition, Hersant Média held interests in channels that were not officially part of Antennes Locales/Cap Télé Groupe like TV8 Mont-Blanc, Antilles Télévision (through the France-Antilles newspaper) and La Chaîne Marseillaise (despite its failed bid for the Marseille DTT license, GHM still became involved with the eventual channel through its 2008 acquisition of La Provence, which had a stake in the winning project). Through his Editions Suisses publishing group, Philippe Hersant also held a participation in the Swiss channels Léman Bleu and TVM3, respectively based in the Geneva and Lausanne agglomerations.
To support the young network, Hersant Média partnered with France Télévisions and NRJ Group to start Uni TV, an advertising sales agency tailored for local televisions.
Contraction and closure
While it was the largest operator of local channels in the country, Hersant Média never managed to secure a truly dominant position nationwide. The network experienced a substantial setback when its TéléAlsace cable channel, a rare wholly owned entity, lost on the new DTT licence in the Strasbourg-Mulhouse market to rival Alsatic TV, which was led by a strong coalition of regional players including Les Dernières Nouvelles d'Alsace, L'Alsace, RC Strasbourg and SIG Basket. This forced the premature shutdown of TéléAlsace after less than two years of existence.
Another market that eluded the group was Lyon where Le Progrès, ironically a former Robert Hersant publication, secured the DTT licence for its Télé Lyon Métropole channel at the expense of Philippe Hersant's project.
Other markets the company targeted without success included Perpignan, Montpellier and Le Mans.
In addition, the group never followed through on channels for which it had won licenses in the Champagne-Ardennes, Nice-Cannes and Toulon-Hyères markets.
Ultimately, despite occasionally relying on recognized personalities to promote the venture, Hersant Média was not able to make it a money-making proposition. Harmstrung by a loss of advertising revenue incurred by the 2008 recession and free Internet competition for its paid classified magazines, the group ceded its portfolio of local channels to separate regional investors. The last remaining Antennes Locales channel, Canal 32, was sold to its management in March 2011. The group lost more than 40 million Euros on the failed network.
See also
BFM Régions, a successor network
Vià, a successor network
References
2002 establishments in France
Television stations in France
Defunct television channels in France
Television channels and stations established in 2002 |
The PC 1400 (Panzersprengbombe Cylindrisch) or cylindrical armor-piercing explosive bomb in English was an armor-piercing bomb used by the Luftwaffe during World War II.
History
The PC series of bombs differed from the SC series because they had thick cases for enhanced penetration of armored targets like warships or reinforced concrete fortifications. While the SD series bombs could be used in a semi-armor piercing role the PC series of bombs were specifically designed as armor-piercing bombs. Since they had thicker hardened steel cases their charge to weight ratio was only 20% of their total weight. Bombs in the PC series included the PC 500, PC 1000, PC 1400, and PC 1600. The number in the bombs designation corresponded to the approximate weight of the bomb. The smaller bombs had either Amatol or TNT while the larger bombs were filled more powerful explosives like RDX and Trialen to compensate for their reduced charges. The PC series of bombs were fitted with a time delay fuze which detonated the bomb after it had pierced a target destroying it with a combination of its blast and fragments. The PC series served as a base for the later PC RS series rocket propelled bombs which were designed to enhance penetration by increasing their terminal velocity. The PC 1400 was also modified by adding a guidance package to become the Fritz X guided bomb.
Design
The body was of one-piece forged steel construction which was filled through the base with TNT or Trialen 105, a mixture of 15% RDX, 70% TNT and 15% aluminum powder and was fitted with a cast aluminum or magnesium alloy 4 finned tail with a cylindrical strut. There was a single transverse fuze pocket near the base of the bomb and there were two central exploders which ran through the explosives. The PC 1400 was horizontally suspended by a suspension band and H-Type suspension lugs or trunnions in a bomb bay. The body of the bombs were painted sky blue, while the tail was painted aluminum with a red or blue stripe.
See also
List of weapons of military aircraft of Germany during World War II
References
External links
World War II aerial bombs of Germany |
```java
`ArrayList` vs `LinkedList`
`Math` vs `StrictMath` in java
Converting numbers to strings
Equals operation on different data types
Double brace initialization
``` |
Bi-scalar tensor vector gravity theory (BSTV) is an extension of the tensor–vector–scalar gravity theory (TeVeS). TeVeS is a relativistic generalization of Mordehai Milgrom's Modified Newtonian Dynamics MOND paradigm proposed by Jacob Bekenstein. BSTV was proposed by R.H.Sanders. BSTV makes TeVeS more flexible by making a non-dynamical scalar field in TeVeS into a dynamical one.
References
Theories of gravity
Theoretical physics
Astrophysics |
The Hongqi E-HS9 () is an electric full-size luxury SUV made by Hongqi.
Overview
Originally previewed by the Hongqi E115 Concept during the 2019 International Motor Show Germany (IAA) and 2019 Guangzhou Auto Show, the production Hongqi E-HS9 was first shown at the 2020 Beijing Auto Show.
The production Hongqi E-HS9 is a 5-door, 7 seat vehicle, and costs $80,000 to $110,000.
The E-HS9 features a dual-color design and comes with 22-inch wheels. It has a dimensions of 5209 mm/2010 mm/1731 mm, with a 3110 mm wheelbase. The weight is , and the drag coefficient is 0.345.
Technology
The Hongqi E-HS9 is equipped with an intelligent sensor steering wheel and six smart screens, capable of functions such as AR real scene navigation and remote vehicle control by mobile phone, including unlocking, temperature regulation, smart voice control, and vehicle locating. The Hongqi E-HS9 is equipped with the L3+ autonomous driving system and OTA.
Performance
The E-HS9 is available in two different performance variants. The lower-spec model features one electric motor for each axle rated at each, with combined. The top-trim model features a motor for the rear axle, with a combined power of . The acceleration of the seven-passenger SUV from is within 5 seconds. According to Hongqi, the E-HS9 can travel approximately on a charge.
Battery and Charging
The E-HS9 has a 92.5-kilowatt-hour battery unit with 108 kW CCS-plug. The car supports wireless charging technology or non-contact charging, which can fully charge the vehicle in 8.4 hours. The E-HS9 vehicle battery is specially designed with the fully-covered side battery protection structure. In terms of endurance, the NEDC range of Hongqi E-HS9 can reach up to . The vehicle can autonomously park itself and adjust air suspension height for the best wireless charging alignment with charging efficiency up to 91%.
See also
Hongqi
Hongqi H9
References
Cars introduced in 2020
Cars of China
Luxury sport utility vehicles
E-HS9
Production electric cars
Flagship vehicles
Full-size vehicles
All-wheel-drive vehicles |
Onnuri may refer to:
Onnuri Community Church, a South Korean megachurch
RV Onnuri, a Korean research vessel built in Norway |
```xml
// ag-grid-ng2 v6.2.0
import { EventEmitter, ViewContainerRef, ElementRef, QueryList, OnInit, AfterViewInit } from '@angular/core';
import { GridOptions, GridApi, ColumnApi } from 'ag-grid/main';
import { Ng2FrameworkFactory } from "./ng2FrameworkFactory";
import { AgGridColumn } from "./agGridColumn";
export declare class AgGridNg2 implements OnInit, AfterViewInit {
private viewContainerRef;
private ng2FrameworkFactory;
private _nativeElement;
private _initialised;
private _destroyed;
private gridParams;
api: GridApi;
columnApi: ColumnApi;
columns: QueryList<AgGridColumn>;
constructor(elementDef: ElementRef, viewContainerRef: ViewContainerRef, ng2FrameworkFactory: Ng2FrameworkFactory);
ngOnInit(): void;
ngAfterViewInit(): void;
ngOnChanges(changes: any): void;
ngOnDestroy(): void;
private globalEventListener(eventType, event);
/**
* inputs
*/
gridOptions: GridOptions;
slaveGrids: any;
rowData: any;
floatingTopRowData: any;
floatingBottomRowData: any;
columnDefs: any;
rowStyle: any;
context: any;
groupColumnDef: any;
localeText: any;
icons: any;
datasource: any;
viewportDatasource: any;
groupRowRendererParams: any;
aggFuncs: any;
fullWidthCellRendererParams: any;
sortingOrder: any;
rowClass: any;
rowSelection: any;
overlayLoadingTemplate: any;
overlayNoRowsTemplate: any;
headerCellTemplate: any;
quickFilterText: any;
rowModelType: any;
rowHeight: any;
rowBuffer: any;
colWidth: any;
headerHeight: any;
groupDefaultExpanded: any;
minColWidth: any;
maxColWidth: any;
viewportRowModelPageSize: any;
viewportRowModelBufferSize: any;
layoutInterval: any;
autoSizePadding: any;
maxPagesInCache: any;
maxConcurrentDatasourceRequests: any;
paginationOverflowSize: any;
paginationPageSize: any;
paginationInitialRowCount: any;
headerCellRenderer: any;
localeTextFunc: any;
groupRowInnerRenderer: any;
groupRowRenderer: any;
isScrollLag: any;
isExternalFilterPresent: any;
getRowHeight: any;
doesExternalFilterPass: any;
getRowClass: any;
getRowStyle: any;
getHeaderCellTemplate: any;
traverseNode: any;
getContextMenuItems: any;
getMainMenuItems: any;
processRowPostCreate: any;
processCellForClipboard: any;
getNodeChildDetails: any;
groupRowAggNodes: any;
getRowNodeId: any;
isFullWidthCell: any;
fullWidthCellRenderer: any;
doesDataFlower: any;
toolPanelSuppressRowGroups: any;
toolPanelSuppressValues: any;
toolPanelSuppressPivots: any;
toolPanelSuppressPivotMode: any;
suppressRowClickSelection: any;
suppressCellSelection: any;
suppressHorizontalScroll: any;
debug: any;
enableColResize: any;
enableCellExpressions: any;
enableSorting: any;
enableServerSideSorting: any;
enableFilter: any;
enableServerSideFilter: any;
angularCompileRows: any;
angularCompileFilters: any;
angularCompileHeaders: any;
groupSuppressAutoColumn: any;
groupSelectsChildren: any;
groupIncludeFooter: any;
groupUseEntireRow: any;
groupSuppressRow: any;
groupSuppressBlankHeader: any;
forPrint: any;
suppressMenuHide: any;
rowDeselection: any;
unSortIcon: any;
suppressMultiSort: any;
suppressScrollLag: any;
singleClickEdit: any;
suppressLoadingOverlay: any;
suppressNoRowsOverlay: any;
suppressAutoSize: any;
suppressParentsInRowNodes: any;
showToolPanel: any;
suppressColumnMoveAnimation: any;
suppressMovableColumns: any;
suppressFieldDotNotation: any;
enableRangeSelection: any;
suppressEnterprise: any;
rowGroupPanelShow: any;
pivotPanelShow: any;
suppressContextMenu: any;
suppressMenuFilterPanel: any;
suppressMenuMainPanel: any;
suppressMenuColumnPanel: any;
enableStatusBar: any;
rememberGroupStateWhenNewData: any;
enableCellChangeFlash: any;
suppressDragLeaveHidesColumns: any;
suppressMiddleClickScrolls: any;
suppressPreventDefaultOnMouseWheel: any;
suppressUseColIdForGroups: any;
suppressCopyRowsToClipboard: any;
pivotMode: any;
suppressAggFuncInHeader: any;
suppressColumnVirtualisation: any;
suppressFocusAfterRefresh: any;
functionsPassive: any;
functionsReadOnly: any;
/**
* Outputs
*/
gridReady: EventEmitter<any>;
columnEverythingChanged: EventEmitter<any>;
newColumnsLoaded: EventEmitter<any>;
columnPivotModeChanged: EventEmitter<any>;
columnRowGroupChanged: EventEmitter<any>;
columnPivotChanged: EventEmitter<any>;
gridColumnsChanged: EventEmitter<any>;
columnValueChanged: EventEmitter<any>;
columnMoved: EventEmitter<any>;
columnVisible: EventEmitter<any>;
columnPinned: EventEmitter<any>;
columnGroupOpened: EventEmitter<any>;
columnResized: EventEmitter<any>;
displayedColumnsChanged: EventEmitter<any>;
virtualColumnsChanged: EventEmitter<any>;
rowGroupOpened: EventEmitter<any>;
rowDataChanged: EventEmitter<any>;
floatingRowDataChanged: EventEmitter<any>;
rangeSelectionChanged: EventEmitter<any>;
columnRowGroupAddRequest: EventEmitter<any>;
columnRowGroupRemoveRequest: EventEmitter<any>;
columnPivotAddRequest: EventEmitter<any>;
columnPivotRemoveRequest: EventEmitter<any>;
columnValueAddRequest: EventEmitter<any>;
columnValueRemoveRequest: EventEmitter<any>;
columnAggFuncChangeRequest: EventEmitter<any>;
clipboardPaste: EventEmitter<any>;
modelUpdated: EventEmitter<any>;
cellClicked: EventEmitter<any>;
cellDoubleClicked: EventEmitter<any>;
cellContextMenu: EventEmitter<any>;
cellValueChanged: EventEmitter<any>;
cellFocused: EventEmitter<any>;
rowSelected: EventEmitter<any>;
selectionChanged: EventEmitter<any>;
beforeFilterChanged: EventEmitter<any>;
filterChanged: EventEmitter<any>;
afterFilterChanged: EventEmitter<any>;
filterModified: EventEmitter<any>;
beforeSortChanged: EventEmitter<any>;
sortChanged: EventEmitter<any>;
afterSortChanged: EventEmitter<any>;
virtualRowRemoved: EventEmitter<any>;
rowClicked: EventEmitter<any>;
rowDoubleClicked: EventEmitter<any>;
gridSizeChanged: EventEmitter<any>;
viewportChanged: EventEmitter<any>;
dragStarted: EventEmitter<any>;
dragStopped: EventEmitter<any>;
itemsAdded: EventEmitter<any>;
itemsRemoved: EventEmitter<any>;
}
``` |
Samuel Tobias Holmén (born 28 June 1984) is a Swedish former professional footballer who played as a midfielder.
Holmén's favourite position was in the central midfield, and his style of play was that of a box-to-box player, being a good defensive ball winner, as well as a good playmaker and goal scorer.
Starting off his career with IF Elfsborg in 2002, he went on to play in Denmark and Turkey before returning to Elfsborg and Swedish football in 2017. He retired from professional football in 2021.
A full international between 2006 and 2013, he won 32 caps for the Sweden national team and represented his country at UEFA Euro 2012.
Club career
IF Elfsborg
Holmén was born in Annelund just outside Borås, and started playing football in Annelunds IF. In 1998, he went to IF Elfsborg. After a few years in the youth squad he was promoted to the first squad, and made his debut when he came on as a substitute in the semi-final of the Swedish Cup in September 2002. He quickly became a first team regular, and was considered to be one of the most promising Swedish footballers.
Brøndby IF
On 30 August 2007 Holmén transferred to Danish Superliga club Brøndby IF signing a four-year contract.
İstanbul BB
In July 2010, Holmén left Danish side Brøndby IF to sign with Turkish club Büyükşehir Belediyespor. He started 100 matches in the first eleven. His contract ended in June 2013.
Fenerbahçe and loans
On 18 June 2013, Holmén signed with Fenerbahçe for a three-year deal after successfully passing the medical tests.
In August 2014, Holmén was loaned to Bursaspor for one season.
On 21 August 2015, Holmén was loaned to Konyaspor for one season.
Return to İstanbul Başakşehir
In June 2016, Holmén signed a two-year contract with İstanbul Başakşehir after his Fenerbahçe contract expired.
Return to IF Elfsborg
Holmén returned to IF Elfsborg during the 2017 Allsvenskan season. He announced his retirement after the 2021 Allsvenskan season.
International career
Having represented the Sweden U17, U19, and U21 teams, Holmén made his full international debut for Sweden on 11 November 2006 in a friendly 1–0 loss to the Ivory Coast when he came on as a substitute for Petter Hansson in the 85th minute. His first international goal came in a friendly against Costa Rica, scoring the only goal in a 1–0 win on 13 January 2008. His first competitive appearance for Sweden came in a 2010 FIFA World Cup qualifier against Albania on 6 September 2008, when he replaced Kim Källström in the 84th minute of a 0–0 draw. Holmén would go ahead and score his first competitive international goal only four days later on 10 September 2008, in a 2–1 win against Hungary in the same World Cup qualifying campaign.
Holmén was named in Sweden's squad for UEFA Euro 2012, and appeared in the last group stage game against France as Sweden failed to reach the tournament's knockout stage.
Personal life
His brother, Sebastian, is also a professional footballer.
Career statistics
International
Scores and results list Sweden's goal tally first.
List of international goals scored by Samuel Holmén
Honours
IF Elfsborg
Allsvenskan: 2006
Swedish Cup: 2003
Brøndby
Danish Cup: 2008
Fenerbahçe
Süper Lig: 2013–14
References
External links
Samuel Holmén at Brondby.com
1984 births
Living people
Men's association football midfielders
Swedish men's footballers
Sweden men's international footballers
Sweden men's youth international footballers
Sweden men's under-21 international footballers
IF Elfsborg players
Brøndby IF players
İstanbul Başakşehir F.K. players
Fenerbahçe S.K. footballers
Bursaspor footballers
Konyaspor footballers
Allsvenskan players
Danish Superliga players
Süper Lig players
Swedish expatriate men's footballers
Expatriate men's footballers in Denmark
Expatriate men's footballers in Turkey
UEFA Euro 2012 players
Swedish expatriate sportspeople in Turkey
Swedish expatriate sportspeople in Denmark
People from Herrljunga Municipality
Footballers from Västra Götaland County |
Jarell is the name of:
Jarell Carter (born 1995), American football cornerback
Jarell Christian (born 1986), American former professional basketball player
Jarell Eddie (born 1991), American professional basketball player
Jarell Martin (born 1994), American professional basketball player
See also
J-Boog (born Jarell Damonté Houston Sr.), American R&B singer |
Tamias striatus doorsiensis is a subspecies of the eastern chipmunk that is only found in Door, Kewaunee, northeastern Brown, and possibly Manitowoc counties in northeastern Wisconsin. It was described by C. A. Long in 1971. Compared to the other subspecies of eastern chipmunk present in nearby in Michigan and Wisconsin, they have brighter patches behind their ears, grayer hair along their backs, and more white on their tails. It is smaller than T. s. griseus but larger than the least chipmunk (Neotamias minimus).
Distribution
References
Tamias
Fauna of the United States
Mammals described in 1971
Endemic fauna of Wisconsin
Door County, Wisconsin |
"I Will Always Love You" is a song written and originally recorded in 1973 by American singer-songwriter Dolly Parton. Written as a farewell to her business partner and mentor Porter Wagoner, expressing Parton's decision to pursue a solo career, the country single was released in 1974. The song was a commercial success for Parton, twice reaching the top spot of Billboard Hot Country Songs: first in June 1974, then again in October 1982, with a re-recording for The Best Little Whorehouse in Texas soundtrack.
Whitney Houston recorded a soul-ballad arrangement of the song for the 1992 film The Bodyguard. Houston's version peaked at number one on the Billboard Hot 100 for a then-record-breaking 14 weeks. The single was certified diamond by the RIAA, making Houston's first diamond single, the third female artist who had both a diamond single and a diamond album, and becoming the best-selling single by a woman in the U.S. The song was a global success, topping the charts in almost all countries. With over 20 million copies sold, it became the best-selling single of all time by a female solo artist. It was also the world's best-selling single of 1992. Houston won the Grammy Award for Record of the Year and the Grammy Award for Best Pop Vocal Performance, Female in 1994 for "I Will Always Love You". Houston also won a Grammy Award for Album Of The Year for The Bodyguard - Original Soundtrack Album.
The song has been recorded by many other artists including Linda Ronstadt, John Doe, Amber Riley, LeAnn Rimes, and Sarah Washington, whose dance version reached number 12 on the UK Singles Chart.
"I Will Always Love You" has been recognized by BMI for over ten million broadcast performances.
Background and composition
Country music singer-songwriter Dolly Parton wrote the song in 1973 for her one-time partner and mentor Porter Wagoner, from whom she was separating professionally after a seven-year partnership. She recorded it in RCA Studio B in Nashville on June 12, 1973.
Author Curtis W. Ellison stated that the song "speaks about the breakup of a relationship between a man and a woman that does not descend into unremitting domestic turmoil, but instead envisions parting with respect – because of the initiative of the woman". The country love track is set in a time signature of common time with a tempo of 66 beats per minute. (Larghetto/Adagio) Although Parton found much success with the song, many people are unaware of its origin; during an interview, Parton's manager Danny Nozel said that "one thing we found out from American Idol is that most people don't know that Dolly Parton wrote [the track]". During an interview on The Bobby Bones Show, Dolly Parton revealed that she wrote her signature song "Jolene" on the same day that she wrote "I Will Always Love You."
Several times (long before Whitney Houston recorded the song), Dolly Parton suggested to singer Patti LaBelle that she record "I Will Always Love You" because she felt LaBelle could have sung it so well. However, LaBelle admitted she kept putting off the opportunity to do so and later deeply regretted it after she heard Whitney Houston's rendition.
1974 version
"I Will Always Love You" was issued on March 18, 1974, as the second single from Parton's thirteenth solo studio album, Jolene (1974). During its original release in 1974, "I Will Always Love You" reached number four in Canada on the Canadian RPM Country Tracks chart and peaked at number one on the Billboard Hot Country Songs chart, becoming one of the best selling singles of 1974.
When the 1974 recording of the song reached number one on the country charts, Elvis Presley indicated that he wanted to record the song. Parton was interested until Presley's manager, Colonel Tom Parker, told her that it was standard procedure for the songwriter to sign over half of the publishing rights to any song Elvis recorded. Parton refused. She recalls:I said, 'I'm really sorry,' and I cried all night. I mean, it was like the worst thing. You know, it's like, Oh, my God… Elvis Presley.' And other people were saying, 'You're nuts. It's Elvis Presley.' …I said, 'I can't do that. Something in my heart says, 'Don't do that. And I just didn't do it… He would have killed it. But anyway, so he didn't. Then when Whitney [Houston's version] came out, I made enough money to buy Graceland.
The song won Parton Female Vocalist of the Year at the 1975 CMA Awards.
Critical reception
In Curtis W. Ellison's book, Country Music Culture: From Hard Times to Heaven (1995), he stated: "In the early 1990s, when ambiguity in romantic relationships accompanies changing expectations for both men and women, this song demonstrates Dolly Parton's appeal as a songwriter in the pop music market." Writer Paul Simpson criticized the singer, stating that the track was only written to "soften the blow" of Parton and Wagoner's split.
