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Nejc Vidmar (born 31 March 1989) is a Slovenian professional footballer who plays as a goalkeeper for Slovan.
Club career
Vidmar started his senior career with Domžale.
International career
Vidmar received his first call-up to the senior Slovenia squad for the UEFA Euro 2016 play-off against Ukraine in November 2015.
Honours
Domžale
Slovenian Cup: 2010–11
Slovenian Supercup: 2011
Olimpija Ljubljana
Slovenian PrvaLiga: 2015–16, 2017–18
Slovenian Cup: 2017–18, 2018–19, 2020–21
References
External links
Player profile at NZS
1989 births
Living people
Footballers from Ljubljana
Slovenian men's footballers
Men's association football goalkeepers
NK Domžale players
NK Olimpija Ljubljana (2005) players
Ionikos F.C. players
NŠ Mura players
Slovenian PrvaLiga players
Super League Greece players
Slovenian expatriate men's footballers
Slovenian expatriate sportspeople in Greece
Expatriate men's footballers in Greece
Slovenia men's youth international footballers
Slovenia men's under-21 international footballers |
is a Japanese voice actress from Chiba and affiliated with 81 Produce. She is married to voice actor Masaya Takatsuka.
Filmography
Television animation
Blue Dragon (2007) - Shu
Gintama (xxxx) - Murata Tetsuko
Glass Mask (xxxx) - female teacher, Ikeda, Shopkeeper, Sugiyama, Yayoi, Zophie (2005 version)
Hell Girl (xxxx) - Satsuki Minato, Minami's mother
Lunar Legend Tsukihime (xxxx) - Shiki Tohno (as a child)
Mirmo Zibang! (xxxx) - Mambo
Naruto (xxxx) - Shizune, young Neji Hyuga, Yūgao Uzuki, Tonton
Rockman.EXE (xxxx) - Bass.EXE (Forte.EXE)
The Story of Saiunkoku (2006) - Boy 2
Animated films
Tekken: Blood Vengeance (2011) - Mokujin
The Last: Naruto the Movie (2014) - Shizune
Video games roles
Mega Man Network Transmission (xxxx) - Bass.EXE (Forte.EXE)
Drama CDs roles
Amai Tsumi no Kajitsu (xxxx) - Kurihara's Mother
Dubbing roles
Live-action
42 – Rachel Isum Robinson (Nicole Beharie)
Aliens in the Attic – Art Pearson (Henri Young)
Black Nativity – Naima Cobbs (Jennifer Hudson)
Crazy, Stupid, Love – Hannah Weaver (Emma Stone)
El tiempo entre costuras – Paquita (Pepa Rus)
Event 15 – Blau (Kimberly Elise)
Fever Pitch – Molly (Ione Skye)
The House Bunny – Natalie (Emma Stone)
Hustlers – Elizabeth (Julia Stiles)
Joy Ride 2: Dead Ahead – Kayla Scott (Laura Jordan)
Lilacs – Marianna (Miriam Sekhon)
Malignant – Detective Regina Moss (Michole Briana White)
Nope – Emerald "Em" Haywood (Keke Palmer)
Numb – Dawn (Stefanie von Pfetten)
Premium Rush – Vanessa (Dania Ramirez)
Ramona and Beezus – Beezus Quimby (Selena Gomez)
The Sandlot: Heading Home – Tommy Santorelli (Keanu Pires)
The Secret Life of Bees – Rosaleen "July" Daise (Jennifer Hudson)
Sex and the City – Louise (Jennifer Hudson)
The Three Stooges – Lydia Harter (Sofía Vergara)
The Uninvited – Alex Ivers (Arielle Kebbel)
Vehicle 19 – Rachel Shabangu (Naima McLean)
Animation
Batman: The Brave and the Bold – Vixen
Bob the Builder - Trix
Bob the Builder (2015 TV series) - Muck
The Boondocks – Riley Freeman
Dead End: Paranormal Park – Roxie
The Fairly OddParents – Tootie
Jimmy Two-Shoes – Jimmy
Phineas and Ferb – Baljeet
Thomas And Friends – Molly, Belle, Gina, Daisy (succeeding Yumi Nakatani), Henrietta (succeeding Yumi Nakatani), Hannah, Elizabeth (succeeding Fu Suzuki), Jack (replacing Hideki Nakanishi), Dowager Hatt (succeeding Fu Suzuki) and Stephen Hatt (replacing Takayuki Kawasugi)
Zootopia – Mrs. Otterton
References
External links
Official agency profile
1979 births
Living people
Voice actresses from Chiba Prefecture
Japanese voice actresses
Japanese video game actresses
81 Produce voice actors
21st-century Japanese actresses |
Franck Delhem (2 May 1936 – 20 January 2020) was a Belgian fencer. He competed in the individual and team foil events at the 1960 Summer Olympics.
References
External links
1936 births
2020 deaths
Belgian male fencers
Belgian foil fencers
Olympic fencers for Belgium
Fencers at the 1960 Summer Olympics
Sportspeople from Antwerp |
Buckle Motors Pty Ltd is an Australian car dealership chain and former manufacturer that produced the famous Goggomobil Dart. Currently, under the name Bill Buckle Auto Group, the company sells Toyota, Subaru and Volkswagen vehicles.
History
Buckle Motors was founded in 1927 in Sydney by William "Bill" Buckle Snr. as a Triumph and Talbot dealership on 127 William Street, becoming the sole dealership for those brands in New South Wales at the time. Buckle had worked previously as an Amilcar salesman in Melbourne. The dealership subsequently acquired the New South Wales franchises for Citroën, Armstrong Siddeley and DeSoto. In 1947 Bill Buckle Snr. died causing Bill Buckle Jr. to enter the family business.
In 1952 Bill Buckle Jr. traveled to England and found fibreglass-bodied sports cars being manufactured and a plastic sports car body at the 1953 London Motor Show. Upon his return, Buckle persuaded the company's other directors to construct a unique fibreglass-bodied sports car. With development lasting through 1945 and 1955, a prototype roadster was finally created in mid 1955 using Ford Zephyr components. After testing and minor design changes, the finished vehicle was first manufactured in June 1957 as the Buckle 2.5 Litre in a factory in Punchbowl, New South Wales. The coupe proved successful in racing however only around 25 were made.
In the late 1950s, Buckle realised that Australia's import taxes could be substantially reduced if a chassis was imported instead of a complete vehicle. In 1958 Buckle traveled to Dingolfing, Bavaria to discuss the manufacture of Goggomobil vehicles in Australia with Hans Glas. An agreement was reached in which the chassis, engine and running gear would be imported and the body would be manufactured in Australia at the Punchbowl factory. A few whole vehicles were initially imported to make fibreglass moulds from. The Buckle Goggomobils were almost identical to their German counterparts with the exception of Buckle's fibreglass Goggomobil Transporter equivalent, known as the Carryall, being more rounded. The Carryall actually shared its chassis with the Dart, and uniquely featured a side-mounted rollerdoor as its sole loading door. Thousands of Goggomobils were produced by Buckle Motors. At this time the company also began to sell Borgward, Goliath, Lloyd-Hartnett, Hillman and Humber vehicles.
From 1959 to 1961 Buckle Motors also produced the original fibreglass-bodies Goggomobil Dart two-seater sport car based on the Goggomobil Coupe. Originally doorless with a 293cc engine, later models featured small suicide doors, a hardtop and a 400cc engine. Nowadays the Goggomobil Dart remains as an iconic Australian vehicle
In 1961 Buckle Motors was purchased by Hong Kong investors and in 1963 Bill Buckle created Bill Buckle Auto Conversions, specialising in left-hand-drive to right-hand-drive conversions of American vehicles.
In 1966 Buckle produced the Mini Monaco, converted from standard, Australian-built Morris Minis. Costing $400, the conversion saw the original roof replaced with a lower, sleeker, fibreglass roof which significantly reduced the weight of the vehicle. This lighter, more aerodynamic conversion of the Mini was a total of 4 inches shorter than the standard model. For a further $200 amenities were added to make the interior more luxurious. Around 30 Mini Monacos were converted between 1966 and 1967, with the majority being based on the Mini Cooper S.
Notes
References
External links
Bill Buckle homepage
Car manufacturers of Australia
Australian companies established in 1927 |
Mycetophagus confusus is a species of hairy fungus beetle in the family Mycetophagidae. It is found in North America.
References
Further reading
Tenebrionoidea
Articles created by Qbugbot
Beetles described in 1878 |
```java
/*
* DO NOT ALTER OR REMOVE COPYRIGHT NOTICES OR THIS FILE HEADER.
*
*
* Subject to the condition set forth below, permission is hereby granted to any
* person obtaining a copy of this software, associated documentation and/or
* data (collectively the "Software"), free of charge and under any and all
* copyright rights in the Software, and any and all patent rights owned or
* freely licensable by each licensor hereunder covering either (i) the
* unmodified Software as contributed to or provided by such licensor, or (ii)
* the Larger Works (as defined below), to deal in both
*
* (a) the Software, and
*
* (b) any piece of software and/or hardware listed in the lrgrwrks.txt file if
* one is included with the Software each a "Larger Work" to which the Software
* is contributed by such licensors),
*
* without restriction, including without limitation the rights to copy, create
* derivative works of, display, perform, and distribute the Software and make,
* use, sell, offer for sale, import, export, have made, and have sold the
* Software and the Larger Work(s), and to sublicense the foregoing rights on
* either these or other terms.
*
* This license is subject to the following condition:
*
* The above copyright notice and either this complete permission notice or at a
* minimum a reference to the UPL must be included in all copies or substantial
* portions of the Software.
*
* THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR
* IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY,
* FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE
* AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER
* LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM,
* OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE
* SOFTWARE.
*/
package com.oracle.truffle.api.dsl.test;
import static org.junit.Assert.assertEquals;
import static org.junit.Assert.assertNotSame;
import static org.junit.Assert.assertSame;
import static org.junit.Assert.assertTrue;
import java.util.List;
import org.junit.Test;
import com.oracle.truffle.api.Assumption;
import com.oracle.truffle.api.CompilerDirectives;
import com.oracle.truffle.api.Truffle;
import com.oracle.truffle.api.dsl.Bind;
import com.oracle.truffle.api.dsl.Cached;
import com.oracle.truffle.api.dsl.Introspectable;
import com.oracle.truffle.api.dsl.Introspection;
import com.oracle.truffle.api.dsl.Introspection.SpecializationInfo;
import com.oracle.truffle.api.dsl.NodeField;
import com.oracle.truffle.api.dsl.Specialization;
import com.oracle.truffle.api.dsl.UnsupportedSpecializationException;
import com.oracle.truffle.api.dsl.test.BindExpressionTestFactory.BindBindsCacheNodeGen;
import com.oracle.truffle.api.dsl.test.BindExpressionTestFactory.BindCachedNodeTestNodeGen;
import com.oracle.truffle.api.dsl.test.BindExpressionTestFactory.BindFieldNodeGen;
import com.oracle.truffle.api.dsl.test.BindExpressionTestFactory.BindInLimitNodeGen;
import com.oracle.truffle.api.dsl.test.BindExpressionTestFactory.BindMethodNodeGen;
import com.oracle.truffle.api.dsl.test.BindExpressionTestFactory.BindMethodTwiceNodeGen;
import com.oracle.truffle.api.dsl.test.BindExpressionTestFactory.BindNodeFieldNodeGen;
import com.oracle.truffle.api.dsl.test.BindExpressionTestFactory.BindThisMultipleInstancesTestNodeGen;
import com.oracle.truffle.api.dsl.test.BindExpressionTestFactory.BindThisTestNodeGen;
import com.oracle.truffle.api.dsl.test.BindExpressionTestFactory.BindTransitiveCachedInAssumptionNodeGen;
import com.oracle.truffle.api.dsl.test.BindExpressionTestFactory.BindTransitiveCachedInLimitNodeGen;
import com.oracle.truffle.api.dsl.test.BindExpressionTestFactory.BindTransitiveCachedWithLibraryNodeGen;
import com.oracle.truffle.api.dsl.test.BindExpressionTestFactory.BindTransitiveDynamicAndCachedNodeGen;
import com.oracle.truffle.api.dsl.test.BindExpressionTestFactory.BindTransitiveDynamicNodeGen;
import com.oracle.truffle.api.dsl.test.BindExpressionTestFactory.BindTransitiveDynamicWithLibraryNodeGen;
import com.oracle.truffle.api.dsl.test.BindExpressionTestFactory.IntrospectableNodeGen;
import com.oracle.truffle.api.interop.InteropLibrary;
import com.oracle.truffle.api.interop.UnsupportedMessageException;
import com.oracle.truffle.api.library.CachedLibrary;
import com.oracle.truffle.api.nodes.Node;
import com.oracle.truffle.api.profiles.InlinedBranchProfile;
import com.oracle.truffle.api.test.polyglot.AbstractPolyglotTest;
@SuppressWarnings({"truffle-inlining", "truffle-neverdefault", "truffle-sharing", "unused"})
public class BindExpressionTest extends AbstractPolyglotTest {
static class TestObject {
Object storage = new Object();
Assumption assumption = Truffle.getRuntime().createAssumption();
int counter = 0;
int bind() {
return counter++;
}
}
/*
* Test that storage field extraction works. Unfortunately here we cannot check how many times a
* field is read.
*/
@Test
public void testBindField() {
BindFieldNode node = BindFieldNodeGen.create();
TestObject o = new TestObject();
node.execute(o);
assertFails(() -> node.execute(new TestObject()), UnsupportedSpecializationException.class);
}
abstract static class BindFieldNode extends Node {
abstract Object execute(Object arg0);
@Specialization(guards = "storage == cachedStorage", limit = "1")
Object s0(TestObject a0,
@Bind("a0.storage") Object storage,
@Cached("storage") Object cachedStorage) {
assertSame(storage, cachedStorage);
assertSame(a0.storage, storage);
return a0;
}
}
/*
* This test verifies that the extract expression is invoked exactly once. Even though it is
* used multiple times.
*/
@Test
public void testBindMethod() {
BindMethodNode node = BindMethodNodeGen.create();
TestObject o = new TestObject();
node.execute(o);
assertFails(() -> node.execute(o), UnsupportedSpecializationException.class);
}
abstract static class BindMethodNode extends Node {
abstract Object execute(Object arg0);
@Specialization(guards = "counter == 0")
Object s0(TestObject a0,
@Bind("a0.bind()") int counter,
@Cached("counter") int cachedCounter) {
assertEquals(0, counter);
assertEquals(0, cachedCounter);
return a0;
}
}
/*
* This test verifies that the expression is invoked once even if used multiple times in the
* guard.
*/
@Test
public void testBindMethodTwice() {
BindMethodTwiceNode node = BindMethodTwiceNodeGen.create();
TestObject o = new TestObject();
node.execute(o);
node.execute(o);
assertFails(() -> node.execute(o), UnsupportedSpecializationException.class);
}
abstract static class BindMethodTwiceNode extends Node {
abstract Object execute(Object arg0);
@Specialization(guards = "counter == 0 || counter == 1")
Object s0(TestObject a0,
@Bind("a0.bind()") int counter,
@Cached("counter") int cachedCounter) {
assertEquals(0, cachedCounter);
return a0;
}
}
/*
* Tests that if a guard binds a cached expression indirectly through extract it is not actually
* executed multiple times.
*/
@Test
public void testBindBindsCache() {
BindBindsCacheNode node = BindBindsCacheNodeGen.create();
TestObject o = new TestObject();
node.execute(o);
node.execute(o);
node.execute(o);
}
abstract static class BindBindsCacheNode extends Node {
abstract Object execute(Object arg0);
@ExpectError("The limit expression has no effect.%")
// this guard is trivially true but the DSL cannot detect that yet.
@Specialization(guards = "counter == cachedCounter", limit = "3")
Object s0(TestObject a0,
@Cached("0") int cachedCounter,
@Bind("cachedCounter") int counter) {
assertEquals(0, counter);
assertEquals(0, cachedCounter);
return a0;
}
}
/*
* We need to make sure introspectable does not include bind parameters.
*/
@Test
public void testIntrospectable() {
IntrospectableNode node = IntrospectableNodeGen.create();
TestObject o = new TestObject();
node.execute(o);
List<SpecializationInfo> infos = Introspection.getSpecializations(node);
assertEquals(1, infos.size());
for (SpecializationInfo info : infos) {
assertEquals(1, info.getInstances());
List<Object> cachedData = info.getCachedData(0);
assertEquals(1, cachedData.size());
assertSame(o.storage, cachedData.iterator().next());
}
}
@Introspectable
abstract static class IntrospectableNode extends Node {
abstract Object execute(Object arg0);
@Specialization(guards = "storage == cachedStorage", limit = "2")
Object s0(TestObject a0,
@Bind("a0.storage") Object storage,
@Cached("storage") Object cachedStorage) {
assertSame(storage, cachedStorage);
assertSame(a0.storage, storage);
return a0;
}
}
/*
* This test verifies that an extract expression can be used in a limit expression if it only
* binds cached values.
*/
@Test
public void testBindInLimit() {
BindInLimitNode node = BindInLimitNodeGen.create();
TestObject o = new TestObject();
node.execute(o);
node.execute(o);
assertFails(() -> node.execute(o), UnsupportedSpecializationException.class);
}
abstract static class BindInLimitNode extends Node {
abstract Object execute(Object arg0);
@Specialization(guards = "counter == cachedCounter", limit = "limit")
Object s0(TestObject a0,
@Bind("a0.bind()") int counter,
@Bind("2") int limit,
@Cached("counter") int cachedCounter) {
assertEquals(cachedCounter, counter);
assertEquals(cachedCounter, cachedCounter);
return a0;
}
}
/*
* This test verifies that an extract expression can be chained transitively and its dynamic
* nature is preserved.
*/
@Test
public void testBindTransitiveDynamic() {
BindTransitiveDynamicNode node = BindTransitiveDynamicNodeGen.create();
TestObject o = new TestObject();
node.execute(o);
node.execute(o);
assertFails(() -> node.execute(o), UnsupportedSpecializationException.class);
}
abstract static class BindTransitiveDynamicNode extends Node {
abstract Object execute(Object arg0);
@Specialization(guards = "counter4 == cachedCounter", limit = "2")
Object s0(TestObject a0,
@Bind("a0.bind()") int counter1,
@Bind("counter1") int counter2,
@Bind("counter2") int counter3,
@Bind("counter3") int counter4,
@Cached("counter3") int cachedCounter) {
return a0;
}
}
/*
* This test verifies that an extract expression can be chained transitively and its dynamic
* nature is preserved.
*/
@Test
public void testBindTransitiveDynamicAndCachedNode() {
BindTransitiveDynamicAndCachedNode node = BindTransitiveDynamicAndCachedNodeGen.create();
TestObject o = new TestObject();
node.execute(o);
node.execute(o);
assertFails(() -> node.execute(o), UnsupportedSpecializationException.class);
}
abstract static class BindTransitiveDynamicAndCachedNode extends Node {
abstract Object execute(Object arg0);
@Specialization(guards = "counter1 == counter2", limit = "2")
Object s0(TestObject a0,
@Bind("a0.bind()") int counter1,
@Cached("counter1") int cachedCounter,
@Bind("cachedCounter") int counter2) {
return a0;
}
}
/*
* This test verifies that an extract expression can be chained transitively and its dynamic
* nature is preserved when used with a library.
*/
@Test
public void testBindTransitiveDynamicWithLibrary() {
BindTransitiveDynamicWithLibraryNode node = adoptNode(BindTransitiveDynamicWithLibraryNodeGen.create()).get();
TestObject o = new TestObject();
node.execute(o);
node.execute(o);
assertFails(() -> node.execute(o), UnsupportedSpecializationException.class);
}
abstract static class BindTransitiveDynamicWithLibraryNode extends Node {
abstract Object execute(Object arg0);
// this should not trigger a warning
@Specialization(guards = "counter2 < 2", limit = "3")
Object s0(TestObject a0,
@Bind("a0.bind()") int counter1,
@Bind("counter1") int counter2,
@CachedLibrary("counter2") InteropLibrary lib) {
assertTrue(lib.isNumber(counter2));
return a0;
}
}
/*
* This test verifies that an extract expression can be chained transitively and its cached
* nature is preserved when used with a library.
*/
@Test
public void testBindTransitiveCachedWithLibrary() {
BindTransitiveCachedWithLibraryNode node = BindTransitiveCachedWithLibraryNodeGen.create();
TestObject o = new TestObject();
node.execute(o);
node.execute(o);
}
abstract static class BindTransitiveCachedWithLibraryNode extends Node {
abstract Object execute(Object arg0);
@ExpectError("The limit expression has no effect.%")
@Specialization(limit = "3")
Object s0(TestObject a0,
@Cached("a0.bind()") int cachedCounter,
@Bind("cachedCounter") int counter1,
@Bind("counter1") int counter2,
@CachedLibrary("counter2") InteropLibrary lib) {
assertTrue(lib.isNumber(counter2));
return a0;
}
}
@Test
public void testBindTransitiveCachedInLimit() {
BindTransitiveCachedInLimitNode node = BindTransitiveCachedInLimitNodeGen.create();
TestObject o = new TestObject();
node.execute(o);
node.execute(o);
assertFails(() -> node.execute(o), UnsupportedSpecializationException.class);
}
abstract static class BindTransitiveCachedInLimitNode extends Node {
abstract Object execute(Object arg0);
@Specialization(guards = "cachedBind == counter", limit = "extractCachedLimit2")
Object s0(TestObject a0,
@Bind("a0.bind()") int counter,
@Cached("counter") int cachedBind,
@Cached("2") int cachedLimit,
@Bind("cachedLimit") int extractCachedLimit1,
@Bind("extractCachedLimit1") int extractCachedLimit2) {
assertEquals(2, cachedLimit);
return a0;
}
}
@Test
public void testBindTransitiveCachedInAssumption() {
BindTransitiveCachedInAssumptionNode node = BindTransitiveCachedInAssumptionNodeGen.create();
TestObject o = new TestObject();
node.execute(o);
node.execute(o);
o.assumption.invalidate();
assertFails(() -> node.execute(o), UnsupportedSpecializationException.class);
}
/*
* Test use of assumption is allowed for transitive extracted cached values.
*/
@SuppressWarnings("truffle-assumption")
abstract static class BindTransitiveCachedInAssumptionNode extends Node {
abstract Object execute(Object arg0);
@Specialization(assumptions = "extractAssumption2")
Object s0(TestObject a0,
@Cached(value = "a0.assumption", neverDefault = true) Assumption assumption,
@Bind("assumption") Assumption extractAssumption1,
@Bind("extractAssumption1") Assumption extractAssumption2) {
return a0;
}
}
@Test
public void testBindNodeField() {
BindNodeFieldNode node = BindNodeFieldNodeGen.create(2);
TestObject o = new TestObject();
assertEquals(2, node.execute(o));
assertEquals(2, node.execute(o));
}
@NodeField(name = "field0", type = int.class)
abstract static class BindNodeFieldNode extends Node {
abstract Object execute(Object arg0);
@Specialization
int s0(TestObject a0,
@Bind("field0") int field) {
return field;
}
}
@Test
public void testBindThis() {
BindThisTest node = BindThisTestNodeGen.create();
node.execute();
}
abstract static class BindThisTest extends Node {
abstract void execute();
@Specialization
void s0(@Bind("this") Node thisNode) {
assertSame(this, thisNode);
}
}
abstract static class BindThisParentTest extends Node {
abstract void execute();
@Specialization
void s0(@Bind("this.getParent()") Node thisNode) {
assertSame(this.getParent(), thisNode);
}
}
@Test
public void testBindThisMultipleInstances() {
BindThisMultipleInstancesTest node = BindThisMultipleInstancesTestNodeGen.create();
node.execute(42);
node.execute(43);
node.execute(44);
node.execute(45);
}
abstract static class BindThisMultipleInstancesTest extends Node {
abstract void execute(int arg);
@Specialization(guards = "arg == cachedArg", limit = "2")
void s0(int arg,
@Cached("arg") int cachedArg,
@Bind("this") Node thisNode) {
/*
* The specialization does not bind nodes therefore it returns the current node instead
* of the specialization class.
*/
assertSame(this, this);
}
@SuppressWarnings("truffle-static-method")
@Specialization(guards = "arg == cachedArg", limit = "2")
void s1(int arg,
@Cached("arg") int cachedArg,
@Cached InlinedBranchProfile branchProfile,
@Bind("this") Node thisNode) {
/*
* The specialization does not bind nodes therefore it returns the current node instead
* of the specialization class.
*/
branchProfile.enter(thisNode);
assertNotSame(this, thisNode);
assertSame(thisNode.getParent(), this);
}
}
@Test
public void testBindCachedNodeTest() {
BindCachedNodeTest node = adoptNode(BindCachedNodeTestNodeGen.create()).get();
TestObject o = new TestObject();
assertEquals("42", node.execute("42"));
}
abstract static class BoundTestNode extends Node {
abstract Object execute(Object arg);
@Specialization
Object s0(Object arg) {
return arg;
}
}
abstract static class BindCachedNodeTest extends Node {
static int LIMIT = 0;
abstract Object execute(Object arg0);
@Specialization(limit = "LIMIT")
Object s0(Object arg0,
@Cached BoundTestNode testNode,
@Bind("testNode.execute(arg0)") Object result,
@CachedLibrary("result") InteropLibrary lib) {
try {
return lib.asString(result);
} catch (UnsupportedMessageException e) {
throw CompilerDirectives.shouldNotReachHere();
}
}
}
@SuppressWarnings("truffle-assumption")
abstract static class ErrorUseInAssumptionsNode extends Node {
abstract Object execute(Object arg0);
@ExpectError("Assumption expressions must not bind dynamic parameter values.")
@Specialization(assumptions = "assumption")
Object s0(TestObject a0,
@Bind("a0.assumption") Assumption assumption) {
return a0;
}
}
abstract static class ErrorUseInLimitNode extends Node {
abstract Object execute(Object arg0);
@ExpectError("Limit expressions must not bind dynamic parameter values.")
@Specialization(guards = "counter == cachedCounter", limit = "counter")
Object s0(TestObject a0,
@Bind("a0.bind()") int counter,
@Cached("counter") int cachedCounter) {
assertEquals(1, counter);
assertEquals(1, cachedCounter);
return a0;
}
}
abstract static class ErrorCyclicUseNode extends Node {
abstract Object execute(Object arg0);
@Specialization
Object s0(TestObject a0,
@Bind("a0.bind()") int extract,
@ExpectError("The initializer expression of parameter 'counter1' binds uninitialized parameter 'counter2. Reorder the parameters to resolve the problem.")//
@Bind("counter2") int counter1,
@Bind("counter1") int counter2) {
return a0;
}
}
abstract static class ErrorSyntaxNode extends Node {
abstract Object execute(Object arg0);
@Specialization
Object s0(TestObject a0,
@ExpectError("Error parsing expression 'asdf32': asdf32 cannot be resolved.")//
@Bind("asdf32") int extract) {
return a0;
}
}
abstract static class ErrorEmptyNode extends Node {
abstract Object execute(Object arg0);
@Specialization
Object s0(TestObject a0,
@ExpectError("Error parsing expression '': line 1:0 mismatched input '<EOF>'%")//
@Bind("") int extract) {
return a0;
}
}
/*
* We don't want that static node constructors are looked up for extract annotations. This
* should only work for Cached.
*/
abstract static class ErrorUseNodeNode extends Node {
abstract Object execute(Object arg0);
@Specialization
Object s0(TestObject a0,
@ExpectError("Error parsing expression 'create()': The method create is undefined for the enclosing scope.")//
@Bind("create()") BindFieldNode node) {
return a0;
}
}
abstract static class ErrorBindThisWithCachedTest extends Node {
abstract void execute();
@Specialization
void s0(@ExpectError("Cannot use 'this' with @Cached use @Bind instead.") //
@Cached("this") Node thisNode) {
}
}
}
``` |
Conor Gleeson (born 10 October 1996) is an Irish hurler who plays in midfield for the Waterford senior team and plays his club hurling and football with The Nire–Fourmilewater.
On 13 August 2017, Gleeson was sent off in the All-Ireland semi-final against Cork and missed the 2017 All-Ireland Final after he was handed a one-match ban.