Track listing
7" vinyl
"I Will Always Love You" – 2:53
"Lonely Comin' Down" – 3:09
Credits and personnel
Dolly Parton – vocals, guitar
Jimmy Colvard – guitar
Chip Young – guitar
Stu Basore – pedal steel guitar
Bobby Dyson – bass
Larrie Londin – drums
Buck Trent – banjo
Bobby Thompson – banjo
Mack Magaha – fiddle
Johnny Gimble – fiddle
Hargus "Pig" Robbins – piano
Dolores Edgin – background vocals
Hershel Winginton – background vocals
Joe Babcock – background vocals
June Page – background vocals
Charts
Weekly
Year-End
1982 version
Parton re-recorded the song for The Best Little Whorehouse in Texas, released July 12, 1982, as the first single from the soundtrack album. The single eventually hit number one on the Billboard Hot Country Singles chart, earning Parton a rare distinction: reaching the number one position twice with the same song.
Critical reception
Billboard gave a positive review which said, "The first single from The Best Little Whorehouse in Texas isn't the sort of brassy main theme normally used to launch a major movie musical: here Parton reinterprets one of her earliest exercises in pure pop writing, and while older fans may be divided over the breathier, more stylized reading she offers here, the song itself is still a lovely ballad with a soaring chorus."
Cashbox also reviewed the single favorably, saying that "hoisted over a building arrangement, Parton's vocals have never been more convincing or moving. The single choice from her Hollywood flick, The Best Little Whorehouse in Texas, the tune is sentiment wrapped in an appropriate package replete with strings, oboe and harp in addition to a delicate rhythm section."
Charts
Certifications
1995 version
Parton recorded "I Will Always Love You" in 1995 as a duet with Vince Gill for her album, Something Special. Following an August 26 performance of the duet at the Grand Ole Opry which aired on TNN, radio stations began giving the duet unsolicited airplay, causing it to debut on the Billboard Hot Country Singles & Tracks chart at number 53. After a performance at the 29th Annual CMA Awards, the song was officially released as a single in November 1995, peaking at number 15. This marked the third time Parton had a top 20 hit with the song. The song was nominated at the 38th Annual Grammy Awards for Best Country Collaboration with Vocals and was named Vocal Event of the Year at the 30th Annual CMA Awards.
Personnel
Adapted from the album liner notes.
Assa Dormi – concertmaster
Paul Franklin – steel
Vince Gill – duet vocals
Owen Hale – drums
David Hungate – bass
Brent Mason – guitar
Terry McMillan – percussion
Dale Oehler – string arrangements, conductor
Dolly Parton – lead vocals
Matt Rollings – piano
Brent Rowan – guitar
Charts
Whitney Houston version
Background
In 1992, American singer Whitney Houston recorded a new arrangement of "I Will Always Love You" for the soundtrack to The Bodyguard, her film debut. The song has a saxophone solo by Kirk Whalum. She was originally to record Jimmy Ruffin's "What Becomes of the Brokenhearted" as the lead single from The Bodyguard. However, when it was discovered the song was to be used for Fried Green Tomatoes, Houston requested a different song. It was her co-star Kevin Costner who suggested "I Will Always Love You", playing her Linda Ronstadt's 1975 version from her album Prisoner in Disguise. Producer David Foster and Houston re-arranged the song as a soul ballad. Her record company did not feel a song with an a cappella introduction would be as successful; however, Houston and Costner insisted on retaining it. When Parton heard that Houston was using Ronstadt's recording as a template, she called Foster to give him the final verse, which was missing from the Ronstadt recording, as she felt it was important to the song. Houston's rendition of the song was issued as the soundtrack's leading single on November 3, 1992, by Arista Records.
Houston's recording is not the only version of the song featured in the film. In a scene where she dances with Costner, a version by John Doe can be heard playing on a jukebox.
Houston's version appears at No. 8 on NMEs Greatest No 1 Singles in History list. In 2004, Houston's version of "I Will Always Love You" placed at number 65 on AFI's 100 Years...100 Songs survey of top tunes in American cinema. It was also ranked at number 22 on The Guardians list of Britain's favorite 100 songs, published in May 2002. , Houston's version of "I Will Always Love You" has sold over 22 million copies worldwide, making it the best-selling single by a female artist of all time as well as one of the best-selling singles of all time. It was also the world's best-selling single of 1992.
In February 2014, the song placed at number six on Billboards list of the Top 50 'Love' Songs of All Time. A live performance was included on the 1999 release Divas Live '99, and a 1994 performance of the song was included on the 2014 CD/DVD release of Whitney Houston Live: Her Greatest Performances.
Critical reception
Houston's cover of "I Will Always Love You" received widespread acclaim from music critics, being now regarded as one of her "signature'' songs. Larry Flick of Billboard wrote that the song is "bolstered by a remarkably restrained (and ultimately effective) vocal by Houston. She builds to dramatic, heartfelt conclusion that makes sense, given the unusually slow-building created by producer David Foster." Randy Clark of Cashbox noted that "the unstoppable voice and unquestionable talent of Whitney Houston will no doubt come roaring back onto the charts with this cover". Amy Linden of Entertainment Weekly said it "is artistically satisfying and uncharacteristically hip for the MOR songbird." John Martinucci of Gavin Report asserted that Houston "delivers a powerful rendition that reminds us of her natural abilities as a singer with or without musical accompaniment." Chris Willman of the Los Angeles Times commented that the singer "has the goods to deliver on the tune's haunting beauty and resists overpowering it – until the finale, when the key change and stratospheric notes drain all the heart-rending sadness out of the song and make it sound like just another anthem of survival." Stephen Holden of The New York Times called it a "magnificent rendition", commenting,Houston transforms a plaintive country ballad into a towering pop-gospel assertion of lasting devotion to a departing lover. Her voice breaking and tensing, she treats the song as a series of emotional bursts in a steady climb toward a final full-out declamation. Along the way, her virtuosic gospel embellishments enhance the emotion and never seem merely ornamental. Peter Stanton of Smash Hits commented, "A slow intro moulds into a crescendo of huggy-kissy-smoochiness that could melt the heart of the yeti of Northern Siberia." Writing for USA Today on November 17, 1992, James T. Jones IV labeled it a "tour-de-force", and added "[Houston] gives a 3-star [out of four] performance. Where Dolly Parton's original 'I Will Always Love You' was plaintive and tear-stained, Houston's is gospel-infused and dramatic."
Chart performance
The single spent 14 weeks at the top of the U.S. Billboard Hot 100, which at the time was a record. It became Houston's longest run atop the chart, surpassing her previous record of three weeks with "Greatest Love of All" in 1986. It is also the longest running number-one single from a soundtrack album.
It debuted at number 40 on the Billboard Hot 100, and became Houston's tenth number-one entry two weeks later. It also dominated other Billboard charts, spending 14 weeks at the top of the Billboard Hot 100 Single Sales chart, and 11 weeks at number one on its Hot 100 Airplay chart. The song remained at number one on the Mainstream Top 40 chart for nine consecutive weeks. It was Houston's first single on the chart and her first number one. The song also remained at number one for five weeks on the Hot Adult Contemporary Tracks, and for 11 weeks on the Hot R&B Singles chart becoming the longest running number one on the R&B charts at the time; it remained in the top 40 for 24 weeks. It became Arista Records' biggest hit. The song was number one on the Hot 100, Adult Contemporary, and R&B chart simultaneously for a record-equaling five weeks; Ray Charles' "I Can't Stop Loving You" in 1962 achieved the same feat on the same charts.
The song stayed at number one in the U.S. throughout January and February 1993, making it the first time Billboard did not rank a new number-one single until March of the new year. Houston's "I Will Always Love You" was also the year-end number one single of 1993 in the US. Similarly, in the UK, Houston's version was ranked the number-one single of 1992, and then made the countdown again in 1993 where it was ranked number nine, marking the first time any musical act had the same single ranked in the top ten of the year-end review two years in a row. In Australia, it was the number 17 single of 1992 and the number two song of 1993.
Houston's "I Will Always Love You" was also a massive international hit, topping the singles charts in almost every country, including the Eurochart Hot 100 Singles, where it spent 13 weeks at the top. The single ruled the summit position for ten weeks in Australia, five weeks in Austria, seven weeks for Belgium, eight weeks in France, six weeks in Germany, eight weeks in Ireland, six weeks in the Netherlands, fourteen weeks in New Zealand, nine weeks in Norway, one week in Spain and Uruguay, six weeks in Sweden, eight weeks in Switzerland, and ten weeks in the UK. The song reached the number one spot in the UK in 1992. Houston's ten-week reign in the UK was the longest run at the top by a solo female artist in the history of the British singles chart, until it was overtaken by Tones & I in 2019. It was the year-end number one song for in three countries – the U.S., Canada and the UK.
Houston's single sold approximately 400,000 copies in its second week at the top of the charts, making it the best-selling song in a single week surpassing Bryan Adams' "(Everything I Do) I Do It for You". It broke its own record in the following three weeks, peaking at 632,000 copies in the week ending on December 27, 1992. The January 9, 1993, issue of Billboard reported it had broken its own record for most copies sold in a single week for any song in the Nielsen SoundScan era. This record was broken by Elton John's "Candle in the Wind 1997/Something About the Way You Look Tonight", which sold 3.4 million in the final week of September 1997. "I Will Always Love You" was certified four times Platinum in the U.S. for shipments of over 4 million copies by the Recording Industry Association of America (RIAA) on January 12, 1993, making Houston the first female artist with a single to reach that level in RIAA history. According to Nielsen SoundScan, as of 2009, the single had sold 4,591,000 copies, and had become the second best-selling physical single in the US. On January 12, 2022, the single was certified Diamond by the RIAA for selling 10 million equivalent sales units from sales and streams, becoming the second-eldest song in history to do so after Queen's "Bohemian Rhapsody" and the third song overall in the 20th century to do so, preceded by "Bohemian Rhapsody" and Mariah Carey's 1994 Christmas single, "All I Want for Christmas is You". With this accomplishment, Houston became only the third female artist to have a diamond single and album after Carey and Taylor Swift.
In the UK, the single sold over 1,550,000 copies, becoming the tenth best-selling single of the 1990s, and was certified two times Platinum by the British Phonographic Industry (BPI) on January 1, 1993. In 1992 alone the single had sold 960,000 copies in United Kingdom. In 1993 the single sold 395,000 copies in United Kingdom. It was certified Platinum for shipments of over 500,000 copies by the Bundesverband Musikindustrie (BVMI) in Germany. In Japan, "I Will Always Love You" sold over 810,000 copies, staying for 27 weeks on the chart, and became the best-selling single by a foreign female artist at the time, despite not topping the charts.
Only a few hours after Houston's death on February 11, 2012, "I Will Always Love You" topped the U.S. iTunes charts. Also, in the week following her death, the single returned to the Billboard Hot 100 after almost twenty years, debuting at number seven, and becoming a posthumous top-ten single for Houston, the first one since 2001. The song eventually peaked at number three (two spots shy of repeating the feat achieved by Chubby Checker when "The Twist" returned to the top position after previously falling off the chart). It debuted on the Billboard Hot Digital Singles Chart at number three on the chart dated February 25, 2012, with over 195,000 copies downloaded. In the UK, the song charted at number ten the week of Houston's death.
Accolades
"I Will Always Love You" won the 1994 Grammy Awards for Record of the Year and Best Female Pop Vocal Performance, Houston's third win in the latter category after earlier wins in 1986 and 1988. During the Grammy Award telecast, the Best Pop Vocal Performance, Female award was presented to Houston by composer Dolly Parton and David Foster. The single topped the 1993 Billboard Hot 100 and Hot R&B Singles year-end charts simultaneously, becoming the first single by a female artist and the second overall to achieve that feat behind Prince's "When Doves Cry" in 1984. In addition, it received Favorite Pop/Rock Single and Favorite Soul/R&B Single awards at the 21st American Music Awards, which was the first record by a solo female artist to win both categories, and the third overall in AMA history behind "Endless Love" by Lionel Richie & Diana Ross in 1982 and "Beat It" by Michael Jackson in 1984. "I Will Always Love You" won two Japan Gold Disc Awards in 1993 for International Song of the Year, and a 1994 International Song of the Year Special Award for Japanese sales of over one million units.
In 2015, "I Will Always Love You" was named the No. 1 Song of the Rock Era in the book The Top 500 Songs of the Rock Era: 1955–2015.
In 2020, "I Will Always Love You" was selected by the Library of Congress for preservation in the National Recording Registry for being "culturally, historically, or aesthetically significant".
In 2021, "I Will Always Love You" was listed at number 94 on the updated list of Rolling Stone's 500 Greatest Songs of All Time.
Controversy
After Houston's recording became a hit in 1992, the tabloid press began reporting on a 'feud' between the two performers, stemming from Parton allegedly reneging on an agreement that she would not perform the song for a number of months while Houston's version was on the charts, so as not to compete with Houston's recording. However, both Parton and Houston dismissed any rumors, speaking glowingly of one another in interviews. Houston praised Parton for writing a beautiful song. In return, Parton thanked Houston for bringing her song to a wider audience and increasing the amount of royalties in the process. Parton also gave a live interview, confirming this.
When Houston won the Best Pop Vocal Performance, Female award at the 36th Annual Grammy Awards for her recording, Parton (along with David Foster) presented the award.
In a statement to Billboard mourning Houston's death in February 2012, Parton said:Mine is only one of the millions of hearts broken over the death of Whitney Houston. I will always be grateful and in awe of the wonderful performance she did on my song and I can truly say from the bottom of my heart, 'Whitney, I will always love you. You will be missed.'
Music video
The single's music video is credited to Alan Smithee (Nick Brandt removed his name due to the way Clive Davis re-edited the video), and produced by Rob Newman. It begins with the performance of the song Houston gives at the end of The Bodyguard. The video then cuts to the singer in a dark blue suit sitting in an empty theater with the spotlight shining on her, singing of her love, and when she starts her dramatic vocal finale, the theater changes into open camp surrounded by snow, which is meant to be at Fallen Leaf Lake, California, where The Bodyguards boat scene was filmed. The video is interspersed with scenes from the film and gives the viewer the experience of reliving the moments with Houston. At the time of the video's shooting the singer was pregnant with her daughter Bobbi Kristina, so she is shown only sitting in the theater scenes. On October 24, 2020, the video for "I Will Always Love You" reached one billion views on YouTube. It is the first music video of the 20th century by a solo artist to reach the milestone. Later in that year the 4k video was released.
Formats and track listings
UK and Europe 12-inch vinyl single
A "I Will Always Love You" – 4:31
B1 "Jesus Loves Me" – 5:11
B2 "Do You Hear What I Hear?" – 3:31
UK, European, and U.S. 7-inch vinyl single
A "I Will Always Love You" – 4:31
B "Jesus Loves Me" – 5:11
US and Europe maxi-CD single
"I Will Always Love You" – 4:31
"Jesus Loves Me" – 5:11
"Do You Hear What I Hear?" – 3:31
Maxi-CD singles (1999 remixes)
"I Will Always Love You" (Hex Hector radio edit) – 4:50
"I Will Always Love You" (Hex Hector 12-inch club mix) – 9:51
"I Will Always Love You" (Hex Hector Anthem dub mix) – 5:44
Credits and personnel
Performed by Whitney Houston
Produced and arranged by David Foster
Vocal arrangement – Whitney Houston
Directed by Rickey Minor
Keyboards – David Foster
Sax solo – Kirk Whalum
Drums – Ricky Lawson
Percussion – Bashiri Johnson
Guitars – Dean Parks, Michael Landau
Bass – Neil Stubenhaus
Synth programmers – Tony Smith, Claude Gaudette
String arrangements – Ronn Huff
Recording engineers – Bill Schnee, Dave Reitzas, Peter J. Yianilos
Mixing engineer – Dave Reitzas
Executive producers - Clive Davis, Whitney Houston
Charts
Weekly charts
Year-end charts
Decade-end charts
All-time charts
Billboard Magazine Hot 100 Anniversary Charts
Certifications and sales
Tributes
Jennifer Hudson performed the song in front of Houston, who received The BET Honors Award for Entertainer Lifetime Achievement spanning over 25 years in the industry. The 2010 BET Honors Awards was held at the Warner Theatre in Washington, D.C., and aired on February 1, 2010.
Since Houston's death in 2012, many other artists have performed tributes to the late singer's version of the song, including on February 12, 2012, when Hudson performed the song as a tribute during the 54th Annual Grammy Awards, the day after Houston's death, alongside images of musicians who had died in 2011 and 2012, including Amy Winehouse and Etta James. Parton complimented Hudson on her performance, saying,I was brought to tears again last night, as I'm sure many were, when Jennifer Hudson sang "I Will Always Love You" on the Grammys in memory of Whitney. Like everybody else, I am still in shock. But I know that Whitney will live forever in all the great music that she left behind. I will always have a very special piece of her in the song we shared together and had the good fortune to share with the world. Rest in peace, Whitney. Again, we will always love you.
The song was played at Houston's funeral as her casket was brought out of the church. The song title also served as the epitaph on Houston's gravestone. In 2012, following Whitney Houston's death, American singer Beyoncé performed a tribute to Houston during her revue Revel Presents: Beyoncé Live in Atlantic City, New Jersey at the Revel resort. She began the performance of her song "Halo" singing the first verse of "I Will Always Love You" a cappella. Later, in 2013, during her The Mrs. Carter Show World Tour, Beyoncé also sang the opening lines of "I Will Always Love You" prior to the performance of "Halo" as the final song of the tour. At the 2017 Commencement of the University of Southern California, Will Ferrell sang "I Will Always Love You" to the graduating class.
Sarah Washington version
British singer Sarah Washington released a dance-cover of "I Will Always Love You" in August 1993. It became her highest-charting hit, reaching number three in Spain, number 12 in the UK, number 15 in Ireland, and number 32 in Sweden. On the Eurochart Hot 100, it peaked at number 44 in September 1993. It was released on Almighty Records, which described Washington as "an eager young hopeful" and cited her "sensational studio performance" as being key to the ultimate success of the track, also giving credit to London radio station 95.8 Capital FM and its heavy rotation of the song. A black-and-white music video was produced to promote the single. In 2006, Almighty Records released an 11-mixes package of "I Will Always Love You".
Critical reception
Larry Flick from Billboard commented, "There are no less than nine dance music covers of the Whitney Houston megahit "I Will Always Love You". So far, only Sarah Washington's hi-NRG rendering on Almighty Records is worth a spin." In his weekly UK chart commentary, James Masterton wrote, "If anything this new version adds a little more to the song, and at least proves it had genuine soul to start with. Top 10 for sure." Chris Roberts from Melody Maker added, "And now you can shake a tailfeather to it as well." Alan Jones from Music Week gave it four out of five, complimenting "a sinewy garage groove with a powerful vocal from the Donna Summer school of disco divas." Stephen Dalton from NME felt the record "hop, skip and pump along with a breezy, good-natured charm." James Hamilton from the Record Mirror Dance Update described it as a "I Will Survive-ish" remake.
Track listings
CD single (Dance Mix), UK (1993)
"I Will Always Love You" (The Dolly Mix) – 6:20
"I Will Always Love You" (7" Edit) – 5:25
"I Will Always Love You" (Mighty Mix) – 7:26
"Body Heat" – 4:38
CD single (Dance Mix), Scandinavia (1993)
"I Will Always Love You" (7" Edit) – 5:27
"I Will Always Love You" (12" Original Mix) – 7:27
CD single (Dance Mix), Australia (1993)
"I Will Always Love You" (7" Edit)
"I Will Always Love You" (12" Original Mix)
"I Will Always Love You" (Luv'd Up Mix)
"Body Heat"
Charts
Rik Waller version
In 2002, English pop singer Rik Waller took his own version of "I Will Always Love You" into the top ten of the UK Singles Chart, peaking at number 6. It was his debut single and the first released from his debut studio album From Now..., after his taking part in the Pop Idol series.
Kristin Chenoweth version
"I Will Always Love You" was covered by American actress and singer Kristin Chenoweth as a duet with Dolly Parton. It was released on August 9, 2019, as the first single from Chenoweth's album, For the Girls.
Background
Chenoweth reflected on recording "I Will Always Love You" with ET Online, saying "it is a song I've loved since I was a child." She went on to say, "I used to think, 'One day I'm gonna sing that song.' Little did I know that I'd get to sing it with the queen herself."
"Forever Country"
The song found further chart success as part of the "Forever Country" medley, created in 2016 to celebrate the 50th anniversary of the Country Music Association Awards. The medley also features "Take Me Home, Country Roads" and "On the Road Again". Parton performs on the medley, along with 29 other country music artists. The medley debuted at number one on the Billboard US Hot Country Songs chart and number 21 on the Billboard Hot 100 chart on October 8, 2016.
See also
List of Australian number-one hits of 1993
List of Austrian number-one hits of 1993
List of number-one hits of 1993 (Belgium Flanders)
List of RPM number-one singles of 1992
List of RPM number-one singles of 1993
Dutch Top 40 number-one hits of 1992
Dutch Top 40 number-one hits of 1993
List of European number-one hits of 1992
List of European number-one hits of 1993
List of French number-one hits of 1993
Number-one hits of 1993 (Germany)
List of number-one singles of 1992 (Ireland)
List of number-one singles of 1993 (Ireland)
List of number-one hits of 1992 (Italy)
List of number-one singles in 1992 (New Zealand)
List of number-one singles in 1993 (New Zealand)
List of number-one songs in Norway
List of number-one singles of 1993 (Spain)
List of number-one singles and albums in Sweden
List of number-one hits of 1993 (Switzerland)
List of UK Singles Chart number ones of the 1990s
List of number-one adult contemporary singles of 1992 (U.S.)
List of number-one adult contemporary singles of 1993 (U.S.)
List of Hot 100 Airplay number-one singles of the 1990s
List of Billboard Mainstream Top 40 number-one songs of the 1990s
List of Billboard Rhythmic number-one songs of the 1990s
List of number-one R&B singles of 1992 (U.S.)
R&B number-one hits of 1993 (USA)
List of million-selling singles in the United Kingdom
List of best-selling singles of the 1990s in the United Kingdom
List of best-selling singles by year (UK)
List of UK Singles Chart Christmas number ones
List of UK top 10 singles in 1992
List of best-selling singles in Australia
List of Top 25 singles for 1992 in Australia
List of Top 25 singles for 1993 in Australia
Billboard Year-End Hot 100 singles of 1993
List of Hot 100 number-one singles of the 1990s (U.S.)
List of Billboard Hot 100 top 10 singles in 2012
List of top 10 singles in 2012 (France)
List of best-selling singles in Japan
List of best-selling singles
List of best-selling singles in the United States
References
External links
1973 songs
1974 singles
1982 singles
1992 singles
1993 debut singles
1995 singles
2002 debut singles
Dolly Parton songs
Vince Gill songs
Whitney Houston songs
Sarah Washington songs
Rik Waller songs
Kristin Chenoweth songs
Billboard Hot 100 number-one singles
Number-one singles in Australia
Number-one singles in Austria
Number-one singles in Belgium
Number-one singles in Denmark
RPM Top Singles number-one singles
European Hot 100 Singles number-one singles
SNEP Top Singles number-one singles
Number-one singles in Germany
Number-one singles in Iceland
Irish Singles Chart number-one singles
Oricon International Singles Chart number-one singles
Dutch Top 40 number-one singles
Number-one singles in New Zealand
Number-one singles in Norway
Number-one singles in Portugal
Number-one singles in Spain
Number-one singles in Sweden
Number-one singles in Switzerland
Number-one singles in Zimbabwe
UK Singles Chart number-one singles
Grammy Award for Record of the Year
Grammy Award for Best Female Pop Vocal Performance
Torch songs
Country ballads
Pop ballads
Contemporary R&B ballads
Songs written by Dolly Parton
RCA Victor singles
RCA Records Nashville singles
Columbia Nashville Records singles
ZYX Music singles
Music videos credited to Alan Smithee
Song recordings produced by Bob Ferguson (musician)
Song recordings produced by David Foster
Arista Records singles
1970s ballads
1990s ballads
Christmas number-one singles in the United Kingdom
United States National Recording Registry recordings |
Valeri Harutyunyan () is a former Soviet Armenian Greco-Roman wrestler. He won a silver medal at the 1974 World Wrestling Championships and two silver and one bronze medal at the European Wrestling Championships at 52 kg.
References
Living people
Armenian male sport wrestlers
Soviet male sport wrestlers
World Wrestling Championships medalists
European Wrestling Championships medalists
Sportspeople from Yerevan
1949 births |
Brownie, Browny, or brownies may refer to:
Foods
Chocolate brownie, a baked good
People
People with the given name
Brownie Samukai, Minister of National Defence of Liberia
Brownie Wise (1913–1992), developer of the party plan system of marketing for Tupperware
People with the surname
Cavell Brownie, American statistician
Fictional characters
Brownie, a fictional character in Ace Combat 7 : Skies Unknown
People with the nickname
Clifford Brown (1930–1956), American jazz trumpeter
Ernest Brown (dancer) (1916–2009), African-American tap dancer
Lewis Brown (rugby league) (born 1986), New Zealand footballer
Luke Brown (footballer, born 1992), Australian rules footballer
Michael D. Brown, U.S. undersecretary of emergency preparedness and response
Vernon Brown (musician) (1907–1979), American trombonist
Brownie Foreman (1875–1926), Major League Baseball pitcher
Browny Igboegwu (born 1976), Nigerian actor
Brownie Ledbetter (1932–2010), political activist
Brownie McGhee (1915–1996), blues musician
Agnes Vernon (1895–1948), American actress
Arts, entertainment, and media
Brownie (folklore), a legendary creature
Brownie (guitar), a Fender Stratocaster used by Eric Clapton in the 1970s
Brownie (sculpture), a 1905 bronze by Louis Amateis at the Houston Zoo, Texas, US
Brownies (film), a 2004 Indonesian film by Hanung Bramantyo
Brownies (web series), Indian American web comic
The Brownies, a series of publications by Palmer Cox, 1879 onwards
Brownies (company), Japanese video game developer
Brands and enterprises
Brownie (camera), a popular inexpensive camera made by Eastman Kodak
Bristol Brownie, a light sports airplane
Brownie Chocolate Drink, a U.S. soft drink
Mossberg Brownie, a pistol
St. Louis, Brownsville and Mexico Railway, or the Brownie
Other uses
Brownie, Kentucky, a former unincorporated community now part of Central City
Algona Brownies, a baseball team in Algona, Iowa, United States
Brownie points, an imaginary social currency
Brownies (Scouting), a level in several Guiding/Scouting organizations
Brownie, a level in Woodcraft Indians scouting for girls and boys ages 6–11
Diplacus douglasii or brownies, a species of plant
Miletus (butterfly) or brownies, a genus of butterflies
See also
Blondie (confection), a brownie made without chocolate
Brown (disambiguation)
Nicknames |
Henryk Gołębiewski may refer to:
Henryk Gołębiewski (politician) (born 1942), Polish politician
Henryk Gołębiewski (actor) (born 1956), Polish actor |
History
The Compatil typefaces were developed from 1999 to 2001 at Linotype Library GmbH. The name was derived from the word "compatible" and represents an intelligent and modular type system.
The project was led by Bruno Steinert, Managing Director of Linotype GmbH, Bad Homburg. Professor Olaf Leu and his analysis team at Mainz University of Applied Sciences. They composed an extensive range of requirements that Linotype Library’s team of experts incorporated into their new creation, extending and developing the concept as their work progressed. Silja Bilz and Professor Reinhard Haus were responsible for the project design and concept.
On 2004-12-07, Linotype announced Compatil 6.0, which introduced italic fonts for all families. The italic fonts have an 11-degree lean angle.
In 2005, the typeface families of Compatil were extended with the addition of true cursive typefaces.
Usages
The typeface is used in printing newspapers and financial reports.
It was used in 2002 Business-to-Business Awards.
References
External links
About the Linotype Compatil typeface family
Compatil Type System
Linotype.com Press Release for Compatil font system - 2001-07-18
Linotype typefaces
Unified serif and sans-serif typeface families |
The Buurmester House (Danish: Buurmesters Gaard) is a Neoclassical property situated at Admiralgade 20 in central Copenhagen, Denmark. It is one of several buildings constructed by Ernst Burmeister as part of the rebuilding of the city following the Copenhagen Fire of 1795. It was listed in the Danish registry of protected buildings and places in 1959.
History
18th century
The site was in 1689 part of a larger property (then No. 201) owned by former president of Borgerretten (The Civic Court) Hans Hiort's widow. In 1756, it was as No. 236 jointly owned by wine merchant Hans Christian Reimer and former colonial governor of the Danish Gold Coast Just Platfues.
The property was together with most of the other buildings in the area destroyed in the Copenhagen Fire of 1795. The large fire site was subsequently divided into two separate properties and sold to different buyers. The larger corner property at the corner of Fortunstræde was as No. 236A sold to master carpenter Johan Christopher Suhr (now Fortunstræde 1). The smaller property in Admiralgade was as No. 236A acquired by master carpenter Ernst Burmeister. The present building on the site was constructed by him in 1797–1798. He had in 1807 also constructed the more humble building around the corner at Fortunstræde 3.
19th century
The property in Admiralgade was listed in the new cadastre of 1806 as No. 161. It was by owned by a woman (probably a widow) named Liunge (Ljunge, Lunge) at that time.
The actor (1780-1842) was among the residents from 1817 to 1821.
No. 161 was home to 22 residenta in four households at the 1860 census. Marie Ølsted Sørensen, a coffee retailer (widow), resided in the building with her 21-year-old foster daughter and one maid. Christen Nielsen, a fireman in the Ministry of Naval Affairs, resided in the building with his wife Gjertrud Larsen, their four children (aged two to 10) and one maid. Joseph Levia Samson, a silk and textile merchant, resided in the building with his wife Emilie Samson, their two children (aged 12 and 13) and one maid. Frederikke Levin. a widow, resided in the building with four unmarried daughters (all of whom ere teachers) and two lodgers.
Architecture
Admiralgade 20 is constructed in brick with three storeys over a walk-out basement. The front is plastered and white-painted. It is finished by a yellow-painted belt course above the ground floor and a white-painted cornice under the roof. An inset band between the three central windows on the first and second floors, which originally featured a frieze similar to the ones seen on many of the surrounding buildings, is now inscribed with the name of the building ("Buurmesters Gaard").
The main entrance in the bay furthest to the right (north) is accessed via a steep flight of steps. The transom window features the house number]]. The door is topped by a hood mould supported by corbels. The basement entrance in the central bay was until 1870 also topped by a hood mould.
The building is via two diagonal bays attached to a narrow, parallel rear wing on the other side of an equally narrow courtyard. The courtyard is to the north bordered by Fortunstræde 1. The entire complex was listed in the Danish registry of protected buildings and places in 1945.
Today
The building was as of 2008 owned by Trekantområdets Ejendomsselskab. The basement contains a retail space.
References
External links
Source
Listed residential buildings in Copenhagen
Neoclassical architecture in Copenhagen
Residential buildings completed in 1798
1798 establishments in Denmark |
```c
/**
* @license Apache-2.0
*
*
*
* path_to_url
*
* Unless required by applicable law or agreed to in writing, software
* WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
*/
#include <stdlib.h>
#include <stdio.h>
#include <math.h>
#include <complex.h>
#include <sys/time.h>
#define NAME "cabs"
#define ITERATIONS 1000000
#define REPEATS 3
/**
* Prints the TAP version.
*/
static void print_version( void ) {
printf( "TAP version 13\n" );
}
/**
* Prints the TAP summary.
*
* @param total total number of tests
* @param passing total number of passing tests
*/
static void print_summary( int total, int passing ) {
printf( "#\n" );
printf( "1..%d\n", total ); // TAP plan
printf( "# total %d\n", total );
printf( "# pass %d\n", passing );
printf( "#\n" );
printf( "# ok\n" );
}
/**
* Prints benchmarks results.
*
* @param elapsed elapsed time in seconds
*/
static void print_results( double elapsed ) {
double rate = (double)ITERATIONS / elapsed;
printf( " ---\n" );
printf( " iterations: %d\n", ITERATIONS );
printf( " elapsed: %0.9f\n", elapsed );
printf( " rate: %0.9f\n", rate );
printf( " ...\n" );
}
/**
* Returns a clock time.
*
* @return clock time
*/
static double tic( void ) {
struct timeval now;
gettimeofday( &now, NULL );
return (double)now.tv_sec + (double)now.tv_usec/1.0e6;
}
/**
* Generates a random number on the interval [0,1).
*
* @return random number
*/
static double rand_double( void ) {
int r = rand();
return (double)r / ( (double)RAND_MAX + 1.0 );
}
/**
* Runs a benchmark.
*
* @return elapsed time in seconds
*/
static double benchmark( void ) {
double complex z;
double elapsed;
double re;
double im;
double y;
double t;
int i;
t = tic();
for ( i = 0; i < ITERATIONS; i++ ) {
re = ( 1000.0*rand_double() ) - 500.0;
im = ( 1000.0*rand_double() ) - 500.0;
z = re + im*I;
y = cabs( z );
if ( y != y ) {
printf( "should not return NaN\n" );
break;
}
}
elapsed = tic() - t;
if ( y != y ) {
printf( "should not return NaN\n" );
}
return elapsed;
}
/**
* Main execution sequence.
*/
int main( void ) {
double elapsed;
int i;
// Use the current time to seed the random number generator:
srand( time( NULL ) );
print_version();
for ( i = 0; i < REPEATS; i++ ) {
printf( "# c::%s\n", NAME );
elapsed = benchmark();
print_results( elapsed );
printf( "ok %d benchmark finished\n", i+1 );
}
print_summary( REPEATS, REPEATS );
}
``` |
ARTBO is an annual international art fair in Bogotá, Colombia that takes place every October. It is Colombia's official international art fair, and is organized by the Bogotá Chamber of commerce. ARTBO is one of the largest art fairs in Latin America, and brings together art galleries, artworks, curators, collectors, artists, and the public as one of the most important cultural events for the country. The fair is directed by María Paz Gaviria, daughter of former Colombian President, César Gavira. The fair features more than 75 galleries with works from over 500 artists. The fair also focuses on cultural and academic programming with a mission to promote access and growth of the arts community in Colombia and beyond.
The fair's origins date back to 2005, when Bogotá's chamber of commerce took on the project of strengthening and consolidating the local art scene. ArtBo was created as a nonprofit project to promote Colombia's culture and arts both locally and abroad through the participation of key Colombian art galleries as well as International galleries. It was started by the Colombian Government as a reaction to the ongoing Colombian conflict, as a way to help rebrand Colombia's capital city as a destination for culture, business, and investment.
Since 2012, under the direction of María Paz Gaviria, the fair has grown in size to becoming Latin America's second largest art fair, next to Zona Maco in Mexico. Internationally, ARTBO is sometimes referred to as the "Art Basel of Latin America".
Editions
ArtBo 2005 – Inaugural edition; 29 galleries from 7 countries
ArtBo 2012 – New Director Maria Paz Gaviria takes over direction of ArtBo; 56 galleries from 14 countries
ArtBo 2015 – 11th Edition; 3000 artworks and 84 galleries from 33 cities
ArtBo 2016 – 12th Edition; 35,000 visitors and galleries from 28 cities, and accounted for 80% of the total annual sale volume for Colombian Art Galleries that year
ArtBo 2017 – 13th Edition; 75 participating galleries and over 350 represented artists
ArtBo 2018 – 14th Edition; 3000 artworks from over 350 represented artists
References
Contemporary art fairs
Art festivals in Colombia
Festivals in Bogotá
Annual events in South America |
Jicky is a perfume originally created by Aimé Guerlain in 1889 for French perfume and cosmetics house Guerlain. Introduced in 1889, it is the oldest continuously-produced perfume in the world.
History
Jicky was one of the first perfumes created with the addition of synthetic materials, and was the first abstract perfume in history, meaning it is not based on a single note. Its perfume notes include: spice, lemon, lavender, wood and vanilla. Its stopper is shaped like a champagne cork.
Jicky was the nickname of Aimé Guerlain's nephew, Jacques Guerlain, and according to legend, was also the pet name of Aimé's girlfriend from his time studying in England.
See also
Mitsouko
Shalimar, the flagship fragrance of perfume house Guerlain
References
Perfumes
Products introduced in 1889
Culture of France
Culture of Paris
History of cosmetics
19th-century perfumes |
Euphaedra ravola, the Ravola Ceres forester, is a butterfly in the family Nymphalidae. It is found in Nigeria, Cameroon, the Democratic Republic of the Congo and possibly Ivory Coast and Ghana. The habitat consists of forests.
Both sexes are attracted to fallen fruit.
The larvae are gregarious. They are chocolate brown with sulphur-yellow lateral processes.
Similar species
Other members of the Euphaedra ceres species group q.v.
References
Butterflies described in 1866
ravola
Butterflies of Africa
Taxa named by William Chapman Hewitson |
Pwojè Pyebwa (Tree Project) is a tree-planting project in Haiti. It was designed, implemented, and initially run by cultural anthropologists. Different from reforestation projects, Pwojè Pyebwa promoted agroforestry—the strategic mixing of crops, trees, and animals. The agroforestry project in Haiti project was funded by the United States Agency for International Development USAID, but implemented through the Pan American Development Organization (PADF) and CARE. It was originally called the Agroforestry Outreach Project (AOP). The original project spanned a decade (1981–1991), but policies from Pwojè Pyebwa continued to direct PADF tree-planting through a second decade (1992–2000).
The project was executed throughout the country. Based on Haitian farmers’ voluntary and widespread participation, the project has been deemed a success by many. Pwojè Pyebwa distributed free trees to farmers, and advised on the incorporation of trees into existing cropping arrangements based on anthropological research into the land tenure, agricultural systems, and the historical market-orientation of Haitian peasant farmers. The project eventually won the Praxis prize in applied anthropology. It is estimated that the project involved one-third of the entire rural Haitian population. Approximately 65 million trees were planted.
In 2009, follow-up research was conducted in the first area to receive tree seedlings. This research indicated that farmers continue to utilize trees from the project, and drew attention to already existing managed woodlots in the area. These Haitian farmer managed woodlots were documented as the result of historical shifts from exploited woodlands on public land toward the production of domestic firewood and eventually urban-bound charcoal, produced on private land; the woodlots were also examined contemporaneously as a unique Haitian agroforestry system.
References
Environment of Haiti |
Kamal Saleem (born 1957) is the pseudonym of a Lebanese-American claimed former Muslim terrorist. He is a convert to Christianity and minister who evangelizes to Muslims.
Biography
Early life
Born in Lebanon, Saleem claims to have been taught to wage jihad from a young age for the Palestine Liberation Organization and the Muslim Brotherhood. When he was seven, he says he was sent by his parents to Muslim training camps to learn to use weapons and engage and kill the enemy. He was also taught another more subtle form of warfare, called "Cultural Jihad", which he was eventually chosen to wage in the United States.
He lived in a small Midwestern town in the early 1980s where he tried to recruit men in poorer neighborhoods to Islam. He then had a serious car crash, which hospitalized him. He subsequently received support from Christians, and after being "overwhelmed with the outpouring of Christian love", he eventually converted to Christianity. It has been uncovered that he worked for the Christian Broadcasting Network from 1987 to 2003, and for Focus on the Family since then.
Alleged terrorist activities
His claims of being a former terrorist, including an encounter with Yasser Arafat, having helped run a terrorist camp in the Libyan desert under Moammar Qaddafi, visiting Iraq where he rubbed shoulders with Saddam Hussein, and working alongside the mujahideen in Afghanistan, was questioned by a skeptical Kansas City Star columnist.
He has claimed that the Muslim Brotherhood has put a $25 million bounty on his head, and alleged that he has been the subject of an assassination attempt. His stories have also been disputed by the magazine Mother Jones, Christianity Today and The Daily Beast. He has been compared to other alleged ex-Muslim terrorist converts to Christianity such as Walid Shoebat, Zachariah Anani, Ergun Caner and Emir Caner, whose stories have also been disputed.
Activities after conversion
Saleem travels across the United States "challenging Muslims to question their allegiance to Allah". He runs Koome Ministries, which "aims to teach about what it sees as 'radical Islam's true agenda'". He has appeared on CNN, CBS News, and Fox News, and has spoken on terrorism and radical Islam at Stanford University, the University of California, the Air Force Academy, and other institutions. He has been described as a part of the counter-jihad movement.
Works
References
External links
Koome Ministries
1957 births
Living people
American critics of Islam
American former Muslims
Christian critics of Islam
Converts to Protestantism from Islam
Counter-jihad activists
Lebanese emigrants to the United States
Former Muslim critics of Islam
Pseudonymous writers on Islam |
The Taiping Sky Bridge () is a suspension bridge in Meishan Township, Chiayi County, Taiwan. It is the longest suspension bridge in Taiwan.
History
The bridge was inaugurated on 20 August 2017 in a ceremony attended by Chiayi Magistrate Helen Chang. It then opened on 23 September 2017.
Architecture
The bridge spans over a length of 281 meters with a height of about 1,000 meters above sea level. The bridge is decorated with lamps which are lighted up differently every evening following the colors of the rainbow.
See also
Transportation in Taiwan
References
2017 establishments in Taiwan
Bridges completed in 2017
Suspension bridges in Chiayi County
Tourist attractions in Chiayi County |
```xml
import * as sdk from '@botpress/sdk'
import { bot } from './bot'
export type MessageHandler = Parameters<(typeof bot)['message']>[0]
export type MessageHandlerProps = Parameters<MessageHandler>[0]
export type EventHandler = Parameters<(typeof bot)['event']>[0]
export type EventHandlerProps = Parameters<EventHandler>[0]
export type Client = EventHandlerProps['client']
type TBot = Client extends sdk.BotSpecificClient<infer T> ? T : never
export type BotStates = TBot['states']
export type BotEvents = TBot['events']
``` |
```javascript
/**
* @license Apache-2.0
*
*
*
* path_to_url
*
* Unless required by applicable law or agreed to in writing, software
* WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
*/
'use strict';
// MODULES //
var tape = require( 'tape' );
var lucas = require( '@stdlib/math/base/special/lucas' );
var negaLucas = require( '@stdlib/math/base/special/negalucas' );
var factory = require( './../lib/factory.js' );
// TESTS //
tape( 'main export is a function', function test( t ) {
t.ok( true, __filename );
t.strictEqual( typeof factory, 'function', 'main export is a function' );
t.end();
});
tape( 'the function returns a function for evaluating a Lucas polynomial', function test( t ) {
var polyval = factory( 5 );
t.strictEqual( typeof polyval, 'function', 'returns a function' );
t.end();
});
tape( 'the function returns a function which evaluates a Lucas polynomial', function test( t ) {
var expected;
var polyval;
var v;
var x;
var i;
expected = [
2.0,
2.0,
6.0,
14.0,
34.0,
82.0,
198.0
];
x = 2.0;
for ( i = 0; i < expected.length; i++ ) {
polyval = factory( i );
v = polyval( x );
t.strictEqual( v, expected[ i ], 'returns expected value for L_'+i+'('+x+')' );
}
t.end();
});
tape( 'the function returns a function which evaluates a Lucas polynomial (x=1.0)', function test( t ) {
var expected;
var polyval;
var v;
var i;
for ( i = 0; i < 77; i++ ) {
expected = lucas( i );
polyval = factory( i );
v = polyval( 1.0 );
t.strictEqual( v, expected, 'returns the '+i+'th Lucas number' );
}
t.end();
});
tape( 'the function returns a function which evaluates a negaLucas polynomial (x=1.0)', function test( t ) {
var expected;
var polyval;
var v;
var i;
for ( i = 0; i > -77; i-- ) {
expected = negaLucas( i );
polyval = factory( i );
v = polyval( 1.0 );
t.strictEqual( v, expected, 'returns the '+(-i)+'th negaLucas number' );
}
t.end();
});
``` |
"Walk On the Water" is the second single from Christian pop artist Britt Nicole's third album The Lost Get Found. A ballad pop song, "Walk On the Water" was released in November 2009 to radio. It peaked at No. 1 on Christian radio and No. 17 on Billboard's Hot Christian Songs chart.
Background
The song was written by Britt Nicole, Dan Muckala and Joshua Crosby.
Chart performance
For the week ending January 16, 2010, "Walk On the Water" peaked at No. 17 on Billboard's Hot Christian Songs chart. It stayed on the chart for 23 weeks. The song was also No. 1 on Radio and Records Christian CHR Chart.
Track listings
Digital download
"Walk On the Water" — 3:50
Other appearances
"Walk on the Water" was featured on the album. WOW Hits 2011. She also recorded an acoustic version of the song for her 2010 extended play Acoustic.
References
2009 singles
Britt Nicole songs
Songs written by Dan Muckala
2009 songs
Sparrow Records singles |
The NS-Frauen-Warte ("National Socialist Women's Monitor") was the Nazi magazine for women. Put out by the NS-Frauenschaft, it had the status of the only party approved magazine for women and served propaganda purposes, particularly supporting the role of housewife and mother as exemplary.
History and profile
NS-Frauen-Warte was first published in 1934. The magazine was published biweekly and had articles on a wide range of topics of interest to women and included sewing patterns.
Its articles included such topics as the role of women in the Nazi state, Germanization efforts in Poland, the education of youth, the importance of play for children, claims that the United Kingdom was responsible for the Second world war, and that Bolshevism would destroy Germany and Europe if the Soviet Union was not defeated. It defended anti-intellectualism, highlighted the achievements of Nazi women and how the system had benefited females, and discussed bridal schools. Poetry describing children as a form of immortality. During wartime it urged women to have children, to join in the war effort either in employment or in Frauenschaft from the very beginning, and to greater efforts in total war. Its April 1940 cover showed a peasant woman plowing before a factory, with a soldier's face looming overhead. It depicted accounts of women as nurses during the war, although chiefly as a vehicle for anti-Bolshevist propaganda.
It was predominantly a woman's magazine despite containing propaganda; this contrasts sharply with Das deutsche Mädel, which lay emphasis on the strong and active German woman. The 1939 circulation of the magazine was 1.9 million copies. The magazine ceased publication in 1945. Japanese propaganda title targeting women, Nippon Fujin, had close similarities with the magazine.