References
Waterford inter-county hurlers
Fourmilewater hurlers
Living people
1996 births |
Odeluga Joshua "Odel" Offiah (born 26 October 2002) is an English professional footballer who plays as a centre-back for Scottish Premiership side Heart of Midlothian, on loan from Premier League club Brighton & Hove Albion.
Club career
Brighton & Hove Albion
In his youth, Offiah was a member of the Bromley academy, and in 2016 won the Kent Youth Cup with their U13 side before joining Brighton & Hove Albion's academy in 2017.
Offiah made his professional footballing debut on 24 August 2021, coming on as a 68th minute substitute for Taylor Richards in the 2–0 EFL Cup second round victory over Championship side Cardiff City. He made his first start for the Seagulls on 8 January 2022, playing 55 minutes of the 2–1 – after extra-time – away win over West Bromwich Albion of the Championship in the FA Cup third round. On 31 January, Offiah committed his future with Brighton by signing a new contract that runs until June 2024.
Offiah was among the substitutes in Brighton's FA Cup semi-final against Manchester United at Wembley on 23 April, where he remained on the bench in the eventual penalty shootout defeat.
He made his Premier League debut and first professional league match of his career three days later, coming on as 88th minute substitute for Albion goalscorer Facundo Buonanotte in the 3–1 away loss at Nottingham Forest.
Heart of Midlothian (loan)
On 18 August 2023, Offiah signed a new contract with Brighton running until June 2025, whilst signing a season-long loan with Heart of Midlothian of the Scottish Premiership. He made a goalscoring debut two days after signing, with a powerful header crashing in off the underside of the crossbar, scoring Hearts' second in the eventual 4–0 home win over Scottish Championship side Partick Thistle in the Scottish League Cup second round.
Personal life
Offiah was born in Camden to Nigerian parents. He is the nephew of former rugby league and rugby union player Martin Offiah.
Career statistics
References
External links
Profile at the Brighton & Hove Albion F.C. website
2002 births
Living people
Footballers from the London Borough of Camden
English people of Ghanaian descent
English men's footballers
English sportspeople of Nigerian descent
Men's association football defenders
Brighton & Hove Albion F.C. players
Heart of Midlothian F.C. players |
This is the list of all the ministers of foreign affairs, international trade and worship of the Argentine Republic () since 1822. The Minister presides over the Ministry of Foreign Affairs and Worship, the country's supreme authority on international relations and part of the Cabinet of Argentina. In a similar fashion to other South America nations, the Minister of Foreign Affairs is generally styled as Chancellor (Canciller). The current Minister is Santiago Cafiero, who serves in President Alberto Fernández's cabinet.
List
See also
Ministry of Foreign Affairs, International Trade and Worship
References
External links
Official website of the Ministry of Foreign Affairs, International Trade and Worship (in Spanish)
Casa Rosada (in Spanish) – List of all Argentine presidents and their cabinets since 1826
Foreign Ministers
Argentina
Argentina diplomacy-related lists |
The 1998 DFS Classic was a women's tennis tournament played on grass courts at the Edgbaston Priory Club in Birmingham in the United Kingdom that was part of Tier III of the 1998 WTA Tour. The tournament was held from 8 June until 14 June 1998.
Finals
Singles
The singles final was cancelled due to rain.
Doubles
Els Callens / Julie Halard-Decugis defeated Lisa Raymond / Rennae Stubbs 2–6, 6–4, 6–4
It was Callens' first title of the year and the 2nd of her career. It was Halard-Decugis' first title of the year and the 10th of her career.
External links
ITF tournament edition details
DFS Classic
Birmingham Classic (tennis)
DFS Classic
DFS Classic |
Bonnie "Prince" Billy is a studio EP by Will Oldham. It was released under the moniker Bonnie "Prince" Billy in 2013.
Track listing
Personnel
Credits adapted from liner notes.
Will Oldham – music
Timothy Stollenwerk – mastering
References
External links
2013 albums
Will Oldham albums |
Juan Luis Cebrián Echarri (born 30 October 1944) is a Spanish journalist and businessman, the co-founder of El País, and CEO of Prisa, a Spanish media conglomerate.
Cebrián was born in Madrid in 1944. He studied philosophy at the Universidad Complutense, and earned a bachelor's degree from the Escuela Oficial de Periodismo.
He has been editor-in-chief of the Spanish daily newspaper El País since 1976. Cebrián was elected to Seat V of the Real Academia Española in December 1996, and took up his seat in May 1997.
He was chairman of Prisa from 2012 to 2017. Cebrian is vice president of the Asociación de Medios de Información (AMI), chaired by Javier Moll, since May 2017.
Cebrián left all his executive positions in PRISA on May 21, 2018. The Presidency of El País was left to Manuel Mirat, and Cebrián was named Honorary President of El País. Cebrián has been considered by various international media as one of the ten most influential Spaniards in Spain and Latin America for 44 years (from 1976 to 2019). He was one of the founding members of the political magazine Cuadernos para el Dialogo and has worked as a senior worker and deputy editor of Pueblo and Informaciones de Madrid,a daily newspaper in which he worked with during the time periods of 1963 to 1975. He managed the news service Televisión Española as well as being the founding editor of the daily newspaper El País, in which he edited between 1976 and 1988. He was the chairman of the International Press Institute (I.P.I) between 1986 and 1988.
He is the only Hispanic academic member of the Bilderberg Club and the only Spanish-speaking member with executive functions in that organization.
Between 1980 and 2016 Cebrián has published 19 books in Spanish consisting of fiction and essay based writing, including the first part of his memoirs.
Cebrián has been named in the Panama Papers.
Notes
References
External links
1944 births
Living people
Complutense University of Madrid alumni
Members of the Royal Spanish Academy
People from Madrid
El País editors
People named in the Panama Papers |
The Pecos League of Professional Baseball Clubs is an independent professional baseball league headquartered in Houston, which operates in cities in desert mountain regions throughout California, New Mexico, Arizona, Colorado, Kansas, Oklahoma, and Texas. The league plays in cities that do not have Major League Baseball or Minor League Baseball teams and is not affiliated with either.
The Pecos League season is a highly condensed one. Schedules vary, but teams have played as many as 70 games in 72 days, or 80 games in three months.
History
The Pecos League operated six teams in the 2011 and 2012 seasons and expanded to eight teams for 2013. Continued growth saw the league reach a high of 10 teams for 2014.
The Pecos League also operates a spring developmental league, which is a one-month showcase beginning in March for recent college graduates and free agents looking to catch on to a full season league.
In May 2014, Fox Sports 1 aired a six-part documentary about life in the Pecos League, mostly based on the Trinidad Triggers.
In August 2014, Jon Edwards made his major league debut with the Texas Rangers becoming the first player in Pecos League history to play in Major League Baseball.
In September 2016, Chris Smith was called up to the Toronto Blue Jays becoming the second player from the Pecos League to make a major league roster, though he did not appear in a game. Smith would eventually make his debut for the Blue Jays on June 27, 2017, against the Baltimore Orioles.
For 2016, the Las Vegas Train Robbers moved to Topeka, Kansas. Expansion teams were added in Great Bend, Kansas and Tucson, Arizona.
On February 25, 2016 it was announced that the Las Cruces Vaqueros would sit out the 2016 season due to severe damage to their home stadium. Expansion team Salina Stockade was added to the league and played a limited 11-game home schedule in 2016.
Following the 2016 season, a drastic shift in the Pecos League landscape occurred as two Kansas teams, the Salina Stockade and Great Bend Boom, both folded, while a third, the Topeka Train Robbers, moved to Bakersfield, California, taking the place of the former Bakersfield Blaze, who folded following the 2016 California League season.
The Train Robbers were joined in California for 2017 by three expansion teams: the High Desert Yardbirds (replacing the California League's High Desert Mavericks), the Monterey Amberjacks, and California City Whiptails. The league also announced a travel team, the Hollywood Stars, who played a handful of home games in Los Angeles.
For 2019, the Ruidoso Osos were replaced by the Wasco Reserves, and the league reduced the number of divisions from three to two.
For 2020, the Martinez Sturgeon and Santa Cruz Seaweed were announced as expansion teams, and the San Rafael Pacifics were added from the Pacific Association. They joined the all-California Pacific Division, and replaced the California City Whiptails and High Desert Yardbirds in the circuit. The Tucson Saguaros moved to the Mountain Division, taking the place of the White Sands Pupfish. Interdivisional games would not be played to cut down on travel and other expenses. Later, due to the COVID-19 pandemic, the league announced that the Mountain Division teams would not play at their home stadiums, and that 4 of the 6 teams would play a condensed 36-game season beginning on July 1, 2020. All games were played at Coastal Baseball Park in Houston, Texas. The Pacific Division originally planned on enacting a similar format, but due to the ongoing pandemic, were unable to compete in 2020.
For the 2021 season, the Salina Stockade returned and the league announced the addition of the Colorado Springs Snow Sox as an expansion team. On April 4, the league announced its final division alignment for the season, which did not include California City and High Desert after previously indicating each would return. On August 3, the league announced the Bay Series between the San Rafael Pacifics, Monterey Amberjacks, Martinez Sturgeon, and Santa Cruz Seaweed after the Bakersfield Train Robbers tested positive for COVID-19 and had to cancel their final home series. The Pecos League operated the Houston Apollos in the American Association as a travel team.
In April 2021, Yermin Mercedes was called up to the Chicago White Sox where he set a major league record as the first baseball player in modern MLB history to begin a season with eight consecutive hits.
For the 2022 season, the league announced three expansion franchises: the Santa Rosa Scuba Divers, Austin Weirdos, and Weimar Hormigas. After competing in 2021, Salina was not included as a member club in 2022.
Before 2023, the league introduced 4 new teams; the Lancaster Sound Breakers, Marysville Drakes, Blackwell Fly Catchers, and Dublin Leprechauns. The Weimar Hormigas, Colorado Springs Snow Sox, Wasco Reserve, and Santa Rosa Scuba Divers folded. Tucson moved back to the Mountain Division, while the Santa Cruz Seaweed moved to Vallejo, California.
Current teams
Former teams
Proposed teams that never played
A high number of Pecos League teams postponed their premiere seasons before they were slated to play, like the Pueblo Diablos (Bighorns) in Colorado, and Douglas Diablos, Maricopa Monsoon in Arizona and Nogales Sonorans or Skeletons.
League timeline
Champions
References
External links
Pecos League Encyclopedia and History at BaseballReference.com
Pecos League at IndependentBaseball.net
Sports leagues established in 2010
Independent baseball leagues in the United States
2010 establishments in the United States
Professional sports leagues in the United States
Baseball leagues in New Mexico
Baseball leagues in California
Baseball leagues in Kansas
Baseball leagues in Arizona
Baseball leagues in Colorado
Baseball leagues in Texas |
Robin L. Webb (born September 6, 1960) is the member of the Kentucky Senate for the 18th District serving since 2009. She formerly served as a member of the Kentucky State Representative for the 96th District from 1999 to 2009, resigning to run for Kentucky Senate. She also has a law office based in Grayson, Kentucky where she lives. She attended Morehead State University and obtained her AAS and BS. She furthered her education at Northern Kentucky University's Chase College of Law, obtaining her J.D. Robin worked as a coal miner until the age of 25. Her father, Dr. Robert Webb, served the people of the Commonwealth for more than three decades as a member of the Kentucky Department of Fish and Wildlife Resources Commission.
References
Kentucky lawyers
Democratic Party Kentucky state senators
Democratic Party members of the Kentucky House of Representatives
Morehead State University alumni
Northern Kentucky University alumni
Women state legislators in Kentucky
Living people
1960 births
People from Grayson, Kentucky
21st-century American politicians
21st-century American women politicians |
The 2023 LA Bowl is a college football bowl game that is scheduled to be played on December 16, 2023, at SoFi Stadium located in Inglewood, California. The third annual LA Bowl game will feature teams from the Mountain West Conference and the Pac-12 Conference. The game is scheduled to begin at 7:30 p.m. PST and will air on ABC. The LA Bowl will be one of the 2023–24 bowl games concluding the 2023 FBS football season. The bowl game will be sponsored by former National Football League player Rob Gronkowski, and the game will be officially known as the LA Bowl Hosted by Gronk.
Teams
Based on conference tie-ins, the game will feature teams from the Mountain West Conference and the Pac-12 Conference.
Game summary
References
LA Bowl
LA Bowl
LA Bowl
LA Bowl |
The discography of Tyler James, a British singer-songwriter, consists of two studio album, and five singles. After guesting on the underground R&B track "Wilder" by Stargate in 2001, which became a nightclub favourite in London, James got his first taste of celebrity. In 2002, after touring around the UK's bars, pubs and clubs; evolving his sound and performance, James had garnered enough reputation to be hailed as "The British answer to Justin Timberlake" by The Face magazine, whilst NME hailed him as "one to watch".
Tyler James was signed to Island Records in 2003 after they heard a demo tape featuring his future debut single, "Why Do I Do?". The reggae flavoured song made the 'A' playlist on BBC Radio 2, and entered the UK Singles Chart at number 25. In early 2005, James toured with Natasha Bedingfield and in the spring of 2005, his second single "Foolish" was released, which reached number 16 on the UK Singles Chart. July 2005, James' third single was released. Originally a number 1 hit for White Town, James covered "Your Woman". "Your Woman" reached number 60, whilst his album The Unlikely Lad was released as a digital download in August 2005. The album includes three songs co-written with Amy Winehouse, who also features on the track "Best for Me".
The singer-songwriter returned in 2012, when he appeared as a contestant on the first series of The Voice UK—finishing as the series' runner-up behind Leanne Mitchell. It was confirmed in July 2012 that James had signed a new joint record deal with Island Records and Universal Music Group and had begun work on his second studio album. James then announced in August that the album's lead single, "Single Tear", would be released in the United Kingdom on 7 October, with the album A Place I Go following on 29 October. In February 2013 he released "Worry About You" as the second single from A Place I Go, the song features vocals from Kano.
Albums
Studio albums
Singles
As lead artist
As featured artist
Other charted songs
Guest appearances
References
Discographies of British artists |
Malcolm Poole (born 6 November 1949) is a retired field hockey player from Australia, who was a member of the team that won the silver medal at the 1976 Summer Olympics in Montreal, Quebec, Canada.
References
External links
1949 births
Living people
Australian male field hockey players
Olympic field hockey players for Australia
Field hockey players at the 1976 Summer Olympics
Olympic silver medalists for Australia
Place of birth missing (living people)
Olympic medalists in field hockey
Medalists at the 1976 Summer Olympics |
The Wreford Limestone is a geologic formation in Kansas. It preserves fossils dating back to the Permian period.
The Schroyer Limestone and Threemile Limestone members of the Wreford Limestone formation are the lowest of the flint-bearing rock layers of the Flint Hills.
See also
List of fossiliferous stratigraphic units in Kansas
Paleontology in Kansas
References
Permian Kansas |
Flóra Bolonyai (born 5 April 1991 in Budapest) is a Hungarian water polo goalkeeper. At the 2012 Summer Olympics, she competed for the Hungary women's national water polo team in the women's event. She is tall.
In 2013, she won the NCAA Women's Water Polo Championship with USC Trojans.
See also
Hungary women's Olympic water polo team records and statistics
List of women's Olympic water polo tournament goalkeepers
List of World Aquatics Championships medalists in water polo
References
External links
1991 births
Living people
Hungarian female water polo players
Water polo goalkeepers
Olympic water polo players for Hungary
Water polo players at the 2012 Summer Olympics
World Aquatics Championships medalists in water polo
Universiade medalists in water polo
Universiade silver medalists for Hungary
Medalists at the 2017 Summer Universiade
Water polo players from Budapest
21st-century Hungarian women |
Trapeang Prasat District is a district in Oddar Meanchey Province in northern Cambodia. According to the 2008 census of Cambodia, it had a population of 25,533.
Administration
The following table shows the villages of Trapeang Prasat District by commune.
References
Districts of Oddar Meanchey province |
Chyhyryn Raion () was a raion (district) of Cherkasy Oblast, central Ukraine. Its administrative centre was located at the town of Chyhyryn. The raion was abolished on 18 July 2020 as part of the administrative reform of Ukraine, which reduced the number of raions of Cherkasy Oblast to four. The area of Chyhyryn Raion was merged into Cherkasy Raion. The last estimate of the raion population was
At the time of disestablishment, the raion consisted of two hromadas, Chyhyryn urban hromada with the administration in Chyhyryn and Medvedivka rural hromada with the administration in the selo of Medvedivka.
During the Ukrainian War of Independence the region was proclaimed the "Kholodny Yar Republic" (led by local Vasyl Chuchupak) which strived for Ukrainian independence from the Soviet Union. The Kholodny Yar Republic lasted from 1919 to 1922.
References
Former raions of Cherkasy Oblast
1923 establishments in Ukraine
Ukrainian raions abolished during the 2020 administrative reform |
Peric Lee (李偉) (born March 4, 1966) is a Chinese singer of various English, Mandarin and Cantonese Songs. He was featured in Headlines Magazine twice, once following the 2013 release of To Fall in Love along with well-known artists such as Gabrielle Alpin, and another following his Hifi mandarin album release 恰似妳的深情 in 2016
Singing career
Since 1997 January, Peric Lee began his career as a freelance singer, and has appeared in many community and professional projects, including Cantonese theme songs for the Disney movies Lion King II and the main character of "The Hunchback of Notre Dame", as well as vocal parts for "You Belong to My Heart" in "Everlasting Regret", a movie directed by Hong Kong film director Stanley Kwan.
Apart from movie songs, Peric has also recorded more than twenty vocal backings for Polygram Karaoke. He was invited to perform in Hong Kong Coliseum as an Elvis Presley impersonator during 1997 Return to China Celebration.
In 2013, he released the HiFi CD To Fall in Love, and was regarded by HiFi magazines as having a 'sentimental crystal voice'. Together with Astor Fong, they dueted an original "The Way We Were" in the same record. Following this, Peric was invited to perform as guest in the "Carpenter Once More" show 2013 in KITEC Star Hall. In 2016, Peric released a Mandarin album, "恰似妳的深情".
On December 30, 2014, Peric, along with other musicians such as Joe Junior was invited by Warmhearters 暖心族 to perform in a Charity show for China's Mountain Range students.
Appearances
Disney: Lion King II (Cantonese Theme Song)
Disney: The Hunchback of Notre Dame (Main Character's Cantonese singing voice)
Everlasting Regret (Directed by Stanley Kwan): You Belong to My Heart
Polygram Karaoke: 20+ vocal backings
2013 Album： To Fall In Love
2016 Album： 恰似妳的深情
Release dates of albums
2013
To Fall in Love – (HiFi CD)
Can't Help Falling in Love
Besame Mucho
Blue Moon/Moon River
The Way We Were (Duet with Astor Fong
Too Proud
Dream A Little Dream of Me
Tennessee Waltz
Fly Me to the Moon
I'll Never Fall in Love Again
For All We Know
2016
恰似妳的深情 – Mandarin album (HiFi SACD)
卡門
愛你變成害你
恰似妳的深情 (方文合唱)
淚的小雨
我怎麼哭了
不了情
再見,我的愛人
我和你(北國之春)
情入的眼淚
最後一夜
References
1966 births
Living people
Cantopop singers
Mandopop singers
20th-century Chinese male singers
21st-century Chinese male singers |
```c++
/*
* PROGRAM: Client/Server Common Code
* MODULE: fbsyslog.h
* DESCRIPTION: System log facility (win32)
*
* The contents of this file are subject to the Interbase Public
*
* "AS IS" basis, WITHOUT WARRANTY OF ANY KIND, either express
*
* Created by: Alex Peshkov <peshkoff@mail.ru>
*
* All Rights Reserved.
* Contributor(s): ______________________________________.
*/
#include "firebird.h"
#include "../common/os/fbsyslog.h"
#include "../common/classes/init.h"
#include <Windows.h>
namespace {
typedef HANDLE WINAPI tRegisterEventSource(LPCTSTR lpUNCServerName, LPCTSTR lpSourceName);
typedef BOOL WINAPI tReportEvent(
HANDLE hEventLog,
WORD wType,
WORD wCategory,
DWORD dwEventID,
PSID lpUserSid,
WORD wNumStrings,
DWORD dwDataSize,
LPCTSTR *lpStrings,
LPVOID lpRawData);
class SyslogAccess
{
private:
CRITICAL_SECTION cs;
HANDLE LogHandle;
tReportEvent *fReportEvent;
bool InitFlag;
public:
explicit SyslogAccess(Firebird::MemoryPool&)
{
InitializeCriticalSection(&cs);
InitFlag = false;
LogHandle = 0;
}
~SyslogAccess()
{
DeleteCriticalSection(&cs);
}
void Record(WORD wType, const char* msg);
};
void SyslogAccess::Record(WORD wType, const char* msg)
{
EnterCriticalSection(&cs);
if (! InitFlag) {
InitFlag = true;
HINSTANCE hLib = LoadLibrary("Advapi32");
tRegisterEventSource *fRegisterEventSource = hLib ?
(tRegisterEventSource *) GetProcAddress(hLib, "RegisterEventSourceA") : 0;
fReportEvent = hLib ?
(tReportEvent *) GetProcAddress(hLib, "ReportEventA") : 0;
LogHandle = fRegisterEventSource && fReportEvent ?
fRegisterEventSource(0, "Firebird SQL Server") : 0;
}
bool use9x = true;
if (LogHandle) {
LPCTSTR sb[1];
sb[0] = msg;
if (fReportEvent(LogHandle, wType, 0, 0, 0, 1, 0, sb, 0)) {
use9x = false;
}
}
if (use9x) {
::MessageBox(0, msg, "Firebird Error", MB_ICONSTOP);
}
LeaveCriticalSection(&cs);
}
Firebird::InitInstance<SyslogAccess> iSyslogAccess;
} // namespace
namespace Firebird {
void Syslog::Record(Severity level, const char* msg)
{
WORD wType = EVENTLOG_ERROR_TYPE;
switch (level)
{
case Warning:
wType = EVENTLOG_INFORMATION_TYPE;
break;
case Error:
default:
wType = EVENTLOG_ERROR_TYPE;
break;
}
iSyslogAccess().Record(wType, msg);
}
} // namespace Firebird
``` |
Dr Melville Leonard Edelstein (1919June 16, 1976) was born to Nachum and Rose Edelstein in King William's Town. His Litvak parents had first travelled to the UK and then Cape Town in 1896 before joining the masses of "boere-Jode" [Afrikaner or farmer Jews] where his parents had settled and Nachum started and ran a successful business. Edelstein was the grandson of Michael Edelstein who established the first synagogue at King William's Town.
Work
Edelstein was a sociologist and academic and had devoted his efforts to humanitarian and social welfare projects in Soweto. Serving as Deputy Chief Welfare Officer, Edelstein instituted many projects aimed at assisting youth, disabled, poor, and marginalized communities within Soweto. A practicing Orthodox Jew, Edelstein was apolitical and a pacifist who refused to enlist for World War II. He served for eighteen years as a social worker for the Welfare Section of the Non-European Affairs Department, which fell under the City of Johannesburg.
Death
Dr Edelstein was one of the two white men who died in the Soweto uprising of 16 June 1976, when he was stoned to death by a crowd of enraged students.
Dr Edelstein had been hosting the official opening for a branch of his Sheltered Workshop Programme in Orlando East, designed to provide employment for disabled people, when news of the student protests reached the project. The ceremony was brought to a hurried end as dignitaries and workers were ferried out of the township.
Concerned about the safety of a woman colleague – Pierette Jacques, back at the Youth Centre in Youth Centre in Jabavu – Dr Edelstein drove through crowds of gathering students to get to her office. Edelstein then rushed through the offices, instructing staff to leave immediately.
While there, an angry mob broke into the building and stoned him to death. Reporter Peter Magubane later found his body with a note saying "Beware Afrikaans is the most dangerous drug for our future." Magubane said, "If they'd known who he was, this would never have happened."
References
1919 births
1976 deaths
1976 in South Africa
Afrikaner Jews
Deaths by stoning
Events associated with apartheid
Jewish pacifists
People from Qonce
Racially motivated violence against white people in Africa
South African Orthodox Jews
South African pacifists
South African people of Lithuanian-Jewish descent
South African sociologists
Soweto
White South African people
20th-century South African Jews |
MXG or mxg may refer to:
Maxim Power, Toronto Stock Exchange symbol MXG
MXG, the IATA code for Marlboro Airport, a defunct airport in Marlborough, Massachusetts
mxg, the ISO 639-3 code for Mbangala language, Angola |
Anatomy Vessels (Saplings), 2003–05, is a public sculpture created by Indiana-based artist Eric Nordgulen (American born 1959), Associate Professor of Sculpture at Herron School of Art and Design. The sculpture is located on the Indiana University-Purdue University Indianapolis (IUPUI) campus at the Herron School of Art and Design, 735 W. New York Street in Indianapolis, Indiana in the United States. It was selected in 2005 for the Herron Gallery first Sculpture Biennial Invitational to be exhibited in the Herron Sculpture Gardens. The two-part cast and fabricated bronze sculpture represents two life size sapling trees with bound root balls.
Description
The two-part cast and fabricated bronze sculpture represents two life size sapling trees with bound root balls left for planting. The horizontal element (part A) measures 44” x 11’ with a 19” diameter base. The vertical element (part B) measures 75” x 21” with a 16” diameter base. “The lack of a formal base allow for the objects to appear more temporary or transformation. As if they had been left there by a landscaper rather than an artist,” stated Nordgulen. "The perception of sculpture is a physical experience that can become a catalyst for new thoughts and ideas."
It was selected for exhibition for the Herron Gallery First Sculpture Invitational in 2005 showcasing the work of 15 artists, each represented by a single work. Participating artists include Katrin Asbury, David Bellamy, Barbara Cooper, Wim Delvoye, Casey Eskridge, James Wille Faust, Don Gummer, Greg Hull, Edward Mayer, Arny Nadler, Eric Nordgulen, Tom Otterness, John Ruppert, Tom Sachs and Judith Shea. It is now on extended loan from the artist to the Herron Sculpture Gardens.
Artist
Professor Nordgulen was appointed to the Herron School of Art and Design sculpture faculty in 1993, and was the Fine Arts Department chairman from 2005 to 2007. Before joining Herron, he was a professor and lecturer at Washington University in St. Louis. Nordgulen is a sculptor and educator who considers his work as a means to explore one’s relationship to his or her surroundings. “I use my work to generate physical questions that allow one to rethink their position based on what they see and what they know.” The artist earned his Bachelor of Fine Arts from East Carolina University in Greenville, North Carolina in 1982 and his Master of Fine Arts from Indiana University (Bloomington) in 1985. He is a prolific artist with public sculpture installations at Milwaukee Riverwalk, University of Cincinnati, Raymond Walters College, Cincinnati, OH, Illinois Institute of Technology, Chicago, IL, Indianapolis Museum of Art, Arts in Transit, St. Louis, MO, and Piedmont Park, Atlanta Arts Festival, Atlanta, GA.
Nordgulen is the recipient of several grants and commissions related to public art. In 1995 the artist was awarded the Mass Attraction commission from the Riley Area Development Corporation for the installation of Viewfinders. Riley Area Development is a Community Development Corporation formed to revitalize the historic Mass Ave Cultural District in downtown Indianapolis. In 2004 Nordgulen was awarded a $20,000 Efroymson Contemporary Arts Fellowship from the Efroymson Family Fund.
Location
The sculpture is on extended loan from the artist and located outside the north entrance to Eskenazi Hall on the Indiana University-Purdue University Indianapolis (IUPUI) campus at 735 W. New York Street in Indianapolis, Indiana in the United States. It is part of a larger series of Anatomy Vessel works by the artist referencing nature but not intended to be functional, including "Anatomy Vessel" on the Raymond Walters College campus and "Anatomy Vessel" on the University of Indianapolis campus.
Documentation
A Museum Studies course at IUPUI recently undertook the project of researching and reporting on the condition of 40 outdoor sculptures on the university campus. Anatomy Vessels (Saplings) was included in this movement. This documentation was influenced by the successful Save Outdoor Sculpture! 1989 campaign organized by Heritage Preservation: The National Institute of Conservation partnered with the Smithsonian Institution, specifically the Smithsonian American Art Museum. Throughout the 1990s, over 7,000 volunteers nationwide have cataloged and assessed the condition of over 30,000 publicly accessible statues, monuments, and sculptures installed as outdoor public art across the United States.
References
Indiana University – Purdue University Indianapolis Public Art Collection
Culture of Indianapolis
Outdoor sculptures in Indianapolis
Bronze sculptures in Indiana
2005 sculptures |
```yaml
# Each section from every release note are combined when the
# CHANGELOG.rst is rendered. So the text needs to be worded so that
# it does not depend on any information only available in another
# section. This may mean repeating some details, but each section
# must be readable independently of the other.
#
# Each section note must be formatted as reStructuredText.
---
features:
- |
The bpf syscall is now monitored by CWS; rules can be written on BPF commands.
``` |
Howard Scruton (born October 6, 1962) is a Canadian former professional ice hockey player who played 4 games for the Los Angeles Kings in the National Hockey League during the 1982–83 season. As a youth, he played in the 1975 Quebec International Pee-Wee Hockey Tournament with a minor ice hockey team from Toronto.
Career statistics
Regular season and playoffs
References
External links
1962 births
Living people
Canadian ice hockey defencemen
Ice hockey people from Toronto
Kingston Canadians players
Los Angeles Kings players
New Haven Nighthawks players
Niagara Falls Flyers players
St. Michael's Buzzers players
Undrafted National Hockey League players |
Funky Buddha Brewery is a large brewery headquartered in Oakland Park, Florida.
The early years
It started when a Florida couple bought small brewhouse, hookah lounge and live music venue in Boca Raton, Florida in 2006. On February 5, 2010, founders Ryan and Giana Sentz moved to another location and began brewing their own beers in September. The new location, also in Boca Raton, was named Funky Buddha Lounge and Brewery. In 2012, Funky Buddha announced it would begin using the Cigar City Brewing system to brew and bottle their beer and begin distribution. In the same year they opened a homebrew supply store at the lounge and brewery. The Boca Raton location has a 55 US gallon (210 L) brewhouse. It was the second production brewery to open in Broward and Palm Beach counties, following Due South Brewing. Funky Buddha's success "helped pave the way for what is now a thriving local brew scene".
Growth
In 2013, with the help of his brother KC Sentz, Ryan Sentz opened a second location and production facility in Oakland Park. The Oakland Park location is a building with a taproom with 30 draft lines. Each year since 2013 the brewery has released a limited edition brew, Undefeated Saison. It is released once every National Football League team has lost a game in the current season to commemorate that the Miami Dolpins undefeated season of 1972 remains unmatched.
In 2014, Funky Buddha's Floridian was available at 400 restaurants in South Florida. At that time Floridian accounted for half of the beer the brewery made and sold. Celebrity Cruises announced a four-day Funky Buddha Craft Beer Cruise in 2014 scheduled for March 2015. In 2015 the brewery sold making it a "regional" facility as designated by the Brewers Association. Also that year Funky Buddha's distribution expanded to include North Florida.
Sale
Funky Buddha was the largest brewer and most popular tap room in Florida based on dollar sales. The brewery is known for its Maple Bacon Coffee Porter and Hopgun IPA beers. On August 10, 2017 it was announced that Constellation Brands had bought Funky Buddha for an undisclosed price. Ryan and KC Sentz will continue to run day-to-day operations. After celebrating its 7th anniversary, the original Boca Raton Funky Buddha Lounge was sold to Allen Steen in 2017 and rebranded Robot Brewing Co. Reported in Constellation Brands’ 2018 annual report, Funky Buddha and Schrader Cellars wines are noted in a combined acquisition cost for $149 million dollars. Wine Spectator later learned the purchase acquisition cost for the Schrader Cellars wine portion was approximately $60 million leaving approximately $80-$90 million attributable to the Funky Buddha acquisition.
In 2023, Funky Buddha was reacquired by Ryan and KC Sentz from Constellation for an undisclosed price and the brewery celebrated its 10 year anniversary.
Awards
Maple Bacon Coffee Porter won the gold medal in the specialty beer category at the 2016 World Beer Cup.
No Crusts, a brown ale flavored like a peanut butter and jelly sandwich, was awarded a silver medal at the 2017 Great American Beer Festival
Funky Buddha was chosen "Best Brewery" by the Sun-Sentinel for 2017, also winning the reader's choice award.
References
Notes
Citations
Further reading
External links
Beer brewing companies based in Florida
Companies based in Florida |
Clear Space Force Station is a United States Space Force radar station for detecting incoming ICBMs and submarine-launched ballistic missiles to NORAD's command center and to provide Space Surveillance data to the United States Space Force. Clear's AN/FPS-123 Upgraded Early Warning Radar is part of the Solid State Phased Array Radar System (SSPARS) which also includes those at Beale AFB, Cape Cod Space Force Station, RAF Fylingdales and Thule Site J. The "historic property" was one of the Alaska World War II Army Airfields and later a Cold War BMEWS site providing NORAD data to Colorado's BMEWS Central Computer and Display Facility (CC&DF).
In addition to the "original camp area" with buildings still in use today, areas of the station include the airfield , the "SSPARS Site" the technical site (Utilador, BMEWS reflectors, support buildings, power plant), and the composite site (two permanent dormitories, a mess hall, recreation area, and administrative area). In addition to the Air National Guard unit, Clear has active duty USSF, Royal Canadian Air Force, civilian, and contractor personnel.
History
The Alaska Railroad lay across some of the site. The site was purchased by the Department of the Interior in 1949 for use as a gunnery range for Ladd Field. The site became Clear Air Force Auxiliary Field.
In May 1958 total costs for the planned Thule and Clear BMEWS stations were estimated at ~$800 million. In October 1958 they were both estimated to be completed in September 1960. An additional area was appropriated for BMEWS Site II (cf. BMEWS Site I at Thule).
Clear is served by a spur of the Alaska Railroad, being about south of Nenana and the Mears Memorial Bridge over the Tanana River that flows past Clear. This has transported coal for the power station and heavy equipment.
Clear Missile Early Warning Station
Clear Missile Early Warning Station construction began in August 1958 with 700 workers—i.e., a "construction" camp was being erected in September 1958 by "Patti-McDonald and Morrison-Knudsen" next to the railroad (for $1.7 million, 40,000 ft of railroad were moved by 1959.) Groundbreaking for radar structures was May 1959 ("Baker and Ford built a transmitter and computer building; a heat dissipation system; a radar transmitter building; wells and pumphouses; a fire station; and utilities") and the AN/FPS-50 pedestals were complete by June 2, 1959. In 1959 after the original White Alice Communications System contract, "the next segment of WACS... was series of TD-2 microwave installations to support... two routes [that] linked the Ballistic Missile Early Warning Site (BMEWS) at Clear AFB... one going down the southeast coast (the A route) to the Ketchikan-Seattle submarine cable*, and the other, going east to the Canada–US border (B Route) through Canada, down to the lower 48 which was Clear's Rearward Communications System to Murphy Dome (A Route) and the Gold King Creek AFS (B Route) with data for the Ent AFB CC&DF.
Three GE AN/FPS-50 Radar Sets were installed with antenna reflectors that each weigh . The "Building Two" middle transmitter building had the radar control room and room with the Sylvania AN/FSQ-28 Missile Impact Predictor Set.
The "Clear Msl Early Warning Stn, Nenana, AK" was assigned to Hanscom Field, Massachusetts, on April 1, 1961, and BMEWS Site II was completed July 1, 1961 (the date of IOC--Full operational capability was declared three months later.)
Clear transferred to Air Defense Command in November 1961. By mid-1962, BMEWS "quick fixes" for ECCM had been installed at Thule and Clear and by June 30, 1962, Ent AFB integration of BMEWS and SPADATS data was completed. On July 31, 1962, NORAD recommended a tracking radar at Clear to close the BMEWS gap with Thule for low-angle missiles vice those with the 15-65 degree angle for which BMEWS was designed (North Dakota's Cavalier AFS radar built in 1975 currently monitors for Hudson Bay launches.)
Missile warning operations
Detachment 2 of the 71st Missile Warning Wing was responsible for operations by civilian contractor personnel until 1964, when Air Force personnel began permanently manning the Tactical Operations Room (TOR).
In 1964, the Good Friday earthquake struck, and Clear was unable to perform its mission for six minutes.
In 1966, the last of the five BMEWS tracking radars was installed, an RCA AN/FPS-92 Radar Set with an diameter antenna housed in a diameter radome. The FPS-92 was an improved AN/FPS-49 Radar Set variant with radome blocks having two high-density 1 millimeter thick skins that cover a 15 centimeter thick Kraft-paper core (total of 1,646 hexagonal and pentagonal blocks (the hexagonal blocks were "66-inch panels".) The completion of the FPS-92 raised the final construction price of the missile warning system at Clear to $300 million. $62 million of this figure had been spent by the Alaska District of the Corps of Engineers.)
Clear provided emergency shelter for 216 flood refugees during August 1967, the same year many "temporary" buildings were replaced. Personnel at the installation subsequently provided measurements for a University of Alaska experiment which injected sulfur hexafluoride into the upper atmosphere to see if the Aurora Borealis could be affected. Clear had Bomb Alarm System equipment installed by the time the BAS was accepted on 10 February 1961. The BAS was deactivated in 1970. In 1975, the Secretary of Defense told Congress that Clear Air Force Station would be closed when the Shemya Island and Beale AFB radars became operational. After a Thule radome fire, Clear's FPS-92 radome was replaced in 1981 by first disassembling the tracker, constructing the new radome, and reconstructing the FPS-92. Clear's 1st all-female crew pulled its 1st shift on February 28, 1986 (the 1st female, Lt. Anderson was assigned in 1973.)
Beginning in 1987, ITT operated and maintained the Clear BMEWS
under a USAF Space Command contract and in the 1990s, the Southwest Research Institute upgraded Clear's pulse modulator for the transmitter final-stage power amplifier.
Phased array radar
On April 16, 1998, groundbreaking for installing 1987 AN/FPS-115 PAVE PAWS components from Texas (e.g., the array elements) was held at Clear for the more advanced Raytheon AN/FPS-120 with 2500 "solid state transmitter" modules. On December 15, 2000, the FPS-50 and −92 transmissions ceased (all of the Arecibo Observatory's Litton L-5773 klystrons were obtained as surplus from Clear's decommissioned BMEWS transmitters.) Clear's FPS-120 began 24-hour operations when Clear's SSPARS Site (separate from the BMEWS site) had Initial Operational Capability on January 31, 2001; the date the entire SSPARS became operational (SSPARS sites were modified in the Early Warning Radar Service Life Extension Program.)
On August 30, 2006, after a transition that began in 2001, the ANG's 213th Space Warning Squadron took on the early warning/space surveillance mission. BAE Systems began a 2007 contract for SSPARS maintenance, and the Clear FPS-120 was subsequently upgraded to an AN/FPS-132 Upgraded Early Warning Radar (UEWR) by Boeing Integrated Defense Systems "featuring processor and software improvements to enhance capability."
On 15 June 2021 it was renamed from Clear Air Force Station to Clear Space Force Station.
Long Range Discrimination Radar was being tested at the base in 2022.
Based units
Units based at Clear Space Force Station.
Those marked as GSU are Geographically Separate Units, which although based at Clear, are subordinate to a unit based at another location.
United States Space Force
Space Operations Command
Space Delta 4
13th Space Warning Squadron (GSU)
United States Air Force
Alaska Air National Guard
168th Wing
168th Operations Group
213th Space Warning Squadron (GSU)
Units to which assigned
2006: 213th Space Warning Squadron
1983: 1st Space Wing (Air Force Space Command)
1979: 15th Air Force (Strategic Air Command)
1971: Fourteenth Aerospace Force (Aerospace Defense Command)
1967: 13th Missile Warning Squadron (Outstanding Unit Award in 1970 and 1973)
1961: Detachment 2, 71st Missile Warning Wing
1961: Electronic Systems Division
1949: Alaskan Air Command
Amateur radio restrictions
The US Code of Federal Regulations specifies that amateur radio operators within 160 kilometers of Clear must not transmit with more than 50 watts of power on the 70-centimeter band.
References
External links
Buildings and structures in Denali Borough, Alaska
Buildings and structures completed in 1959
1959 establishments in Alaska
Historic American Engineering Record in Alaska
Installations of the United States Space Force
Military installations established in 1959 |
```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/blas/ext/base/dcusumors.h"
#include <stdint.h>
#include <stdio.h>
#include <inttypes.h>
int main( void ) {
// Create strided arrays:
const double x[] = { 1.0, 2.0, 3.0, 4.0, 5.0, 6.0, 7.0, 8.0 };
double y[] = { 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0, 0.0 };
// Specify the number of elements:
const int64_t N = 4;
// Specify stride lengths:
const int64_t strideX = 2;
const int64_t strideY = -2;
// Compute the cumulative sum:
stdlib_strided_dcusumors( N, 0.0, x, strideX, y, strideY );
// Print the result:
for ( int64_t i = 0; i < 8; i++ ) {
printf( "y[ %"PRId64" ] = %lf\n", i, y[ i ] );
}
}
``` |
The Pipa Lake () is a lake in Taitung City, Taitung County, Taiwan.
Name
The lake is named Pipa because it resembles the shape of a pipa where it has a shape of two connected water bodies, in which one is the bigger one and the other is the smaller one.
Geology
The lake is the habitat for aquatic animals and plants. The lake forms a part of the Taitung Forest Park. The lake is equipped with viewing platform, cabin and bike routes.
See also
Geography of Taiwan
List of lakes of Taiwan
References
Lakes of Taitung County
Lakes of Taiwan |
Atelosteogenesis type I is a rare autosomal dominant condition. This condition is evident at birth and is associated with a very poor prognosis for the baby. It may be diagnosed antenatally.
Signs and symptoms
Clinical features include
Abnormal facies
Prominent forehead
Hypertelorism
Depressed nasal bridge with a grooved tip
Micrognathia
Cleft palate
Severe short limbed dwarfism
Joint dislocations (hip, knee and elbow joints)
Club feet
Cardiorespiratory failure
Cardiorespiratory failure is due to pulmonary hypoplasia or tracheobronchial hypoplasia.
Genetics
This condition is caused by mutations in the filamin B (FLNB) gene. This gene is located on the short arm of chromosome 3 (3p14).
Pathogenesis
Filamin B forms part of the actin cytoskeleton. How these mutations produce the clinical picture is not yet clear.
Diagnosis
This condition is evident at birth and may be diagnosed antenatally with ultrasound or magnetic resonance imaging. The infants may be still born. Those that are live born do not survive long.
Radiological findings include
Severe platyspondyly
Distally tapered, shortened, incomplete or absent humeri and femurs
Shortened or bowed radii, ulnas and tibias
Hypoplastic pelvis and fibulas
Deficient ossification of the metacarpals, middle and proximal phalanges
Differential diagnosis
This includes
Achondroplasia
Achondrogenesis
Atelosteogenesis III
Boomerang dysplasia
Campomelic dysplasia
Ellis–Van Creveld syndrome
Hypophosphatasia
Melnick Needles syndrome
Metatropic dysplasia
Osteogenesis imperfecta
Roberts syndrome
Short-rib polydactyly syndrome
Thanatophoric dysplasia
Treatment
There is currently no curative treatment for this condition. Supportive management is all that is currently available.
Epidemiology
This is a rare condition with a prevalence of less than 1/106. The total number of cases reported to date is less than 20.
History
This condition was first described by Maroteaux et al. in 1982.
References
Genetic diseases and disorders
Rare diseases |
Edward Vansittart Neale (1810–1892) was an English barrister, cooperator, and Christian socialist.
Biography
Neale was born on 2 April 1810 in Bath, one of the eight children of Edward Vansittart Neale (formerly Vansittart), Rector of Taplow in Buckinghamshire, and wife, whom he married in 1809, Anne Spooner (1780–1873), herself one of the ten children of Isaac Spooner, a wealthy Birmingham businessman, and his wife, whom he married in 1770, Barbara Gough, later Gough-Calthorpe ( – 1826), daughter of Sir Henry Gough, by second wife Barbara Calthorpe, and sister of Henry Gough-Calthorpe, 1st Baron Calthorpe. One of his sisters, Charlotte Vansittart Neale (1817–1881), married in 1841 Charles Frere, a barrister and parliamentary clerk, by whom she had nine children, one of which, Charlotte Vansittart Frere (1846–1916), married in 1882 artist and writer A. G. Folliott-Stokes of St Ives, author of several important books on Cornwall, and had issue.
In 1828, after receiving early education at home, he entered Oriel College, Oxford, where he was tutored by John Henry Newman. In 1837 he was called to the bar at Lincoln's Inn. He was a nephew of William Wilberforce's wife, Barbara Wilberforce.
He became a Christian socialist in 1850, and joined the council of the Society for Promoting Working Men's Associations.
With a group of like-minded men, such as F. D. Maurice, Thomas Hughes, John Malcolm Forbes Ludlow, Charles Kingsley, and John Llewelyn Davies, he was an early promoter of the Working Men's College, and taught at its predecessor, the Hall of Association, Castle Street, London.
He founded the first co-operative store in London, and advanced capital for two builders' associations, both of which failed. In 1851, though strongly opposed by other members of the promoting Council, he started his own initiative, the Central Co-operative Agency, similar to the later Co-operative Wholesale Society. The failure of this scheme, and the Amalgamated Society of Engineers cause in the engineering lock-out of 1852, in which he invested, is said to have cost him £40,000. He was closely associated with the movement which resulted in the Industrial and Provident Societies Act, 1876, and the passing of the Consolidation Act of 1862.
Besides publishing pamphlets on co-operation, he served on an executive committee which developed into the Co-operative Central Board, and took an active part in the 1863 formation of the North of England Co-operative Wholesale Society. He was one of the founders of the Cobden Mills in 1866, and the Agricultural and Horticultural Association in 1867. A promoter of the annual Co-operative Congress, in 1872 he was President of its second day. He became general secretary of the Co-operative Union in 1873.
For many years he was a director of the Co-operative Insurance Company, and a member of the Co-operative Newspaper Society. He visited America in 1875, with a deputation whose object was to open-up direct trade between farmers of the western states and English co-operative stores. After resigning as secretary to the Co-operative Congress Board in 1891, he became a member of the Oxford University branch of the Christian Social Union.
Neale married Frances Sarah Farrer in 1837; they had four children: Henrietta, Henry, Constance, and Edith. In later life he inherited his family estate of Bisham Abbey in Berkshire.
Neale died on 16 September 1892 in London. A memorial to Neale was erected in St Paul's Cathedral and a scholarship at Oriel College was endowed in his memory.
References
External links
Correspondence of Edward Vansittart Neale is held at The National Co-operative Archive, Manchester
1810 births
1892 deaths
19th-century English lawyers
Alumni of Oriel College, Oxford
Anglican socialists
English barristers
English Christian socialists
Members of Lincoln's Inn
People from Bath, Somerset
People from Bisham
People from Taplow
Presidents of Co-operative Congress
Edward |
```objective-c
/**
*
*
* 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.
*/
#ifndef zzdeps_posix_memory_utils_posix_h
#define zzdeps_posix_memory_utils_posix_h
#include <err.h>
#include <stdbool.h>
#include <stdio.h>
#include <stdlib.h>
#include "../common/memory-utils-common.h"
#include "../zz.h"
zsize zz_posix_vm_get_page_size();
zbool zz_posix_vm_check_address_valid_via_msync(const zpointer p);
zbool zz_posix_vm_check_address_valid_via_signal(zpointer p);
zbool zz_posix_vm_protect(const zaddr address, zsize size, int page_prot);
zbool zz_posix_vm_protect_as_executable(const zaddr address, zsize size);
zbool zz_posxi_vm_protect_as_writable(const zaddr address, zsize size);
zpointer zz_posix_vm_allocate_pages(zsize n_pages);
zpointer zz_posix_vm_allocate(zsize size);
zpointer zz_posix_vm_allocate_near_pages(zaddr address, zsize range_size, zsize n_pages);
zpointer zz_posix_vm_search_text_code_cave(zaddr address, zsize range_size, zsize size);
zbool zz_posix_vm_patch_code(const zaddr address, const zpointer codedata, zuint codedata_size);
#endif
``` |
```java
/*
* one or more contributor license agreements. See the NOTICE file distributed
* with this work for additional information regarding copyright ownership.
*/
package io.camunda.zeebe.protocol.impl.record.value.deployment;
import static io.camunda.zeebe.util.buffer.BufferUtil.bufferAsString;
import com.fasterxml.jackson.annotation.JsonIgnore;
import io.camunda.zeebe.msgpack.property.BinaryProperty;
import io.camunda.zeebe.msgpack.property.IntegerProperty;
import io.camunda.zeebe.msgpack.property.LongProperty;
import io.camunda.zeebe.msgpack.property.StringProperty;
import io.camunda.zeebe.protocol.impl.record.UnifiedRecordValue;
import io.camunda.zeebe.protocol.record.value.TenantOwned;
import io.camunda.zeebe.protocol.record.value.deployment.Form;
import io.camunda.zeebe.util.buffer.BufferUtil;
import org.agrona.DirectBuffer;
import org.agrona.concurrent.UnsafeBuffer;
public final class FormRecord extends UnifiedRecordValue implements Form {
private final StringProperty formIdProp = new StringProperty("formId");
private final IntegerProperty versionProp = new IntegerProperty("version");
private final LongProperty formKeyProp = new LongProperty("formKey");
private final StringProperty resourceNameProp = new StringProperty("resourceName");
private final BinaryProperty checksumProp = new BinaryProperty("checksum", new UnsafeBuffer());
private final BinaryProperty resourceProp = new BinaryProperty("resource", new UnsafeBuffer());
private final StringProperty tenantIdProp =
new StringProperty("tenantId", TenantOwned.DEFAULT_TENANT_IDENTIFIER);
private final LongProperty deploymentKeyProp = new LongProperty("deploymentKey", -1);
public FormRecord() {
super(8);
declareProperty(formIdProp)
.declareProperty(versionProp)
.declareProperty(formKeyProp)
.declareProperty(resourceNameProp)
.declareProperty(checksumProp)
.declareProperty(resourceProp)
.declareProperty(tenantIdProp)
.declareProperty(deploymentKeyProp);
}
public FormRecord wrap(final FormMetadataRecord metadata, final byte[] resource) {
formIdProp.setValue(metadata.getFormId());
versionProp.setValue(metadata.getVersion());
checksumProp.setValue(metadata.getChecksumBuffer());
formKeyProp.setValue(metadata.getFormKey());
resourceNameProp.setValue(metadata.getResourceNameBuffer());
resourceProp.setValue(BufferUtil.wrapArray(resource));
tenantIdProp.setValue(metadata.getTenantId());
deploymentKeyProp.setValue(metadata.getDeploymentKey());
return this;
}
@Override
public String getFormId() {
return BufferUtil.bufferAsString(formIdProp.getValue());
}
public FormRecord setFormId(final String formId) {
formIdProp.setValue(formId);
return this;
}
public FormRecord setFormId(final DirectBuffer formId) {
formIdProp.setValue(formId);
return this;
}
@Override
public int getVersion() {
return versionProp.getValue();
}
public FormRecord setVersion(final int version) {
versionProp.setValue(version);
return this;
}
@Override
public long getFormKey() {
return formKeyProp.getValue();
}
public FormRecord setFormKey(final long key) {
formKeyProp.setValue(key);
return this;
}
@Override
public String getResourceName() {
return BufferUtil.bufferAsString(resourceNameProp.getValue());
}
public FormRecord setResourceName(final String resourceName) {
resourceNameProp.setValue(resourceName);
return this;
}
public FormRecord setResourceName(final DirectBuffer resourceName) {
resourceNameProp.setValue(resourceName);
return this;
}
@Override
public byte[] getChecksum() {
return BufferUtil.bufferAsArray(checksumProp.getValue());
}
public FormRecord setChecksum(final DirectBuffer checksumBuffer) {
checksumProp.setValue(checksumBuffer);
return this;
}
@Override
public boolean isDuplicate() {
return false;
}
@Override
public long getDeploymentKey() {
return deploymentKeyProp.getValue();
}
public FormRecord setDeploymentKey(final long deploymentKey) {
deploymentKeyProp.setValue(deploymentKey);
return this;
}
@JsonIgnore
public DirectBuffer getChecksumBuffer() {
return checksumProp.getValue();
}
@Override
public byte[] getResource() {
return BufferUtil.bufferAsArray(resourceProp.getValue());
}
public FormRecord setResource(final DirectBuffer resource) {
return setResource(resource, 0, resource.capacity());
}
@JsonIgnore
public DirectBuffer getFormIdBuffer() {
return formIdProp.getValue();
}
@Override
@JsonIgnore
public int getLength() {
return super.getLength();
}
@Override
@JsonIgnore
public int getEncodedLength() {
return super.getEncodedLength();
}
@JsonIgnore
public DirectBuffer getResourceNameBuffer() {
return resourceNameProp.getValue();
}
public FormRecord setFormId(final DirectBuffer formId, final int offset, final int length) {
formIdProp.setValue(formId, offset, length);
return this;
}
public FormRecord setResource(final DirectBuffer resource, final int offset, final int length) {
resourceProp.setValue(resource, offset, length);
return this;
}
@JsonIgnore
public DirectBuffer getResourceBuffer() {
return resourceProp.getValue();
}
@Override
public String getTenantId() {
return bufferAsString(tenantIdProp.getValue());
}
public FormRecord setTenantId(final String tenantId) {
tenantIdProp.setValue(tenantId);
return this;
}
}
``` |
Cynthia G. Franklin is a contemporary American literary and cultural critic. She is a professor in the English department at the University of Hawaiʻi at Mānoa.
Education and career
Franklin earned a Bachelor of Arts from Stanford University and an MA and PhD from the University of California, Berkeley.
Franklin teaches at the University of Hawaiʻi at Mānoa.
Through her work, Franklin discusses life-writing, such as academic memoirs, which explores the inner workings of academia in the context of social issues. As co-editor of the journal Biography, she shapes the discussion of life-writing as a political and global genre.
Franklin's latest book-length work, Academic Lives: Memoir, Cultural Theory and the University Today (University of Georgia Press, 2009), critiques strands of contemporary cultural theory—feminist, post-colonial, disability studies, and critical race studies amongst others—and scrutinizing memoirs written by such influential fellow critics as Edward Said and Jane Tompkins. Franklin's previous book Writing Women's Communities: The Politics and Poetics of Contemporary Multi-Genre Anthologies (University of Wisconsin Press, 1997) shows how feminist writers of the 70's and 80's pioneered the anthology as a unique form of narrating women's lives.
References
External links
https://archive.today/20130416013453/http://www.ugapress.org/index.php/books/academic_lives
http://uwpress.wisc.edu/books/0178.htm
Year of birth missing (living people)
Living people
Stanford University alumni
University of California, Berkeley alumni
University of Hawaiʻi at Mānoa faculty |
Twywell railway station served the village of Twywell, Northamptonshire, England, from 1866 to 1951 on the Kettering, Thrapston and Huntingdon Railway.
History
The station was opened on 1 March 1866 by the Kettering, Thrapston and Huntingdon Railway. It closed on 30 July 1951.
References
Disused railway stations in Northamptonshire
Railway stations in Great Britain opened in 1866
Railway stations in Great Britain closed in 1951
1866 establishments in England
1951 disestablishments in England |
Murakami is an impact crater on the far side of the Moon. To the south-southeast is the crater Mariotte. Murakami partly overlaps the western rim of the satellite crater Mariotte Z. To the southeast of Murakami, and to the northeast of Mariotte, is the smaller crater Das. This is a roughly circular, bowl-shaped formation. There is some erosion along the rim, including smaller craters overlapping the rim edge to the south and northeast. There is a white patch of higher-albedo material just to the west of Murakami.
This feature was previously designated Mariotte Y before being assigned this name by the IAU. It is named after Japanese astronomer Harutaro Murakami (1872–1947).
References
Impact craters on the Moon |
Rutki () is a village in the administrative district of Gmina Pasym, within Szczytno County, Warmian-Masurian Voivodeship, in northern Poland. It lies approximately south-west of Pasym, west of Szczytno, and south-east of the regional capital Olsztyn.
References
Rutki |
Lloyd Evans may refer to:
Lloyd Evans (athlete) (1915–2002), Canadian Olympic runner
Lloyd Evans (plant physiologist) (1927–2015), New Zealand plant physiologist who made his career in Australia
Lloyd Evans (rugby union, born 1990), Welsh rugby union player
Lloyd Evans (rugby union, born 1995), English rugby union player |
```c
/* LibTomCrypt, modular cryptographic library -- Tom St Denis
*
* LibTomCrypt is a library that provides various cryptographic
* algorithms in a highly modular and flexible manner.