The University of Heidelberg digitized the issues between 1941 and 1945 of the magazine.
References
External links
The NS Frauen Warte
A digital archive of the magazine from 1935/36 and from 1941-45
1934 establishments in Germany
1945 disestablishments in Germany
Biweekly magazines published in Germany
Defunct magazines published in Germany
German-language magazines
Women's magazines published in Germany
Magazines established in 1934
Magazines disestablished in 1945
Nazi newspapers
Women in Nazi Germany
Propaganda newspapers and magazines |
Championship Off-Road, officially known as AMSOIL Championship Off-Road (as Amsoil holds the naming rights) and abbreviated to COR, is an American short course off-road racing series. Founded in 2020 and sanctioned by the International Series of Champions (ISOC), the series mainly competes in the Midwestern United States.
History
TORC: The Off-Road Championship was originally the preeminent sanctioning body for short course off-road racing in the Midwest before its folding in 2018. The Lucas Oil Off Road Racing Series then took over as the main series in the region via the Lucas Oil Midwest Short Course League until its dissolution after the 2019 season as officials elected to focus on LOORRS. In October 2019, ISOC partnered with Crandon International Off-Road Raceway, Bark River Raceway, and ERX Motor Park to create Championship Off-Road.
Championship Off-Road's inaugural season in 2020 was marred by the COVID-19 pandemic, and resulting restrictions on attendance forced Bark River to cancel its races. The opener was held at ERX on July 10–11.
LOORRS released its 2021 schedule in October 2020 at only three tracks. On November 13, Lucas Oil Products announced that it has ended sponsoring and operating the LOORRS series. This closure left COR (and the dissimilar Stadium Super Trucks) as the only short course off-road racing sanctioning bodies remaining. Many of the West Coast teams raced in the Midwest for the season.
Media
COR races were streamed online at Vimeo Livestream. The booth consisted of Brent Smith and Cheyne Statezny while Haley Shanley served as track reporter. CBS Sports Network assumed television rights beginning in 2022.
Tracks
Champions
Source:
Other
Classix
2020: Dale Chestnut
Formula 4x4
2020: Danny Beauchamp
References
External links
2020 establishments in the United States
Auto racing series in the United States
Off-road racing series
Recurring sporting events established in 2020 |
```javascript
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e=this;sortable("#"+this.uid+" .block-group-items",{handle:".handle",items:":not(.unsortable)",placeholderClass:"sortable-placeholder"})[0].addEventListener("sortupdate",function(t){e.moveItem(t.detail.origin.index,t.detail.destination.index)})},template:'\n<div :id="uid" class="block-group">\n <div class="actions block-group-actions">\n <button v-on:click.prevent="toggleHeader()" v-if="model.fields.length > 0" class="btn btn-sm" :class="{ selected: model.meta.showHeader }">\n <i class="fas fa-list"></i>\n </button>\n </div>\n <div v-if="model.meta.showHeader && model.fields.length > 0" class="block-group-header">\n <div class="row">\n <div class="form-group" :class="{ \'col-sm-6\': field.meta.isHalfWidth, \'col-sm-12\': !field.meta.isHalfWidth }" v-bind:key="field.meta.uid" v-for="field in model.fields">\n <label>{{ field.meta.name }}</label>\n <div v-if="field.meta.description != null" v-html="field.meta.description" class="field-description small text-muted"></div>\n <component v-bind:is="field.meta.component" v-bind:uid="field.meta.uid" v-bind:meta="field.meta" v-bind:toolbar="toolbar" v-bind:model="field.model"></component>\n </div>\n </div>\n </div>\n <div class="block-group-items">\n <a href="#" class="block-add unsortable" v-on:click.prevent="piranha.blockpicker.open(addGroupBlock, 0, model.type)">\n <hr>\n <i class="fas fa-plus-circle"></i>\n </a>\n <div v-if="model.items.length === 0" class="col">\n <div class="empty-info unsortable">\n <p>{{ piranha.resources.texts.emptyAddAbove }}</p>\n </div>\n </div>\n <div v-for="(child, index) in model.items" v-bind:key="child.meta.uid">\n <div class="block" :class="child.meta.component + (child.meta.isCollapsed ? \' collapsed\' : \'\')">\n <div class="block-header">\n <div class="title">\n <i :class="child.meta.icon"></i><strong>{{ child.meta.name }}</strong>\n </div>\n <div class="actions">\n <span v-on:click.prevent="collapseItem(child)" class="btn btn-sm">\n <i v-if="child.meta.isCollapsed" class="fas fa-chevron-down"></i>\n <i v-else class="fas fa-chevron-up"></i>\n </span>\n <span class="btn btn-sm handle">\n <i class="fas fa-ellipsis-v"></i>\n </span>\n <button v-on:click.prevent="removeItem(child)" class="btn btn-sm danger" tabindex="-1">\n <i class="fas fa-trash"></i>\n </button>\n </div>\n </div>\n <component v-bind:is="child.meta.component" v-bind:uid="child.meta.uid" v-bind:toolbar="toolbar" v-bind:model="child.model"></component>\n </div>\n <a href="#" class="block-add unsortable" v-on:click.prevent="piranha.blockpicker.open(addGroupBlock, index + 1, model.type)">\n <hr>\n <i class="fas fa-plus-circle"></i>\n </a>\n </div>\n </div>\n</div>\n'}),Vue.component("generic-block",{props:["uid","toolbar","model"],methods:{updateTitle:function(e){this.$emit("update-title",{uid:this.uid,title:e.title})}},template:'\n<div class="block-body">\n <div class="row">\n <div class="form-group" :class="{ \'col-sm-6\': field.meta.isHalfWidth, \'col-sm-12\': !field.meta.isHalfWidth }" v-bind:key="\'field\' + field.meta.uid" v-for="field in model">\n <label>{{ field.meta.name }}</label>\n <div v-if="field.meta.description != null" v-html="field.meta.description" class="field-description small text-muted"></div>\n <component v-bind:is="field.meta.component" v-bind:uid="field.meta.uid" v-bind:meta="field.meta" v-bind:toolbar="toolbar" v-bind:model="field.model" v-on:update-title="updateTitle($event)"></component>\n </div>\n </div>\n</div>\n'}),Vue.component("audio-block",{props:["uid","model"],methods:{clear:function(){},select:function(){null!=this.model.body.media?piranha.mediapicker.open(this.update,"Audio",this.model.body.media.folderId):piranha.mediapicker.openCurrentFolder(this.update,"Audio")},remove:function(){this.model.body.id=null,this.model.body.media=null},update:function(e){"Audio"===e.type?(this.model.body.id=e.id,this.model.body.media={id:e.id,folderId:e.folderId,type:e.type,filename:e.filename,contentType:e.contentType,publicUrl:e.publicUrl},this.$emit("update-title",{uid:this.uid,title:this.model.body.media.filename})):console.log("No video was selected")}},computed:{isEmpty:function(){return null==this.model.body.media},mediaUrl:function(){if(null!=this.model.body.media)return piranha.utils.formatUrl(this.model.body.media.publicUrl)}},mounted:function(){this.model.getTitle=function(){return null!=this.model.media?this.model.media.filename:"No audio selected"}},template:'\n<div class="block-body has-media-picker d-flex align-items-center" :class="{ empty: isEmpty }">\n <audio class="flex-grow-1 w-50" :src="mediaUrl" controls></audio>\n <div class="media-picker slide-in">\n <div class="btn-group float-right">\n <button v-on:click.prevent="select" class="btn btn-primary text-center">\n <i class="fas fa-plus"></i>\n </button>\n <button v-on:click.prevent="remove" class="btn btn-danger text-center">\n <i class="fas fa-times"></i>\n </button>\n </div>\n <div class="card text-left">\n <div class="card-body" v-if="isEmpty">\n \n </div>\n <div class="card-body" v-else>\n {{ model.body.media.filename }}\n </div>\n </div>\n </div>\n</div>\n'}),Vue.component("content-block",{props:["uid","model"],methods:{select:function(){piranha.contentpicker.open(null,this.update)},remove:function(){this.model.body.id=null,this.model.body.content=null},update:function(e){if(null!==e){var t=this;fetch(piranha.baseUrl+"manager/api/content/info/"+e.id).then(function(e){return e.json()}).then(function(e){t.model.body.id=e.id,t.model.body.content=e,t.$emit("update-title",{uid:t.uid,title:t.model.body.content.title})}).catch(function(e){console.log("error:",e)})}else console.log("No content was selected")}},computed:{isEmpty:function(){return null==this.model.body.content},contentImage:function(){return this.hasContentImage?piranha.baseUrl+"manager/api/media/url/"+this.model.body.content.primaryImage.id+"/446/220":piranha.utils.formatUrl("~/manager/assets/img/empty-image.png")},hasContentImage:function(){return null!==this.model.body.content&&null!==this.model.body.content.primaryImage.media},contentTitle:function(){return this.hasContentTitle?this.model.body.content.title:"Lorem Ipsum"},hasContentTitle:function(){return null!==this.model.body.content},contentExcerpt:function(){return this.hasContentExcerpt?this.model.body.content.excerpt:"Donec id elit non mi porta gravida at eget metus. Cras mattis consectetur purus sit amet fermentum. Integer posuere erat a ante venenatis dapibus posuere velit aliquet."},hasContentExcerpt:function(){return null!==this.model.body.content&&null!==this.model.body.content.excerpt}},mounted:function(){this.model.getTitle=function(){return null!==this.model.body.content?this.model.body.content.title:"No content selected"}},template:'\n<div class="block-body has-media-picker rounded clearfix" :class="{ empty: isEmpty }">\n <div>\n <div class="page-image" :style="\'background-image:url(\' + contentImage + \')\'">\n <img :src="piranha.utils.formatUrl(\'~/manager/assets/img/primaryimage-placeholder.png\')">\n </div>\n <h3 :class="{ \'text-light\': !hasContentTitle }">{{ contentTitle }}</h3>\n <p :class="{ \'text-light\': !hasContentExcerpt }" v-html="contentExcerpt"></p>\n </div>\n <div class="media-picker">\n <div class="btn-group float-right">\n <button v-on:click.prevent="select" class="btn btn-primary text-center">\n <i class="fas fa-plus"></i>\n </button>\n <button v-on:click.prevent="remove" class="btn btn-danger text-center">\n <i class="fas fa-times"></i>\n </button>\n </div>\n <div class="card text-left">\n <div class="card-body" v-if="isEmpty">\n \n </div>\n <div class="card-body" v-else>\n <a :href="piranha.baseUrl + \'manager/content/edit/\' + model.body.content.typeId + \'/\' + model.body.content.id" target="_blank">{{ model.body.content.title }}</a>\n </div>\n </div>\n </div>\n</div>\n'}),Vue.component("html-block",{props:["uid","toolbar","model"],data:function(){return{body:this.model.body.value}},methods:{onBlur:function(e){this.model.body.value=tinyMCE.activeEditor.getContent()},onChange:function(e){this.model.body.value=e}},computed:{isEmpty:function(){return piranha.utils.isEmptyHtml(this.model.body.value)}},mounted:function(){piranha.editor.addInline(this.uid,this.toolbar,this.onChange)},beforeDestroy:function(){piranha.editor.remove(this.uid)},template:'\n<div class="block-body" :class="{ empty: isEmpty }">\n <div contenteditable="true" :id="uid" v-html="body" v-on:blur="onBlur"></div>\n</div>\n'}),Vue.component("html-column-block",{props:["uid","toolbar","model"],data:function(){return{column1:this.model.column1.value,column2:this.model.column2.value}},methods:{onBlurCol1:function(e){this.model.column1.value=tinyMCE.activeEditor.getContent()},onBlurCol2:function(e){this.model.column2.value=tinyMCE.activeEditor.getContent()},onChangeCol1:function(e){this.model.column1.value=e},onChangeCol2:function(e){this.model.column2.value=e}},computed:{isEmpty1:function(){return piranha.utils.isEmptyHtml(this.model.column1.value)},isEmpty2:function(){return piranha.utils.isEmptyHtml(this.model.column2.value)}},mounted:function(){piranha.editor.addInline(this.uid+1,this.toolbar,this.onChangeCol1),piranha.editor.addInline(this.uid+2,this.toolbar,this.onChangeCol2)},beforeDestroy:function(){piranha.editor.remove(this.uid+1),piranha.editor.remove(this.uid+2)},template:'\n<div class="row block-body">\n <div class="col-md-6">\n <div :class="{ empty: isEmpty1 }">\n <div :id="uid + 1" contenteditable="true" v-html="column1" v-on:blur="onBlurCol1"></div>\n </div>\n </div>\n <div class=\'col-md-6\'>\n <div :class=\'{ empty: isEmpty2 }\'>\n <div :id="uid + 2" contenteditable="true" v-html="column2" v-on:blur="onBlurCol2"></div>\n </div>\n </div>\n</div>\n'}),Vue.component("image-block",{props:["uid","model"],methods:{clear:function(){},select:function(){null!=this.model.body.media?piranha.mediapicker.open(this.update,"Image",this.model.body.media.folderId):piranha.mediapicker.openCurrentFolder(this.update,"Image")},remove:function(){this.model.body.id=null,this.model.body.media=null},update:function(e){"Image"===e.type?(this.model.body.id=e.id,this.model.body.media={id:e.id,folderId:e.folderId,type:e.type,filename:e.filename,contentType:e.contentType,publicUrl:e.publicUrl},this.$emit("update-title",{uid:this.uid,title:this.model.body.media.filename})):console.log("No image was selected")},selectAspect:function(e){this.model.aspect.value=e},isAspectSelected(e){return this.model.aspect.value===e}},computed:{isEmpty:function(){return null==this.model.body.media},mediaUrl:function(){return null!=this.model.body.media?piranha.utils.formatUrl(this.model.body.media.publicUrl):piranha.utils.formatUrl("~/manager/assets/img/empty-image.png")},iconUrl:function(){if(this.model.aspect.value>0){if(1===this.model.aspect.value||3===this.model.aspect.value)return piranha.utils.formatUrl("~/manager/assets/img/icons/img-landscape.svg");if(2==this.model.aspect.value)return piranha.utils.formatUrl("~/manager/assets/img/icons/img-portrait.svg");if(4==this.model.aspect.value)return piranha.utils.formatUrl("~/manager/assets/img/icons/img-square.svg")}return null}},mounted:function(){this.model.getTitle=function(){return null!=this.model.media?this.model.media.filename:"No image selected"}},template:'\n<div class="block-body has-media-picker rounded" :class="{ empty: isEmpty }">\n <img class="rounded" :src="mediaUrl">\n <div class="media-picker">\n <div class="btn-group float-right">\n <button :id="uid + \'-aspect\'" class="btn btn-info btn-aspect text-center" data-toggle="dropdown" aria-haspopup="true" aria-expanded="false">\n <i v-if="model.aspect.value === 0" class="fas fa-cog"></i>\n <img v-else :src="iconUrl">\n </button>\n <div class="dropdown-menu aspect-menu" :aria-labelledby="uid + \'-aspect\'">\n <label class="mb-0">{{ piranha.resources.texts.aspectLabel }}</label>\n <div class="dropdown-divider"></div>\n <a v-on:click.prevent="selectAspect(0)" class="dropdown-item" :class="{ active: isAspectSelected(0) }" href="#">\n <img :src="piranha.utils.formatUrl(\'~/manager/assets/img/icons/img-original.svg\')"><span>{{ piranha.resources.texts.aspectOriginal }}</span>\n </a>\n <a v-on:click.prevent="selectAspect(1)" class="dropdown-item" :class="{ active: isAspectSelected(1) }" href="#">\n <img :src="piranha.utils.formatUrl(\'~/manager/assets/img/icons/img-landscape.svg\')"><span>{{ piranha.resources.texts.aspectLandscape }}</span>\n </a>\n <a v-on:click.prevent="selectAspect(2)" class="dropdown-item" :class="{ active: isAspectSelected(2) }" href="#">\n <img :src="piranha.utils.formatUrl(\'~/manager/assets/img/icons/img-portrait.svg\')"><span>{{ piranha.resources.texts.aspectPortrait }}</span>\n </a>\n <a v-on:click.prevent="selectAspect(3)" class="dropdown-item" :class="{ active: isAspectSelected(3) }" href="#">\n <img :src="piranha.utils.formatUrl(\'~/manager/assets/img/icons/img-landscape.svg\')"><span>{{ piranha.resources.texts.aspectWidescreen }}</span>\n </a>\n <a v-on:click.prevent="selectAspect(4)" class="dropdown-item" :class="{ active: isAspectSelected(4) }" href="#">\n <img :src="piranha.utils.formatUrl(\'~/manager/assets/img/icons/img-square.svg\')"><span>{{ piranha.resources.texts.aspectSquare }}</span>\n </a>\n </div>\n <button v-on:click.prevent="select" class="btn btn-primary text-center">\n <i class="fas fa-plus"></i>\n </button>\n <button v-on:click.prevent="remove" class="btn btn-danger text-center">\n <i class="fas fa-times"></i>\n </button>\n </div>\n <div class="card text-left">\n <div class="card-body" v-if="isEmpty">\n \n </div>\n <div class="card-body" v-else>\n {{ model.body.media.filename }}\n </div>\n </div>\n </div>\n</div>\n'}),Vue.component("markdown-block",{props:["uid","model"],methods:{onBlur:function(e){var t=this.model.body.value.replace(/(<([^>]+)>)/gi,"");t.length>40&&(t=t.substring(0,40)+"..."),this.$emit("update-title",{uid:this.uid,title:t})}},computed:{isEmpty:function(){return piranha.utils.isEmptyText(this.model.body.value)}},template:'\n<div class="block-body" :class="{ empty: isEmpty }">\n <markdown-field :uid="uid" :model="model.body" />\n</div>\n'}),Vue.component("missing-block",{props:["model"],template:'\n<div class="alert alert-danger text-center" role="alert">No component registered for <code>{{ model.type }}</code></div>\n'}),Vue.component("page-block",{props:["uid","model"],methods:{select:function(){piranha.pagepicker.open(this.update)},remove:function(){this.model.body.id=null,this.model.body.page=null},update:function(e){if(null!==e){var t=this;fetch(piranha.baseUrl+"manager/api/page/info/"+e.id).then(function(e){return e.json()}).then(function(e){t.model.body.id=e.id,t.model.body.page=e,t.$emit("update-title",{uid:t.uid,title:t.model.body.page.title})}).catch(function(e){console.log("error:",e)})}else console.log("No page was selected")}},computed:{isEmpty:function(){return null==this.model.body.page},pageImage:function(){return this.hasPageImage?piranha.baseUrl+"manager/api/media/url/"+this.model.body.page.primaryImage.id+"/446/220":piranha.utils.formatUrl("~/manager/assets/img/empty-image.png")},hasPageImage:function(){return null!==this.model.body.page&&null!==this.model.body.page.primaryImage.media},pageTitle:function(){return this.hasPageTitle?this.model.body.page.title:"Lorem Ipsum"},hasPageTitle:function(){return null!==this.model.body.page},pageExcerpt:function(){return this.hasPageExcerpt?this.model.body.page.excerpt:"Donec id elit non mi porta gravida at eget metus. Cras mattis consectetur purus sit amet fermentum. Integer posuere erat a ante venenatis dapibus posuere velit aliquet."},hasPageExcerpt:function(){return null!==this.model.body.page&&null!==this.model.body.page.excerpt}},mounted:function(){this.model.getTitle=function(){return null!==this.model.body.page?this.model.body.page.title:"No page selected"}},template:'\n<div class="block-body has-media-picker rounded clearfix" :class="{ empty: isEmpty }">\n <div>\n <div class="page-image" :style="\'background-image:url(\' + pageImage + \')\'">\n <img :src="piranha.utils.formatUrl(\'~/manager/assets/img/primaryimage-placeholder.png\')">\n </div>\n <h3 :class="{ \'text-light\': !hasPageTitle }">{{ pageTitle }}</h3>\n <p :class="{ \'text-light\': !hasPageExcerpt }" v-html="pageExcerpt"></p>\n </div>\n <div class="media-picker">\n <div class="btn-group float-right">\n <button v-on:click.prevent="select" class="btn btn-primary text-center">\n <i class="fas fa-plus"></i>\n </button>\n <button v-on:click.prevent="remove" class="btn btn-danger text-center">\n <i class="fas fa-times"></i>\n </button>\n </div>\n <div class="card text-left">\n <div class="card-body" v-if="isEmpty">\n \n </div>\n <div class="card-body" v-else>\n <a :href="piranha.baseUrl + \'manager/page/edit/\' + model.body.page.id" target="_blank">{{ model.body.page.title }}</a>\n </div>\n </div>\n </div>\n</div>\n'}),Vue.component("post-block",{props:["uid","model"],methods:{select:function(){piranha.postpicker.open(this.update)},remove:function(){this.model.body.id=null,this.model.body.post=null},update:function(e){if(null!==e){var t=this;fetch(piranha.baseUrl+"manager/api/post/info/"+e.id).then(function(e){return e.json()}).then(function(e){t.model.body.id=e.id,t.model.body.post=e,t.$emit("update-title",{uid:t.uid,title:t.model.body.post.title})}).catch(function(e){console.log("error:",e)})}else console.log("No post was selected")}},computed:{isEmpty:function(){return null==this.model.body.post},postImage:function(){return this.hasPostImage?piranha.baseUrl+"manager/api/media/url/"+this.model.body.post.primaryImage.id+"/446/220":piranha.utils.formatUrl("~/manager/assets/img/empty-image.png")},hasPostImage:function(){return null!==this.model.body.post&&null!==this.model.body.post.primaryImage.media},postTitle:function(){return this.hasPostTitle?this.model.body.post.title:"Lorem Ipsum"},hasPostTitle:function(){return null!==this.model.body.post},postExcerpt:function(){return this.hasPostExcerpt?this.model.body.post.excerpt:"Donec id elit non mi porta gravida at eget metus. Cras mattis consectetur purus sit amet fermentum. Integer posuere erat a ante venenatis dapibus posuere velit aliquet."},hasPostExcerpt:function(){return null!==this.model.body.post&&null!==this.model.body.post.excerpt}},mounted:function(){this.model.getTitle=function(){return null!==this.model.body.post?this.model.body.post.title:"No post selected"}},template:'\n<div class="block-body has-media-picker rounded clearfix" :class="{ empty: isEmpty }">\n <div>\n <div class="page-image" :style="\'background-image:url(\' + postImage + \')\'">\n <img :src="piranha.utils.formatUrl(\'~/manager/assets/img/primaryimage-placeholder.png\')">\n </div>\n <h3 :class="{ \'text-light\': !hasPostTitle }">{{ postTitle }}</h3>\n <p :class="{ \'text-light\': !hasPostExcerpt }" v-html="postExcerpt"></p>\n </div>\n <div class="media-picker">\n <div class="btn-group float-right">\n <button v-on:click.prevent="select" class="btn btn-primary text-center">\n <i class="fas fa-plus"></i>\n </button>\n <button v-on:click.prevent="remove" class="btn btn-danger text-center">\n <i class="fas fa-times"></i>\n </button>\n </div>\n <div class="card text-left">\n <div class="card-body" v-if="isEmpty">\n \n </div>\n <div class="card-body" v-else>\n <a :href="piranha.baseUrl + \'manager/post/edit/\' + model.body.post.id" target="_blank">{{ model.body.post.title }}</a>\n </div>\n </div>\n </div>\n</div>\n'}),Vue.component("quote-block",{props:["uid","model"],data:function(){return{placeholder:{body:"",author:""}}},methods:{onAuthorBlur:function(e){this.model.author.value=e.target.innerText},onBodyBlur:function(e){this.model.body.value=e.target.innerText;var t=this.model.body.value.replace(/(<([^>]+)>)/gi,"");t.length>40&&(t=t.substring(0,40)+"..."),this.$emit("update-title",{uid:this.uid,title:t})}},created:function(){var e=[{author:"Nelson Mandela",body:"The greatest glory in living lies not in never falling, but in rising every time we fall."},{author:"Walt Disney",body:"The way to get started is to quit talking and begin doing."},{author:"Eleanor Roosevelt",body:"The future belongs to those who believe in the beauty of their dreams."},{author:"John Lennon",body:"Life is what happens when you're busy making other plans."},{author:"Audrey Hepburn",body:"Nothing is impossible, the word itself says, 'I'm possible!'"},{author:"Mark Twain",body:"Twenty years from now you will be more disappointed by the things that you didn't do than by the ones you did do."},{author:"Maya Angelou",body:"You will face many defeats in life, but never let yourself be defeated."}];this.placeholder=e[Math.floor(Math.random()*e.length)]},template:'\n<div class="block-body">\n <blockquote class="blockquote">\n <p contenteditable="true" class="blockquote-body" v-html="model.body.value" v-on:blur="onBodyBlur" :data-placeholder="placeholder.body"></p>\n <footer contenteditable="true" class="blockquote-footer" v-html="model.author.value" v-on:blur="onAuthorBlur" :data-placeholder="placeholder.author"></footer>\n </blockquote>\n</div>\n'}),Vue.component("separator-block",{props:["model"],template:"\n<div class='block-body'>\n <hr>\n</div>\n"}),Vue.component("text-block",{props:["uid","model"],methods:{onBlur:function(e){var t=this.model.body.value.replace(/(<([^>]+)>)/gi,"");t.length>40&&(t=t.substring(0,40)+"..."),this.$emit("update-title",{uid:this.uid,title:t})}},computed:{isEmpty:function(){return piranha.utils.isEmptyText(this.model.body.value)}},template:'\n<div class="block-body" :class="{ empty: isEmpty }">\n <pre class="invisible" v-html="model.body.value"></pre>\n <textarea v-model="model.body.value" v-on:blur="onBlur"></textarea>\n</div>\n'}),Vue.component("video-block",{props:["uid","model"],methods:{clear:function(){},select:function(){null!