*
* The library is free for all purposes without any express
* guarantee it works.
*
* Tom St Denis, tomstdenis@gmail.com, path_to_url
*/
#include "tomcrypt.h"
/**
@file der_length_integer.c
ASN.1 DER, get length of encoding, Tom St Denis
*/
#ifdef LTC_DER
/**
Gets length of DER encoding of num
@param num The int to get the size of
@param outlen [out] The length of the DER encoding for the given integer
@return CRYPT_OK if successful
*/
int der_length_integer(void *num, unsigned long *outlen)
{
unsigned long z, len;
int leading_zero;
LTC_ARGCHK(num != NULL);
LTC_ARGCHK(outlen != NULL);
if (mp_cmp_d(num, 0) != LTC_MP_LT) {
/* positive */
/* we only need a leading zero if the msb of the first byte is one */
if ((mp_count_bits(num) & 7) == 0 || mp_iszero(num) == LTC_MP_YES) {
leading_zero = 1;
} else {
leading_zero = 0;
}
/* size for bignum */
z = len = leading_zero + mp_unsigned_bin_size(num);
} else {
/* it's negative */
/* find power of 2 that is a multiple of eight and greater than count bits */
leading_zero = 0;
z = mp_count_bits(num);
z = z + (8 - (z & 7));
if (((mp_cnt_lsb(num)+1)==mp_count_bits(num)) && ((mp_count_bits(num)&7)==0)) --z;
len = z = z >> 3;
}
/* now we need a length */
if (z < 128) {
/* short form */
++len;
} else {
/* long form (relies on z != 0), assumes length bytes < 128 */
++len;
while (z) {
++len;
z >>= 8;
}
}
/* we need a 0x02 to indicate it's INTEGER */
++len;
/* return length */
*outlen = len;
return CRYPT_OK;
}
#endif
/* $Source: /cvs/libtom/libtomcrypt/src/pk/asn1/der/integer/der_length_integer.c,v $ */
/* $Revision: 1.4 $ */
/* $Date: 2006/04/22 01:22:55 $ */
``` |
```smalltalk
using System;
using System.Text;
using System.Text.Json;
using System.Threading;
using System.Threading.Tasks;
using DotnetSpider.Extensions;
using DotnetSpider.MessageQueue;
using DotnetSpider.Statistic.Store;
using Microsoft.Extensions.Hosting;
using Microsoft.Extensions.Logging;
using IMessageQueue = DotnetSpider.MessageQueue.IMessageQueue;
namespace DotnetSpider.Statistic;
public class StatisticHostService(
ILogger<StatisticHostService> logger,
IMessageQueue messageQueue,
IStatisticStore statisticStore)
: BackgroundService
{
private AsyncMessageConsumer<byte[]> _consumer;
protected override async Task ExecuteAsync(CancellationToken stoppingToken)
{
logger.LogDebug("Statistic service is starting");
await statisticStore.EnsureDatabaseAndTableCreatedAsync();
_consumer = new AsyncMessageConsumer<byte[]>(Topics.Statistics);
_consumer.Received += async bytes =>
{
var message = await bytes.DeserializeAsync(stoppingToken);
switch (message)
{
case null:
logger.LogWarning("Received empty message");
return;
case Messages.Statistic.Success success:
await statisticStore.IncreaseSuccessAsync(success.SpiderId);
break;
case Messages.Statistic.Start start:
await statisticStore.StartAsync(start.SpiderId, start.SpiderName);
break;
case Messages.Statistic.Failure failure:
await statisticStore.IncreaseFailureAsync(failure.SpiderId);
break;
case Messages.Statistic.Total total:
await statisticStore.IncreaseTotalAsync(total.SpiderId, total.Count);
break;
case Messages.Statistic.Exit exit:
await statisticStore.ExitAsync(exit.SpiderId);
break;
case Messages.Statistic.RegisterAgent registerAgent:
await statisticStore.RegisterAgentAsync(registerAgent.AgentId, registerAgent.AgentName);
break;
case Messages.Statistic.AgentSuccess agentSuccess:
await statisticStore.IncreaseAgentSuccessAsync(agentSuccess.AgentId,
agentSuccess.ElapsedMilliseconds);
break;
case Messages.Statistic.AgentFailure agentFailure:
await statisticStore.IncreaseAgentFailureAsync(agentFailure.AgentId,
agentFailure.ElapsedMilliseconds);
break;
case Messages.Statistic.Print print:
{
var statistics = await statisticStore.GetSpiderStatisticAsync(print.SpiderId);
if (statistics != null)
{
var left = statistics.Total >= statistics.Success
? (statistics.Total - statistics.Success - statistics.Failure).ToString()
: "-";
var now = DateTimeOffset.Now;
var speed = (decimal)(statistics.Success /
(now - (statistics.Start ?? now.AddMinutes(-1))).TotalSeconds);
logger.LogInformation(
"Spider {SpiderId} total {Total}, speed: {Speed}, success {Success}, failure {Failure}, left {Left}",
print.SpiderId, statistics.Total, decimal.Round(speed, 2), statistics.Success,
statistics.Failure, left);
}
break;
}
default:
{
var text = Encoding.UTF8.GetString(JsonSerializer.SerializeToUtf8Bytes(message));
logger.LogWarning("Not supported message: {NotSupportedMessage}", text);
break;
}
}
};
await messageQueue.ConsumeAsync(_consumer);
logger.LogDebug("Statistic service started");
}
public override async Task StopAsync(CancellationToken cancellationToken)
{
logger.LogDebug("Statistic service is stopping");
_consumer?.Close();
await base.StopAsync(cancellationToken);
logger.LogDebug("Statistic service stopped");
}
}
``` |
```java
package com.yahoo.security.tls;
import com.yahoo.security.SslContextBuilder;
import com.yahoo.security.X509SslContext;
import javax.net.ssl.SSLContext;
import javax.net.ssl.SSLParameters;
import java.security.PrivateKey;
import java.security.cert.X509Certificate;
import java.util.Arrays;
import java.util.List;
import java.util.Set;
import java.util.logging.Level;
import java.util.logging.Logger;
/**
* A static {@link TlsContext}
*
* @author bjorncs
*/
public class DefaultTlsContext implements TlsContext {
private static final Logger log = Logger.getLogger(DefaultTlsContext.class.getName());
private final X509SslContext sslContext;
private final String[] validCiphers;
private final String[] validProtocols;
private final PeerAuthentication peerAuthentication;
public static DefaultTlsContext of(X509SslContext sslContext, PeerAuthentication peerAuthentication) {
return new DefaultTlsContext(sslContext, TlsContext.ALLOWED_CIPHER_SUITES, TlsContext.ALLOWED_PROTOCOLS, peerAuthentication);
}
public static DefaultTlsContext of(
List<X509Certificate> certificates, PrivateKey privateKey, List<X509Certificate> caCertificates,
AuthorizedPeers authorizedPeers, AuthorizationMode mode, PeerAuthentication peerAuthentication,
HostnameVerification hostnameVerification) {
var ctx = createSslContext(certificates, privateKey, caCertificates, authorizedPeers, mode, hostnameVerification);
return of(ctx, peerAuthentication);
}
public static DefaultTlsContext of(
X509SslContext sslContext, Set<String> acceptedCiphers, Set<String> acceptedProtocols,
PeerAuthentication peerAuthentication) {
return new DefaultTlsContext(sslContext, acceptedCiphers, acceptedProtocols, peerAuthentication);
}
private DefaultTlsContext(X509SslContext sslContext, Set<String> acceptedCiphers, Set<String> acceptedProtocols,
PeerAuthentication peerAuthentication) {
this.sslContext = sslContext;
this.peerAuthentication = peerAuthentication;
this.validCiphers = getAllowedCiphers(sslContext.context(), acceptedCiphers);
this.validProtocols = getAllowedProtocols(sslContext.context(), acceptedProtocols);
}
private static String[] getAllowedCiphers(SSLContext sslContext, Set<String> acceptedCiphers) {
Set<String> supportedCiphers = TlsContext.getAllowedCipherSuites(sslContext);
String[] allowedCiphers = supportedCiphers.stream()
.filter(acceptedCiphers::contains)
.toArray(String[]::new);
if (allowedCiphers.length == 0) {
throw new IllegalStateException(
String.format("None of the accepted ciphers are supported (supported=%s, accepted=%s)",
supportedCiphers, acceptedCiphers));
}
log.log(Level.FINE, () -> String.format("Allowed cipher suites that are supported: %s", List.of(allowedCiphers)));
return allowedCiphers;
}
private static String[] getAllowedProtocols(SSLContext sslContext, Set<String> acceptedProtocols) {
Set<String> supportedProtocols = TlsContext.getAllowedProtocols(sslContext);
String[] allowedProtocols = supportedProtocols.stream()
.filter(acceptedProtocols::contains)
.toArray(String[]::new);
if (allowedProtocols.length == 0) {
throw new IllegalStateException(
String.format("None of the accepted protocols are supported (supported=%s, accepted=%s)",
supportedProtocols, acceptedProtocols));
}
log.log(Level.FINE, () -> String.format("Allowed protocols that are supported: %s", Arrays.toString(allowedProtocols)));
return allowedProtocols;
}
@Override
public X509SslContext sslContext() {
return sslContext;
}
@Override
public SSLParameters parameters() {
return createSslParameters();
}
private SSLParameters createSslParameters() {
SSLParameters newParameters = sslContext.context().getDefaultSSLParameters();
newParameters.setCipherSuites(validCiphers);
newParameters.setProtocols(validProtocols);
switch (peerAuthentication) {
case WANT:
newParameters.setWantClientAuth(true);
break;
case NEED:
newParameters.setNeedClientAuth(true);
break;
case DISABLED:
break;
default:
throw new UnsupportedOperationException("Unknown peer authentication: " + peerAuthentication);
}
return newParameters;
}
private static X509SslContext createSslContext(
List<X509Certificate> certificates, PrivateKey privateKey, List<X509Certificate> caCertificates,
AuthorizedPeers authorizedPeers, AuthorizationMode mode, HostnameVerification hostnameVerification) {
SslContextBuilder builder = new SslContextBuilder();
if (!certificates.isEmpty()) {
builder.withKeyStore(privateKey, certificates);
}
if (!caCertificates.isEmpty()) {
builder.withTrustStore(caCertificates);
}
return builder.withTrustManagerFactory(truststore ->
new PeerAuthorizerTrustManager(authorizedPeers, mode, hostnameVerification, truststore))
.buildContext();
}
}
``` |
Home Free is the debut album by American singer-songwriter Dan Fogelberg, released in 1972. Upon its original release, Home Free had lukewarm success, but following a later reissue, it was certified platinum by the RIAA for certified sales of 1,000,000 copies.
Track listing
Personnel
Dan Fogelberg – vocals, acoustic and electric guitars, acoustic piano, organ, Moog synthesizer
David Briggs – acoustic piano on "More than Ever" and "Anyway I Love You", organ on "Long Way Home"
Kenneth A. Buttrey – drums, percussion
The Goodlettesville String Quartet – strings on "Long Way Home"
Farrell Morris – percussion, vibraphone
Weldon Myrick – dobro, pedal steel guitar
Bill Pursell – string arrangements on "Hickory Grove"
Norbert Putnam – bass guitar, cello
Buddy Spicher – fiddle, viola
Glen Spreen – string arrangements on "To the Morning" and "Wysteria"
Production
Producer – Norbert Putnam
Engineers – Gene Eichelberger and Lee Hazen
Recorded at Quadraphonic Sound Studio (Nashville, TN).
Photography – Kenneth A. Buttrey
Cover Portrait – Dan Fogelberg
Charts
Album – Billboard (United States)
References
Dan Fogelberg albums
1972 debut albums
Albums produced by Norbert Putnam
Epic Records albums |
Pierre du Calvet (1735 – March 28, 1786) was a Montreal trader, justice of the peace, political prisoner and epistle writer of French Huguenot origin.
Biography
Family
Pierre du Calvet was born in the Summer of 1735 in Caussade in the French province of Guyenne (today the Tarn-et-Garonne département). He was the oldest of a family of five children. His father, Pierre Calvet, of Calvinist confession, had his children baptized as Catholics. He however passed on his Protestant faith to them. His mother was Anne Boudet. His family is said to be of noble origin and owned a domain at Montalzat, north of Toulouse.
An ancestor, François Calvet, was hanged on June 23, 1563 for introducing the Reform in Montauban.
Education
He received a Catholic education without renouncing his Calvinism. Judging from his writings, he certainly studied the Humanities, French law, the Law of Nations and the philosophy of his time, that of the Enlightenment. In the main epistle of his Appel à la Justice de l'État, he quotes long excerpts from Pufendorf, Gratian, Grotius, Locke and Machiavelli.
Emigration to New France
A cousin-in-law, Mr. Guireaud, provided him with the capital needed to purchase the goods he intended to trade in New France. Du Calvet thus embarked for Quebec City on board the merchant ship Le Lion, which left Bordeaux in April 1758. His boat was shipwrecked about 100 miles from Quebec. His cargo lost, he was forced to find employment on his arrival in the capital of Canada towards mid-June.
On behalf of the government of New France, he was store keeper at Miramichi and Restigouche in Acadia. He was responsible to provide for the needs of three to four thousand Acadians deported by the British government in 1755. He remained there until autumn 1759.
In the summer of 1759, he took part to a mission to transfer British war prisoners to Halifax under officer Jean-François Bourdon de Dombourg. Lieutenant William Caesar McCormick, who was a prisoner captured in the Petitcodiac River Campaign, wrote him a letter of appreciation dated August 28 for the good care given to all the prisoners. On September 10, he was also given a certificate recognizing the humane treatment of the said prisoners.
Du Calvet thereafter left for Montreal after having learned, while passing through Quebec City, that the Vaudreuil government had removed there following the city's capitulation. He remained in Montreal until January 1760.
He was again charged with a mission in Acadia, this time to perform a population census on the Acadians and determine ways to provide assistance to them. He left Montreal on January 18, at the head of a group of some 60 Acadians and a few Amerindian guides. With him was the commander in chief of French Acadia, Mr. Boishébert. Upon his return, he was almost immediately sent to Sainte-Foy for the last important battle between the French and British Armies before the capitulation and surrender of Montreal on September 8. He left for Quebec City on April 20, accompanying the expedition commanded by de Lévis. In a letter to his father date June 28, du Cavet recites the historic battle and the subsequent siege. The siege was lift up on May 16, and du Calvet returned to Montreal with everyone else still alive.
Following the capitulation of the government of New France on September 8, 1760, he remained in Montreal. During the winter, he met with William Caesar McCormick again and was recommended to General Jeffery Amherst by him. Du Calvet, was determined to return to Europe and consequently was in need to get to Quebec to obtain a passport from governor James Murray, not without first obtaining another passport from governor Thomas Gage to be authorized to leave the district of Montreal. Governor Murray however requested that du Calvet delays his departure to go on yet another mission in Acadia. His task was to count the number of Acadians still left in Acadia and offer them to be transported safely to Quebec. This last humanitarian mission, which he accepted, kept him busy from July to October 1761. It seems he abandoned his project to return to Europe afterward because in January 1762, he was in Montreal.
Trader and Justice of the Peace
In January 1762, he settled in Montreal where he finally started his import-export business. He exported corn and peltries which he loaded aboard the trading vessels of the Watson & Rashleigh company (Brook Watson and Robert Rashleigh) bound for England and Spain. In return he imported various goods from Europe such as spirits and products for domestic use. His trade was prosperous. Between 1772 and 1776, he exported approximately 35,000 minots of corn, 800 pea minots plus some peltries, and imported great quantities of goods which he sold off in the district of Montreal. On March 3, 1774, he purchased the seigniory of Rivière-David, close to Sorel.
In 1763, he learned of the death of one of his uncles living in South Carolina and two months later that of his father in France.
In the summer of 1764, he left the province of Quebec for London from where he dealt with the succession of his uncle. He then passed to France to sell the family domain of Montalzat. He only came back to Montreal in June 1766. During his absence, Jean Dumas-Saint-Martin and Pierre Jusseaume dit Saint-Pierre conducted his private affairs in America. During this long voyage in Europe, he made several contacts in the English-speaking world. Even if his English was defective, he was well received a little everywhere, helped as he was with invaluable letters of introductions from governor Murray. Amongst others, he met the governor's brother, Lord Elibank, who resided at Greenock in Scotland. In London, he met with George Montagu-Dunk, 2nd Earl of Halifax, British Secretary of State for the Southern Department.
In Paris, he landed with letters of introductions for Francis Seymour-Conway, 1st Marquess of Hertford, the British Ambassador to France and his secretary, David Hume, the already famous philosopher, who both interceded in his favour before the Comte de Saint-Florentin. All this support was necessary for him to ensure the liquidation of his succession because he was Protestant and the French laws were then unfavourable to non-Catholics. In January 1766, after a year-long sojourn, the business was over with and he went back to London. In the Spring, he embarked for Quebec on board a vessel named the General Conway.
On June 23, 1766, governor Murray appointed him Justice of the Peace at the new Court of Common Pleas for the district of Montreal. Hardly just returned, he again left Canada, in November, to deal with trade matters in England, and only returned home in April 1767, called by his duty of Justice of the Peace.
Du Calvet seemed to have put a great zeal in the exercise of his public duties and was soon praised by the Chief Justice the province, William Hey. He handled a very great number of causes and did not ask for any fees at all.
Marriage
On October 3, 1771, at 36 years of age, he married Marie-Louise Jusseaume. 20 years old, she was the daughter of his friend Pierre Jusseaume and Marie-Louise Boulay-dit-Boulet. The new couple settled in a city house at the corner of Saint-Paul and Bonsecours streets. A first child, a boy, was born July 7, 1772. The small Jean-Pierre died in early age on the coming August 31. On November 8, 1773, Marie-Louise gave birth to a second boy, whom they name Jean Dumas, in honour of the child's godfather Jean Dumas Saint-Pierre. The couple had a third boy on October 16, 1774. He was named Guy, in honour of governor Guy Carleton. Sadly, this last child died on May 11, having had one too difficult winter. The mother joined her first and her last in the tomb in December of the same year.
Du Calvet found a nurse, dame La Prise, to take care of Jean Dumas, his second son.
Political engagement
In 1769, he submitted a reform plan to the new governor Guy Carleton which aimed for the uniformisation of the administration of justice in the Province of Quebec. The new administrative measures promulgated on February 1 did not satisfy him and he continued to voice for reform thereafter. He wrote a few open letters which he published in the Quebec Gazette/Gazette de Québec, the only newspaper in the colony at the time.
On October 28, 1770, he submitted the Secretary of State for the Colonies, Wills Hill, Earl of Hillsborough, a memoir entitled Mémoire sur la forme judiciaire actuelle de la Province de Québec.
His public denunciation of the abuses of justice by certain judges among his colleagues attracted him both friends and enemies. His actions for the improvement of the system and administration of justice were praised by Governor Carleton, attorney general Francis Maseres and Chief Justice William Hey. He however was placed at odds with a few fellow-members in the magistracy, including his neighbour John Fraser, as well as Edward Southouse and René-Ovide Hertel de Rouville.
John Fraser, captain of 60th British Royal Regiment, became Justice of the Peace in 1765, shortly after being released, for lack of evidence, in a case of violence involving him and merchant Thomas Walker, friend of du Calvet, who on September 6, 1764 lost an ear during an assault on his person. According to du Calvet, John Fraser entertained animosity towards him from this period. On June 29, 1771, Fraser and du Calvet engaged in a fist fight in front of du Calvet's house, that is opposite that of Fraser.
American Revolutionary War
On October 26, the first Continental Congress addressed a letter to the inhabitants of the province in which the form of government given to the people by the Quebec Act was severely criticized. The people were invited to give themselves the provincial representation the Quebec Act did not provide for, and have this representative body send delegates to the upcoming continental Congress, to be held in Philadelphia on May 10, 1775.
In the climate of high suspicion that precedes the entry of the Congress's army on the territory of the Province of Quebec, many citizens were arrested and among them was du Calvet. Joseph Simon Léonard, officer of militia at Pointe-aux-Trembles, accused du Calvet of collaboration with the "rebels". On October 6, his case was heard before the court and on October 9 a jury rejected the accusation as unfounded.
On November 13, Montreal was taken by the army of Brigadier General Richard Montgomery without a fight. Du Calvet was part of a committee of citizens who greeted the representatives of the Continental Congress with an address, written by Valentin Jautard on November 14. During the 6-month long occupation of Montreal by the Congress' armies, du Calvet's stores were under requisition for the service of the army.
On May 6, British reinforcements commanded by John Burgoyne arrived at Quebec. The Congress' troops were defeated at Trois-Rivières on June 8, and on June 15, Benedict Arnold withdrew his men from the province of Quebec. Before leaving the country, the army of the Congress had delivered du Calvet promissory notes of reimbursement which he later used to claim back 56,394 pounds to the Congress.
Frederick Haldimand was appointed to replace Guy Carleton in the spring of 1777 and landed in the province's capital on June 26, 1778. A month before, Fleury Mesplet had founded the first newspaper of Montreal and the first French-only one in the history of Quebec as well. Pierre du Calvet continued his public denunciation of the administration of justice by publishing open letters in it.
On May 26, he published an open denunciation of his colleagues Edward Southouse and René-Ovide Hertel de Rouville. James Monk, the attorney general, sued du Calvet for libel. He was defended by lawyer William Dummer Powell and acquitted by a jury declaring no grounds for the accusation.
Political prisoner
On September 27, 1780, brigadier general Allan Maclean proceeded to arrest du Calvet. He was incarcerated during three years, from September 27, 1780 to May 2, 1783. From the first day of his arrest, he never ceased to claim his innocence and requested that a legal trial be given to him.
On December 6, 1780, a little over a month after his arrest, governor Haldimand accepted the request for the release of du Calvet which legislative councillor François Lévesque had submitted him. The Governor however changed his mind the day after.
On May 2, 1783, he was finally released from prison.
Appel à la Justice de l'État and death
Out of prison, du Calvet left the continent for London where he intended to put governor Haldimand to trial for violating the British constitution.
In March 1784, he published The Case of Peter du Calvet to let his cause be known to the English public. Not conversant in the English language, he received the help of Francis Maseres and Petier Livius to write the document, which contains a detailed account of his confrontation with judge Fraser, his arrest, sequestration, his numerous letters asking to be trialled before a jury of his peers, etc.
In July, he published Appel à la Justice de l'État, a collection of letters to British officials and to the people of Quebec, intended to inform them of his actions to obtain both justice in his personal cause and a new constitution for the province.
The same year, Félix de Berey, mocked by du Calvet in one of his open letters, published Réplique par le P. de Berey aux calomnies de Pierre du Calvet.
To finance his lawsuit against Haldimand, he needed money. While in London he decided to cross the Atlantic to reach Philadelphia and recover the money owed to him by the American Congress. He presented himself before the Congressmen to claim the amount he believed was his, but was paid back only parts of it. On March 3, the Spanish ship transporting him to Paris left the port of New York. On March 15, the Spanish ship was declared lost in sea.
Political heritage
While the trial of Haldimand never took place, the actions taken by du Calvet had a decisive influence on the course of Quebec's history. He undoubtedly contributed to the involvement of citizens, French-speaking and English-speaking, Catholic and Protestant, in a common effort to obtain a House of Assembly for the Province of Quebec. Indeed, a few months after the probable arrival of the first copies of his collection of letters, numerous persons were signing the Petition of Ancient and New Subjects for a House of Assembly dated November 24, 1784.
Louis-Joseph Papineau evoked his memory in his last public speech at the Institut canadien de Montréal in December 1867. Like numerous others of his generation, he knew the story of du Calvet.
In 1877, Louis Fréchette dedicated a poem entitled Du Calvet in his collection of poems La Légende d'un peuple. Relating in verse the story of his fight, he made him a national hero, the "first champion of our civic battles".
Éva Circé-Côté dedicated chapter V of her book Papineau - Son influence sur la pensée canadienne to "the one who inaugurated the most glorious period of our annals".
Works
Mémoire sur la forme judiciaire actuelle de la Province de Québec, Quebec City, 1770
Province de Québec, district de Montréal, Cour des plaidoyers communs, Brook Watson & Robert Rashleigh, négociants de Londres, stipulant pour eux, Pierre Panet, écuyer, fondé de leur procuration, demandeurs contre Pierre du calvet, de Montréal, écuyer, défendeur : défenses, 1778
Mémoire en réponse à l'écrit public, de Me Panet, fondé de procuration de Watson & Rasleigh de Londres, demandeurs, contre Pierre du Calvet de Montréal, écuyer, défendeur [...], Quebec City, 1779
The Case of Peter Du Calvet, Esq., of Montreal in the Province of Quebeck, containing, amongst other things worth notice, an account of the long and severe imprisonment he suffered in the said province [...], London, March 1784 (in collaboration with Francis Maseres and Peter Livius)
Appel à la justice de l’État; ou recueil de lettres au roi, au prince de Galles, et aux ministres; avec une lettre à messieurs les Canadiens, ..., London, July 1784
See also
Frederick Haldimand
Fleury Mesplet
Valentin Jautard
Michel Bastarache dit Basque
References
Bibliography
Further reading
Blanchet, Renée (2007). Pierre du Calvet. 1735-1786, Montréal: Éditions Maxime, 193 pages
Saint-Germain, Annie (2000). L'héroïsation dans le discours épistolaire et l'autobiographie : le cas de Pierre du Calvet (1735–1786), Master's Thesis, département d'études littéraires, UQUAM, Montréal, 302 p.
Andrès, Bernard. "La passion du combat dans les lettres de Pierre du Calvet", in Manon Brunet (dir.) Érudition et passion dans les écritures intimes, Québec: Éditions Nota bene, 1990, p. 17-27
de Lagrave, Jean-Paul and Ruelland, Jacques G. (1986). Pierre du Calvet, Appel à la Justice de l'État, (Excerpts), Sainte-Foy: Le Griffon d'argile, 64 pages
Légaré, Michel (1976). Pierre du Calvet, l'homme et l'oeuvre, Master's Thesis, Université de Montréal
Gascon, Adélard (1947). Pierre du Calvet, monographie, Doctoral thesis in philosophy, Université d'Ottawa, 280 pages
Sulte, Benjamin. "Monographie de Pierre du Calvet", in Mélanges historiques, Montréal: G. Ducharme Libraire-éditeur, vol. 7, 1921, p. 76-98
Chapais, Thomas. "Pierre du Calvet", in La Presse, July 15, August 26, and September 9, 1905
Ville de Montréal. "Pierre Du Calvet en 1785", in the official Web site of the Vieux-Montréal, February 3, 2002
Du Calvet, Pierre. "Correspondence between Pierre du Calvet and Benjamin Franklin", in The Papers of Benjamin Franklin (four letters from Pierre du Calvet to Benjamin Franklin)
External links
Pierre du Calvet House, Montreal, tableau by Nancy Macina, Ward-Nasse Art Gallery
Haldimand Collection
1735 births
1786 deaths
Pre-Confederation Canadian businesspeople
Pre-Confederation Quebec people
French Quebecers
Huguenot participants in the American Revolution |
```smalltalk
using System.Collections.Generic;
using System.Linq;
using System.Threading;
using System.Threading.Tasks;
using Microsoft.CodeAnalysis;
using Microsoft.CodeAnalysis.CSharp;
using Microsoft.CodeAnalysis.CSharp.Syntax;
namespace Roslynator.CSharp.Refactorings;
internal static class RemoveContainingStatementRefactoring
{
public static void ComputeRefactoring(RefactoringContext context, StatementSyntax statement)
{
if (!context.Span.IsEmpty)
return;
if (statement.Kind() == SyntaxKind.Block
&& !((BlockSyntax)statement).Statements.Any())
{
return;
}
SyntaxNode parent = statement.Parent;
if (parent.IsKind(SyntaxKind.Block))
{
statement = (BlockSyntax)parent;
parent = statement.Parent;
}
if (parent is null)
return;
if (!CheckContainingNode(parent))
return;
if (!GetContainingBlock(parent).IsKind(SyntaxKind.Block))
return;
context.RegisterRefactoring(
(parent.IsKind(SyntaxKind.ElseClause))
? "Remove containing else clause"
: "Remove containing statement",
ct => RefactorAsync(context.Document, statement, ct),
RefactoringDescriptors.RemoveContainingStatement);
}
private static SyntaxNode GetContainingBlock(SyntaxNode node)
{
if (node.IsKind(SyntaxKind.ElseClause))
{
return ((ElseClauseSyntax)node).GetTopmostIf()?.Parent;
}
else
{
return node.Parent;
}
}
private static bool CheckContainingNode(SyntaxNode node)
{
switch (node.Kind())
{
case SyntaxKind.ForEachStatement:
case SyntaxKind.ForEachVariableStatement:
case SyntaxKind.ForStatement:
case SyntaxKind.UsingStatement:
case SyntaxKind.WhileStatement:
case SyntaxKind.DoStatement:
case SyntaxKind.LockStatement:
case SyntaxKind.FixedStatement:
case SyntaxKind.UnsafeStatement:
case SyntaxKind.TryStatement:
case SyntaxKind.CheckedStatement:
case SyntaxKind.UncheckedStatement:
return true;
case SyntaxKind.IfStatement:
return ((IfStatementSyntax)node).IsTopmostIf();
case SyntaxKind.ElseClause:
return ((ElseClauseSyntax)node).Statement?.Kind() != SyntaxKind.IfStatement;
}
return false;
}
public static Task<Document> RefactorAsync(
Document document,
StatementSyntax statement,
CancellationToken cancellationToken = default)
{
IEnumerable<StatementSyntax> newNodes = GetNewNodes(statement).Select(f => f.WithFormatterAnnotation());
if (statement.IsParentKind(SyntaxKind.ElseClause))
{
IfStatementSyntax ifStatement = ((ElseClauseSyntax)statement.Parent).GetTopmostIf();
var block = (BlockSyntax)ifStatement.Parent;
int index = block.Statements.IndexOf(ifStatement);
BlockSyntax newBlock = block.RemoveNode(statement.Parent, SyntaxRemoveOptions.KeepNoTrivia);
newBlock = newBlock.WithStatements(newBlock.Statements.InsertRange(index + 1, newNodes));
return document.ReplaceNodeAsync(block, newBlock, cancellationToken);
}
else
{
return document.ReplaceNodeAsync(statement.Parent, newNodes, cancellationToken);
}
}
private static IEnumerable<StatementSyntax> GetNewNodes(StatementSyntax statement)
{
List<SyntaxTrivia> list;
if (statement.IsParentKind(SyntaxKind.ElseClause))
{
list = new List<SyntaxTrivia>() { CSharpFactory.NewLine() };
}
else
{
list = statement.Parent.GetLeadingTrivia()
.Reverse()
.SkipWhile(f => f.IsWhitespaceTrivia())
.Reverse()
.ToList();
}
if (statement.IsKind(SyntaxKind.Block))
{
SyntaxList<StatementSyntax>.Enumerator en = ((BlockSyntax)statement).Statements.GetEnumerator();
if (en.MoveNext())
{
list.AddRange(en.Current.GetLeadingTrivia());
yield return en.Current.WithLeadingTrivia(list);
while (en.MoveNext())
yield return en.Current;
}
}
else
{
list.AddRange(statement.GetLeadingTrivia());
yield return statement.WithLeadingTrivia(list);
}
}
}
``` |
Camp Justice may refer to:
Camp Justice (Iraq), a military base in Iraq
Camp Justice (Diego Garcia), a US base in the disputed Chagos Archipelago
Camp Justice (Guantanamo) the complex where captives will face charges before the Guantanamo military commissions. |
```c++
///|/
///|/ PrusaSlicer is released under the terms of the AGPLv3 or higher
///|/
#ifndef slic3r_SupportLayer_hpp_
#define slic3r_SupportLayer_hpp_
#include <oneapi/tbb/scalable_allocator.h>
#include <oneapi/tbb/spin_mutex.h>
// for Slic3r::deque
#include "../libslic3r.h"
#include "../ClipperUtils.hpp"
#include "../Polygon.hpp"
namespace Slic3r::FFFSupport {
// Support layer type to be used by SupportGeneratorLayer. This type carries a much more detailed information
// about the support layer type than the final support layers stored in a PrintObject.
enum class SupporLayerType {
Unknown = 0,
// Ratft base layer, to be printed with the support material.
RaftBase,
// Raft interface layer, to be printed with the support interface material.
RaftInterface,
// Bottom contact layer placed over a top surface of an object. To be printed with a support interface material.
BottomContact,
// Dense interface layer, to be printed with the support interface material.
// This layer is separated from an object by an BottomContact layer.
BottomInterface,
// Sparse base support layer, to be printed with a support material.
Base,
// Dense interface layer, to be printed with the support interface material.
// This layer is separated from an object with TopContact layer.
TopInterface,
// Top contact layer directly supporting an overhang. To be printed with a support interface material.
TopContact,
// Some undecided type yet. It will turn into Base first, then it may turn into BottomInterface or TopInterface.
Intermediate,
};
// A support layer type used internally by the SupportMaterial class. This class carries a much more detailed
// information about the support layer than the layers stored in the PrintObject, mainly
// the SupportGeneratorLayer is aware of the bridging flow and the interface gaps between the object and the support.
class SupportGeneratorLayer
{
public:
void reset() {
*this = SupportGeneratorLayer();
}
bool operator==(const SupportGeneratorLayer &layer2) const {
return print_z == layer2.print_z && height == layer2.height && bridging == layer2.bridging;
}
// Order the layers by lexicographically by an increasing print_z and a decreasing layer height.
bool operator<(const SupportGeneratorLayer &layer2) const {
if (print_z < layer2.print_z) {
return true;
} else if (print_z == layer2.print_z) {
if (height > layer2.height)
return true;
else if (height == layer2.height) {
// Bridging layers first.
return bridging && ! layer2.bridging;
} else
return false;
} else
return false;
}
void merge(SupportGeneratorLayer &&rhs) {
// The union_() does not support move semantic yet, but maybe one day it will.
this->polygons = union_(this->polygons, std::move(rhs.polygons));
auto merge = [](std::unique_ptr<Polygons> &dst, std::unique_ptr<Polygons> &src) {
if (! dst || dst->empty())
dst = std::move(src);
else if (src && ! src->empty())
*dst = union_(*dst, std::move(*src));
};
merge(this->contact_polygons, rhs.contact_polygons);
merge(this->overhang_polygons, rhs.overhang_polygons);
merge(this->enforcer_polygons, rhs.enforcer_polygons);
rhs.reset();
}
// For the bridging flow, bottom_print_z will be above bottom_z to account for the vertical separation.
// For the non-bridging flow, bottom_print_z will be equal to bottom_z.
coordf_t bottom_print_z() const { return print_z - height; }
// To sort the extremes of top / bottom interface layers.
coordf_t extreme_z() const { return (this->layer_type == SupporLayerType::TopContact) ? this->bottom_z : this->print_z; }
SupporLayerType layer_type { SupporLayerType::Unknown };
// Z used for printing, in unscaled coordinates.
coordf_t print_z { 0 };
// Bottom Z of this layer. For soluble layers, bottom_z + height = print_z,
// otherwise bottom_z + gap + height = print_z.
coordf_t bottom_z { 0 };
// Layer height in unscaled coordinates.
coordf_t height { 0 };
// Index of a PrintObject layer_id supported by this layer. This will be set for top contact layers.
// If this is not a contact layer, it will be set to size_t(-1).
size_t idx_object_layer_above { size_t(-1) };
// Index of a PrintObject layer_id, which supports this layer. This will be set for bottom contact layers.
// If this is not a contact layer, it will be set to size_t(-1).
size_t idx_object_layer_below { size_t(-1) };
// Use a bridging flow when printing this support layer.
bool bridging { false };
// Polygons to be filled by the support pattern.
Polygons polygons;
// Currently for the contact layers only.
std::unique_ptr<Polygons> contact_polygons;
std::unique_ptr<Polygons> overhang_polygons;
// Enforcers need to be propagated independently in case the "support on build plate only" option is enabled.
std::unique_ptr<Polygons> enforcer_polygons;
};
// Layers are allocated and owned by a deque. Once a layer is allocated, it is maintained
// up to the end of a generate() method. The layer storage may be replaced by an allocator class in the future,
// which would allocate layers by multiple chunks.
class SupportGeneratorLayerStorage {
public:
SupportGeneratorLayer& allocate_unguarded(SupporLayerType layer_type) {
m_storage.emplace_back();
m_storage.back().layer_type = layer_type;
return m_storage.back();
}
SupportGeneratorLayer& allocate(SupporLayerType layer_type)
{
m_mutex.lock();
m_storage.emplace_back();
SupportGeneratorLayer *layer_new = &m_storage.back();
m_mutex.unlock();
layer_new->layer_type = layer_type;
return *layer_new;
}
private:
template<typename BaseType>
using Allocator = tbb::scalable_allocator<BaseType>;
Slic3r::deque<SupportGeneratorLayer, Allocator<SupportGeneratorLayer>> m_storage;
tbb::spin_mutex m_mutex;
};
using SupportGeneratorLayersPtr = std::vector<SupportGeneratorLayer*>;
} // namespace Slic3r
#endif /* slic3r_SupportLayer_hpp_ */
``` |
Barbouriidae is a family of shrimp, comprising four genera:
Barbouria Rathbun, 1912
Calliasmata Holthuis, 1973
Parhippolyte Borradaile, 1900
†Tomaricaris Garassino, Pasini & Nazarkin, 2022
See also
Parhippolyte sterreri
References
Alpheoidea
Decapod families |
```objective-c
//
// Generated by class-dump 3.5 (64 bit).
//
//
#import <WebDriverAgentLib/CDStructures.h>
#import "XCDebugLogDelegate-Protocol.h"
#import "XCTestDriverInterface-Protocol.h"
#import "XCTestManager_TestsInterface-Protocol.h"
#import "XCTestManager_IDEInterface-Protocol.h"
#import "XCTestManager_ManagerInterface-Protocol.h"
@class DTXConnection, NSMutableArray, NSString, NSUUID, NSXPCConnection, XCTestConfiguration, XCTestSuite;
@interface XCTestDriver : NSObject <XCTestManager_TestsInterface, XCTestDriverInterface, XCDebugLogDelegate>
{
XCTestConfiguration *_testConfiguration;
NSObject<OS_dispatch_queue> *_queue;
NSMutableArray *_debugMessageBuffer;
int _debugMessageBufferOverflow;
}
@property int debugMessageBufferOverflow; // @synthesize debugMessageBufferOverflow=_debugMessageBufferOverflow;
@property(retain) NSMutableArray *debugMessageBuffer; // @synthesize debugMessageBuffer=_debugMessageBuffer;
@property(retain) NSObject<OS_dispatch_queue> *queue; // @synthesize queue=_queue;
@property(readonly) XCTestConfiguration *testConfiguration; // @synthesize testConfiguration=_testConfiguration;
// Removed since Xcode 12.0
+ (instancetype)sharedTestDriver;
- (void)runTestConfiguration:(id)arg1 completionHandler:(CDUnknownBlockType)arg2;
- (void)runTestSuite:(id)arg1 completionHandler:(CDUnknownBlockType)arg2;
- (void)reportStallOnMainThreadInTestCase:(id)arg1 method:(id)arg2 file:(id)arg3 line:(unsigned long long)arg4;
- (BOOL)runTestsAndReturnError:(id *)arg1;
- (id)_readyIDESession:(id *)arg1;
- (int)_connectedSocketForIDESession:(id *)arg1;
- (void)logDebugMessage:(id)arg1;
- (id)initWithTestConfiguration:(id)arg1;
// Removed with iOS 10.3
@property(readonly) id <XCTestManager_ManagerInterface> managerProxy;
@end
``` |
Michael Jacobson is an American politician, businessman, and banker serving as a member of the Nebraska Legislature from the 42nd district. Governor Pete Ricketts appointed him on February 23, 2022.
Early life and education
Jacobson was raised on a Sutton, Nebraska farm and attended Sutton High School. He earned a Bachelor of Science degree in agricultural economics and education from the University of Nebraska–Lincoln and attended the University of Colorado Boulder's graduate banking program.
Career
After graduating from college, Jacobson worked as a teacher and farmer in Red Cloud, Nebraska. He later worked as an agricultural lending officer for City National Bank in Hastings, Nebraska. He later worked as a senior vice president at the National Bank of Commerce in Lincoln, Nebraska. In 1998, Jacobson founded NebraskaLand Bank. Jacobson has also served as the North Platte Redevelopment Authority and North Platte Airport Authority chair. He was appointed to the Nebraska Legislature by Governor Pete Ricketts in February 2022, succeeding Mike Groene.
Electoral history
References
Living people
American bankers
Republican Party Nebraska state senators
University of Nebraska–Lincoln alumni
University of Colorado Boulder alumni
Businesspeople from Nebraska
Farmers from Nebraska
People from Sutton, Nebraska
People from Clay County, Nebraska
People from North Platte, Nebraska
Year of birth missing (living people) |
```ruby
# -*- encoding: utf-8 -*-
require_relative '../../spec_helper'
require_relative 'fixtures/classes'
describe "String#casecmp independent of case" do
it "returns -1 when less than other" do
"a".casecmp("b").should == -1
"A".casecmp("b").should == -1
end
it "returns 0 when equal to other" do
"a".casecmp("a").should == 0
"A".casecmp("a").should == 0
end
it "returns 1 when greater than other" do
"b".casecmp("a").should == 1
"B".casecmp("a").should == 1
end
it "tries to convert other to string using to_str" do
other = mock('x')
other.should_receive(:to_str).and_return("abc")
"abc".casecmp(other).should == 0
end
it "returns nil if other can't be converted to a string" do
"abc".casecmp(mock('abc')).should be_nil
end
it "returns nil if incompatible encodings" do
"".casecmp("".encode(Encoding::EUC_JP)).should be_nil
end
describe "in UTF-8 mode" do
describe "for non-ASCII characters" do
before :each do
@upper_a_tilde = ""
@lower_a_tilde = ""
@upper_a_umlaut = ""
@lower_a_umlaut = ""
end
it "returns -1 when numerically less than other" do
@upper_a_tilde.casecmp(@lower_a_tilde).should == -1
@upper_a_tilde.casecmp(@upper_a_umlaut).should == -1
end
it "returns 0 when numerically equal to other" do
@upper_a_tilde.casecmp(@upper_a_tilde).should == 0
end
it "returns 1 when numerically greater than other" do
@lower_a_umlaut.casecmp(@upper_a_umlaut).should == 1
@lower_a_umlaut.casecmp(@lower_a_tilde).should == 1
end
end
describe "for ASCII characters" do
it "returns -1 when less than other" do
"a".casecmp("b").should == -1
"A".casecmp("b").should == -1
end
it "returns 0 when equal to other" do
"a".casecmp("a").should == 0
"A".casecmp("a").should == 0
end
it "returns 1 when greater than other" do
"b".casecmp("a").should == 1
"B".casecmp("a").should == 1
end
end
end
describe "for non-ASCII characters" do
before :each do
@upper_a_tilde = "\xc3"
@lower_a_tilde = "\xe3"
end
it "returns -1 when numerically less than other" do
@upper_a_tilde.casecmp(@lower_a_tilde).should == -1
end
it "returns 0 when equal to other" do
@upper_a_tilde.casecmp("\xc3").should == 0
end
it "returns 1 when numerically greater than other" do
@lower_a_tilde.casecmp(@upper_a_tilde).should == 1
end
it "does not case fold" do
"".casecmp("ss").should == 1
end
end
describe "when comparing a subclass instance" do
it "returns -1 when less than other" do
b = StringSpecs::MyString.new "b"
"a".casecmp(b).should == -1
"A".casecmp(b).should == -1
end
it "returns 0 when equal to other" do
a = StringSpecs::MyString.new "a"
"a".casecmp(a).should == 0
"A".casecmp(a).should == 0
end
it "returns 1 when greater than other" do
a = StringSpecs::MyString.new "a"
"b".casecmp(a).should == 1
"B".casecmp(a).should == 1
end
end
it "returns 0 for empty strings in different encodings" do
''.b.casecmp('').should == 0
''.b.casecmp(''.encode("UTF-32LE")).should == 0
end
end
describe 'String#casecmp? independent of case' do
it 'returns true when equal to other' do
'abc'.casecmp?('abc').should == true
'abc'.casecmp?('ABC').should == true
end
it 'returns false when not equal to other' do
'abc'.casecmp?('DEF').should == false
'abc'.casecmp?('def').should == false
end
it "tries to convert other to string using to_str" do
other = mock('x')
other.should_receive(:to_str).and_return("abc")
"abc".casecmp?(other).should == true
end
it "returns nil if incompatible encodings" do
"".casecmp?("".encode(Encoding::EUC_JP)).should be_nil
end
describe 'for UNICODE characters' do
it 'returns true when downcase(:fold) on unicode' do
''.casecmp?('').should == true
end
end
describe "when comparing a subclass instance" do
it 'returns true when equal to other' do
a = StringSpecs::MyString.new "a"
'a'.casecmp?(a).should == true
'A'.casecmp?(a).should == true
end
it 'returns false when not equal to other' do
b = StringSpecs::MyString.new "a"
'b'.casecmp?(b).should == false
'B'.casecmp?(b).should == false
end
end
describe "in UTF-8 mode" do
describe "for non-ASCII characters" do
before :each do
@upper_a_tilde = ""
@lower_a_tilde = ""
@upper_a_umlaut = ""
@lower_a_umlaut = ""
end
it "returns true when they are the same with normalized case" do
@upper_a_tilde.casecmp?(@lower_a_tilde).should == true
end
it "returns false when they are unrelated" do
@upper_a_tilde.casecmp?(@upper_a_umlaut).should == false
end
it "returns true when they have the same bytes" do
@upper_a_tilde.casecmp?(@upper_a_tilde).should == true
end
end
end
it "case folds" do
"".casecmp?("ss").should be_true
end
it "returns nil if other can't be converted to a string" do
"abc".casecmp?(mock('abc')).should be_nil
end
it "returns true for empty strings in different encodings" do
''.b.should.casecmp?('')
''.b.should.casecmp?(''.encode("UTF-32LE"))
end
end
``` |
Old Vienna (OV) is a brand of beer. It was first brewed and bottled by The Koch Beverage and Ice Company in the early 20th century in Wapakoneta, Ohio, by Henry Koch and his son Karl J. Koch. The Koch brewery went bankrupt, but production was continued in Canada by the Carling O'Keefe brewery. It is currently brewed in Canada by Molson Breweries, which has continued production after Carling O'Keefe was purchased by Molson.
This family enterprise was founded as City Company Brewing Company Company in Wapakoneta, Ohio, in 1862 by Karl Kolter and his son Charles Kolter. The beer was initially sold in wooden kegs (barrels) and stoneware bottles. Glass bottles dating from about 1880 are embossed as "City Brewing Co." on the side and the family's "TRADE KK MARK" on the bottle shoulder. The "TRADE KK MARK" is said to have been modified from a guild mark for the Kolter family's brewery in Germany.
Charles Kolter and his brother immigrated from Wallhalben, Germany, to Wapakoneta, Ohio, before the mid-19th century. His father, Karl Kolter, with his third wife and a number of children, followed a few years later. Karl Kolter was a brewer, as was his son, according to the 1880 census.
The business was later handed down to Henry Koch, Charles's son-in-law, when the brewery did business as "Koch and Kolter". Following Charles Kolter's death, the brewery became "The Koch Beverage and Ice Company", under the ownership of Henry and Karl J. Koch. Karl J. Koch died in 1934 and the ownership of what was to become "Koch's Old Vienna Brewery" passed to Karl's widow, May Julia Koch, and his son George A. Koch. The brewery was sold following World War II, but the Koch family retained ownership of the brewery's soft drink business, which became George Koch Bottling Company of Wapakoneta, Ohio. George Koch Bottling was later merged with Consolidated Bottling Company of Lima, Ohio, to become "Consolidated Bottling Company of Wapakoneta, Ohio", aka "Pepsi Cola Bottling Company of Wapakoneta". Karl W. Koch became the company's CEO in 1962. The business was moved to a new facility on Interstate 75 and 4th Street in Lima, Ohio, in 1966. The Lima Pepsi-Cola business was sold to RKO General in 1976, but Karl W. Koch repurchased the company's other assets, including its Pepsi-Cola business in Corpus Christi, Texas.
Koch's Old Vienna Brewery entered bankruptcy several years after it was sold by the Koch family. Old Vienna is now a Canadian-produced beer. Old Vienna was brewed by Carling O'Keefe, which had acquired the United States' rights to the Old Vienna trademark following the brewery's demise. It is now produced by Molson Breweries, where it is still being sold in Canada and in select markets in border U.S. states. Old Vienna is currently produced in bottles, cans and on draft with a 5% alc./vol. content. For a time in the 1970s and 1980s, OV was available in 7 oz. bottles called "OV Splits".
References
American beer brands
Canadian beer brands
Molson Coors brands
Auglaize County, Ohio
Beer brands |
The Texas Militia are the militia forces of the State of Texas. It currently consists of the Texas Army National Guard, Texas Air National Guard, and Texas State Guard. It is administered by the Texas Military Department under command of the Texas Adjutant General. Since 1846, the Texas Militia constitutes the entirety of the Texas Military Forces.
History
The Texas Militia descends from the Texian Militia established by Stephen F. Austin in 1823 to protect the Old Three Hundred in the Colony of Texas. Its most notable unit, the Texas Rangers, remained in continuous service of Texas Military Forces until 1935. Following the Texas Revolution, the Republic of Texas authorized the Texas Militia, Texas Army, and Texas Navy in the Constitution on September 5, 1836.
On December 6, 1836, the First Congress officially established the militia declaring "Every free able bodied male citizen of this republic, resident therein, who is or shall be...seventeen...and under the age of fifty years shall...be enrolled in the militia." However, no funds were appropriated. In 1837, the Second Congress passed the Militia Act of 1837 with appropriations, which established one division composed of four brigades. It was initially led by Thomas Rusk, who was replaced by Felix Huston in 1839, and Sidney Sherman in 1840.
On March 9, 1838, the Milam Guards were established by Joseph Daniels in Houston, the first new militia unit of the Republic of Texas (after the Texas Rangers). It was followed by the Travis Guards (Rifles) on March 1, 1840, and Galveston Artillery on September 13, 1840.
The Texas Army and Navy were merged with the United States Armed Forces on February 19, 1846, after the Republic of Texas became the 28th state of America, leaving the Texas Militia (including the Texas Rangers) as the only authorized force under the United States Militia Acts of 1792.
After annexation, the First Texas Legislature passed the Militia Act of 1846, which established five divisions each composed of two brigades. During the Frontier / Antebellum period, notable units included the Texas Rangers, Alamo Rifles of San Antonio, the Galveston Artillery Company, the Lone Star Military Company of Galveston, the Washington Light Guards of Houston, the Milam Rifles of Houston, the Turner Rifles of Houston, and the Refugio Riflemen.
During the America Civil War, the Texas Militia was generally designated the Home Guard or State Troops and tasked with defense of the frontier against Indian and Mexican incursion, defense of the coast against Union invasion, and suppression of Union loyalists. The Texas Militia was initially disbanded during reconstruction / military occupation, but reestablished as the Texas Volunteer Guard and Texas State Police in 1871.
Following the Militia Act of 1903, the Texas Militia was divided into separate forces:
The Texas Army National Guard and Texas Air National Guard, subject to Title 32 and Title 10 of the United States Code which legally empowers the United States government to mobilize them when more resources are needed than available in the United States Armed Forces for war, national emergency, or national security.
The Texas State Guard, only subject to Title 32 of the United States Code which legally empowers individual states to maintain military forces.
Since 1903, the Texas National Guard designation has remained the same while the Texas State Guard has been designated as the:
Texas Reserve Militia, 1905-1913
Texas Home Guard, 1914-1918 (World War I)
Texas Reserve Militia, 1919-1940
Texas Defense/State Guard, 1941-45 (World War II)
Texas State Guard Reserve Corps, 1945-1965
Texas State Guard, 1965–present
Authority
Republic of Texas
From 1836 to 1845, the Texas Militia was legally empowered by Article II, Section 6 of the Constitution of the Republic of Texas "to execute the law, to suppress insurrections, and repel invasion." It was administered by the War Department under command of the Secretary of War, Texas Adjutant General, and President of Texas.
State of Texas
From 1846 to 1903, the Texas Militia was legally empowered by the United States Militia Acts of 1792, and Article 6 of the Constitution of the State of Texas "to execute the laws of the State, to suppress insurrections, and to repel invasions."
From 1903 to present, following the Militia Act of 1903, the Texas Militia is legally empowered by Title 32 of the United States Code and Article 4, Section 7 of the Constitution of the State of Texas to "execute the laws of the state, to suppress insurrections, and to repel invasions". Operations are conducted under command of the Texas Military Department by the Texas Adjutant General.
From 1903 to present, some Texas Militia units are also subject to Title 10 of the United States Code, which legally empowers the United States government to mobilize them when more resources are needed than available in the United States Armed Forces for war, national emergency, or national security. Operations are conducted under command of the United States Department of Defense by the Secretary of Defense.
Units
The Texas Militia has undergone many redesignations and reorganizations since 1836.
Current units
Texas Army National Guard
Texas Air National Guard
Texas State Guard
Former units
Texas Militia, 1836-1845 (Republic era)
Texas Rangers
Milam Guards
Travis Guard (Rifles)
Galveston Artillery
Texas Militia, 1845-1861 (Frontier era)
Frontier Battalion (Texas Rangers)
Alamo Rifles
Galveston Artillery Company
Lone Star Military Company
Washington Light Guards
Milam Rifles
Turner Rifles
Refugio Riflemen
Texas Home Guard/State Troops, 1861-65 (American Civil War)
San Jacinto Guards
Davis Guards
Turner Rifles
Texas Volunteer Guard, 1871-1904 (Reconstruction era)
Houston Light Guards
Smith County Guards
Star Riflemen
Waco Greys
Kerrville Mounted Rifles
San Marcos Greys
Gonzales Rifles
Fannin Light Guards
Lamar Rifles
Stonewall Greys
Austin Greys
Comanche Guards
Lavaca Greys
Alamo Rifles
Palestine Rifles
Texas Reserve Militia, 1905-1913
Texas Home Guard, 1914-1918 (World War I)
Texas Reserve Militia, 1919-1940
Royal Irish Regiment
Texas Defense/State Guard, 1941-45 (World War II)
1st Training and Research Unit
2nd Training and Research Unit
First Naval Battalion
Air Corps
Texas State Guard Reserve Corps, 1945-1965
Notable engagements
See also
Texas Military Forces
Texas Military Department
List of conflicts involving the Texas Military
Awards and decorations of the Texas Military
References
Texas Military Department
Texas Military Forces |
The Cassandra Palmer series is a set of fantasy novels written by Karen Chance. The series tells the story of a young woman named Cassie Palmer, a powerful clairvoyant who has the ability to communicate with the spirit realm.
The series has appeared on the New York Times and USA Today bestseller lists, with Embrace the Night reaching #6 on the New York Times Bestseller list.
Characters
Cassandra Palmer
Cassandra "Cassie" Palmer is the protagonist of the series. A powerful seer, she was brought up by a vampire who wanted to monopolize her gift. She escaped him, but soon her past caught up with her, although not in the way she'd feared. The Pythia, the supernatural community's chief seer, was dying and she tapped Cassie to replace her.
That stuck Cassie with a lot of power she doesn't know how to use and a metric ton of new enemies. To make matters worse, a war has broken out in the supernatural community and everyone is choosing sides. Now Cassie is trying to stay alive long enough to figure out how to use the power of her office, and to determine what to do with it when she does.
Mircea Basarab
Mircea Basarab is a secondary character in the main series. He also has his own book, Masks, detailing his history as a five-hundred-year-old master vampire and a member of the Vampire Senate.
John Pritkin
John Pritkin is a war mage—a member of the supernatural community's police force—with a specialization in demon killing. But then his bosses sent him on a new mission—to kill the upstart pretender to the pythia's throne, Cassie Palmer. Later in the series, Pritkin was a former war mage and the pythia's new bodyguard.