=this.model.body.media?piranha.mediapicker.open(this.update,"Video",this.model.body.media.folderId):piranha.mediapicker.openCurrentFolder(this.update,"Video")},remove:function(){this.model.body.id=null,this.model.body.media=null},update:function(e){"Video"===e.type?(this.model.body.id=e.id,this.model.body.media={id:e.id,folderId:e.folderId,type:e.type,filename:e.filename,contentType:e.contentType,publicUrl:e.publicUrl},this.$emit("update-title",{uid:this.uid,title:this.model.body.media.filename})):console.log("No video was selected")}},computed:{isEmpty:function(){return null==this.model.body.media},mediaUrl:function(){if(null!=this.model.body.media)return piranha.utils.formatUrl(this.model.body.media.publicUrl)}},mounted:function(){this.model.getTitle=function(){return null!=this.model.media?this.model.media.filename:"No video selected"}},template:'\n<div class="block-body has-media-picker" :class="{ empty: isEmpty }">\n <video class="w-100 mx-100" :src="mediaUrl" controls></video>\n <div class="media-picker">\n <div class="btn-group float-right">\n <button v-on:click.prevent="select" class="btn btn-primary text-center">\n <i class="fas fa-plus"></i>\n </button>\n <button v-on:click.prevent="remove" class="btn btn-danger text-center">\n <i class="fas fa-times"></i>\n </button>\n </div>\n <div class="card text-left">\n <div class="card-body" v-if="isEmpty">\n \n </div>\n <div class="card-body" v-else>\n {{ model.body.media.filename }}\n </div>\n </div>\n </div>\n</div>\n'}),Vue.component("archivepage-field",{props:["uid","model","meta"],methods:{select:function(){var e=null;this.model.page?e=this.model.page.siteId:piranha.pageedit&&(e=piranha.pageedit.siteId),piranha.archivepicker.open(this.update,e)},remove:function(){this.model.id=null,this.model.page=null},update:function(e){this.model.id=e.id,this.model.page=e,this.meta.notifyChange&&this.$emit("update-title",{uid:this.uid,title:this.model.page.title})}},computed:{isEmpty:function(){return null==this.model.page}},mounted:function(){this.model.getTitle=function(){return null!=this.model.page?this.model.page.title:"No page selected"}},template:'\n<div class="media-field" :class="{ empty: isEmpty }">\n <div class="media-picker">\n <div class="btn-group float-right">\n <button v-on:click.prevent="select" class="btn btn-primary text-center">\n <i class="fas fa-plus"></i>\n </button>\n <button v-on:click.prevent="remove" class="btn btn-danger text-center">\n <i class="fas fa-times"></i>\n </button>\n </div>\n <div class="card text-left">\n <div class="card-body" v-if="isEmpty">\n <span v-if="meta.placeholder != null" class="text-secondary">{{ meta.placeholder }}</span>\n <span v-if="meta.placeholder == null" class="text-secondary"> </span>\n </div>\n <div class="card-body" v-else>\n <a :href="piranha.baseUrl + \'manager/page/edit/\' + model.page.id" target="_blank">{{ model.page.title }}</a>\n </div>\n </div>\n </div>\n</div>\n'}),Vue.component("audio-field",{props:["uid","model","meta"],methods:{select:function(){null!=this.model.media?piranha.mediapicker.open(this.update,"Audio",this.model.media.folderId):piranha.mediapicker.openCurrentFolder(this.update,"Audio")},remove:function(){this.model.id=null,this.model.media=null},update:function(e){"Audio"===e.type?(this.model.id=e.id,this.model.media={id:e.id,folderId:e.folderId,type:e.type,filename:e.filename,title:e.title,contentType:e.contentType,publicUrl:e.publicUrl},this.meta.notifyChange&&this.$emit("update-title",{uid:this.uid,title:null!=this.model.media.title?this.model.media.title+" ("+this.model.media.filename+")":this.model.media.filename})):console.log("No audio was selected")}},computed:{isEmpty:function(){return null==this.model.media}},mounted:function(){this.model.getTitle=function(){return null!=this.model.media?null!=this.model.media.title?this.model.media.title+" ("+this.model.media.filename+")":this.model.media.filename:"No audio selected"}},template:'\n<div class="media-field" :class="{ empty: isEmpty }">\n <div class="media-picker">\n <div class="btn-group float-right">\n <button v-on:click.prevent="select" class="btn btn-primary text-center">\n <i class="fas fa-plus"></i>\n </button>\n <button v-on:click.prevent="remove" class="btn btn-danger text-center">\n <i class="fas fa-times"></i>\n </button>\n </div>\n <div class="card text-left">\n <div class="card-body" v-if="isEmpty">\n <span v-if="meta.placeholder != null" class="text-secondary">{{ meta.placeholder }}</span>\n <span v-if="meta.placeholder == null" class="text-secondary"> </span>\n </div>\n <div class="card-body" v-else-if="model.media.title != null">\n <a href="#" v-on:click.prevent="piranha.preview.open(model.id)">{{ model.media.title }} ({{ model.media.filename }})</a>\n </div>\n <div class="card-body" v-else>\n <a href="#" v-on:click.prevent="piranha.preview.open(model.id)">{{ model.media.filename }}</a>\n </div>\n </div>\n </div>\n</div>\n'}),Vue.component("checkbox-field",{props:["uid","model","meta"],template:'\n<div class="form-group form-check">\n <input type="checkbox" class="form-check-input" :id="meta.uid" v-model="model.value">\n <label class="form-check-label" :for="meta.uid">{{ meta.placeholder}}</label>\n</div>\n'}),Vue.component("color-field",{props:["uid","model","meta"],methods:{update:function(){this.meta.notifyChange&&this.$emit("update-title",{uid:this.uid,title:this.model.value})},readonly:function(){return null!=this.meta.settings.DisallowInput&&this.meta.settings.DisallowInput}},template:'\n<div class="input-group color-field">\n <div class="input-group-prepend">\n <div class="color-preview" :style="{ backgroundColor: model.value }"></div>\n <input class="form-control" type="color" v-model="model.value">\n </div>\n <input class="form-control" type="text" v-model="model.value" v-on:change="update()" :readonly="readonly()" :placeholder="meta.placeholder">\n</div> \n'}),Vue.component("content-field",{props:["uid","model","meta"],methods:{select:function(){piranha.contentpicker.open(this.meta.settings.Group,this.update)},remove:function(){this.model.id=null,this.model.content=null},update:function(e){this.model.id=e.id,this.model.content=e,this.meta.notifyChange&&this.$emit("update-title",{uid:this.uid,title:this.model.content.title})}},computed:{isEmpty:function(){return null==this.model.content}},mounted:function(){this.model.getTitle=function(){return null!=this.model.content?this.model.content.title:"No content selected"}},template:'\n<div class="media-field" :class="{ empty: isEmpty }">\n <div class="media-picker">\n <div class="btn-group float-right">\n <button v-on:click.prevent="select" class="btn btn-primary text-center">\n <i class="fas fa-plus"></i>\n </button>\n <button v-on:click.prevent="remove" class="btn btn-danger text-center">\n <i class="fas fa-times"></i>\n </button>\n </div>\n <div class="card text-left">\n <div class="card-body" v-if="isEmpty">\n <span v-if="meta.placeholder != null" class="text-secondary">{{ meta.placeholder }}</span>\n <span v-if="meta.placeholder == null" class="text-secondary"> </span>\n </div>\n <div class="card-body" v-else>\n <a :href="piranha.baseUrl + \'manager/content/edit/\' + model.content.typeId + \'/\' + model.content.id" target="_blank">{{ model.content.title }}</a>\n </div>\n </div>\n </div>\n</div>\n'}),Vue.component("data-select-field",{props:["uid","model","meta"],methods:{update:function(){this.meta.notifyChange&&this.$emit("update-title",{uid:this.uid,title:this.model.items.$values.find(e=>e.id===this.model.id).name})}},template:'\n<select class="form-control" v-model="model.id" v-on:change="update()">\n <option v-for="(item) in model.items.$values" v-bind:key="item.id" v-bind:value="item.id">\n {{ item.name }}\n </option>\n</select>\n'}),Vue.component("date-field",{props:["uid","model","meta"],components:{datepicker:vuejsDatepicker},methods:{onClosed:function(){var e=this.model.value,t=e.getFullYear()+"-"+(e.getMonth()<9?"0":"")+(e.getMonth()+1)+"-"+(e.getDate()<10?"0":"")+e.getDate();this.model.value=t,this.meta.notifyChange&&this.$emit("update-title",{uid:this.uid,title:this.model.value})}},created:function(){this._options={bootstrapStyling:!0,mondayFirst:!0,format:"yyyy-MM-dd",typeable:!0}},template:'\n<datepicker v-on:closed="onClosed($event)" v-model="model.value" :format="_options.format" :monday-first="_options.mondayFirst" :typeable="_options.typeable" :bootstrap-styling="_options.bootstrapStyling"></datepicker>\n'}),Vue.component("document-field",{props:["uid","model","meta"],methods:{select:function(){null!=this.model.media?piranha.mediapicker.open(this.update,"Document",this.model.media.folderId):piranha.mediapicker.openCurrentFolder(this.update,"Document")},remove:function(){this.model.id=null,this.model.media=null},update:function(e){"Document"===e.type?(this.model.id=e.id,this.model.media={id:e.id,folderId:e.folderId,type:e.type,filename:e.filename,title:e.title,contentType:e.contentType,publicUrl:e.publicUrl},this.meta.notifyChange&&this.$emit("update-title",{uid:this.uid,title:null!=this.model.media.title?this.model.media.title+" ("+this.model.media.filename+")":this.model.media.filename})):console.log("No document was selected")}},computed:{isEmpty:function(){return null==this.model.media}},mounted:function(){this.model.getTitle=function(){return null!=this.model.media?null!=this.model.media.title?this.model.media.title+" ("+this.model.media.filename+")":this.model.media.filename:"No document selected"}},template:'\n<div class="media-field" :class="{ empty: isEmpty }">\n <div class="media-picker">\n <div class="btn-group float-right">\n <button v-on:click.prevent="select" class="btn btn-primary text-center">\n <i class="fas fa-plus"></i>\n </button>\n <button v-on:click.prevent="remove" class="btn btn-danger text-center">\n <i class="fas fa-times"></i>\n </button>\n </div>\n <div class="card text-left">\n <div class="card-body" v-if="isEmpty">\n <span v-if="meta.placeholder != null" class="text-secondary">{{ meta.placeholder }}</span>\n <span v-if="meta.placeholder == null" class="text-secondary"> </span>\n </div>\n <div class="card-body" v-else-if="model.media.title != null">\n <a href="#" v-on:click.prevent="piranha.preview.open(model.id)">{{ model.media.title }} ({{ model.media.filename }})</a>\n </div>\n <div class="card-body" v-else>\n <a href="#" v-on:click.prevent="piranha.preview.open(model.id)">{{ model.media.filename }}</a>\n </div>\n </div>\n </div>\n</div>\n'}),Vue.component("html-field",{props:["uid","toolbar","model","meta"],data:function(){return{body:this.model.value}},methods:{onBlur:function(e){if(this.model.value=tinyMCE.activeEditor.getContent(),this.meta.notifyChange){var t=this.model.value.replace(/(<([^>]+)>)/gi,"");t.length>40&&(t=t.substring(0,40)+"..."),this.$emit("update-title",{uid:this.uid,title:t})}},onChange:function(e){if(this.model.value=e,this.meta.notifyChange){var t=this.model.value.replace(/(<([^>]+)>)/gi,"");t.length>40&&(t=t.substring(0,40)+"..."),this.meta.notifyChange&&this.$emit("update-title",{uid:this.uid,title:t})}}},computed:{isEmpty:function(){return piranha.utils.isEmptyHtml(this.model.value)}},mounted:function(){piranha.editor.addInline(this.uid,this.toolbar,this.onChange)},beforeDestroy:function(){piranha.editor.remove(this.uid)},template:'\n<div class="field html-field" :class="{ empty: isEmpty }">\n <div contenteditable="true" :id="uid" v-html="body" v-on:blur="onBlur"></div>\n</div>\n'}),Vue.component("image-field",{props:["uid","model","meta"],methods:{select:function(){null!=this.model.media?piranha.mediapicker.open(this.update,"Image",this.model.media.folderId):piranha.mediapicker.openCurrentFolder(this.update,"Image")},remove:function(){this.model.id=null,this.model.media=null},update:function(e){"Image"===e.type?(this.model.id=e.id,this.model.media={id:e.id,folderId:e.folderId,type:e.type,filename:e.filename,title:e.title,contentType:e.contentType,publicUrl:e.publicUrl},this.meta.notifyChange&&this.$emit("update-title",{uid:this.uid,title:null!=this.model.media.title?this.model.media.title+" ("+this.model.media.filename+")":this.model.media.filename})):console.log("No image was selected")}},computed:{isEmpty:function(){return null==this.model.media}},mounted:function(){this.model.getTitle=function(){return null!=this.model.media?null!=this.model.media.title?this.model.media.title+" ("+this.model.media.filename+")":this.model.media.filename:"No image selected"}},template:'\n<div class="media-field" :class="{ empty: isEmpty }">\n <div class="media-picker">\n <div class="btn-group float-right">\n <button v-on:click.prevent="select" class="btn btn-primary text-center">\n <i class="fas fa-plus"></i>\n </button>\n <button v-on:click.prevent="remove" class="btn btn-danger text-center">\n <i class="fas fa-times"></i>\n </button>\n </div>\n <div class="card text-left">\n <div class="card-body" v-if="isEmpty">\n <span v-if="meta.placeholder != null" class="text-secondary">{{ meta.placeholder }}</span>\n <span v-if="meta.placeholder == null" class="text-secondary"> </span>\n </div>\n <div class="card-body" v-else-if="model.media.title != null">\n <a href="#" v-on:click.prevent="piranha.preview.open(model.id)">{{ model.media.title }} ({{ model.media.filename }})</a>\n </div>\n <div class="card-body" v-else>\n <a href="#" v-on:click.prevent="piranha.preview.open(model.id)">{{ model.media.filename }}</a>\n </div>\n </div>\n </div>\n</div>\n'}),Vue.component("markdown-field",{props:["uid","model","meta"],data:function(){return{body:this.model.value}},methods:{update:function(e){if(this.model.value=e,this.meta&&this.meta.notifyChange){var t=this.model.value;t.length>40&&(t=t.substring(0,40)+"..."),this.$emit("update-title",{uid:this.uid,title:t})}}},computed:{isEmpty:function(){return null==this.model.value||""===this.model.value}},mounted:function(){piranha.editor.addInlineMarkdown(this.uid,this.model.value,this.update)},beforeDestroy:function(){piranha.editor.remove(this.uid)},template:'\n<div class="markdown-field" :class="{ empty: isEmpty }">\n <textarea :id="uid" v-html="model.value"></textarea>\n <div class="markdown-preview"></div>\n</div>\n'}),Vue.component("media-field",{props:["uid","model","meta"],methods:{select:function(){null!=this.model.media?piranha.mediapicker.open(this.update,null,this.model.media.folderId):piranha.mediapicker.openCurrentFolder(this.update,null)},remove:function(){this.model.id=null,this.model.media=null},update:function(e){this.model.id=e.id,this.model.media={id:e.id,folderId:e.folderId,type:e.type,filename:e.filename,title:e.title,contentType:e.contentType,publicUrl:e.publicUrl},this.meta.notifyChange&&this.$emit("update-title",{uid:this.uid,title:null!=this.model.media.title?this.model.media.title+" ("+this.model.media.filename+")":this.model.media.filename})}},computed:{isEmpty:function(){return null==this.model.media}},mounted:function(){this.model.getTitle=function(){return null!=this.model.media?null!=this.model.media.title?this.model.media.title+" ("+this.model.media.filename+")":this.model.media.filename:"No media selected"}},template:'\n<div class="media-field" :class="{ empty: isEmpty }">\n <div class="media-picker">\n <div class="btn-group float-right">\n <button v-on:click.prevent="select" class="btn btn-primary text-center">\n <i class="fas fa-plus"></i>\n </button>\n <button v-on:click.prevent="remove" class="btn btn-danger text-center">\n <i class="fas fa-times"></i>\n </button>\n </div>\n <div class="card text-left">\n <div class="card-body" v-if="isEmpty">\n <span v-if="meta.placeholder != null" class="text-secondary">{{ meta.placeholder }}</span>\n <span v-if="meta.placeholder == null" class="text-secondary"> </span>\n </div>\n <div class="card-body" v-else-if="model.media.title != null">\n <a href="#" v-on:click.prevent="piranha.preview.open(model.id)">{{ model.media.title }} ({{ model.media.filename }})</a>\n </div>\n <div class="card-body" v-else>\n <a href="#" v-on:click.prevent="piranha.preview.open(model.id)">{{ model.media.filename }}</a>\n </div>\n </div>\n </div>\n</div>\n'}),Vue.component("missing-field",{props:["meta","model"],template:'\n<div class="alert alert-danger text-center" role="alert">No component registered for <code>{{ meta.type }}</code></div>\n'}),Vue.component("number-field",{props:["uid","model","meta"],template:'\n<input class="form-control" type="text" :placeholder="meta.placeholder" v-model="model.value">\n'}),Vue.component("page-field",{props:["uid","model","meta"],methods:{select:function(){var e=null;this.model.page?e=this.model.page.siteId:piranha.pageedit&&(e=piranha.pageedit.siteId),piranha.pagepicker.open(this.update,e)},remove:function(){this.model.id=null,this.model.page=null},update:function(e){this.model.id=e.id,this.model.page=e,this.meta.notifyChange&&this.$emit("update-title",{uid:this.uid,title:this.model.page.title})}},computed:{isEmpty:function(){return null==this.model.page}},mounted:function(){this.model.getTitle=function(){return null!=this.model.page?this.model.page.title:"No page selected"}},template:'\n<div class="media-field" :class="{ empty: isEmpty }">\n <div class="media-picker">\n <div class="btn-group float-right">\n <button v-on:click.prevent="select" class="btn btn-primary text-center">\n <i class="fas fa-plus"></i>\n </button>\n <button v-on:click.prevent="remove" class="btn btn-danger text-center">\n <i class="fas fa-times"></i>\n </button>\n </div>\n <div class="card text-left">\n <div class="card-body" v-if="isEmpty">\n <span v-if="meta.placeholder != null" class="text-secondary">{{ meta.placeholder }}</span>\n <span v-if="meta.placeholder == null" class="text-secondary"> </span>\n </div>\n <div class="card-body" v-else>\n <a :href="piranha.baseUrl + \'manager/page/edit/\' + model.page.id" target="_blank">{{ model.page.title }}</a>\n </div>\n </div>\n </div>\n</div>\n'}),Vue.component("post-field",{props:["uid","model","meta"],methods:{select:function(){piranha.postpicker.open(this.update)},remove:function(){this.model.id=null,this.model.post=null},update:function(e){this.model.id=e.id,this.model.post=e,this.meta.notifyChange&&this.$emit("update-title",{uid:this.uid,title:this.model.post.title})}},computed:{isEmpty:function(){return null==this.model.post}},mounted:function(){this.model.getTitle=function(){return null!=this.model.post?this.model.post.title:"No post selected"}},template:'\n<div class="media-field" :class="{ empty: isEmpty }">\n <div class="media-picker">\n <div class="btn-group float-right">\n <button v-on:click.prevent="select" class="btn btn-primary text-center">\n <i class="fas fa-plus"></i>\n </button>\n <button v-on:click.prevent="remove" class="btn btn-danger text-center">\n <i class="fas fa-times"></i>\n </button>\n </div>\n <div class="card text-left">\n <div class="card-body" v-if="isEmpty">\n <span v-if="meta.placeholder != null" class="text-secondary">{{ meta.placeholder }}</span>\n <span v-if="meta.placeholder == null" class="text-secondary"> </span>\n </div>\n <div class="card-body" v-else>\n <a :href="piranha.baseUrl + \'manager/post/edit/\' + model.post.id" target="_blank">{{ model.post.title }}</a>\n </div>\n </div>\n </div>\n</div>\n'}),Vue.component("readonly-field",{props:["uid","model","meta"],template:'\n<div class="alert alert-secondary mb-0">\n <pre class="mb-0">{{ model.value }}</pre>\n</div>\n'}),Vue.component("select-field",{props:["uid","model","meta"],methods:{update:function(){this.meta.notifyChange&&this.$emit("update-title",{uid:this.uid,title:this.meta.options[this.model.value]})}},template:'\n<select class="form-control" v-model="model.value" v-on:change="update()">\n <option v-for="(name, value) in meta.options" v-bind:key="value" v-bind:value="value">\n {{ name }}\n </option>\n</select>\n'}),Vue.component("string-field",{props:["uid","model","meta"],methods:{update:function(){this.meta.notifyChange&&this.$emit("update-title",{uid:this.uid,title:this.model.value})},maxLength:function(){return null!=this.meta.settings.MaxLength&&this.meta.settings.MaxLength>0?this.meta.settings.MaxLength:null},isRequired:function(){return!1}},template:'\n<div>\n <div v-if="maxLength() > 0" class="input-group">\n <input class="form-control" type="text" :maxlength="maxLength()" :required="isRequired()" :placeholder="meta.placeholder" v-model="model.value" v-on:change="update()">\n <div class="input-group-append">\n <div class="input-group-text text-muted">\n {{ piranha.utils.strLength(model.value) + "/" + maxLength() }}\n </div>\n </div>\n </div>\n <input v-else class="form-control" type="text" :maxlength="maxLength()" :required="isRequired()" :placeholder="meta.placeholder" v-model="model.value" v-on:change="update()">\n</div>\n'}),Vue.component("text-field",{props:["uid","model","meta"],methods:{update:function(){if(this.meta.notifyChange){var e=this.model.value;e.length>40&&(e=e.substring(0,40)+"..."),this.$emit("update-title",{uid:this.uid,title:e})}},maxLength:function(){return null!=this.meta.settings.MaxLength&&this.meta.settings.MaxLength>0?this.meta.settings.MaxLength:null},isRequired:function(){return!1}},template:'\n<div>\n <div v-if="maxLength() > 0" class="input-group">\n <textarea class="form-control" rows="4" :maxlength="maxLength()" :required="isRequired()" :placeholder="meta.placeholder" v-model="model.value" v-on:change="update()"></textarea>\n <div class="input-group-append">\n <div class="input-group-text text-muted">\n {{ piranha.utils.strLength(model.value) + "/" + maxLength() }}\n </div>\n </div>\n </div>\n <textarea v-else class="form-control" rows="4" :maxlength="maxLength()" :required="isRequired()" :placeholder="meta.placeholder" v-model="model.value" v-on:change="update()"></textarea>\n</div>\n'}),Vue.component("video-field",{props:["uid","model","meta"],methods:{clear:function(){},select:function(){null!=this.model.media?piranha.mediapicker.open(this.update,"Video",this.model.media.folderId):piranha.mediapicker.openCurrentFolder(this.update,"Video")},remove:function(){this.model.id=null,this.model.media=null},update:function(e){"Video"===e.type?(this.model.id=e.id,this.model.media={id:e.id,folderId:e.folderId,type:e.type,filename:e.filename,title:e.title,contentType:e.contentType,publicUrl:e.publicUrl},this.meta.notifyChange&&this.$emit("update-title",{uid:this.uid,title:null!=this.model.media.title?this.model.media.title+" ("+this.model.media.filename+")":this.model.media.filename})):console.log("No video was selected")}},computed:{isEmpty:function(){return null==this.model.media}},mounted:function(){this.model.getTitle=function(){return null!=this.model.media?null!=this.model.media.title?this.model.media.title+" ("+this.model.media.filename+")":this.model.media.filename:"No video selected"}},template:'\n<div class="media-field" :class="{ empty: isEmpty }">\n <div class="media-picker">\n <div class="btn-group float-right">\n <button v-on:click.prevent="select" class="btn btn-primary text-center">\n <i class="fas fa-plus"></i>\n </button>\n <button v-on:click.prevent="remove" class="btn btn-danger text-center">\n <i class="fas fa-times"></i>\n </button>\n </div>\n <div class="card text-left">\n <div class="card-body" v-if="isEmpty">\n <span v-if="meta.placeholder != null" class="text-secondary">{{ meta.placeholder }}</span>\n <span v-if="meta.placeholder == null" class="text-secondary"> </span>\n </div>\n <div class="card-body" v-else-if="model.media.title != null">\n <a href="#" v-on:click.prevent="piranha.preview.open(model.id)">{{ model.media.title }} ({{ model.media.filename }})</a>\n </div>\n <div class="card-body" v-else>\n <a href="#" v-on:click.prevent="piranha.preview.open(model.id)">{{ model.media.filename }}</a>\n </div>\n </div>\n </div>\n</div>\n'});
``` |
Seven45 Studios is the video game publishing & development division of First Act. The company's titles fuse innovative and entertaining gameplay with the world of music. It was reported to be defunct in 2013.