Francoise
Francoise doesn't have a last name because she was born a poor village girl in seventeenth century France. She doesn't have much of anything else, either, after getting transported to the 21st century through an alarming series of events. Well, that's not entirely true. She still has her magic, and although it's seriously outdated, at least the Inquisition isn't after her anymore. And she has a new boyfriend who would be perfect if he wasn't possessed by an ancient demon. But Francoise has learned the hard way—you have to take what you can get out of life. And she's busy taking everything she can.
Tomas
Tomas also doesn't have a last name. He was born the bastard son of a Spanish conquistador who didn't stay around long enough to impart his surname—or much of anything else. Tomas could have taken on his master's name, once a life-challenged Spanish nobleman took a liking to him. But after being forcibly changed into a vampire and treated as a slave for four hundred years, he wasn't feeling too chummy. Now, all he wants is his hated master dead—permanently. He'll figure out the rest later.
Kit Marlowe
Kit Marlowe is a crossover character, appearing in both the Cassandra Palmer and Dorina Basarab series. A spy since Elizabethan times, he currently employs his abilities on behalf of the vampire senate. Of course, Marlowe isn't just any old spy; these days, he runs the senate's spy network and he does it very well. He's best known for being handsome, charming, and knowledgeable...and cunning, sneaky and utterly ruthless.
Billy-Joe
When she was 17, Cassie bought an "ugly old necklace" from a pawn shop and discovered that it was haunted by a ghost named Billy Joe. Billy had cheated at a card game and was subsequently shoved into a sack and tossed into the Mississippi River at the age of 29. Cassie and Billy are good friends and Billy often works as a good spy because practically none of the supernatural community can see him. He helps Cassie escape from a few scrapes throughout the novels.
Louis-César
Louis-César, a master-level vampire and duelling champion of the European Senate.
Novels
Touch the Dark, June 2006,
Claimed by Shadow, April 2007,
Embrace the Night, April 2008,
Curse the Dawn, April 2009,
Hunt the Moon, June 2011,
Tempt the Stars, October 2013,
Masks, March 2014, ASIN B00J0H0NQK
Reap the Wind, November 2015,
Ride the Storm, August 2017,
Brave the Tempest, 2019
Shatter the earth, February 2020
Short stories
The Day of the Dead - currently available on Karen Chances website and also in anthology The Mammoth Book of Vampire Romance.
The Gauntlet - a Kit Marlowe short, currently available on Karen Chance's website.
The Queens Witch - a Kit Marlowe short, currently available on Karen Chance's website.
A Family Affair - a John Pritkin novella, currently available on Karen Chance's website.
Shadowland - a John Pritkin short, currently available on Karen Chance's website.
Critical reception
In 2011, the fifth entry in the series Hunt the Moon received 4.5 stars out of 5 from Romantic Times Book Reviews. "... There is never a dull moment in a Chance novel, as the action speeds from high-stakes action to death-defying exploits guaranteed to keep readers breathless. The evolution reluctant heroine Cassie undertakes as she begins to embrace her powers has been a roller-coaster ride."
Notes
External links
Karen Chance official site
Fantasy novel series |
```java
/*
* contributor license agreements. See the NOTICE file distributed with
* this work for additional information regarding copyright ownership.
*
* 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.
*/
package org.apache.shardingsphere.proxy.backend.mysql.handler.admin.executor.variable.session;
import org.apache.shardingsphere.proxy.backend.handler.admin.executor.variable.session.ReplayedSessionVariableProvider;
/**
* Replayed session variables provider of MySQL.
*/
public final class MySQLReplayedSessionVariableProvider implements ReplayedSessionVariableProvider {
@Override
public boolean isNeedToReplay(final String variableName) {
return variableName.startsWith("@");
}
@Override
public String getDatabaseType() {
return "MySQL";
}
}
``` |
Group 3 of the 1974 FIFA World Cup was contested between 15 and 23 June 1974. Matches were played in three cities: Dortmund, Hanover and Düsseldorf.
The pool comprised Uruguay (Pot 3-South America), Bulgaria (Pot 2-Eastern Europe), Netherlands (Pot 1-Western Europe) and Sweden (Pot 4-Rest of the world).
Standings
Matches
All times listed are local (CET)
Uruguay vs Netherlands
Sweden vs Bulgaria
Bulgaria vs Uruguay
Netherlands vs Sweden
Bulgaria vs Netherlands
Sweden vs Uruguay
See also
Bulgaria at the FIFA World Cup
Netherlands at the FIFA World Cup
Sweden at the FIFA World Cup
Uruguay at the FIFA World Cup
External sources
Sweden-Uruguay, game report
Bulgaria-Uruguay, game report
1974 FIFA World Cup
Netherlands at the 1974 FIFA World Cup
Uruguay at the 1974 FIFA World Cup
Bulgaria at the 1974 FIFA World Cup
Sweden at the 1974 FIFA World Cup |
Dundee is an unincorporated community in Pipe Creek Township, Madison County, Indiana.
History
A post office was established at Dundee in 1876, and remained in operation until it was discontinued in 1902. Dundee was platted in 1883 when the railroad was extended to that point. It was likely named after Dundee, in Scotland.
Geography
Dundee is located at .
References
Unincorporated communities in Madison County, Indiana
Unincorporated communities in Indiana
Indianapolis metropolitan area |
```scala
package com.prisma.connectors.utils
import com.prisma.api.connector.ApiConnector
import com.prisma.api.connector.mongo.MongoApiConnector
import com.prisma.api.connector.mysql.MySqlApiConnector
import com.prisma.api.connector.postgres.PostgresApiConnector
import com.prisma.api.connector.sqlite.SQLiteApiConnector
import com.prisma.config.PrismaConfig
import com.prisma.deploy.connector.DeployConnector
import com.prisma.deploy.connector.mongo.MongoDeployConnector
import com.prisma.deploy.connector.mysql.MySqlDeployConnector
import com.prisma.deploy.connector.postgres.PostgresDeployConnector
import com.prisma.deploy.connector.sqlite.SQLiteDeployConnector
import scala.concurrent.ExecutionContext
object ConnectorLoader {
def loadApiConnector(config: PrismaConfig)(implicit ec: ExecutionContext, drivers: SupportedDrivers): ApiConnector = {
val databaseConfig = config.databases.head
databaseConfig.connector match {
case "mysql" => MySqlApiConnector(databaseConfig, drivers(SupportedDrivers.MYSQL))
case "postgres" => PostgresApiConnector(databaseConfig, drivers(SupportedDrivers.POSTGRES))
case "sqlite" => SQLiteApiConnector(databaseConfig, drivers(SupportedDrivers.SQLITE))
case "mongo" => MongoApiConnector(databaseConfig)
case conn => sys.error(s"Unknown connector $conn")
}
}
def loadDeployConnector(config: PrismaConfig)(implicit ec: ExecutionContext, drivers: SupportedDrivers): DeployConnector = {
val databaseConfig = config.databases.head
databaseConfig.connector match {
case "mysql" => MySqlDeployConnector(databaseConfig, drivers(SupportedDrivers.MYSQL))
case "mysql-native" => MySqlDeployConnector(databaseConfig, drivers(SupportedDrivers.MYSQL))
case "postgres" => PostgresDeployConnector(databaseConfig, drivers(SupportedDrivers.POSTGRES))
case "postgres-native" => PostgresDeployConnector(databaseConfig, drivers(SupportedDrivers.POSTGRES))
case "sqlite-native" => SQLiteDeployConnector(databaseConfig, drivers(SupportedDrivers.SQLITE))
case "native-integration-tests" => SQLiteDeployConnector(databaseConfig, drivers(SupportedDrivers.SQLITE))
case "sqlite" => SQLiteDeployConnector(databaseConfig, drivers(SupportedDrivers.SQLITE))
case "mongo" => MongoDeployConnector(databaseConfig)
case conn => sys.error(s"Unknown connector $conn")
}
}
}
``` |
Mabelle Prior (born March 17, 1976) is a Swiss Ghanaian/Togolese former broadcast journalist and producer of women's and children's programmes in the 1990s on Ghana Broadcasting Corporation. She is popularly known as 'Ghana's Queen of the Airwaves'.
Professional experience
Mabelle worked as reporter at Volta Regional Branch of the Ghana Broadcasting Corporation from 1996 to 2000. She relocated to Switzerland where she continued to work in journalism for a while before becoming first young black lady on the Federatif Committee of Migration and the first young black lady in the Federatif Committee of Women. She has also worked on BIEL International Fashion projects, a platform for promoting multicultural inter-nationality in Biel and Switzerland
Mabelle is presently the editorial director of Swiss Glamour Celebrities magazine.
Languages
Mabelle speaks six languages: Ewe, Twi, Mina, French, English and German.
Association Swiss Most Beautiful-ASMB
Mabelle is the president and founder of Association Swiss Most Beautiful. Established in 2014, ASMB organizes an annual Miss Swiss Most Beautiful pageant. The event aims to promote diversity in women's beauty.
Award and Honor
Switzerland Excellence Award for distinguished leadership and achievement in youth development & promotion of diversity in women's beauty at Palais Des Congrès In Biel on October 29, 2016, during the 3rd Election of Miss Swiss Most Beautiful.
Certificate Of Merit In recognition of distinguished contributions to Women development on November 26, 2016, in Bern at the Nigerian Business Forum in Switzerland.
References
1976 births
Living people
Ghanaian broadcasters
Ghanaian emigrants to Switzerland
Ghanaian journalists
Ghanaian women journalists |
```go
// Use of this source code is governed by a BSD-style
// license that can be found in the LICENSE file.
// +build amd64
// +build solaris
package socket
import "unsafe"
func (h *msghdr) pack(vs []iovec, bs [][]byte, oob []byte, sa []byte) {
for i := range vs {
vs[i].set(bs[i])
}
if len(vs) > 0 {
h.Iov = &vs[0]
h.Iovlen = int32(len(vs))
}
if len(oob) > 0 {
h.Accrights = (*int8)(unsafe.Pointer(&oob[0]))
h.Accrightslen = int32(len(oob))
}
if sa != nil {
h.Name = (*byte)(unsafe.Pointer(&sa[0]))
h.Namelen = uint32(len(sa))
}
}
func (h *msghdr) controllen() int {
return int(h.Accrightslen)
}
func (h *msghdr) flags() int {
return int(NativeEndian.Uint32(h.Pad_cgo_2[:]))
}
``` |
is a city located in northern Mie Prefecture, Japan. , the city had an estimated population of 49,457 in 21,745 households and a population density of 260 persons per km². The total area of the city is .
Geography
Kameyama is located in the north-central part of Mie Prefecture. The Suzuka Mountains are in the northwestern part of the city, and the Nunobiki Mountains are in the southwestern part. More than half of the city's area is forest.
Neighboring municipalities
Mie Prefecture
Tsu
Suzuka
Iga
Shiga Prefecture
Kōka
Climate
Kameyama has a Humid subtropical climate (Köppen Cfa) characterized by warm summers and cool winters with light to no snowfall. The average annual temperature in Kameyama is . The average annual rainfall is with September as the wettest month. The temperatures are highest on average in August, at around , and lowest in January, at around .
Demographics
Per Japanese census data, the population of Kameyama has increased slowly over the past 50 years.
History
Kameyama developed as the castle town of Kameyama Castle, which belonged to the Ise-Kameyama Domain under the Tokugawa shogunate. In the early 17th century, the castle town was Kameyama-juku, the forty-sixth post station of Tōkaidō. Seki-juku and Sakashita-juku on the Tōkaidō, also fall within its borders.
During the establishment of the modern municipalities system in the early Meiji period, Kamayama-juku was organized into the town of Kameyama within Suzuka District. It was elevated to city status on October 1, 1954.
On January 11, 2005, the town of Seki (also from Suzuka District) was merged into Kameyama.
Government
Kameyama has a mayor-council form of government with a directly elected mayor and a unicameral city council of 18 members. Kameyama contributes one member to the Mie Prefectural Assembly. In terms of national politics, the city is part of Mie 2nd district of the lower house of the Diet of Japan.
Economy
Candles are a traditional product of the city. Sharp Corporation has been operating one of the world's largest LCD factories in the city since January 8, 2004.
Education
Kameyama has eleven public elementary schools and three public middle schools operated by the city government and one public high school operated by the Mie Prefectural Department of Education. There is also one private high school.
Transportation
Railway
JR Tōkai – Kansai Main Line
-
JR Tōkai – Kisei Main Line
-
JR West – Kansai Main Line
- -
Highway
Higashi-Meihan Expressway
Ise Expressway
Shin-Meishin Expressway
Local attractions
Kameyama Castle
Seki-juku
International relations
Twin towns — Sister cities
Kameyama is twinned with:
Gose, Nara, Japan (1998)
Habikino, Osaka, Japan (1998)
Notable people
Shiro Hattori - linguist
Teinosuke Kinugasa - film director
Kiyoshi Toyoda - baseball player
References
External links
Kameyama City official website
Cities in Mie Prefecture
Kameyama, Mie |
Ingeborgfjellet is a mountain in Nordenskiöld Land in Spitsbergen, Svalbard. It has a height of 715 m with a secondary peak of 620 m. It is included in the Nordenskiöld Land National Park, and has an important bird cliff. Ingeborgfjellet is located north of Bellsund and west of the glacier Fridtjovbreen. It forms a characteristic ridge and is an easily recognized landmark viewed from sea.
Environment
Ingeborgfjellet was designated a Ramsar site in 2011, together with the nearby coastal region of Nordenskiöldkysten. It has also been identified as an Important Bird Area (IBA) by BirdLife International because it supports about 55,000 breeding pairs of little auks.
References
Important Bird Areas of Svalbard
Ramsar sites in Norway
Seabird colonies
Mountains of Spitsbergen |
Nicholas Daniel Murphy (1811– 6 January 1889) was an Irish politician from Cork. He was a Member of Parliament (MP) from 1865 to 1880.
Standing as a Liberal, he was elected to the Parliament of the United Kingdom at a by-election on 14 February 1865 for Cork City, after the resignation from the House of Commons of the Liberal MP Francis Lyons. He was re-elected unopposed at the general election in July 1865, and held the seat against Irish Conservative Party candidates at the 1868 general election. In 1874, having joined the new Home Rule League (founded in 1873), he was returned to the House of Commons for a fourth time, defeating both Conservative candidates and an independent nationalist.
However, at the 1880 general election, he stood once again as a Liberal, but lost his seat.
References
External links
1811 births
1890 deaths
Members of the Parliament of the United Kingdom for Cork City
UK MPs 1859–1865
UK MPs 1865–1868
UK MPs 1868–1874
UK MPs 1874–1880
Irish Liberal Party MPs
Home Rule League MPs |
Kelton Bradford Garwood, also known and credited as Jonathan Harper, and John Harper, (May 21, 1928 – July 28, 1991) was an American actor on stage, film and television, perhaps best known as undertaker Percy Crump on the western television show Gunsmoke.
Early life
Kelton Bradford Garwood was born in Columbus, Ohio, the middle of three sons for William E. Garwood, a bank teller, and Marquise V. Trott. He was still in high school when he registered for the draft on his eighteenth birthday in 1946. The draft registrar recorded him as being 6'3" (191 cm), 160 pounds (73 kg), with blue eyes and blonde hair.
Military service and college
Following high school, Garwood enlisted in the United States Marine Corps, where by July 1947 he was a private assigned to photographic reconnisance squadron VMP-354 at Marine Corps Air Station Cherry Point, North Carolina.
Upon his discharge, Garwood enrolled at Ohio State University, majoring in Drama. He graduated in Spring 1952, by which time he had already acquired some professional stage experience.
Early stage career
After college Garwood joined the Pine Tree Players in Laurel, Maryland for the 1952 summer stock season. He performed in one week runs of My Sister Eileen, Light Up the Sky, All My Sons, and Guest in the House. He was granted a room and board scholarship to the Oregon Shakespeare Festival for the Summer of 1952.
From Fall 1952 through Spring 1953 he was in New York City, taking advanced seminars from the American Theatre Wing. He specialized in theatrical fencing, studying with Eddie Lucia, an Olympic Coach. While in New York, he also did some television work, though details of this are not known. Garwood put his specialty to work in a season of summer stock during 1953 in Yellow Springs, Ohio, where he both performed Shakespeare with the Antioch Area Theater and served as their fencing master. He performed with Robert Preston and Jack Klugman in a production of Detective Story at York, Pennsylvania during October 1953. He then moved south to Baltimore where he spent the winter season with a troupe of players at the Hilltop Theatre-Parkway, performing in Stalag 17, Mister Roberts, Kiss and Tell with Margaret O'Brien, Ramshackle Inn with ZaSu Pitts, and several other plays.
Garwood returned to the Antioch Area Theater for the 1954 summer season, again serving in a dual capacity as actor and fencing master. He also performed with the Antioch players in a winter production of The Tempest at Cincinnati Music Hall, accompanied by the Cincinnati Symphony Orchestra in the American debut of incidental music for the play, composed by Jean Sibelius in 1925.
Further stage career
His first starring stage role and longest-running stage performance was as Osceola in Florida Aflame from January thru April 1955. Garwood had auditioned for the part in New York City, for this outdoor production in a new amphitheater built in Philippe Park at Safety Harbor, Florida. This was not a pageant, but an actual drama by John Caldwell in which Garwood portrayed the tragic hero.
Garwood performed again with the Antioch Area Theatre's annual Shakespeare festival during the Summer of 1955. A guest director at the festival, Jack Landau, cast Garwood for his Fall production of The Carefree Tree. This play by Aldyth Morris opened at the Phoenix Theatre in New York City on October 11, 1955; Farley Granger and Janice Rule starred, with Edith Meiser, Blanche Yurka, Alvin Ailey and Jerry Stiller in supporting roles. Garwood had a small feature part in this two-act play based on an ancient Chinese legend, his first Broadway performance. The writing was panned by critics, and the show closed November 6, 1955.
From February thru April 1956 Garwood again performed in an outdoor drama, this time at the Suncoast Amphitheatre in Ruskin, Florida. Voice in the Wind by Kermit Hunter concerned events during the first two Seminole Wars; Garwood had a supporting role as the villain. He then returned to the Antioch Area Theatre for its Shakespeare festival from late June through early September 1956, and again the following summer of 1957.
Garwood's second Broadway performance came during January 1958, when The Chairs by Eugène Ionesco, staged by Tony Richardson, had its American debut at the Phoenix Theatre. It was part of a double-bill that included another one-act play by Ionecso, The Lesson; both were performed for a limited engagement of two weeks. Garwood played The Orator; his co-stars were Joan Plowright (The Old Woman) and Eli Wallach (The Old Man). Brooks Atkinson of The New York Times said "these odd, elliptical fantastifications are amusing and provocative", while columnist Joan Hanauer felt they were "for people who like to be bothered and bewildered".
Screen career
After doing Ionesco on Broadway, Garwood relocated to Los Angeles. Director Blake Edwards was so impressed that he arranged for Garwood to begin a film career, with a supporting role of Magician in the 1959 episode "Murder on the Midway" of the television series Peter Gunn. Afterwards, he became a notable supporting character actor in over 45 features, often portraying husbands, fathers, eccentrics, aristocrats, cowboys, sheriffs, policemen, reporters, detectives, clerks, and in his later years, patriarchs.
His film career including roles in The Miracle of the Hills (1959), The Story of Ruth (1960), The Wizard of Baghdad (1961), Move Over, Darling (1963), The Sandpiper (1965), A Covenant with Death (1967), Big Daddy (1969), and Return to Snowy River (1988).
On television, he was a familiar face in the guest cast of Bachelor Father, The Big Valley, Captain Nice, The Danny Kaye Show, Destry, I Dream of Jeannie, Empire, Get Smart, The Girl from U.N.C.L.E., Have Gun – Will Travel, Hondo, Hotel de Paree, Iron Horse, Laredo, The Magical World of Disney, The Man from U.N.C.L.E., The Many Loves of Dobie Gillis, Mister Ed, The Monkees, The Munsters, Overland Trail, Rawhide, The Rebel, The Red Skelton Hour, The Rifleman, Ripcord, Sea Hunt, Tales of Wells Fargo, Tate, Two Faces West, The Untouchables, Wagon Train, The Waltons and of course twelve appearances on Gunsmoke, nine of which are as Undertaker Percy Crump. In The Twilight Zone, he guest-starred as the hobo in the episode "Five Characters in Search of an Exit". He also played the recurring role of the character Beauregard O'Hanlon in Bourbon Street Beat.
On stage, his appearances include the play A Touch of the Poet (1963).
Personal life
From 1958 until his death, Garwood was married to interior designer Janet Garwood and the couple had two sons, one of whom became professional golfer Doug Garwood.
Filmography
A partial filmography follows.
Film
The Miracle of the Hills (1959)
The Story of Ruth (1960)
The Wizard of Baghdad (1961)
Move Over, Darling (1963)
The Sandpiper (1965)
A Covenant with Death (1967)
Big Daddy (1969)
Return to Snowy River (1988)
Television
References
External links
1928 births
1991 deaths
Actors from Columbus, Ohio
Male actors from Columbus, Ohio
American male film actors
American male television actors
20th-century American male actors
American male stage actors
Ohio University alumni
Western (genre) television actors |
```go
/*
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.
*/
// Code generated by client-gen. DO NOT EDIT.
package v1
import (
v1 "k8s.io/api/scheduling/v1"
serializer "k8s.io/apimachinery/pkg/runtime/serializer"
"k8s.io/client-go/kubernetes/scheme"
rest "k8s.io/client-go/rest"
)
type SchedulingV1Interface interface {
RESTClient() rest.Interface
PriorityClassesGetter
}
// SchedulingV1Client is used to interact with features provided by the scheduling.k8s.io group.
type SchedulingV1Client struct {
restClient rest.Interface
}
func (c *SchedulingV1Client) PriorityClasses() PriorityClassInterface {
return newPriorityClasses(c)
}
// NewForConfig creates a new SchedulingV1Client for the given config.
func NewForConfig(c *rest.Config) (*SchedulingV1Client, error) {
config := *c
if err := setConfigDefaults(&config); err != nil {
return nil, err
}
client, err := rest.RESTClientFor(&config)
if err != nil {
return nil, err
}
return &SchedulingV1Client{client}, nil
}
// NewForConfigOrDie creates a new SchedulingV1Client for the given config and
// panics if there is an error in the config.
func NewForConfigOrDie(c *rest.Config) *SchedulingV1Client {
client, err := NewForConfig(c)
if err != nil {
panic(err)
}
return client
}
// New creates a new SchedulingV1Client for the given RESTClient.
func New(c rest.Interface) *SchedulingV1Client {
return &SchedulingV1Client{c}
}
func setConfigDefaults(config *rest.Config) error {
gv := v1.SchemeGroupVersion
config.GroupVersion = &gv
config.APIPath = "/apis"
config.NegotiatedSerializer = serializer.DirectCodecFactory{CodecFactory: scheme.Codecs}
if config.UserAgent == "" {
config.UserAgent = rest.DefaultKubernetesUserAgent()
}
return nil
}
// RESTClient returns a RESTClient that is used to communicate
// with API server by this client implementation.
func (c *SchedulingV1Client) RESTClient() rest.Interface {
if c == nil {
return nil
}
return c.restClient
}
``` |
The 2018–19 season was the 48th in the history of Essex Senior Football League, a football competition in England.
The provisional club allocations for steps 5 and 6 were announced by the FA on 25 May 2018. The constitution was ratified by the league at its AGM.
The league featured 16 clubs which competed in the division last season, along with four new clubs.
Clubs transferred from the Spartan South Midlands League:
Hoddesdon Town
St Margaretsbury
Clubs transferred from the Eastern Counties League:
Saffron Walden Town
Stanway Rovers
Also, Wadham Lodge changed name to Leyton Athletic, while Waltham Forest changed name to Walthamstow.
Hullbridge Sports were champions, winning their first Essex Senior League title and were promoted to the Isthmian League.
League table
References
Essex Senior Football League seasons
9 |
```go
package resinit
import "net"
// Work around a glibc bug where cached configs from /etc/resolv.conf can cause
// DNS failures after the network changes. This is a no-op on non-Linux
// platforms. See implementation details in resinit_linux.go. The Rust standard
// library contains a similar workaround:
// path_to_url#L186-L190
func ResInitIfDNSError(err error) {
// There are two error cases we need to handle, a raw *net.DNSError, and
// one wrapped in a *net.OpError. Detect that second case, and unwrap it.
if opErr, isOpErr := err.(*net.OpError); isOpErr {
err = opErr.Err
}
if _, isDNSError := err.(*net.DNSError); isDNSError {
resInit()
}
}
``` |
Admiral Sir Herbert Meade-Fetherstonhaugh, (né Meade; 3 November 1875 – 27 October 1964) was a British admiral in the Royal Navy.
Biography
He was born in London as Herbert Meade, the third son of the then Baron Gillford, who later became, in 1879, The 4th Earl of Clanwilliam, later Admiral of the Fleet, and Elizabeth Henrietta Kennedy. He adopted the additional surname of Fetherstonhaugh by Royal Licence in 1931.
He joined the Royal Navy and was promoted lieutenant in 1897. In November 1902, he was posted to the battleship HMS Venerable, as she received its first commission going to the Mediterranean Fleet. He was promoted to commander in 1908 and captain in 1914. In 1912 he was given command of HMS Goshawk which took part in the Battle of Heligoland in 1914 and was instrumental in the sinking of the German destroyer V187. He was in command of the light cruisers HMS Royalist at the Battle of Jutland in 1916 and HMS Ceres at the Second Battle of Heligoland Bight in 1917.
From April 1918 to April 1919 he was the Naval Assistant to the Second Sea Lord and then took command for a short time of the battlecruiser HMS Renown before being appointed for three years as Captain of the Royal Naval College, Dartmouth (1923–26). In 1924 he was also appointed Naval Aide-de-Camp to the king.
He was made a Commander of the Royal Victorian Order (CVO) in July 1922, a Companion of the Order of the Bath (CB) in the 1925 Birthday Honours and advanced to Knight Commander of the Royal Victorian Order (KCVO) in May 1929. He was promoted to vice-admiral on 8 May 1930 and in 1931 given the post of Vice-Admiral Commanding H.M. Yachts, a position he held until December 1934. He was promoted to the rank of admiral on 31 July 1934, advanced to Knight Grand Gross of the Royal Victorian Order (GCVO) in December of that year and retired at his own request in July 1936.
From 1939 to 1946 he was Serjeant-at-Arms of the House of Lords.
He died in 1964. He had married in 1911 Margaret Isabel Frances Glyn, the daughter of the Rt. Rev. Hon. Edward Carr Glyn, the Bishop of Peterborough and had 2 sons and 2 daughters. The youngest son, John Herbert Meade, succeeded his cousin as the 7th Earl Clanwilliam. The family lived at Uppark, Sussex which the admiral inherited in 1930.
References
External links
1875 births
1964 deaths
Royal Navy admirals
Knights Grand Cross of the Royal Victorian Order
Companions of the Order of the Bath
Younger sons of earls
Military personnel from London
Royal Navy officers of World War I |
Wonderstrands refers to the Furðustrandir, a stretch of coastline mentioned in the Icelandic Eiríks saga, relating the deeds of Erik the Red. It was reported to be located north of Straumfjörð and south of Kjalarnes promontory.
Some believe that it refers to the extended beaches located on the coast of Labrador, province of Newfoundland and Labrador, Canada. In The Vinland Sagas and the Actual Characteristics of Eastern Canada, Swedish archaeologist Mats G. Larsson references philologist Jan Paul Strid and puts forward that a more modern translation of Furðustrandir and examination of the sagas may put the Wonderstrands between Gabarus Bay and St. Peter’s Bay, Cape Breton Island, Nova Scotia, Canada.
The name
The first element in the Norse name is the genitive form of furða "wonder, astonishment"; the adjective furðuligr has the meaning "strange". This word is not used or found in other place names from Norse times.
Location according to the saga
According to Sephton’s 1880 translation of the saga, the Wonderstrands was beyond Helluland, Markland and Kjalarnes, but north of Straumfjörð and Hóp.
One version of the saga of Erik the Red accounts the location thus, starting from Vestribygd (probably Western Settlement):
Suggested locations
There is no popular or scholarly agreement on the exact location of the Wonderstrands, and Fridtjof Nansen and Helge Ingstad held that the Saga of Erik the Red in general could not be trusted. The suggestions that have been made, however, place the Wonderstrands from southern Labrador to coastlines beyond Cape Cod. It would appear that the lion's share of estimates that have been made suggest a stretch of coast somewhere to the south of Cape Breton Island, Nova Scotia; nearly all conceive the Wonderstrands to be somewhere south of the Strait of Belle Isle.
The most recent estimate, backed by archeological findings of pitfall traps as well as by geographical observations, was presented in a 2012 article by Jónas Kristjánsson. He suggests that the Wonderstrands refers to the coastline between L'Anse aux Meadows and Sop's Bay, on Newfoundland.
See also
Vinland
Vinland sagas
References
External links
Picture of beach
Beaches of Southeast Cape Breton
Cape Gabarus as Kjalarnes
Geography of Newfoundland and Labrador
Geography of Nova Scotia
Viking Age populated places
Norse colonization of North America
Saga locations |
KSOR (90.1 FM) is a National Public Radio member station licensed to Ashland, Oregon. The station is owned by Southern Oregon University, and is an affiliate of Jefferson Public Radio. It is the flagship of JPR's "Classics & News" service, consisting of news and classical music programming.
KSOR was the original station in what would become JPR, signing on in 1969.
External links
ijpr.org
SOR
Classical music radio stations in the United States
NPR member stations
Southern Oregon University
1969 establishments in Oregon
Radio stations established in 1969 |
The George Hoffman House is an historic home which is located in West Whiteland Township, Chester County, Pennsylvania.
It was listed on the National Register of Historic Places in 1984.
History and architectural features
Built in five sections, four of which are stone, the George Hoffman House is considered a vernacular additive dwelling, with the oldest sections dated to the eighteenth century.
Also located on the property are a contributing shed, a double-decker stone barn and a corn crib.
It was listed on the National Register of Historic Places in 1984.
References
Houses on the National Register of Historic Places in Pennsylvania
Houses in Chester County, Pennsylvania
National Register of Historic Places in Chester County, Pennsylvania |
```julia
#!/usr/bin/env julia
#
# @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.
import Distributions: cdf, Cauchy
import JSON
"""
gen( x, x0, gamma, name )
Generate fixture data and write to file.
# Arguments
* `x`: input value
* `x0`: location parameter
* `gamma`: scale parameter
* `name::AbstractString`: output filename
# Examples
``` julia
julia> x = rand( 1000 ) .* 100.0;
julia> x0 = rand( 1000 ) .* 25.0;
julia> gamma = rand( 1000 ) .* 20.0;
julia> gen( x, x0, gamma, \"data.json\" );
```
"""
function gen( x, x0, gamma, name )
z = Array{Float64}( undef, length(x) );
for i in eachindex(x)
z[ i ] = cdf( Cauchy( x0[i], gamma[i] ), x[i] );
end
# Store data to be written to file as a collection:
data = Dict([
("x", x),
("x0", x0),
("gamma", gamma),
("expected", z)
]);
# Based on the script directory, create an output filepath:
filepath = joinpath( dir, name );
# Write the data to the output filepath as JSON:
outfile = open( filepath, "w" );
write( outfile, JSON.json(data) );
write( outfile, "\n" );
close( outfile );
end
# Get the filename:
file = @__FILE__;
# Extract the directory in which this file resides:
dir = dirname( file );
# Random (negative median):
x = rand( 1000 ) .* 100.0 .- 200.0;
x0 = rand( 1000 ) .* -50.0;
gamma = rand( 1000 ) .* 20.0;
gen( x, x0, gamma, "negative_median.json" );
# Random (positive median):
x = rand( 1000 ) .* 100.0 .- 200.0;
x0 = rand( 1000 ) .* 50.0;
gamma = rand( 1000 ) .* 20.0;
gen( x, x0, gamma, "positive_median.json" );
# Random (large gamma):
x = rand( 1000 ) .* 2.0;
x0 = rand( 1000 ) .* 1.0;
gamma = rand( 1000 ) .* 50.0;
gen( x, x0, gamma, "large_gamma.json" );
``` |
Grand Lake is a lake in the Ottawa River drainage basin in the geographic townships of Barron and Stratton in the Unorganized South Part of Nipissing District in Northeastern Ontario, Canada.
The lake is long and narrow and lies in an east–west orientation, mostly in Barron Township except for the southeastern end which is in Stratton Township; it is entirely within Algonquin Provincial Park. The primary inflows are the Barron River from its source at Clemow Lake at the west and Carcajou Creek that enters the lake over the Carcajou Falls at the head of Carcajou Bay at the southeast. Primary outflow is the Barron River, controlled by the Grand Lake Dam, which flows at the east to Stratton Lake and further via the Petawawa River to the Ottawa River.
Grand Lake is crossed in the middle by the originally Canadian Northern Railway, later Canadian National Railway, main line, abandoned since 1994. The Achray park campground, formerly a station on the railway, is located on the north shore, and the unincorporated place of Hydro is on the former railway line at the western tip of the lake, near where a Hydro One hydroelectricity transmission line passes.
The lake is notable as the location where Tom Thomson painted The Jack Pine. There are also some petroglyphs on the granite cliffs on the north side of Carcajou Bay.
Tributaries
"Right" and "left" are with reference to the Barron River.
Barron River
Carcajou Creek (right)
Johnston Creek (left)
Rowan Creek (left)
Borutski Creek (left)
Depot Creek (left)
See also
List of lakes in Ontario
References
Reservoirs in Ontario
Lakes of Nipissing District |
The Loveless Cafe is a restaurant in southwest Nashville, Tennessee, on Highway 100 just east of the northern terminus of the Natchez Trace Parkway. It is known for its Southern cooking, especially for its biscuits, fruit preserves, country ham, and red-eye gravy. The establishment has received acclaim from USA Today, Southern Living, Frommer's, and a number of other prominent national publications. It was purchased by Charles A. Elcan and his wife Trisha Frist, the daughter of Thomas F. Frist Jr., in December 2014.
History
In 1951, Lon and Anne Loveless purchased the "Harpeth Valley Tea Room" on Highway 100 and renamed it the Loveless Motel and Cafe. They originally served only chicken at picnic tables on their front porch, but eventually converted rooms in the house to accommodate a bigger menu and a need for more dining space. They owned the motel and cafe for eight years before selling it to Cordell and Stella Maynard in 1959. In 1973, the Maynards sold the business to Charles and Donna McCabe. Their 12-year-old son George became a full business partner at Loveless in 1982. He expanded the services of the Loveless by creating Loveless Motel and Cafe's "Hams & Jams" mail-order business and catalog.
Motel operations ceased in 1985 and the 14 units were converted into rooms for mail orders, storage and a special dining room. In 2003, the Loveless Cafe was sold to a few committed Nashville natives. They closed the cafe in February 2004 for restorations. The five-month project included a new kitchen, new restrooms and additional seating. The two buildings containing the old motel rooms were converted to Hams & Jams Country Market and the Loveless Motel Shops. The renovation was awarded the Critic's Choice for Best Resurrection of an Institution by the Nashville Scene later that year.
Awards and recognition
Print publications
Examples of recognition for the Loveless Cafe by national publications include:
-USA Today: The newspaper suggested that the "miraculously flaky and feathery biscuits" from Loveless Cafe, were "Nashville's second-most-important contribution to American culture."
-People Magazine: The magazine declared the Loveless Country Ham "the best in America."
-Bon Appetit: Jefferson Morgan wrote that "On a scale of 1 to 10, my breakfast came in at about a 14."
-Southern Living: Told readers that the, "biscuits and gravy are good enough to sing about."
Television
Carol Fay Ellison, locally known as "the biscuit lady," demonstrated Southern cooking on several television programs such as Late Night with Conan O'Brien, Martha, NBC's Today Show, Throwdown! with Bobby Flay, CBS's The Early Show, and The Ellen DeGeneres Show.
Furthermore, the Loveless Cafe was named the "Best Country Restaurant in America" by The Home Show on ABC in 1993,
Celebrities
Many of the celebrities who have eaten at the Loveless Cafe have left signed photographs which now adorn the entry way. Some of Loveless's fans include Willard Scott (of NBC Today) who stated that the restaurant has the "world's greatest scratch biscuits," and Martha Stewart who said "it was the best breakfast I've ever had." In a volume of Country America, the magazine noted "Al Gore, Princess Anne, and just about any Country Star you could name have all pulled up a chair to Loveless Cafe's red checkered tablecloths."
Food and menu
The Loveless Cafe serves Southern style cooking, and is most famous for its biscuits, country ham, and red-eye gravy. The biscuit recipe was created by Anne Loveless and is still closely guarded today. Many of the ingredients are farmed and produced in Tennessee, and all menu items are made from scratch. Loveless serves a full breakfast all day, every day and the supper menu is served from 11 a.m. until closing daily. The Loveless Cafe also provides a catering menu for large group events.
The Loveless Barn
Designed by architect Seab Tuck, the Loveless Barn is a 4,800 square foot event venue located on the grounds of the Loveless Cafe. It opened in 2009 and was home to the Music City Roots Festival, a live concert series that takes place every Wednesday at 7 p.m. The Loveless Barn is also available to rent for parties, weddings and other occasions. At a maximum, it can host 1,000 people.
See also
List of motels
References
External links
Loveless Cafe
Restaurants in Nashville, Tennessee
Motels in the United States
Natchez Trace
Restaurants established in 1951
Frist family
1951 establishments in Tennessee |
Oh, What a Night may refer to:
Film
Oh, What a Night! (1926 film), an American silent film
Oh, What a Night (1935 film), a British comedy film
Oh, What a Night (1944 film), an American crime drama film
Oh, What a Night (1992 film), a Canadian teen romantic comedy film
Music
"Oh, What a Night" (The Dells song), 1956, re-released 1969
"Oh What a Night" (Guano Apes song), 2011
"December, 1963 (Oh, What a Night)", a song by the Four Seasons, 1975
"Oh What a Night", a song by Elle Varner from Perfectly Imperfect, 2012
"Oh, What a Night", a song by the Monkees from Justus, 1996
"Oh, What a Night", a song by Status Quo from If You Can't Stand the Heat..., 1978
See also
Oh, What a Knight!, a 1910 American silent short film
Oh What a Knight, a 1928 cartoon short featuring Oswald the Lucky Rabbit
Oh, What a Knight!, a 1937 short film featuring Herman Bing
What a Night (disambiguation) |
Rzeszow Power Station () is a coal-fired thermal power station in Rzeszów, Poland. In first construction phase four 25 MWt generators were built between 1976 and 1983. To these were added two Sefako WP-120 generators with a total thermal capacity of 280 MWt between 1983 and 1988. Plans to install two BC-50 units were cancelled. In 2003 one of the two WP-120 generators units was replaced by a gas-and-steam BGP-100 generator.
The flue gas stack of Rzeszow Power Station is tall.
References
Coal-fired power stations in Poland
Natural gas-fired power stations in Poland
Power station |
The Treaty of Maastricht, signed in 1843 by Belgium and the Netherlands four years after the Treaty of London established Belgian independence, finally settled the border between the two countries.
Border enclaves
Inability to decide a clear line of demarcation in Baarle-Hertog resulted in the division of the disputed territory into 5732 separate parcels of land. Theu formed part of a very complicated frontier, which sometimes passes through houses and has tiny enclaves because of land ownership dating back to the 12th century. A few of the Belgian enclaves within Dutch territory even have Dutch counter-enclaves within them.
Part of the left bank of the Meuse, near Maastricht, was returned to the Netherlands.
See also
Baarle-Hertog
Treaty of London (1839)
Iron Rhine and Iron Rhine Treaty of 1873
Maastricht Treaty of the European Union
References
External links
History of Maastricht
19th century in the Netherlands
1843 in Belgium
1843 in the Netherlands
Treaties of Belgium
Treaties of the Netherlands
Belgium–Netherlands border
Boundary treaties
1843 treaties
August 1843 events |
Pudong Subdistrict () is a subdistrict situated situated in the southern part of Beichen District, Tianjin, China. It borders Tianmu Town to the north and west, Yixingbu Town to the east, and Tiedonglu Subdistrict to the south. Its population is 57,621 in the 2010 census.
The subdistrict was founded in 2004. Its name "Pudong" is referring Pujihe East Avenue that runs east–west through the subdistrict.
Administrative divisions
In 2022, Pudong Subdistrict composes 23 residential communities. They are listed as follows:
Wanke Xincheng (万科新城)
Tianyuan Xiaoqu (田园小区)
Wanda Xincheng Diyi Shequ(万达新城第一社区)
Jinri Jiayuan (今日家园)
Baoli Xinyuan (宝利新苑)
Puxing Li (普兴里)
Jinyi Li (金宜里)
Guoyi Li (国宜里)
Pukang Li (普康里)
Dushi Taoyuan (都市桃源)
Guoli Beili (国宜北里)
Fuyi Li (富宜里)
Qiangyi Li (强宜里)
Pudong Xinyuan (普东新苑)
Qiuyi Jiayuan (秋怡家园)
Hongli Huayuan (红荔花园)
Huaixing Yuan (淮兴园)
Huaisheng Yuan (淮盛园)
Xianghe Yuan (祥和园)
Chenyi Huayuan (宸宜花园)
Chenxin Huayuan (宸欣家园)
Tianshili Huayuan (天士力花园)
Minyi Li (民宜里)
See also
List of township-level divisions of Tianjin
References
Subdistricts of Tianjin
Beichen District |
```php
<?php
/**
*/
?>
<!DOCTYPE html>
<html class="ng-csp" data-placeholder-focus="false" lang="<?php p($_['language']); ?>" data-locale="<?php p($_['locale']); ?>" translate="no" >
<head data-requesttoken="<?php p($_['requesttoken']); ?>">
<meta charset="utf-8">
<title>
<?php p($theme->getTitle()); ?>
</title>
<meta name="viewport" content="width=device-width, initial-scale=1.0, minimum-scale=1.0<?php if (isset($_['viewport_maximum_scale'])) {
p(', maximum-scale=' . $_['viewport_maximum_scale']);
} ?>">
<meta name="theme-color" content="<?php p($theme->getColorPrimary()); ?>">
<meta name="csp-nonce" nonce="<?php p($_['cspNonce']); /* Do not pass into "content" to prevent exfiltration */ ?>">
<link rel="icon" href="<?php print_unescaped(image_path('core', 'favicon.ico')); /* IE11+ supports png */ ?>">
<link rel="apple-touch-icon" href="<?php print_unescaped(image_path('core', 'favicon-touch.png')); ?>">
<link rel="mask-icon" sizes="any" href="<?php print_unescaped(image_path('core', 'favicon-mask.svg')); ?>" color="<?php p($theme->getColorPrimary()); ?>">
<?php emit_css_loading_tags($_); ?>
<?php emit_script_loading_tags($_); ?>
<?php print_unescaped($_['headers']); ?>
</head>
<body id="body-public" class="layout-base">
<?php include 'layout.noscript.warning.php'; ?>
<?php include 'layout.initial-state.php'; ?>
<div id="content" class="app-public" role="main">
<?php print_unescaped($_['content']); ?>
</div>
</body>
</html>
``` |
Metopios is a genus of moth in the family Gelechiidae. It contains the species Metopios tozeurellum, which is found in North Africa.
References
Gelechiidae
Gelechiidae genera |
Smile (stylized as SMiLE) is an unfinished album by the American rock band the Beach Boys that was intended to follow their 1966 album Pet Sounds. It was to be an LP of twelve tracks assembled from modular fragments, the same editing process used for their "Good Vibrations" single. Instead, after a year of recording, the album was shelved and the group released a downscaled version, Smiley Smile, in September 1967. Over the next four decades, few of the original Smile tracks were officially released, and the project came to be regarded as the most legendary unreleased album in popular music history.
The album was produced and almost entirely composed by Brian Wilson with guest lyricist and assistant arranger Van Dyke Parks, both of whom conceived the project as a riposte to the British sensibilities that had dominated popular music of the era. Wilson touted Smile as a "teenage symphony to God" to surpass Pet Sounds. It was a concept album that was planned to feature word paintings, tape manipulation, more elaborate vocal arrangements, experiments with musical acoustics, themes of youth and innocence, and comedic interludes, with influences drawn from mysticism, pre-rock and roll pop, doo-wop, jazz, ragtime, musique concrète, classical, American history, poetry, spirituality, and cartoons. Over 50 hours of tape was recorded, ranging from musical and spoken word to sound effects and role-playing. The lead single would have been "Heroes and Villains", about the early history of California, or "Vega-Tables", a tongue-in-cheek promotion of organic food.
Numerous issues, including legal entanglements with Capitol Records, Wilson's uncompromising perfectionism and mental instabilities, as well as Parks' withdrawal from the project in early 1967, prevented the album's completion. Most of the tracks were produced between August and December 1966, but few were ever finished, and the album's structure was never finalized. Afraid of the public's reaction to his work, Wilson blocked attempts to release Smile in the subsequent years. After the group issued a truncated version of "Heroes and Villains", they reworked some of the material into new songs, such as "Cool, Cool Water", and completed only three more tracks, "Our Prayer", "Cabinessence" and "Surf's Up". A mythology grew around the project, and its unfulfilled potential inspired many artists, especially those in indie rock, post-punk, electronic, and chamber pop genres.
Smile had been estimated to be "50% done" by mid-1967. Since the 1980s, extensive session recordings have circulated widely on bootlegs, allowing fans to assemble hypothetical versions of a finished album, adding to its legacy as an interactive project. Responding to this, Capitol included a loose reconstruction of the album on the 1993 box set Good Vibrations. In 2004, Wilson, Parks, and Darian Sahanaja arranged a version of Smile for concert performances, billed as Brian Wilson Presents Smile, which Wilson then adapted into a solo album. He stated that this version differed substantially from his original vision. The 2011 compilation The Smile Sessions was the first official package devoted to the original Beach Boys' recordings and included an approximation of the completed album. It received universal acclaim and won Best Historical Album at the 55th Grammy Awards.
Background
In late 1964, as Brian Wilson's industry profile grew, he became acquainted with various individuals from around the Los Angeles music scene. He also took an increasing interest in recreational drugs (particularly marijuana, LSD, and Desbutal). According to his then-wife Marilyn, Wilson's new friends "had the gift of gab[...] All of a sudden [Brian] was in Hollywood—these people talk a language that was fascinating to him. Anybody that was different and talked cosmic or whatever[...] he liked it." Wilson's closest friend in this period was Loren Schwartz, an aspiring talent agent that he met at a recording studio. Schwartz introduced Wilson to marijuana and LSD, as well as a wealth of literature commonly read by college students. During his first LSD trip, Wilson had what he considered to be "a very religious experience" and claimed to have seen God.
In November 1965, early in the sessions for the Beach Boys' 11th studio LP Pet Sounds, Wilson began experimenting with the idea of recording an album focused on humor and laughter. He was intent on making Pet Sounds a complete departure from previous Beach Boys releases and did not wish to work with his usual lyricist, Mike Love. Instead, he worked with jingle writer Tony Asher on most of the album's songs. On February 17, 1966, Wilson began tracking their song "Good Vibrations", which was intended for Pet Sounds but omitted due to Wilson's dissatisfaction with the recording. He attempted a couple of different arrangements of the track from then until April.
Wilson stated at the time that he "wanted to write [songs] with more than one level. Eventually, I would like to see longer singles—so that the song can be more meaningful. A song can, for instance, have movements—in the same way as a classical concerto—only capsulized." Starting with the fourth session held for "Good Vibrations", on May 4, he began recording the song in sections, rather than tracking the full piece all the way through, with the intention of later splicing the fragments into a composite track.
Released on May 16, Pet Sounds was massively influential, containing sophisticated orchestral arrangements that raised the band's prestige to the top level of rock innovators. In the US, the album confused their fans and sold worse than previous Beach Boys releases, but in the UK, the reception was highly favorable. The UK success emboldened Wilson to take greater creative risks and helped convince the band's label, Capitol Records, to fund and promote his next project, however ambitious it may be.
Creative circle
Collaboration with Parks
In 1966, Wilson attended a party held at the home of the Byrds' record producer Terry Melcher. There, he was introduced to Van Dyke Parks, a 23-year-old professional songwriter, arranger, session musician, and former child actor. Parks had moved to Los Angeles a few years earlier, hoping to compose the scores to Disney films, but instead lent his services to the Byrds and MGM pop groups the Mojo Men and Harper's Bizarre. During this meeting, Wilson noticed that Parks had an unusually articulate manner of speaking. Wilson had been searching for a new lyricist, and soon after, approached Parks with the offer to write lyrics for the Beach Boys' next album. Parks had worries, having heard that Asher had dissociated himself from Wilson and the Beach Boys, but nonetheless agreed to collaborate.
Between July and September, Wilson and Parks wrote many songs together at Wilson's Beverly Hills home for the upcoming project, tentatively called Dumb Angel. Writing sessions may have also extended to October or November. Aside from playing on some of the Smile recording dates, Parks' contributions were limited to writing words to Wilson's melodies. He said: "I had no input whatsoever in the music. I was a total lyricist and sometimes an instrumentalist." Like Asher, Parks had minimal experience as a lyricist, and Wilson had little prior knowledge of his collaborator's musical background.
Parks implied in various interviews that he and Wilson shared an understanding of the album's Americana thematic, but in 2005, he wrote a response to a New York Review of Books article that stated otherwise ("Manifest Destiny, Plymouth Rock, etc. were the last things on his mind when he asked me to take a free hand in the lyrics and the album's thematic direction"). In a 2004 article, journalist Geoffrey Himes stated that although Parks did not write any of the music, he did collaborate with Wilson on the arrangements.
Wilson's associates
Having withdrawn from the Beach Boys' concert tours, Wilson placed distance between himself and his bandmates, and continued to involve more people in his social, business, and creative affairs. As biographer Steven Gaines wrote, his circle soon "enlarged to encompass a whole new crowd. Some of these people were 'drainers', [but others] were talented and industrious". During the Smile era, Wilson's coterie included:
David Anderle, an MGM Records talent scout who was nicknamed "the mayor of hip" by the underground press. He initially met Wilson in 1965 through a family member. Gaines credits Anderle as the primary conduit between Wilson and the "hip" associates surrounding him.
Danny Hutton, a singer that Parks had performed with at The Troubador in 1964. He and Wilson first met in late 1964; they became further acquainted after being reintroduced by Hutton's manager, Anderle, in late 1965. Hutton also introduced Parks to Anderle, who soon became Parks' manager as well.
Derek Taylor, former press officer for the Beatles. He had been the Beach Boys' publicist since March 1966. Taylor said he was hired to take the band to "a new plateau", and to that end, he spearheaded a media campaign that proclaimed Wilson to be a "genius".
Mark Volman, singer from the Turtles. He was introduced to Wilson by Hutton and has rarely spoken about his association with Wilson because it had "always made me feel like a groupie for Brian".
Many of these people became mainstays at Wilson's home and during studio sessions. Various journalists were also arranged to accompany Wilson in and out of the studio. They included:
Michael Vosse, a magazine reporter who had been friends with Anderle in college. Parks introduced Vosse to Wilson, and Taylor arranged for Vosse to interview Wilson for the forthcoming release of "Good Vibrations". The day after their meeting, Wilson called Vosse and offered him a job recording sounds of nature.
Paul Jay Robbins, from the Los Angeles Free Press. Robbins was a New Left political activist who reported on and participated in the 1966 Sunset Strip riots. He met Parks through attending Byrds concerts, and Parks in turn brought Robbins into Wilson's fold.
Paul Williams, the 18-year-old founder and editor of Crawdaddy! Williams stated that he had been impressed by Pet Sounds and "Good Vibrations", and subsequently "found my way to Brian's mansion at Christmas 1966[...] and eventually made my way back to New York to spread the word, like other journalists before and after me."
Jules Siegel, from The Saturday Evening Post. He was introduced to Wilson by Anderle and subsequently accompanied Wilson at his home and in the studio for two months.
Richard Goldstein, from The Village Voice.
The album held a grandiose importance among those involved, as Anderle said, "Smile was going to be a monument. That's the way we talked about it, as a monument." Commenting on the reliability of figures such as Anderle, Siegel, and Vosse, journalist Nick Kent wrote that their claims are oftentimes "so lavish [that] one can be forgiven, if only momentarily, for believing that Brian Wilson had, at that time orbited out to the furthermost reaches of the celestial stratosphere for the duration of this starcrossed project." Gaines acknowledged that the "events surrounding the album differed so much according to each person's point of view, that no one can be certain [of the facts]." Williams acknowledged that he, Wilson, Anderle, Parks, Taylor, and other journalists were "very stoned" and that perhaps "had some effect on our assessment of what was going on."
Inspiration and concept
Overlap with other Brother Records projects
Wilson originally planned many different projects, such as a sound effects collage, a comedy album, and a "health food" album. Capitol did not support some of these ideas, which led to the Beach Boys' desire to form their own label, Brother Records. Plans for the label began in August 1966 with Anderle at the head. In a press release, he stated that Brother Records was to give "entirely new concepts to the recording industry, and to give the Beach Boys total creative and promotional control over their product." Anderle later said that the label was for releasing projects that were "special" for Brian, and there was initially no concern over whether the label's products would be distributed by Capitol.
Anderle said that it was "really important" to make the point that "Brian was so creative at this time [that] it was impossible to try to tie things up[...] we were talking about doing humor albums[...] there was the Smile talk[...] there was 'The Elements' talk.[...] the humor concept was separate from Smile, originally.[...] Smile was going to be the culmination of all of Brian's intellectual occupations." Journalist Tom Nolan later reported that Wilson's "incredible fantasies" included "an album of music built from sound effects[...] chords spliced together through a whole LP". Nolan commented that when Wilson momentarily shifted his focus to films, it had seemed to be "a step easier to capturing more. If you couldn't get a sound from a carrot, you could show a carrot. He would really liked to have made music that was a carrot."
American identity
Smile was to be explicitly American in style and subject as a riposte to the British sensibilities that had dominated rock music of the era. Wilson stated that, with Smile, he intended to "'Americanize' early America and mid-America" similar to how George Gershwin "Americanized" jazz and classical music. To Parks, Gershwin's 1924 composition "Rhapsody in Blue" represented a "musical kaleidoscope" of America, a quality that he and Wilson sought to emulate.
Parks said that they "kind of wanted to investigate [...] American images. [...] Everyone was hung up and obsessed with everything totally British. So we decided to take a gauche route that we took, which was to explore American slang, and that's what we got." Further on the subject, he explained, "Everybody else was getting their snout in the British trough. Everybody wanted to sing 'bettah'', affecting these transatlantic accents and trying to sound like the Beatles. I was with a man who couldn't do that. He just didn't have that option. He was the last man standing."
Mark Prendergast writes that Wilson "spent the best part of 1966" working on "Good Vibrations" in order to "keep up" with the Beatles, and numerous writers state that Wilson intended Smile as a response to the Beatles' August 1966 release Revolver. In a 2004 interview, Wilson mentioned that while the 1965 album Rubber Soul had inspired him to match the artistic standards of the Beatles for Pet Sounds, "Smile wasn't the same kind of thing; it wasn't anything like The Beatles. It wasn't pop music; it was something more advanced." In examining many books, documentaries, and articles about the subject, music journalist Andrew Sacher states that Wilson himself "never seems to mention Revolver", possibly because his "main goal in late 1966 was topping his own Pet Sounds". Asked in a 1969 interview about the influence of Revolver on Wilson, Mike Love stated that the record did not impact Wilson's music, adding that "Brian was in his own world, believe me."
Humor and mysticism
Smile was inspired by Wilson's growing fascination with matters such as astrology, numerology and the occult. Wilson described himself as an avid reader after a friend had introduced him to Pickwick Bookshop, a Hollywood bookstore. "I started reading too many books. If I'd stuck with just a few, I'd have been all right, but I read so many authors it got crazy.[...] I went through a thing of having too many paths to choose from and of wanting to do everything and not being able to do it all." According to an unnamed participant, "If you came up to the house and introduced something new to Brian's thought processes—astrology, a different way to think about the relationship of Russia to China, anything at all—if all of a sudden he was into that, it would find its way into the music. You could hear a bit and say, 'I know where that feeling came from.'"
Many firsthand and secondary accounts support that Wilson owned books that encompassed poetry, prose, cultural criticism (Arthur Koestler's 1964-published The Act of Creation was often cited by Wilson), and "diverse expressions of non-Christian religions and belief systems" such as Hinduism (from the Bhagavad Gita), Confucianism (from the I Ching or Book of Changes), Buddhism, and Subud. Much of this counter-cultural literature promoted related practices that Wilson was further interested by, such as meditation and vegetarianism.