History
Seven45 Studios was founded in 2007 as the video game division for First Act. Seven45 is perhaps best known as the developer and publisher of the critically panned 2010 title Power Gig: Rise of the SixString, a note-matching game that shipped with a unique guitar game controller that acts as both a standalone six-stringed guitar and game controller for this and other note-matching games. In late 2010 Seven45 Studios laid-off a large part of their staff "as a part of the natural cycle of game development and to focus on the development needs of its upcoming games projects". In 2011 Seven45 Studios changed focus to developing and producing iOS apps.
Titles
Power Gig: Rise of the SixString, released in October 2010, is a video game console game for simulating gameplay with a real guitar. It was released simultaneously on Xbox 360 and PlayStation 3. The game was derided by critics due to its guitar not functioning perfectly and its padless drum kit having poor detection.
BeatPop, released in April 2011, in an iOS app, designed to be played on the Apple iPhone and iPod Touch. The player pops bubbles (via tapping the touch screen) to the beat of a variety of interesting and catchy original soundtracks.
Soulo, released in late 2011, is an iOS app for Karaoke designed to be played on the Apple iPhone, iPad, iPod Touch. The songs that can be downloaded directly to the app include a dynamic interactive display of the lyrics. These songs are all cover versions of original songs. Soulo also enables the user to sing along with existing songs in the iTunes library. The original vocals from these songs are suppressed via vocal remover technologies. Additional voice enhancements such as pitch correction are also included in the game play. These technologies were supplied by the audio technology company iZotope. The app is designed to work with a line of microphones and other peripherals made by Seven45 Studios' sister company, First Act.
References
Companies based in Boston
Privately held companies based in Massachusetts
Video game companies of the United States |
The Art of Three is a 2001 live album by the jazz trio of Billy Cobham, Ron Carter and Kenny Barron containing excerpts from two concerts of their 2001 European tour.
Track listing
"Stella By Starlight" (Ned Washington, Victor Young) – 10:43
"Autumn Leaves" (Joseph Kosma, Johnny Mercer, Jacques Prévert) – 10:00
"New Waltz" (Ron Carter) – 6:55
"Bouncing With Bud" (Bud Powell) – 7:02
"'Round Midnight" (Bernie Hanighen, Thelonious Monk, Cootie Williams) – 7:56
"And Then Again" (Kenny Barron) – 11:25
"I Thought About You" (Mercer, Jimmy Van Heusen) – 10:26
"Someday My Prince Will Come" (Larry Morey, Frank Churchill) – 9:19
Personnel
Billy Cobham – Drums
Ron Carter – Bass
Kenny Barron – Piano
Credits
Blaise Grandjean – Engineer
References
External links
2001 live albums
Split albums
Billy Cobham live albums
Ron Carter live albums
Kenny Barron live albums |
Channel 16 VHF (156.8 MHz) is a marine VHF radio frequency designated as an international distress frequency. Primarily intended for distress, urgency and safety priority calls, the frequency may also carry routine calls used to establish communication before switching to another working channel.
Authorized usage
The International Telecommunication Union (ITU) has established VHF channel 16 (156.8 MHz) as a distress, safety and calling channel, and it is monitored 24 hours a day by many coast guards around the world.
Radio watchkeeping regulations advise all sea bound vessels to monitor channel 16 VHF when sailing, except when communicating on other marine channels for legitimate business or operational reasons. Coast guards and others are permitted to broadcast short informative safety messages on channel 16; however, it is an offence in most countries to make false "mayday" calls. When using the channel to call up ships or shore stations, the call has to be switched to a working channel after the initial response in order to keep channel 16 available to others.
See also
2,182 kHz
Filipino Monkey
References
Distress signals
Emergency communication
International telecommunications
Maritime communication
Rescue |
Balūchī (; also Romanized as Baluchi, Blūči and Bluchi) is a town in Orūzgān Province, Afghanistan.
See also
Orūzgān Province
References
Populated places in Urozgan Province |
Santi Pietro e Paolo d’Agrò is a church in Casalvecchio Siculo, in the Metropolitan City of Messina on Sicily (Italy). It is one of the foremost examples on Sicily of Norman architecture.
History
The church was constructed during the 12th century as part of a Basilian monastery.
Architecture
The church is about wide, long and high. Its exterior is characterised by its block-like form, but the facade is richly decorated. Inside, the church has the plan of a basilica with three aisles. Two domes rise from the central nave, one above its centre and one above the choir.
The architecture of the church displays influences from a vast variety of sources, and constitutes "a mixed architectural heritage, attributable to Sicily's heterogeneous population, Muslims, Byzantines, and Normans." The block-like form of the exterior is reminiscent of North European contemporary architecture while the floor plan of the church is similar to the way churches were built in the Byzantine architectural tradition. Its principle of construction at the same time is essentially that of Western European Gothic architecture. In its details and decorations, too, the church exhibits a wealth of influences (e.g. in the use of muqarnas vaulting). For these reasons, the church has been called "one of the most sophisticated and coherent works of architecture to emerge from the Norman rule of the island".
Gallery
See also
Norman-Arab-Byzantine culture
History of medieval Arabic and Western European domes
References
External links
Norman architecture in Italy
Churches with Norman architecture
Churches in the metropolitan city of Messina |
Raymond William Phebus (August 2, 1909 – October 11, 1989) was a Major League Baseball pitcher. He played parts of three seasons in the majors, from until , for the Washington Senators.
After his playing career ended, Phebus briefly managed in minor league baseball. He was the manager of the Greenville Greenies in and the Dublin Green Sox in .
External links
Major League Baseball pitchers
Washington Senators (1901–1960) players
Bakersfield Bees players
Oakland Oaks (baseball) players
Mission Reds players
Davenport Blue Sox players
Albany Senators players
Chattanooga Lookouts players
Hollywood Stars players
Indianapolis Indians players
Wenatchee Chiefs players
Fresno Cardinals players
Minor league baseball managers
Baseball players from Kansas
People from Cherryvale, Kansas
1909 births
1989 deaths
Greenville Greenies players |
```kotlin
package zlc.season.rxdownload4.notification
import android.app.Notification
import android.app.NotificationChannel
import android.app.NotificationManager
import android.app.PendingIntent
import android.content.Context
import android.os.Build
import androidx.core.app.NotificationCompat.Action
import androidx.core.app.NotificationCompat.Builder
import androidx.core.app.NotificationManagerCompat
import zlc.season.claritypotion.ClarityPotion.Companion.clarityPotion
import zlc.season.rxdownload4.Progress
import zlc.season.rxdownload4.task.Task
private val notificationManager by lazy {
clarityPotion.getSystemService(Context.NOTIFICATION_SERVICE) as NotificationManager
}
fun cancelNotification(task: Task) {
notificationManager.cancel(task.hashCode())
}
fun isEnableNotification(): Boolean {
val notificationManagerCompat = NotificationManagerCompat.from(clarityPotion)
return notificationManagerCompat.areNotificationsEnabled()
}
fun createNotificationChannel(
channelId: String,
channelName: String,
channelDescription: String
) {
if (Build.VERSION.SDK_INT >= Build.VERSION_CODES.O) {
val notificationChannel = NotificationChannel(
channelId,
channelName,
NotificationManager.IMPORTANCE_LOW
)
notificationChannel.description = channelDescription
notificationChannel.enableVibration(false)
notificationChannel.enableLights(false)
notificationChannel.vibrationPattern = longArrayOf(0L)
notificationChannel.setSound(null, null)
notificationManager.createNotificationChannel(notificationChannel)
}
}
fun createNotificationBuilder(
channelId: String,
title: String,
content: String,
icon: Int,
intent: PendingIntent? = null,
progress: Progress? = null,
actions: List<Action> = emptyList()
): Builder {
val notificationBuilder = Builder(clarityPotion, channelId)
notificationBuilder.setContentTitle(title)
.setContentText(content)
.setSmallIcon(icon)
.setContentIntent(intent)
.setVibrate(longArrayOf(0L))
.setOngoing(true)
.setSound(null)
.setDefaults(Notification.FLAG_ONLY_ALERT_ONCE)
progress?.let {
notificationBuilder.setProgress(
it.totalSize.toInt(),
it.downloadSize.toInt(),
it.isChunked
)
}
actions.forEach {
notificationBuilder.addAction(it)
}
return notificationBuilder
}
``` |
Sungai Dua is a township in Butterworth, Seberang Perai, Penang, Malaysia. Not to be confuse for Sungai Dua on George Town, the Sungai Dua on Butterworth is located to the north of Perai River and to the east of the North-South Expressway. This area has experienced rapid housing development.
The main road in Sungai Dua is Jalan Sungai Dua which pass over the township. The exit 165 of the North-South Expressway Northern Route (Sungai Dua IC) was located near the township.
Schools
SK Sungai Dua
SRJK (C) Kai Chee
SMK Datuk Haji Ahmad Said
Desa Murni Sixth Form College (Kolej Tingkatan Enam Desa Murni)
See also
Butterworth, Penang
Perai
References
Populated places in Penang |
```smalltalk
using System;
using WorkflowCore.Interface;
using WorkflowCore.Persistence.EntityFramework.Services;
using WorkflowCore.Persistence.Sqlite;
using WorkflowCore.UnitTests;
using Xunit;
namespace WorkflowCore.Tests.Sqlite
{
[Collection("Sqlite collection")]
public class SqlitePersistenceProviderFixture : BasePersistenceFixture
{
string _connectionString;
public SqlitePersistenceProviderFixture(SqliteSetup setup)
{
_connectionString = setup.ConnectionString;
}
protected override IPersistenceProvider Subject
{
get
{
var db = new EntityFrameworkPersistenceProvider(new SqliteContextFactory(_connectionString), true, false);
db.EnsureStoreExists();
return db;
}
}
}
}
``` |
Roger Winston Yuan (born January 25, 1961) is an American martial arts fight trainer, stunt coordinator / performer, and actor who has trained many actors and actresses in many Hollywood films. As an actor himself, he also appeared in Shanghai Noon (2000) opposite Jackie Chan, Bulletproof Monk (2003) alongside Chow Yun-fat, the technician in Batman Begins (2005), and as Sévérine's bodyguard in Skyfall (2012). He is a well-recognized choreographer in Hollywood.
Early life
Yuan was born in Carbondale, Illinois to Theresa and Roger Yuan, and is the older brother of Ron Yuan. He is a U.S.A black belt in Chun Kuk Do. He is also a member of The United Fighting Arts Federation (UFAF). His first stunt double stint came in the 1986 film House.
Career
As of 2017, Yuan has performed stunts in over 30 films, such as: Rapid Fire, Escape from L.A., Beverly Hills Ninja, Spawn, Blade and also Warcraft and Jason Bourne. In 2011, he trained Jennifer Lawrence and Jason Flemyng in X-Men: First Class as well as Henry Cavill in Immortals. He also trained Keanu Reeves in 47 Ronin.
Yuan's first role as a professional actor is in The Perfect Weapon (1991), Yuan's first credited acting debut is in Red Corner (1997), alongside Richard Gere. He also appeared in Lethal Weapon 4, which is Jet Li's American film debut, as the role of Chu, a Chinese Triad gangster. In 2000, he played the main antagonist in the action-comedy Shanghai Noon alongside Jackie Chan, as the corrupt Imperial Guard Lo Fong, the role helped him become popular with audiences. In 2003, he appeared in the beginning of Bulletproof Monk, playing Chow Yun-fat's master. In Batman Begins, he appeared as the Hazmat Technician alongside Gary Oldman and as the Chinese Engineer in Syriana. In Skyfall, he also trained Daniel Craig and had a role as the Severine's bodyguard. Yuan also appeared in many TV Shows, he appeared in Walker Texas Ranger, playing different characters, and his most famous role is that of Lazarus in the episodes 'The Winds of Change' and 'Lazarus'.
For fifteen years Yuan was based in Ireland.
In 2016, he starred in Crouching Tiger, Hidden Dragon: Sword of Destiny, the sequel of the successful 2000 film Crouching Tiger, Hidden Dragon. Besides working in the film industry, he also was invited by Country singer Tim McGraw to get him in shape for his 2012 Brothers of the Sun Tour.
Filmography
Film
Television
References
External links
1961 births
Living people
20th-century American male actors
21st-century American male actors
American male film actors |
```c++
// Use, modification and distribution is subject to the Boost Software
// path_to_url
// Authors: Nick Edmonds
// Douglas Gregor
// Andrew Lumsdaine
#ifndef BOOST_DISTRIBUTED_FILTERED_GRAPH_HPP
#define BOOST_DISTRIBUTED_FILTERED_GRAPH_HPP
#ifndef BOOST_GRAPH_USE_MPI
#error "Parallel BGL files should not be included unless <boost/graph/use_mpi.hpp> has been included"
#endif
#include <boost/graph/parallel/process_group.hpp>
#include <boost/graph/filtered_graph.hpp>
namespace boost {
namespace graph {
namespace parallel {
/// Retrieve the process group from a filtered graph
template<typename Graph, typename EdgePredicate, typename VertexPredicate>
struct process_group_type<filtered_graph<Graph, EdgePredicate, VertexPredicate> >
: process_group_type<Graph> { };
template<typename Graph, typename EdgePredicate, typename VertexPredicate>
struct process_group_type<const filtered_graph<Graph, EdgePredicate, VertexPredicate> >
: process_group_type<Graph> { };
}
}
/// Retrieve the process group from a filtered graph
template<typename Graph, typename EdgePredicate, typename VertexPredicate>
inline typename graph::parallel::process_group_type<Graph>::type
process_group(filtered_graph<Graph, EdgePredicate, VertexPredicate> const& g) {
return process_group(g.m_g);
}
/// Forward vertex() to vertex() of the base graph
template <typename Graph, typename EdgePredicate, typename VertexPredicate>
typename graph_traits<Graph>::vertex_descriptor
vertex(typename graph_traits<Graph>::vertices_size_type i,
filtered_graph<Graph, EdgePredicate, VertexPredicate> const& g)
{ return vertex(i, g.m_g); }
}
#endif // BOOST_DISTRIBUTED_FILTERED_GRAPH_HPP
``` |
```objective-c
#ifndef VALHALLA_THOR_MULTIMODAL_H_
#define VALHALLA_THOR_MULTIMODAL_H_
#include <cstdint>
#include <map>
#include <memory>
#include <unordered_map>
#include <vector>
#include <valhalla/baldr/double_bucket_queue.h>
#include <valhalla/baldr/graphid.h>
#include <valhalla/baldr/graphreader.h>
#include <valhalla/baldr/time_info.h>
#include <valhalla/proto/common.pb.h>
#include <valhalla/sif/dynamiccost.h>
#include <valhalla/sif/edgelabel.h>
#include <valhalla/sif/hierarchylimits.h>
#include <valhalla/thor/astarheuristic.h>
#include <valhalla/thor/edgestatus.h>
#include <valhalla/thor/pathalgorithm.h>
#include <valhalla/thor/pathinfo.h>
namespace valhalla {
namespace thor {
/**
* Multi-modal pathfinding algorithm. Currently supports walking and
* transit (bus, subway, light-rail, etc.).
*/
class MultiModalPathAlgorithm : public PathAlgorithm {
public:
/**
* Constructor.
* @param config A config object of key, value pairs
*/
explicit MultiModalPathAlgorithm(const boost::property_tree::ptree& config = {});
/**
* Destructor
*/
virtual ~MultiModalPathAlgorithm();
/**
* Form multi-modal path between and origin and destination location using
* the supplied costing method.
* @param origin Origin location
* @param dest Destination location
* @param graphreader Graph reader for accessing routing graph.
* @param mode_costing An array of costing methods, one per TravelMode.
* @param mode Travel mode from the origin.
* @return Returns the path edges (and elapsed time/modes at end of
* each edge).
*/
std::vector<std::vector<PathInfo>>
GetBestPath(valhalla::Location& origin,
valhalla::Location& dest,
baldr::GraphReader& graphreader,
const sif::mode_costing_t& mode_costing,
const sif::TravelMode mode,
const Options& options = Options::default_instance()) override;
/**
* Returns the name of the algorithm
* @return the name of the algorithm
*/
virtual const char* name() const override {
return "Multimodal";
}
/**
* Clear the temporary information generated during path construction.
*/
void Clear() override;
protected:
uint32_t max_walking_dist_;
sif::TravelMode mode_; // Current travel mode
uint8_t travel_type_; // Current travel type
bool date_set_;
bool date_before_tile_;
bool disable_transit_;
uint32_t date_;
uint32_t dow_;
uint32_t day_;
uint32_t start_time_;
uint32_t max_seconds_;
uint32_t max_transfer_distance_;
std::string origin_date_time_;
std::unordered_map<std::string, uint32_t> operators_;
std::unordered_set<uint32_t> processed_tiles_;
// Hierarchy limits.
std::vector<sif::HierarchyLimits> hierarchy_limits_;
// A* heuristic
AStarHeuristic astarheuristic_;
// Vector of edge labels (requires access by index).
std::vector<sif::MMEdgeLabel> edgelabels_;
// Adjacency list - approximate double bucket sort
baldr::DoubleBucketQueue<sif::MMEdgeLabel> adjacencylist_;
// Edge status. Mark edges that are in adjacency list or settled.
EdgeStatus edgestatus_;
// Destinations, id and cost
std::map<uint64_t, sif::Cost> destinations_;
/**
* Initializes the hierarchy limits, A* heuristic, and adjacency list.
* @param destll Lat,lng of the destination.
* @param costing Dynamic costing method.
*/
void Init(const midgard::PointLL& destll, const std::shared_ptr<sif::DynamicCost>& costing);
/**
* Add edges at the origin to the adjacency list.
* @param graphreader Graph tile reader.
* @param origin Location information of the origin.
* @param dest Location information of the destination.
* @param costing Dynamic costing.
*/
void SetOrigin(baldr::GraphReader& graphreader,
valhalla::Location& origin,
const valhalla::Location& dest,
const std::shared_ptr<sif::DynamicCost>& costing);
/**
* Set the destination edge(s).
* @param graphreader Graph tile reader.
* @param dest Location information of the destination.
* @param costing Dynamic costing.
* @return Returns the relative density near the destination (0-15)
*/
uint32_t SetDestination(baldr::GraphReader& graphreader,
const valhalla::Location& dest,
const std::shared_ptr<sif::DynamicCost>& costing);
/**
* Expand from the node along the forward search path. Immediately expands
* from the end node of any transition edge (so no transition edges are added
* to the adjacency list or EdgeLabel list). Does not expand transition edges if
* from_transition is false. This method is only used in CanReachDestination.
* @param graphreader Graph tile reader.
* @param node Graph Id of the node being expanded.
* @param pred Predecessor edge label (for costing).
* @param pred_idx Predecessor index into the EdgeLabel list.
* @param costing Current costing method.
* @param edgestatus Local edge status information.
* @param edgelabels Local edge label list.
* @param adjlist Local adjacency list/priority queue.
* @param from_transition True if this method is called from a transition edge.
* @return Returns true if a transit stop has been reached. False, otherwise.
*/
bool ExpandFromNode(baldr::GraphReader& graphreader,
const baldr::GraphId& node,
const sif::EdgeLabel& pred,
const uint32_t pred_idx,
const std::shared_ptr<sif::DynamicCost>& costing,
EdgeStatus& edgestatus,
std::vector<sif::EdgeLabel>& edgelabels,
baldr::DoubleBucketQueue<sif::EdgeLabel>& adjlist,
const bool from_transition);
/**
* Expand from the node using multimodal algorithm.
* @param graphreader Graph reader.
* @param node Graph Id of the node to expand.
* @param pred Edge label of the predecessor edge leading to the node.
* @param pred_idx Index in the edge label list of the predecessor edge.
* @param from_transition Boolean indicating if this expansion is from a transition edge.
* @param pc Pedestrian costing.
* @param tc Transit costing.
* @param mode_costing Array of all costing models.
* @param time_info Information time offset as the route progresses
* @return Returns false if the node could not be expanded from
*/
bool ExpandForward(baldr::GraphReader& graphreader,
const baldr::GraphId& node,
const sif::MMEdgeLabel& pred,
const uint32_t pred_idx,
const bool from_transition,
const std::shared_ptr<sif::DynamicCost>& pc,
const std::shared_ptr<sif::DynamicCost>& tc,
const sif::mode_costing_t& mode_costing,
const baldr::TimeInfo& time_info);
/**
* Check if destination can be reached if walking is the last mode. Checks
* if there are any transit stops within maximum walking distance from
* the destination. This is used to reject impossible routes given the
* modes allowed.
* TODO - once auto/bicycle are allowed modes we need to check if parking
* or bikeshare locations are within walking distance.
*/
bool CanReachDestination(const valhalla::Location& destination,
baldr::GraphReader& graphreader,
const sif::TravelMode dest_mode,
const std::shared_ptr<sif::DynamicCost>& costing);
/**
* Form the path from the adjacency list. Recovers the path from the
* destination backwards towards the origin (using predecessor information)
* @param dest Index in the edge labels of the destination edge.
* @return Returns the path info, a list of GraphIds representing the
* directed edges along the path - ordered from origin to
* destination - along with travel modes and elapsed time.
*/
std::vector<PathInfo> FormPath(const uint32_t dest);
};
} // namespace thor
} // namespace valhalla
#endif // VALHALLA_THOR_MULTIMODAL_H_
``` |
The locomotives of the Highland Railway were used by the Highland Railway to operate its lines in the north of Scotland. The Highland Railway locomotive works was at Lochgorm, Inverness. The works had been built about 1855 by the Inverness and Nairn Railway. The locomotive classes are listed under the names of the railway's Locomotive Superintendents.
Locomotives
William Barclay 1855–69
During Barclay's incumbency as locomotive superintendent various 2-2-2 and 2-4-0 locomotives were built, along with a solitary 0-4-0T. An 0-4-0ST was also inherited from the Findhorn Railway. Many of Barclay's locomotives would later be rebuilt by Stroudley or Jones - most of the 2-2-2s ended up as 2-4-0s and one became a 2-2-2T, a pair of 2-4-0s became 4-4-0s and the 0-4-0T became an 0-4-2T. Only 4 much rebuilt Barclay locomotives (all 2-4-0s) were still in stock at the time of the Grouping.
William Stroudley 1865–69
William Stroudley produced only one new design, an 0-6-0ST of which 3 were built. These survived to pass into LMS ownership.
David Jones 1870–96
David Jones designed several classes of 4-4-0, and was also notable for introducing the 4-6-0 wheel arrangement to the UK. He also produced small numbers of 0-4-4ST, 2-4-0, 2-4-0T and 4-4-0T locomotives. Of 88 engines built to Jones' design (including 3 built as late as 1917), 74 passed to the LMS in 1923. A small 2-4-0T purchased secondhand from the Duke of Sutherland also made into LMS ownership.
Peter Drummond 1896–1912
Under Peter Drummond, new 0-4-4T, 0-6-0T, 0-6-4T, 0-6-0, 4-4-0 and 4-6-0 designs emerged. All 72 locomotives passed to the LMS.
Frederick George Smith 1912–15
Fredrick George Smith's brief tenure was cut short by a dispute over his sole design, the 'River' Class 4-6-0. Six locomotives were built, but they were (wrongly) considered to be too heavy for the Highland Railway, and were sold to the Caledonian Railway without being used.
Christopher Cumming 1915–22
Christopher Cumming designed one class of 4-4-0 and two types of 4-6-0, totalling 18 locomotives, which all passed to the LMS.
London, Midland and Scottish Railway
The Highland Railway was absorbed by the London, Midland and Scottish Railway (LMS) in 1923 and its locomotives were taken into LMS stock. Despite their small numbers, quite a few Highland Railway classes survived well into the LMS era, and even into the 1950s.
Preservation
Jones Goods 103, withdrawn by the LMS, is the only Highland Railway locomotive to have been preserved. There are also plans to build a replica of Ben Class 54398 Ben Alder.
References
Highland Railway
Highland Railway |
William Wild (21 February 1846 — 7 January 1891) was an English first-class cricketer.
Wild was born in February 1846 at Thorncombe, Dorset. He later made a single appearance in first-class cricket for Hampshire against the Marylebone Cricket Club at Lord's in 1877. Batting twice in the match, he was dismissed for 8 runs by Fred Morley in Hampshire's first innings, while following-on in their second innings he ended Hampshire's innings of 149 all out unbeaten on 2 runs. As a bowler, he was described by the Hampshire Independent as a "Southampton lad, free and graceful delivery, [with] a good pace". Prior to playing first-class cricket for Hampshire, Wild was summoned to Southampton Police Court in October 1869 on charges of assaulting John Gray, a toll collector on the Itchen Bridge. Wild later moved to Norfolk, where he worked as a tailor. He died at his residence in Norwich in January 1891, with his wife informing the coroner that leading up to his death he had been suffering from rheumatic fever.
References
External links
1846 births
1891 deaths
People from West Dorset District
Cricketers from Dorset
English cricketers
Hampshire cricketers
British tailors |
```javascript
/*
* All rights reserved.
*
* This source code is licensed under the license found in the LICENSE file in
* the root directory of this source tree.
*/
import Popover from 'components/Popover/Popover.react';
import PropTypes from 'lib/PropTypes';
import Position from 'lib/Position';
import React from 'react';
import styles from 'components/PushExperimentDropdown/PushExperimentDropdown.scss';
export default class PushExperimentDropdown extends React.Component {
constructor() {
super();
this.state = {
open: false,
selected: false,
};
this.dropdownRef = React.createRef();
}
componentWillMount() {
this.styles = this.props.styles || styles;
}
select(value, e) {
e.stopPropagation();
this.setState(
{
open: false,
selected: true,
},
() => {
this.props.onChange(value);
}
);
}
render() {
const widthStyle = { width: this.props.width || 140 };
const styles = this.styles;
const color = this.props.color;
let content = (
<div
className={[styles.current, styles[color]].join(' ')}
onClick={() => this.setState({ open: true })}
>
<div>
{!this.state.selected && this.props.placeholder && this.props.value === undefined
? this.props.placeholder
: this.props.value}
</div>
</div>
);
if (this.state.open) {
const position = Position.inWindow(this.dropdownRef.current);
content = (
<Popover
fixed={true}
position={position}
onExternalClick={() => this.setState({ open: false })}
>
<div style={widthStyle} className={[styles.menu, styles[color]].join(' ')}>
{this.props.options.map(({ key, style }) => (
<div key={key} style={style} onClick={this.select.bind(this, key)}>
{key}
</div>
))}
</div>
</Popover>
);
}
return (
<div style={widthStyle} className={styles.dropdown} ref={this.dropdownRef}>
{content}
</div>
);
}
}
PushExperimentDropdown.propTypes = {
color: PropTypes.string.describe('Determines the color of the dropdown.'),
value: PropTypes.string.isRequired.describe('The current value of the dropdown.'),
options: PropTypes.arrayOf(PropTypes.object).isRequired.describe(
'An array of options available in the dropdown.'
),
onChange: PropTypes.func.isRequired.describe('A function called when the dropdown is changed.'),
width: PropTypes.string.describe('An optional width override.'),
placeHolder: PropTypes.string.describe('Placeholder text used in place of default selection.'),
styles: PropTypes.object.describe('Styles override used to provide dropdown with differnt skin.'),
};
``` |
Ramón Cabrera (born 30 May 1938) is an Argentine long-distance runner. He competed in the marathon at the 1972 Summer Olympics.
References
1938 births
Living people
Athletes (track and field) at the 1972 Summer Olympics
Argentine male long-distance runners
Argentine male marathon runners
Olympic athletes for Argentina
Place of birth missing (living people) |
This is list of universities and related institutions in Lebanon.
Universities
One public university and 28 private universities in Lebanon have licenses from the Ministry of Education and Higher Education. There are 32 universities in total.
1Affiliated to Balamand University.
University institutes and colleges
There are a total of eight private institutes officially recognized in Lebanon:
University institutes for religious studies
See also
List of colleges and universities by country
List of colleges and universities
References
External links
Pigier Business Schools
https://universityimages.com/list-of-universities-in-lebanon/
Universities
Lebanon
Lebanon |
Count Johan August Meijerfeldt (4 May 1725–21 April 1800) was a Swedish field marshal. To distinguish him from his father, Johan August Meijerfeldt the Elder, he is generally referred to as Johan August Meijerfeldt the Younger. He pursued a military career both outside Sweden, and as an officer in Swedish service in the Pomeranian War and the Russo-Swedish War. Towards the end of the latter war, he was given command of all Swedish land forces in Finland, and promoted to field marshal at the end of the war. He was married to Louise Meijerfeldt.
Biography
The Meijerfeldt family came from Livonia. Johan August Meijerfeldt the Younger was born in Stralsund in Swedish Pomerania on 4 May 1725. He began a military career early in life. In 1737 he was already serving in a regiment in his hometown. In 1744 he was promoted to the rank of captain, and the following year received royal permission to leave the country to fight in the War of the Austrian Succession on the side of Austria, first against Prussia and later against France. He participated in the Battle of Soor and the Battle of Kesselsdorf, and in 1746 he was taken prisoner by French troops. After his release he returned to Sweden.
Back in Sweden he became a confidant of Queen Louisa Ulrika and aided her in trying to raise funds abroad for her failed coup d'etat in 1756. After the failed coup, Meijerfeldt was briefly arrested and questioned but did not suffer any serious repercussions. However, he again left Sweden to fight in the Seven Years' War, this time on the side of Brunswick. He participated in the Battle of Hastenbeck in 1757. Following Sweden's entry into the war, he returned to Sweden and joined the Swedish army. He commaned forces fighting around Peenemünde, Güstrow and Wolin during the subsequent Pomeranian War. In 1759 he was promoted to the rank of lieutenant colonel.
He was politically engaged in Sweden during the 1760s, -70s and -80s. With the outbreak of the Russo-Swedish War in 1788, he returned to active military service and initially commanded a brigade attempting to take Hamina, an effort which derailed due to a lack of supplies and ammunition. Following the Anjala conspiracy, Meijerfeldt was given command of the forces around Anjala. In December 1788 he was given the overall command of all land forces in Finland in the absence of the king. In this capacity he reconquered Karkkila in July 1789, and managed to thwart further Russian gains in Finland. When the war ended with the Treaty of Värälä, he was promoted to field marshal. Soon after the war he retired, in opposition to the increasingly authoritarian politics of King Gustav III. He spent most of his remaining life at his family estate in in Pomerania.
He married Louise Meijerfeldt in 1763. He died in Stockholm on 21 April 1800.
Awards and decorations
Order of the Seraphim (1797)
References
Sources cited
External links
1725 births
1800 deaths
Swedish generals
Field marshals of Sweden
People of the Russo-Swedish War (1788–1790)
People of the War of the Austrian Succession
People of the Seven Years' War |
A cuckoo clock is a type of clock, typically pendulum driven, that strikes the hours with a sound like a common cuckoo call and has an automated cuckoo bird that moves with each note. Some move their wings and open and close their beaks while leaning forwards, whereas others have only the bird's body leaning forward. The mechanism to produce the cuckoo call has been in use since the middle of the 18th century and has remained almost without variation.
It is unknown who invented the cuckoo clock and where the first one was made. It is thought that much of its development and evolution was made in the Black Forest area in southwestern Germany (in the modern state of Baden-Württemberg), the region where the cuckoo clock was popularized and from where it was exported to the rest of the world, becoming world-famous from the mid-1850s on. Today, the cuckoo clock is one of the favourite souvenirs of travellers in Germany, Switzerland and Austria. It has become a cultural icon of Germany.
Characteristics
The design of a cuckoo clock is now conventional. Many are made in the "traditional style", which are made to hang on a wall. The classical or traditional type includes two subgroups; the carved ones, whose wooden cases are decorated with leaves, animals, etc., and a second one with cases in the shape of a chalet. They have an automaton of a bird that appears through a small trap door when the clock strikes. The cuckoo bird is activated by the clock movement as the clock strikes by means of an arm that is triggered on the hour and half hour.
There are two kinds of movements: one-day (30-hour) and eight-day clockworks. Some have musical devices, and play a tune on a Swiss music box after striking the hours and half-hours. Usually the melody sounds only at full hours in eight-day clocks and both at full and half hours in the one-day timepieces. Musical cuckoo clocks frequently have other automata which move when the music box plays. Today's cuckoo clocks are almost always weight driven. The weights are made of cast iron usually in a pine cone shape and the "cuckoo" sound is created by two tiny gedackt pipes in the clock, with bellows attached to their tops. The clock's movement activates the bellows to send a puff of air into each pipe alternately when the timekeeper strikes.
Since the 1970s, quartz battery-powered cuckoo clocks have become available. As with their mechanical counterparts, the cuckoo bird emerges from its enclosure and moves up and down, but often on the quartz timepieces it also flaps its wings and open its beak while it sings. Just before the call, and in case it has a door, the single or double door opens and the bird emerges as usual, but only on the full hour, and they do not have a gong wire chime. The movement of the cuckoo in such clocks is regulated by an electromagnet that pulses on and off, attracting a weight, that acts as a fulcrum, connected to the tail of the plastic cuckoo, thus moving the bird up and down in its enclosure.
In quartz cuckoos, different systems have been used to produce the bird's call; the usual bellows, a digital recording of a real cuckoo in the wild (with a corresponding echo accompanied by the sound of a waterfall and other birds in the background) or a recording of the bird's call only. In musical versions, the hourly chime is followed by the replay of one of twelve popular melodies (one for each hour). Some musical quartz clocks in the chalet style also reproduce many of the popular automata found on mechanical musical clocks, such as beer drinkers, wood-choppers, and jumping deer.
Uniquely, quartz cuckoo clocks often include a sensor, so that when the lights are turned off at night they automatically silence the hourly chime. Others are pre-programmed not to strike between a set of pre-determined hours. Whether this is controlled by a light sensor or pre-programmed, the function is referred to as a "night silence" feature. On quartz wall clocks in the traditional style, the weights are conventionally cast in the shape of pine cones made of plastic rather than iron. The pendulum bob is often another carved leaf. Here, the weights and pendulum are purely ornamental as the clock is driven by battery power.
History
First modern cuckoo clocks
In 1629, many decades before clockmaking was established in the Black Forest, an Augsburg merchant by the name of Philipp Hainhofer (1578–1647) penned one of the first known descriptions of a modern cuckoo clock. In Dresden, he visited the Kunstkammer (Cabinet of curiosities) of Prince Elector August von Sachsen. One of the rooms contained a chiming clock with a moving bird, a cuckoo announcing every quarter of an hour, which he briefly described as: "A beautiful chiming clock, inside a cuckoo, indicating the quarter hours with its beak and call, the hours with its flapping wings and pour sugar from its tail" (translated from the German). Hainhofer does not describe what this clock may have looked like and who built it. This piece is no longer part of the Dresden Green Vault collection, but appears in a 1619 inventory book as: "In addition, there is also a new entry. 1 Clock with a cuckoo that yells. It stands on a black pedestal made of ebony on the barber's chest" (translated from the German).
The Dresden timepiece should not have been unique, because the mechanical cuckoo was considered part of the known mechanical arts in the 17th century. In a widely known handbook on music, Musurgia Universalis (1650), the scholar Athanasius Kircher describes a mechanical organ with several automated figures, including a mechanical cuckoo. This book contains the first documented description—in words and pictures—of how a mechanical cuckoo works. Kircher did not invent the cuckoo mechanism, because this book, like his other works, is a compilation of known facts into a handbook for reference purposes. The engraving clearly shows all the elements of a mechanical cuckoo. The bird automatically opens its beak and moves both its wings and tail. Simultaneously, there is heard the whistle—call of the cuckoo, created by two organ pipes, tuned to a minor or major third. There is only one fundamental difference from the Black Forest-type cuckoo mechanism: The functions of Kircher's bird are not governed by a count wheel in a strike train, but a pinned program barrel synchronizes the movements and sounds of the bird.
On the other hand, in 1669 Domenico Martinelli, in his handbook on elementary clocks Horologi Elementari, suggests using the call of the cuckoo to indicate the hours. Starting at that time the mechanism of the cuckoo clock was known. Any mechanic or clockmaker, who could read Latin or Italian, knew after reading the books that it was feasible to have the cuckoo announce the hours.
Subsequently, cuckoo clocks appeared in regions that had not been known for their clockmaking. For instance, the Historische Nachrichten (1713), an anonymous publication generally attributed to Court Preacher Bartholomäus Holzfuss, mentions a musical clock in the Oranienburg palace in Berlin. This clock, originating in West Prussia, played eight church hymns and had a cuckoo that announced the quarter hours. Unfortunately this clock, like the one mentioned by Hainhofer in 1629, can no longer be traced today.
In the 18th century, people in the Black Forest started to build cuckoo clocks.
First cuckoo clocks made in the Black Forest
It is not clear who built the first cuckoo clocks in the Black Forest, but there is unanimity that the unusual clock with the bird call very quickly conquered the region. By the middle of the 18th century, several small clockmaking shops between Neustadt and Sankt Georgen were making cuckoo clocks out of wood and shields decorated with paper. After a journey through south-west Germany in 1762, Count Giuseppe Garampi, Prefect of the Vatican Archives, remarked: "In this region large quantities of wooden movement clocks are made, and even if they were not completely unknown earlier, they have now been perfected, and one has started to equip them with the cuckoo's call."
It is hard to judge how large the proportion of cuckoo clocks was among the total production of early days Black Forest clocks. Based on the proportion of pieces surviving to the present, it must have been a small fraction of the total production. Especially 18th century cuckoo clocks, in which all the parts of the movement, including gears, were made of wood. They are extremely rare, Wilhelm Schneider was only able to list a dozen of pieces with wooden movements in his book Frühe Kuckucksuhren (Early Cuckoo Clocks) (2008). The cuckoo clock remained a niche product until the middle of the 19th century, made by a few specialized workshops.
Regarding its murky origins, there are two main fables from the first two chroniclers of Black Forest horology which tell contradicting stories about it: The first is from Father Franz Steyrer, written in his Geschichte der Schwarzwälder Uhrmacherkunst (History of the Art of Clockmaking in the Black Forest) in 1796. He describes a meeting, happened around 1742, between two clock peddlers (Uhrenträger, literally "clock carriers", who carried the dials and movements on their backs displayed on huge backpacks), Joseph Ganther from Neukirch (Furtwangen) and Joseph Kammerer from Furtwangen, who met a travelling Bohemian merchant who sold wooden cuckoo clocks. When they returned home, they brought with them this novelty, since it had caught their eyes, and show it to Michael Dilger from Neukirch and Matthäus Hummel from Glashütte, who were very pleased with it and began to copy it. Its popularity grew in the region and more and more clockmakers started making them. With regard to this chronicle, the historian Adolf Kistner claimed in his book Die Schwarzwälder Uhr (The Black Forest Clock), published in 1927, that there is not any Bohemian cuckoo clock in existence to verify the thesis that such a clock was used as a sample to copy and produce Black Forest cuckoo clocks. Bohemia had no fundamental clockmaking industry during that period.
The second story is related by another priest, Markus Fidelis Jäck, in a passage extracted from his report Darstellungen aus der Industrie und des Verkehrs aus dem Schwarzwald (Descriptions of the Industry and Transport of the Black Forest), (1810) said as follows: "The cuckoo clock was invented (in the early 1730s) by a clock-master [Franz Anton Ketterer] from Schönwald. This craftsman adorned a clock with a moving bird that announced the hour with the cuckoo-call. The clock-master got the idea of how to make the cuckoo-call from the bellows of a church organ". Unfortunately, neither Steyrer nor Jäck quote any sources for their claims, making them unverifiable.
As time went on, the second version became the more popular, and is the one generally related today, though evidence suggests its inaccuracy. This type of clock is much older than clockmaking in the Black Forest. As early as 1650, the mechanical cuckoo was part of the reference book knowledge recorded in handbooks. It took nearly a century for the cuckoo clock to find its way to the Black Forest, where for many decades it remained a tiny niche product.
In addition, R. Dorer pointed out in 1948 that Franz Anton Ketterer (1734–1806) could not have been the inventor of the cuckoo clock in 1730, because he had not yet been born. This statement was corroborated by Gerd Bender in the most recent edition of the first volume of his work Die Uhrenmacher des hohen Schwarzwaldes und ihre Werke (The Clockmakers of the High Black Forest and their Works) (1998) in which he wrote that the cuckoo clock was not native to the Black Forest and also stated that: "There are no traces of the first production line of cuckoo clocks made by Ketterer". Schaaf, in Schwarzwalduhren (Black Forest Clocks) (1995), provides his own research which leads to the earliest cuckoos having been built in the Franconia and Lower Bavaria area, in the southeast of Germany, (forming nowadays the northern two-thirds of the Free State of Bavaria), in the direction of Bohemia (nowadays the main region of the Czech Republic), which he notes, lends credence to the Steyrer version.
Although the idea of placing an automaton cuckoo bird in a clock to announce the passing of time did not originate in the Black Forest, the cuckoo clock as it is known today (in its traditional form decorated with wood carvings) comes from this region located in southwest Germany. The Black Forest people who created the cuckoo clock industry developed it, and still come up with new designs and technical improvements.
Even though the functionality of the cuckoo mechanism has remained basically unchanged, the appearance has changed as case designs and clock movements evolved in the region. Around 1800, the first lacquered shield clocks appeared, the so-called Lackschilduhr ("lacquered shield clock"), characterized by having a painted flat square wooden face behind which all the clockwork was attached. On top of the square was usually a semicircle of highly decorated painted wood which contained the door for the cuckoo. These usually depicted floral motifs, like roses, and often had a painted column, on either side of the chapter ring, others were decorated with fruits as well. Some pieces also bore the names of the bride and bridegroom on the dial, which were normally painted by women. There was no cabinet surrounding the clockwork in this model. This design was the most prevalent during the first half of the 19th century.
By the middle of the 19th century, Black Foresters began to experiment with a variety of forms. In the 1840s, the Beha company had already been selling Biedermeier style table cuckoo clocks. Up until now, clocks had mainly been manufactured with a large shield hiding the movement behind, without a case surrounding it. Now, for the first time, timepieces with a real case were produced in large numbers. These clocks with their simple geometric shapes, some with small columns on both sides of the dial for decoration, are reminiscent of the art of the Biedermeier period. Such pieces were built between 1840 and the 1890s - and sometimes a cuckoo was included in these simple "Biedermeier clocks". Some models had also a painting of a person or animal with moving eyes.
Towards the middle of the 19th century until the 1880s, picture frame cuckoo clocks also became available. As the name suggests, these wall timepieces consisted of a picture frame, usually with a typical Black Forest scene painted on a wooden background or a sheet metal, lithography and screen-printing were other techniques used. Other common themes depicted were; hunting, love, family, death, birth, mythology, military and Christian religious scenes. Works by painters such as Johann Baptist Laule (1817–1895) and Carl Heine (1842–1882) were used to decorate the fronts of this and other types of clocks. The painting was almost always protected by a glass and some models displayed a person or an animal with blinking or flirty eyes as well, being operated by a simple mechanism worked by means of the pendulum swinging. The cuckoo normally took part in the scene painted, and would pop out in 3D, as usual, to announce the hour.
Another type of picture frame clock (Rahmenuhr) produced in the region from the middle of the 19th century, was based on a Viennese model from around 1830. The front of these timepieces was decorated with a serially stamped brass plate. The brass was given a gold-coloured surface by polishing it or treating it with nitric acid. Some of these pieces, which were produced in large numbers up until the 1880s, were also available with a cuckoo mechanism.
As for house-shaped cases, in the 1870s the Beha company marketed table and wall models of considerable size, so-called Herrenhäusle ("House of Lords", a manor house or mansion), whose detailed wooden cases replicated attic windows from where the cuckoo pop out, a shingle roof with chimney, rain gutters and downpipes, etc.
On the other hand, from the 1860s until the early 20th century, cases were manufactured in a wide variety of styles such as; Neoclassical or Georgian (certain pieces also displayed a painting), neo-Gothic, neo-Renaissance, neo-Baroque, Art Nouveau, etc., becoming a suitable decorative object for the bourgeois home. These timepieces are less common than the popular ones looking like gatekeeper-houses (Bahnhäusle style clocks) and they could be mantel, wall or bracket clocks.
However, the popular house-shaped Bahnhäusleuhr ("railway-house clock") virtually forced the discontinuation of other styles within a few decades.
Bahnhäusle style, a successful design from Furtwangen
In September 1850, the first director of the Grand Duchy of Baden Clockmakers School in Furtwangen, Robert Gerwig, launched a public competition to submit designs for modern clockcases, which would allow homemade products to attain a professional appearance.
Friedrich Eisenlohr (1805–1854), who as an architect had been responsible for creating the buildings along the then new and first Badenese Rhine valley railway, submitted the most far-reaching design. Eisenlohr enhanced the facade of a standard railroad-guard's residence, as he had built many of them, with a clock dial. His "Wallclock with shield decorated by ivy vines", (in reality the ornament were grapevines and not ivy) as it is referred to in a surviving, handwritten report from the Clockmakers School from 1851 or 1852, became the prototype of today's popular souvenir cuckoo clocks.
Eisenlohr was also up-to-date stylistically. He was inspired by local images; rather than copying them slavishly, he modified them. Contrary to most present-day cuckoo clocks, his case features light, unstained wood and were decorated with symmetrical, flat fretwork ornaments. His idea became an instant hit, because the modern design of the Bahnhäusle clock appealed to the decorating tastes of the growing bourgeoisie and thereby tapped into new and growing markets.
While the Clockmakers School was satisfied to have Eisenlohr's clock case sketches, they were not fully realized in their original form. Eisenlohr had proposed a wooden facade; Gerwig preferred a painted metal front combined with an enamel dial. But despite intensive campaigns by the Clockmakers School, sheet metal fronts decorated with oil paintings (or coloured lithographs) never became a major market segment because of the high cost and labour-intensive process, hence they were only produced (from the 1850s until around 1880), whether wall or mantel versions.
Characteristically, the makers of the first Bahnhäusle clocks deviated from Eisenlohr's sketch in only one way: they left out the cuckoo mechanism. Unlike today, the design with the little house was not synonymous with a cuckoo clock in the first years after 1850. This is another indication that at that time cuckoo clocks could not have been an important market segment.
Only in December 1854, Johann Baptist Beha, the best known maker of cuckoo clocks of his time, sold two of them, with oil paintings on their fronts, to the Furtwangen clock dealer Gordian Hettich, which were described as Bahnhöfle Uhren ("railway station clocks"). More than a year later, on 20 January 1856, another respected Furtwangen-based cuckoo clockmaker, Theodor Ketterer, sold one to Joseph Ruff in Glasgow.
Concurrently with Beha and Ketterer, other Black Forest clockmakers must have started to equip Bahnhäusle clocks with cuckoo mechanisms to satisfy the rapidly growing demand for this type of clock. Starting in the mid-1850s there was a real boom in this market. For example, numerous exhibitors at the trade exhibition in Villingen in 1858 offered cuckoo clocks in the Bahnhäuschenkasten or Bahnwartshaus.
And in the annual report of the Furtwangen Clockmakers School of 1857/58 is stated: "The cuckoo clock therefore found a very special market again as soon as the Bahnhäuschen, which was so very suitable for it, was used as a clock case."
By 1862, Johann Baptist Beha started to enhance his richly decorated Bahnhäusle clocks with hands carved from bone and weights cast in the shape of fir cones. Even today this combination of elements is characteristic for cuckoo clocks, although the hands are usually made of wood or plastic, white celluloid was employed in the past too. As for the weights, there was during this second half of the 19th century, a few models which featured weights cast in the shape of a Gnome and other curious forms.
Thanks to Eisenlohr's design, the cuckoo clock became one of the most successful Black Forest products within a few years. In a report on the exhibition of local products at the 1873 Vienna World's Fair, Karl Schott, the then head of the Furtwanger Landesgewerbehalle (Furtwangen State Trade Hall), wrote "that today the cuckoo clock is one of the most sought-after clocks in the Black Forest". At the time of the Vienna exhibition, cuckoo clocks were not only sold on the German domestic market, but in many regions of the world. The main export countries in Europe were Switzerland, England, Russia and the Ottoman Empire. Schott also named overseas sales in his 1873 report: North America, Mexico, South America, Australia, India, Japan, China and even the Sandwich Islands (Hawaii).
By 1860, the Bahnhäusle style had started to develop away from its original, "severe" graphic form, and evolved toward the well-known case with three-dimensional woodcarvings, like the Jagdstück ("hunt piece", design created in Furtwangen in 1861), a cuckoo clock with a carved oak foliage and hunting motives, such as trophy animals, guns and powder pouches. Only ten years after its invention by Friedrich Eisenlohr, all variations of the house-theme had reached maturity. Bahnhäusle timepieces and its variations were also available as a mantel clock, but not as many compared to the wall version.
These ornate timepieces were not made by one clockmaker only, otherwise such a complex product could not have been produced at acceptable prices. There were numerous specialists who assisted the clockmakers. In 1873, Karl Schott reported on the division of labour at the Vienna Exhibition: "The birds are mostly carved and painted by women. The pipes are made by a pipe maker. In addition to a number of master craftsmen, there are also a number of large companies involved in the manufacture of cuckoo clocks, and the cuckoo clock maker rarely makes them himself. Rather, he obtains the movements, reworks them with precision, attaches the bellows and pipes and thus puts the finished movement in the case."
The division of labour meant that different clockmakers purchased completely identical parts from the same suppliers. Therefore, small components in particular, such as hands or dials, showed a tendency towards standardization. But it also happened from time to time that movements from different manufacturers were found in cases that looked the same on the outside, simply because they came from the same case maker.
The basic cuckoo clock of today is the railway-house (Bahnhäusle) form, still with its rich ornamentation, and these are known under the name of "carved", "classic" or "traditional"; which display carved leaves, birds, deer heads (Jagdstück design), other animals, etc. The richly decorated Bahnhäusle clocks have become a symbol of the Black Forest that is instantly understood anywhere in the world.
The cuckoo clock became successful and world-famous after Friedrich Eisenlohr contributed the Bahnhäusle design to the 1850 competition at the Furtwangen Clockmakers School.
Chalet style, the Swiss contribution
The chalet style cuckoo clock, whose case reproduce to scale a traditional farmhouse, originated in Switzerland in the 19th century. The miniature Swiss chalets date back to the beginnings of artistic wood carving in Brienz, in the early 19th century. The Brienzerware chalet became a popular souvenir, allowing tourists to take home an explicit reminder of a quintessential Swiss structure, though some were rather grand in scale, measuring three or more feet across. Many of these chalets, crafted in different sizes, doubled as music boxes, jewellery boxes, decorative objects, timepieces, etc. Some of those table clocks had also the added feature of a cuckoo bird or the tandem composed of a cuckoo and quail.
Eventually, Black Forest makers incorporated the chalet style to their production in the early 20th century, and still remains a popular choice, along with the carved ones, among buyers of this cult item. Cases are usually made after the traditional farmhouses of different regions, such as the Black Forest, Swiss Alps, Emmental, Bavaria and Tyrol. They often have a musical movement, as well as moving figurines and some other elements.
Contrary to popular belief, Switzerland is not the birthplace of the cuckoo clock. In the English-speaking world, cuckoo clocks are sufficiently identified with Switzerland that the 1949 film The Third Man has an oft-quoted speech (and it even had antecedents) in which the villainous Harry Lime mockingly says that "in Switzerland they had brotherly love, five hundred years of democracy and peace. And what did that produce? The cuckoo clock."
In England
Apart from the Black Forest, the cuckoo clock was also made in England in the 18th century. It seems that very few of these London timepieces were produced, an indication that in those days, before the worldwide popularization of the cuckoo clock from the second half of the 19th century, there was not a high demand for them.
There is at least one example, intended for the Spanish market. It is a circa 1785 George III bracket clock, eight-day time, three-fusee, verge escapement, which announces the quarters on eight bells and gives the hours on a deep toned cuckoo, pull quarter repeat on command. The two pipes and bellows for the bird's sound are located at the base of the case, below the movement. Those pipes are placed horizontally, the same position seen in early Black Forest cuckoos. Both the dial and the elaborately engraved back plate, read: "Higgs y / Diego Evans / Londres".
Robert Higgs and his son Peter were in partnership together as Robert and Peter Higgs, and later, between 1780 and 1785 with James Evans, who sometimes styled himself in Spanish as Diego Evans. They traded musical and other complex clocks, many for the Spanish market.
In the mid-20th century, Camerer, Cuss & Co., London, a retailer of Black Forest clocks, etc., produced a few different models in the shape of a half-timbered Tudor style house. The bird was cast aluminum with movable beak and fixed wings and the weights were cylindrical, rather than pine-cone shaped. They were featured in a Pathé News newsreel in 1950.
According to author Terence Camerer Cuss, the company hoped to produced them in large quantities, but due to the high manufacturing cost, only fifty were made between 1949 and 1951. One of them, marked "01", was presented by the maker to the then Prince Charles in 1949 and is part of the Royal Collection.
In the United States
Cuckoo clocks have been imported to the US by German immigrants for a long time, especially in the 19th century. There are two well-known cuckoo clock manufacturers in the USA: The New England Cuckoo Clock Company was founded in 1958 by W. Kenneth Sessions Jr. and operated in Bristol, Connecticut. The design of the models is clearly American. The clocks were made with Hubert Herr clockworks that were imported from Triberg. The printed and colored paper dials of the clocks are unmistakable, as is the early American design. The clocks were designed by Nils Magnus Tornquist. A kit watch was also offered.
The second is the American Cuckoo Clock Company of Philadelphia, Pennsylvania, which originated in the 1890s and imported German clocks. Eventually, the company switched to importing clockworks only and building cuckoo clocks in the USA.
In Portugal and Brazil
In the 1940s and 50s cuckoo clocks were made in Portugal by Fábrica Nacional de Relógios A Boa Reguladora, Reguladora from 1953, in Vila Nova de Famalicão. Their models were in the Black Forest traditional style, with wood carved animals and leaves, and they could be spring-driven or weight-driven. Since its early years, the Portuguese clockmaking company was a fully integrated enterprise, making its own cases and movements (until 1995).
In later catalogues, they sold cuckoos imported from Germany.
In Brazil, they were manufactured between the 1940s and the 1970s, marketed under different brand names such as Astro, Rei, H and Inrebra, the last two by INREBRA (Indústria de Relógios do Brasil Ltda.), São Paulo. Same as the Portuguese cuckoos, they were inspired by Black Forest models, with wood carvings or cases in the shape of a chalet.
In the Soviet Union and East Asia
From the early 1950s until the 1990s, cuckoo clocks were made in the former Soviet Union by the Serdobsk Clock Factory, which were sold under the trademark Маяк (transliterated as Majak) from 1963. They produced a range of models with a distinctive style; a colourful front painted with floral and vegetal motifs, spruce branches in relief, Russian motifs, basic decoration or any, a deer head on top, etc. One model in particular, composed of a bird on top and five wine leaves was directly based on a Black Forest one.
In Japan, its production began in 1949. Those early timepieces, in the Black Forest style, were marketed under the trademark Poppo by Tezuka Clock Co., Ltd., Tokyo, and usually had stamped "Made in Occupied Japan" on plate and dial. This term was used in items produced in the country between late 1945 and early 1952, after World War II.
In China and South Korea, cuckoo clocks also began to be manufactured in the second half of the 20th century.
Designer cuckoo clocks
The early 21st century has seen a revitalization of the iconic timepiece with designs, materials, technologies, shapes and colours never seen before in cuckoo clock manufacturing. These timekeepers are distinguished by its functional, schematic and minimalist aesthetic.
Although simplified designs with simple, clear lines had already been produced in the 20th century, the real boom of seeing the cuckoo clock as a designer item, where the creativity and talent of designers are freely expressed and where the only limit seems to be imagination, was initiated in the 2000s (the first examples dating back to the 1990s), particularly in Italy, Germany and Japan.
There are a wide variety of models, many of them avant-garde creations made of different materials and geometric shapes, such as rhombuses, squares, cubes, circles, rectangles, etc. Without carving, these clocks are usually flat and smooth. Some are painted in a single colour while others are polychromes with abstract or figurative paintings, others include text and phrases, etc. About the clockwork, there are quartz, mechanical and sometimes, digital.
Museums
In Europe, museums that display collections are the Cuckooland Museum in the UK with more than 700 clocks, the Deutsches Uhrenmuseum and Dorf- und Uhrenmuseum Gütenbach in Germany.
One of the biggest private collections in the United States that is open to the public is located in Minneapolis. It contains more than 300 cuckoo clocks.
See also
Automaton clock
Black Forest Clock Association
Cuckoo clock in culture
List of largest cuckoo clocks
Singing bird box
Striking clock
References
General bibliography
Schneider, Wilhelm (1985): "Zur Entstehungsgeschichte der Kuckucksuhr". In: Alte Uhren, Fascicle 3, pp. 13–21.
Schneider, Wilhelm (1987): "Frühe Kuckucksuhren von Johann Baptist Beha in Eisenbach im Hochschwarzwald". In: Uhren, Fascicle 3, pp. 45–53.
Mühe, Richard, Kahlert, Helmut and Techen, "Beatrice" (1988): Kuckucksuhren. München.
Schneider, Wilhelm (1988): "The Cuckoo Clocks of Johann Baptist Beha". In: Antiquarian Horology, Vol. 17, pp. 455–462.
Schneider, Wilhelm, Schneider, Monika (1988): "Black Forest Cuckoo Clocks at the Exhibitions in Philadelphia 1876 and Chicago 1893". In: Watch & Clock Bulletin, Vol. 30/2, No. 253, pp. 116–127 and 128–132.
Schneider, Wilhelm (1989): "Die eiserne Kuckucksuhr". In: Uhren, 12. Jg., Fascicle 5, pp. 37–44.
Kahlert, Helmut (2002): "Erinnerung an ein geniales Design. 150 Jahre Bahnhäusle-Uhren". In: Klassik-Uhren, F. 4, pp. 26–30.
Graf, Johannes (December 2006): "The Black Forest Cuckoo Clock: A Success Story". In: Watch & Clock Bulletin. Volume 49, Issue 365. pp. 646–652.
Miller, Justin (2012). Rare and Unusual Black Forest Clocks. Atglen, Penn.: Schiffer Pub. . . pp. 27–103.
Scholz, Julia (2013): Kuckucksuhr Mon Amour. Faszination Schwarzwalduhr. Stuttgart: Konrad Theiss Verlag, 160 p. .
External links
Article on Designer Cuckoo Clocks published in the NAWCC bulletin
Catalogue of Philipp Haas & Söhne (PHS), St. Georgen 1880 (Deutsches Uhrenmuseum)
Cuckooland Museum, a museum devoted to the cuckoo clock
German clock and watch museum
Dorf und Uhrenmuseum
Articles containing video clips
Black Forest
Clock designs
Culture of Baden-Württemberg
Culture of Switzerland
Symbols |
```scss
// Notes on the classes:
//
// 1. The .carousel-item-left and .carousel-item-right is used to indicate where
// the active slide is heading.
// 2. .active.carousel-item is the current slide.
// 3. .active.carousel-item-left and .active.carousel-item-right is the current
// slide in its in-transition state. Only one of these occurs at a time.
// 4. .carousel-item-next.carousel-item-left and .carousel-item-prev.carousel-item-right
// is the upcoming slide in transition.
.carousel {
position: relative;
}
.carousel-inner {
position: relative;
width: 100%;
overflow: hidden;
}
.carousel-item {
position: relative;
display: none;
align-items: center;
width: 100%;
@include transition($carousel-transition);
backface-visibility: hidden;
perspective: 1000px;
}
.carousel-item.active,
.carousel-item-next,
.carousel-item-prev {
display: block;
}
.carousel-item-next,
.carousel-item-prev {
position: absolute;
top: 0;
}
.carousel-item-next.carousel-item-left,
.carousel-item-prev.carousel-item-right {
transform: translateX(0);
@supports (transform-style: preserve-3d) {
transform: translate3d(0, 0, 0);
}
}
.carousel-item-next,
.active.carousel-item-right {
transform: translateX(100%);
@supports (transform-style: preserve-3d) {
transform: translate3d(100%, 0, 0);
}
}
.carousel-item-prev,
.active.carousel-item-left {
transform: translateX(-100%);
@supports (transform-style: preserve-3d) {
transform: translate3d(-100%, 0, 0);
}
}
//
// Alternate transitions
//
.carousel-fade {
.carousel-item {
opacity: 0;
transition-duration: .6s;
transition-property: opacity;
}
.carousel-item.active,
.carousel-item-next.carousel-item-left,
.carousel-item-prev.carousel-item-right {
opacity: 1;
}
.active.carousel-item-left,
.active.carousel-item-right {
opacity: 0;
}
.carousel-item-next,
.carousel-item-prev,
.carousel-item.active,
.active.carousel-item-left,
.active.carousel-item-prev {
transform: translateX(0);
@supports (transform-style: preserve-3d) {
transform: translate3d(0, 0, 0);
}
}
}
//
// Left/right controls for nav
//
.carousel-control-prev,
.carousel-control-next {
position: absolute;
top: 0;
bottom: 0;
// Use flex for alignment (1-3)
display: flex; // 1. allow flex styles
align-items: center; // 2. vertically center contents
justify-content: center; // 3. horizontally center contents
width: $carousel-control-width;
color: $carousel-control-color;
text-align: center;
opacity: $carousel-control-opacity;
// We can't have a transition here because WebKit cancels the carousel
// animation if you trip this while in the middle of another animation.
// Hover/focus state
@include hover-focus {
color: $carousel-control-color;
text-decoration: none;
outline: 0;
opacity: .9;
}
}
.carousel-control-prev {
left: 0;
@if $enable-gradients {
background: linear-gradient(90deg, rgba($black, .25), rgba($black, .001));
}
}
.carousel-control-next {
right: 0;
@if $enable-gradients {
background: linear-gradient(270deg, rgba($black, .25), rgba($black, .001));
}
}
// Icons for within
.carousel-control-prev-icon,
.carousel-control-next-icon {
display: inline-block;
width: $carousel-control-icon-width;
height: $carousel-control-icon-width;
background: transparent no-repeat center center;
background-size: 100% 100%;
}
.carousel-control-prev-icon {
background-image: $carousel-control-prev-icon-bg;
}
.carousel-control-next-icon {
background-image: $carousel-control-next-icon-bg;
}
// Optional indicator pips
//
// Add an ordered list with the following class and add a list item for each
// slide your carousel holds.
.carousel-indicators {
position: absolute;
right: 0;
bottom: 10px;
left: 0;
z-index: 15;
display: flex;
justify-content: center;
padding-left: 0; // override <ol> default
// Use the .carousel-control's width as margin so we don't overlay those
margin-right: $carousel-control-width;
margin-left: $carousel-control-width;
list-style: none;
li {
position: relative;
flex: 0 1 auto;
width: $carousel-indicator-width;
height: $carousel-indicator-height;
margin-right: $carousel-indicator-spacer;
margin-left: $carousel-indicator-spacer;
text-indent: -999px;
background-color: rgba($carousel-indicator-active-bg, .5);
// Use pseudo classes to increase the hit area by 10px on top and bottom.
&::before {
position: absolute;
top: -10px;
left: 0;
display: inline-block;
width: 100%;
height: 10px;
content: "";
}
&::after {
position: absolute;
bottom: -10px;
left: 0;
display: inline-block;
width: 100%;
height: 10px;
content: "";
}
}
.active {
background-color: $carousel-indicator-active-bg;
}
}
// Optional captions
//
//
.carousel-caption {
position: absolute;
right: ((100% - $carousel-caption-width) / 2);
bottom: 20px;
left: ((100% - $carousel-caption-width) / 2);
z-index: 10;
padding-top: 20px;
padding-bottom: 20px;
color: $carousel-caption-color;
text-align: center;
}
``` |
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