In a 2005 interview, Wilson stated that his studying of metaphysics was "crucial" and referenced The Act of Creation as "the big one for me". He said that the book "turned me on to very special things", specifically, "that people attach their egos to their sense of humor before anything else." Anderle said that Wilson was fixated on humor and spirituality, and "had a real innate sense of spiritualism without the knowledgeable part that you learn by reading.[...] Whatever manifestation it took was whatever it was. There was numerology for a while; there was astrology for a while. Then we got into the I Ching." Vosse said that he was told by Wilson "that he felt laughter was one of the highest forms of divinity[...] And Brian felt that it was time to do a humor album." He opined that Smile, had it been completed, would have been "basically a Southern California, non-country oriented, gospel album—on a very sophisticated level—because that's what he was doing, his own form of revival music".
Jules Siegel famously recalled that, during one evening in October, Wilson announced to his wife and friends that he was "writing a teenage symphony to God". According to Siegel, Wilson felt he was moving into a "white spiritual sound" that he thought represented the future of music. In November 1966, Nolan reported that Wilson's shift in artistic focus was inspired by his psychedelic experience from the year prior. Asked where he believed music would go, Wilson responded: "White spirituals, I think that's what we're going to hear. Songs of faith."
In late 1966, Wilson commented that Dumb Angel had been a working title for the album and explained that the name was discarded because the group wanted to go with something "more cheery". In February 1967, Carl offered that the title Smile was chosen because the group was focusing on spirituality and "the concept of spreading goodwill, good thoughts and happiness". Carlin wrote that the Dumb Angel title may have been inspired by hallucinations Wilson saw while composing late at night under the influence of Desbutals. In 2004 interviews, Wilson denied that Smile was influenced by LSD, Zen, or religion. Anderle also denied that drugs were an influence on Wilson's artistic pursuits. Parks said that Wilson envisioned Smile as experimenting with "the mind-expanding possibilities of music and the mind-expanding properties of drugs".
Themes and lyricism
Although Smile is a concept album, the surviving recordings do not lend themselves to any formal narrative development, only to themes and experiences. According to Heiser, there is also a wealth of material that appears to have "little, if anything to do with [an] Americana theme". Other themes involved physical fitness, childhood, and the natural environment. Web journal Freaky Trigger states: "While the lyrics are usually pretty damned literary, at their most extreme, they're divorced from any kind of meaning in the straightforward sense." Parks rebuked the suggestion that Smile was planned as a concept album and said that the work was only envisioned "to use the American vernacular at a time when there was a lot of soundalike Beatle-esque music around."
By contrast, musicologist Philip Lambert describes Smile as "an American history lesson seen through the eyes of a time-travelling bicycle rider on a journey from Plymouth Rock to Hawaii." Documentarian Keith Badman states that Wilson intended the album to be an American-themed exploration of the innocence of youth and childhood. Williams concluded that it was to be "perhaps the story of the unnatural love affair between one man's voice and a harpsichord". A melodic and rhythmic motif (sometimes called the "Bicycle Rider" theme) was configured into several tracks, which he said "[broke] down the walls that give songs identities without ever offering conceptual ('rock opera') explanation or resolution."
Parks' lyrics employed wordplay, allusions, and quotations. He acknowledged that there were occasional "references" to specific historical entities, however, "I don't think that I was interested in wordplay as much as I was interested in the power of words." References to American history range from the emergence of railroads and automobiles to Western colonialism and its impact on Native American tribes. Scholar Darren Reid interpreted the focus on older American themes as a self-conscious, deeper reflection on the hedonistic, modern Americana of the Beach Boys' earlier songs. He said that, despite Wilson's later claims that the album was about humor and happiness, "the resultant album does not radiate predominately happy mood.[...] Perhaps the smile Wilson refers to is an ironic one[...] Humour, sarcasm, and lonely introspection are the contrasts that hold Smile together."
Some songs followed themes related to God and childhood, namely "Wonderful", "Child Is Father of the Man", and "Surf's Up". Only "Wonderful" referred to God explicitly. Parks supported that his associations with the spiritual aspect of Wilson's work were "inescapable", but professed that he disliked writing lyrics that dealt with religious belief, believing it gave the appearance of "trying to be uppity". In his recollection, "There's a lot of things about belief in Smile, and its very question of belief is what was plaguing Brian at that time. What should we keep from the structure that we had, the hard-wiring that we had with religion? He had religion beat into him, and I did in my own way, too. So there's a lot of thinking about belief."
Asked what words come to mind when listening to Smile in 2011, Wilson replied, "Childhood. Freedom. A rejection of adult rules and adult conformity. Our message was, 'Adults keep out. This is about the spirit of youth.'" In another interview that year, he questioned a journalist how they would categorize Smile. They responded with "impressionistic psychedelic folk rock", and said that while most rock seems to be about adulthood, Smile "expresses what it's like to be a kid in an impressionistic way" and "depicts the psychedelic magic of childhood", to which Wilson replied: "I love that. You coin those just right."
Carter summarized that Smiles subject matter engaged with matters related to history, culture, and society while also traversing "complex landscapes of faith: from national allegiance and ideological persuasion to religious belief and spiritual devotion." He argued that "Smile picks up where Pet Sounds left off", expanding the introspective themes of Pet Sounds into "an exploration of the nation's historical, social, ideological, and cultural identity." In his view, the lyrics also espouse "an antiestablishment skepticism toward religious institutions", "an interest in alternative belief structures", and "exceptionalist leanings".
Composition and production
Modular approach
In the 1960s, it was common for pop music to be recorded in a single take, but the Beach Boys' approach differed. Since 1964, Wilson had performed tape splices on his recordings, usually to allow difficult vocal sections to be performed by the group. By 1966, "Good Vibrations" had established Wilson's compositional approach for Smile. Instead of working on whole songs with "clear large-scale syntactical structures", he limited himself to recording short interchangeable fragments (or "modules"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. A similar fragmentary approach is common in film editing, albeit under the term "dangling causes".
Parks said that he and Wilson were conscious of musique concrete and that they "were trying to make something of it". Heiser called the album's use of jumpcuts a "striking characteristic" and said that they "must be acknowledged as compositional statements in themselves, giving the music a sonic signature every bit as noticeable as the performances themselves. There was no way this music could be 'real'. Wilson was therefore echoing the techniques of musique concrète and seemed to be breaking the audio 'fourth wall'—if there can said to be such a thing." He interpreted the methodology of using modules as consistent with the album's conceptual thread, "a return to the pre-grammatical, non-linear and analogical (as opposed to logical) thinking of early childhood – they are artefacts of play." Ethnomusicologist David Toop countered that "modular" "suggests discrete components that interlock" and offered "cellular" as a possibly more accurate term.
The material was continuously revised, rewritten, and rearranged on a daily basis. Anderle recalled examples: "The beginning of 'Cabin Essence' becomes the middle of 'Vega-Tables', or the ending becomes the bridge. I would beg Brian not to change a piece of music because it was too fantastic. But when Brian did change it, I admit it was equally beautiful." Some of the songs were fully-composed with obvious verse-chorus structures (including "Heroes and Villains" and "Surf's Up") while other songs were short segments designed to illustrate a mood or a setting. Due to the fragmentary and never-finalized nature of the recordings, it is ambiguous when and where most Smile songs begin and end.
In the mid-1960s, trialing mixes required the physical act of cutting tape reels (with razor blades) and splicing them together. Creating an entire LP that relied on these processes proved too challenging for Wilson. Engineer Mark Linett argued that Wilson's ambitions were implausible to fulfill with pre-digital technology, especially with "the infinite number of possible ways you could assemble this puzzle." His colleague Alan Boyd shared the same view, stating that the tape editing "would have been probably an unbearably arduous, difficult and tedious task".
Orchestrations and arrangements
Smile has been described by various commentators as a work of art pop, psychedelic rock avant-pop, progressive pop, experimental rock, folk rock, musique concrète, and Americana music. At least 50 hours of tape was produced from the sessions and encompassed musical and spoken word to sound effects and role playing. Many of the modules were composed as word paintings and invoked visual concepts or physical entities. According to Toop, during the mid-1960s, Wilson's style was akin to "cartoon music and Disney influence mutating into avant-garde pop". Heiser argues that attempting to summarize the whole of Smile is "a pointless exercise" and that it is preferable to write of "the many musical inhabitants of this complex, nebulous macrocosm." He lists several of these through the following descriptions:
The music itself carried on the "harmonic ingenuity" of Pet Sounds, and in the belief of academic Dave Carter, "it makes little point to distinguish between the two albums in terms of their differential impact." With Smile, Wilson's orchestrations emphasized traditional American instruments such as banjo, steel guitar, fiddle, mandolin, harmonica, and tack piano. Other instruments included "precipitate brass like a Tibetan horn", muted (with tape) piano, baritone guitar and upright bass played in a tic-tac style, dobro, bouzouki, and bass harmonica. There was also a greater complexity to Wilson's compositions. Al Jardine said that the music became "more textural, more complex and it had a lot more vocal movement.[...] With ['Good Vibrations'] and other songs on Smile, we began to get into more esoteric kind of chord changes, and mood changes and movement. You'll find Smile full of different movements and vignettes. Each movement had its own texture and required its own session."" As with Pet Sounds, Smile featured a more unique sense of rhythm relative to the band's earlier records.
Harpsichords and tack piano (typically played in unison) feature prominently, as well as mallets and "quirky/echoey percussion". Parks said that the "first thing I can remember in the studio" with Wilson was his use of "tuneful percussion, like a piano or a Chinese gong", which reminded Parks of early 20th-century orchestrations by men such as Percy Grainger, particularly Grainger's arrangement of "Country Gardens". Priore noted that a "flair for exotica" can be heard in "Holidays", "Wind Chimes", "Love to Say Dada", and "Child Is Father of the Man". Heiser observed that "playful" and "colorful" moods – which he likens to the music of Sesame Street – are consistent throughout the recordings.
The vocal arrangements, according to Heiser, use "a wide range of pitch centres, antiphonal effects, rhythmic variations, juxtapositions of legato and staccato figures, rounders-like echoes, and vocal effects not usually associated with mid-sixties rock records." Academic Brian Torff commented that Smile contained "choral arranging" and a "rhapsodic Broadway element". Toop wrote that the Smile vocals "willfully regresses into baby talk". Williams suggested that, "for the most part", Smile "uses words the same way it uses strings and keyboards—for their sounds." Freaky Trigger concurred that "the line between the sung word and mere sound become criss-crossed and blurred again and again and again[...] where the word becomes subservient to sound, which is only six or so steps on the road to sound-for-the-sake-of-sound". The journal considers comparisons with the work of Sun Ra and John Cage, and concludes that this was a reconfiguration of doo-wop, a genre that the Beach Boys were rooted in.
Psychedelic musical characteristics distinguished the Beach Boys' mid-1960s work, particularly through the group's invocation of "greater fluidity, elaboration, and formal complexity", "a cultivation of sonic textures", "the introduction of new (combinations of) instruments, multiple keys, and/or floating tonal centers", and the occasional use of "slower, more hypnotic tempos". Guardian critic Alexis Petridis wrote that until the negative effects of LSD surfaced in rock music via Skip Spence's Oar (1969) and Syd Barrett's The Madcap Laughs (1970), "artists tactfully ignored the dark side of the psychedelic experience". He argued that Smile presented such a quality in the form of "alternately frantic and grinding mayhem" ("Fire"), "isolated, small-hours creepiness" ("Wind Chimes"), and "weird, dislocated voices" ("Love to Say Dada").
Contemporary context
Smile drew from what most rock stars of the time considered to be antiquated pop culture touchstones, like doo-wop, barbershop, ragtime, exotica, pre-rock and roll pop, and cowboy films. Some of the music incorporated chanting, forays into Indian and Hawaiian music, jazz, classical tone poems, cartoon sound effects, musique concrète, yodeling, and elements derivative of Sacred Harp, Shaker hymns, Mele, and Native American chants. Music critic Erik Davis wrote of the album's disconnect to contemporary rock music clichés, noting that "Smile had banjos, not sitars". Wilson said he deliberately avoided traditional rock instrumentation because he wanted to employ ideas that were more "original" for Smile. Also recorded were renditions of older songs such as "Gee", "I Wanna Be Around", "The Old Master Painter", and "You Are My Sunshine". Priore described this action as Wilson's attempt to expose "pre-'60s songwriting[...] to the psychedelic era."
Among the many "contradictory templates" Toop felt were "buried within Smile's music legacy" were Frank Sinatra, the Lettermen, the Four Freshmen, Martin Denny, Patti Page, Chuck Berry, Spike Jones, Nelson Riddle, Jackie Gleason, Phil Spector, Bob Dylan, the Penguins, and the Mills Brothers. He wrote that collaborations between Miles Davis and Gil Evans "haunt SMiLE tracks like 'Look (Song for Children)' and 'Child Is Father of the Man'", and compared the project's "explorations of acoustic phenomena" to "similar tendencies by Charles Ives, Les Baxter's thematic LPs, and Richard Maxfield's electronic experiments with insect sounds or instruments played underwater". Furthermore, he wrote that the project may be regarded as tone poems "in oblique relationship to Third Stream, that rejected dream of the late 1950s best described in Charles Mingus's term 'jazzical'". In 2004, Wilson stated that Smile was too advanced for him to consider it pop music, and said that he admired and was influenced by Johann Sebastian Bach for his ability to construct a continuum of complex music using simple forms and simple chords.
Potential contents
Tracks listed on Wilson's 1966 note
On December 15, 1966, Wilson attempted to ease Capitol's concerns over the album's delay by delivering a handwritten note that contained an unordered, preliminary track listing. Capitol prepared record sleeves that listed these songs on the reverse side with the disclaimer "see label for correct playing order". Preliminary mixes (and in some cases many) were created for several of these tracks.
"Good Vibrations"
As Wilson neared the completion of "Good Vibrations", he asked Parks to rewrite the song's lyrics, but Parks declined, as he did not wish to alienate Mike Love. The title was written several times on one of the covers prepared by Capitol in order to boost album sales.
"Heroes and Villains"
"Heroes and Villains", the first song Wilson wrote with Parks, was envisioned by Wilson as a three-minute musical comedy to surpass "Good Vibrations". He created myriad versions of the track, some of which ranged in length from six to eight minutes. Wilson came up with the title and told Parks that he thought of the Old West when he wrote the melody, which reminded Parks of the Marty Robbins song "El Paso". Parks immediately conceived the opening line: "I've been in this town so long that back in the city I've been taken for lost and gone and unknown for a long, long time."
The success of their collaboration led to them writing more songs with an Old West theme, including "Barnyard" and "I'm in Great Shape". In 1978, Wilson told biographer Byron Preiss that there was intended to be a piece called the "Barnyard Suite", which would have been "four songs in four short pieces, combined together, but we never finished that one. We got into something else."
"I'm in Great Shape"
On November 4, 1966, Brian recorded a piano demonstration of "Heroes and Villains" that included "I'm in Great Shape" and "Barnyard" as sections of the song, but on his note from December, "I'm in Great Shape" was listed as a separate track from "Heroes and Villains".
"Wind Chimes"
Marilyn said: "We went shopping one day and we brought home some wind chimes. We hung them outside the house and then one day, while Brian was sitting around he sort of watched them out the window and then he wrote the song ['Wind Chimes']. I think that's how it happened. Simple. He does a lot of things that way." In July 1967, the bass line was reworked into "Can't Wait Too Long".
"Wonderful"
The title of "Wonderful" derived from a pet name Wilson had for Marilyn. Parks identified the music as "entirely different from anything else. and I thought that it was a place, an opportunity, to begin a love song.[...] Now I thought, once we had gotten 'Heroes And Villains' done, we might have seen a boy/girl song emerge, other than 'Wonderful'. Honestly, I really thought we would do it, but I never found an opportunity to pursue that with the music I was given. Between August and December 1966, Wilson recorded three arrangements of the song, all of which were unfinished.
"Cabin Essence"
"Cabin Essence" is about railroads. Biographer Jon Stebbins deemed the song "some of the most haunting, manic, evil-sounding music the Beach Boys ever made" with its waltz chorus replete with "demonic chanting, buzzing cellos, and rail-spike pounding".
"Child Is Father of the Man"
"Child Is Father of the Man" features keyboard, trumpet, vocal rounds, and a droning guitar saturated with reverb. According to Parks, the lyric came from Wilson's "fervent desire to re-invent himself as an individual, not as a boy". The title was appropriated from William Wordsworth's poem "My Heart Leaps Up". Parks later said that other lyrics had been written for the song that were never recorded. In 2003, he wrote new lyrics to complete the song.
"Surf's Up"
"Surf's Up" is the second song Wilson and Parks started writing together. It was composed as a two-movement piece, most of it in one night while they were high on Wilson's Desbutals. Wilson commented that the song's first chord was a minor seventh, "unlike most of our songs, which open on a major – and from there it just started building and rambling[...] when we finished it, he said, 'Let's call it "Surf's Up"', which is wild because surfing isn't related to the song at all."
Oppenheim declared on his 1967 CBS documentary that "Surf's Up" was "one aspect of new things happening in pop music today. As such, it is a symbol of the change many of these young musicians see in our future." In a self-penned 1969 article, Vosse wrote that "Surf's Up" was to be the intended ending climax of Smile, and that it would have followed a section described as a "choral amen sort of thing."
"Do You Like Worms?"
"Do You Like Worms?" is about the recolonization of the American continent. None of the lyrics mention worms. Parks later said that he did not know where the title came from and attributed it to possibly an engineer, Wilson, or Mike Love. The "bicycle rider" mentioned in the lyric is a reference to "Bicycle Rider Back" playing cards printed by the United States Playing Card Company during the 19th century. Parks commented, "A lot of people misinterpreted that, but that's OK; it's OK not to be told what to think, if you're an audience." In January 1967, the song's keyboard break melody was rerecorded as the chorus of "Heroes and Villains". In 2004, the song was retitled "Roll Plymouth Rock".
"Vega-Tables"
"Vega-Tables", according to Wilson, came from his desire "to turn people on to vegetables, good natural food, organic food. Health is an important element in spiritual enlightenment. But I do not want to be pompous about it, so we will engage in a satirical approach." It was the last Parks co-write that was recorded for the album. A module called "Do a Lot" or "Sleep a Lot" was considered for inclusion in "Heroes and Villains". In 1967, the section spun off into a piece called "Mama Says".
"The Old Master Painter"
Also known as "My Only Sunshine", the track is a medley of the standards "The Old Master Painter" and "You Are My Sunshine". Dennis Wilson sang the lead on "You Are My Sunshine". In 2005, Wilson wrote that the rendition of "The Old Master Painter" was brief because he could not remember the full song. In January 1967, the track's ending was repurposed as the ending of "Heroes and Villains", minus the "when skies are gray" vocals.
"The Elements"
"The Elements" was a conceptualized four-part movement that encompassed the four classical elements: Air, Fire, Earth, and Water. According to Anderle, Wilson "was really into the elements", so much so that he "ran up to Big Sur for a week, just 'cause he wanted to get into that, up to the mountains, into the snow, down to the beach, out to the pool, out at night, running around, to water fountains, to a lot of water, the sky, the whole thing was this fantastic amount of awareness of his surroundings. So the obvious thing was to do something that would cover the physical surroundings." To assist with the recording of this piece, Wilson instructed others to travel around with a Nagra tape recorder and record the different variations of water sounds that they could find. Vosse recalled, "I'd come by to see him every day, and he'd listen to my tapes and talk about them. I was just fascinated that he would hear things every once in a while and his ears would prick up and he'd go back and listen again. And I had no idea what he was listening for!"
"The Elements – Part 1" (also known as "Mrs. O'Leary's Cow" and commonly referred to as "Fire"). was recorded under unusual conditions. Wilson instructed a friend to purchase several dozen fire helmets at a local toy store so that everybody in the studio could don them during its recording. Wilson also had the studio's janitor bring in a bucket with burning wood so that the studio would be filled with the smell of smoke. He subsequently recorded the crackling noises made by the burning wood and mixed them into the track.
Anderle recalled that Wilson told the group "what fire was going to be, and what water was going to be; we had some idea of air. That was where it stopped. None of us had any ideas as to how it was going to tie together, except that it appeared to us to be an opera." Parks recalled that an elemental concept did not come up until later in the project. One of the illustrations created for the album included "Vega-Tables" as part of "The Elements", but Wilson's note listed "The Elements" and "Vega-Tables" (as well as "Wind Chimes") separately. Wilson told Preiss that "Air" was an instrumental piano piece that was never finished.
Non-listed tracks
"Prayer"
"Prayer" is a wordless hymn that was intended to begin the album. Lambert describes the piece as "every technique of chromatic harmony [Wilson] had ever heard or imagined." On the session tape, Wilson announces, "This is intro to the album, take one." Jardine is heard remarking to Wilson that the piece could be considered its own track, but Wilson rejects the suggestion. This information makes "Prayer" the only track that is known to have had a definitive placement on the album.
"I Ran"
"I Ran" (also known as "Look" and originally labelled "Untitled Song #1") is a song that featured upright bass, vibraphones, keyboard, French horn, guitars, organs, trombone and woodwind. The Beach Boys recorded vocals for the track on October 3, 1966, but the tape from that session was lost. In 2003, the piece was retitled "Song for Children" and given new lyrics by Parks.
"He Gives Speeches"
"He Gives Speeches" was recorded on September 1, 1966, at the second-to-last session for "Good Vibrations". In July 1967, the composition was reworked as the first section of "She's Goin' Bald".
"Holidays"
"Holidays" (mislabeled on bootlegs as "Tones" or "Tune X") is an exotica instrumental that ends with a marimba melody later recycled for the 1967 version of "Wind Chimes". In 2003, the piece was given new lyrics and retitled "On a Holiday".
"I Wanna Be Around"
"I Wanna Be Around" is a rendition of the Sadie Vimmerstedt and Johnny Mercer pop standard. It was recorded the day after the "Fire" session, along with a piece titled "Friday Night", which was intended to segue from "I Wanna Be Around". Halfway through the session, Wilson conceived the idea to overdub the sounds of construction noises onto the track. He then handed out various tools to his musicians for them to create the sounds of sawing, wood cutting, hammering, and drilling. In 1968, these noises (also known as "Workshop", "Woodshop", and "The Woodshop Song") were used on the fade-out of the album version of "Do It Again". In 2005, Wilson wrote that the purpose of recording "I Wanna Be Around" was "to show how I could be funny and serious at the same time". Priore claimed that Wilson later told collaborator Andy Paley that "I Wanna Be Around" and "Workshop" were meant to function as a "rebuilding after the fire".
"You're Welcome"
"You're Welcome" is a vocal chant with heavy reverb that was later issued as the B-side of the 1967 "Heroes and Villains" single.
"Love to Say Dada"
"Love to Say Dada" (or "All Day") is a piece that later evolved into "Cool, Cool Water". In 2003, "Love to Say Dada" was given new lyrics by Parks and retitled "In Blue Hawaii".
Audio vérité and other recordings
Wilson held sessions that were dedicated to capturing "humorous" situations. According to Carlin, Wilson devoted "hours [to] recording himself and friends while they chanted, played games, had pretend arguments, or just shot the breeze. It was just like the old days with his Wollensak recorder, except much, much weirder." The surviving tapes include:
Lifeboat reel (recorded October 18, 1966) 24-minutes long and features Wilson, Parks, Anderle, Vosse, Wilson's sister-in-law Diane Rovell, a woman named Dawn, and Siegel. Throughout the tape, Siegel encourages others to play the party game Lifeboat, where players act as shipwreck survivors who have to decide who among them will be tossed overboard in order to save the others. It later turns into barbed exchanges between the participants. At one point, someone asks Wilson, "What are we doing here?" As the mood worsens, Wilson is heard saying, "I feel so depressed. Really, seriously. I keep sinking. I'm too down to smile."
Second party reel (recorded November 4, 1966) Features Wilson, Parks, Hutton, Vosse, and a man named Bob. The group pretend to order treats from a psychedelic ice cream van that plays a music box version of "Good Vibrations" (played by Wilson at a piano). Wilson then leads a comedy routine about falling into a piano, and then into a microphone. The group also plays a rhythm on bongos while chanting "Where's my beets and carrots" and "I've got a big bag of vegetables". Parks later said, "I sensed all that was destructive, so I withdrew from those related social encounters."
"Vegetables Arguments" (recorded November 16, 1966) Features mock disagreements between Vosse and session drummer Hal Blaine, who plays a man that is irate at Vosse for trespassing into his garden. It later turns into a serious conversation between Blaine, Vosse, and Wilson about the planetary alignments. Wilson completes the session by having his own mock disagreement with Blaine. Badman writes, "At one point, it is believed that these recordings will somehow figure into the 'Vegetables' track itself."
In early 1967, Brian's brothers Carl and Dennis went into the studio to record pieces that they had written individually. Dennis' "I Don't Know" was recorded on January 12, and Carl's "Tune X" (later "Tones") followed on March 3 and 31. Badman speculated the recordings may have been "part of a conscious effort to make [Smile] more of a group effort than effective a Brian solo project, or may simply be for Carl and Dennis to test their production mettle."
Brian also recorded novelty songs with photographer Jasper Daily: "Teeter Totter Love", "Crack the Whip", and "When I Get Mad I Just Play My Drums". Love characterized "Teeter Totter Love" as "Simple but poignant." The AFM contracts for these tracks list "Brother Records" under "Employer's Name". Gaines wrote that these recordings were to have fulfilled Wilson's separate "humor album" concept. The collection was offered to A&M Records but rejected. Vosse said that when Wilson pitched "Crack the Whip" to Chuck Kaye, the head of A&M, "You could see the panic on [Kaye's] face when he heard how awful it was. This look of, 'What the fuck do I do?'"
Artwork and packaging
Capitol gave Smile the catalog number DT2580. At least two versions of the album jacket were designed, with minor differences. It was to have included cover artwork designed by graphic artist Frank Holmes, a friend of Parks, as well as a booklet containing several pen-and-ink drawings, also by Holmes. He met with Wilson and Parks circa June 1966 and was given lyric sheets of their songs, for which he based his drawings on. By Holmes' recollection, his contributions were finished by October. The pieces were titled:
"My Vega-tables" / "The Elements" ("Vega-Tables")
"Do You Like Worms"
"Two-step to lamps light" / "Surf's Up"
"Diamond necklace play the pawn" ("Surf's Up")
"Lost and found you still remain there" ("Cabinessence")
"The rain of bullets eventually brought her down" ("Heroes and Villains")
"Uncover the cornfield" / "Home on the Range" ("Cabinessence")
Holmes based the cover on an abandoned jewelry store near his home in Pasadena. He recalled, "I thought that was a good image because of the way, any time you go into a store, you're entering something[...] This was something that would be pulling you into the world of Smile–the Smile Shoppe–and it had these little smiles all around." Depicted inside the shop is "a husband and wife—a kind of early-Americana, old-style, 19th-century kind of image." Wilson approved the cover and took it to Capitol. Parks later said that the illustrations heavily informed the making of Smile and considered them to be the album's "third equation". He felt that he and Wilson would not have continued the project the way they did without thinking of it in cartoon terms.
According to Vosse, the smile shop derived from Wilson's humor concept. He said that "everybody who knew anything about graphics, and about art, thought that the cover was not terribly well done[...] but Brian knew better; he was right. It was exactly what he wanted, precisely what he wanted." Parks recalled: "Frank was supposed to do something 'light-hearted', but there were no specific instructions and he came up with the perfect video vessel for realizing what we were doing, something I thought was an integral part of the situation. I think that still stands; I think of Smile in visual terms.
In September, Capitol began production on a lavish gatefold cover with a 12-page booklet containing featuring color photographs of the group (ultimately selected from a November 7 photoshoot in Boston conducted by Guy Webster as well as Holmes' illustrations). In early 1967, they added the repeated written instances of "Good Vibrations" on the album cover, which were not featured on Holmes' original design. The back cover featured a monochrome photograph depiction of the group, without Brian, framed by astrological symbols. Capitol produced 466,000 copies of the record sleeve and 419,200 copies of the accompanying booklet. They were stored in a warehouse in Pennsylvania until the 1990s.
Original recording sessions and collapse
Smile was shelved due to corporate pressures, technical problems, internal power struggles, legal stalling, and Wilson's deteriorating mental health. After investing several months into the project, he concluded that Smile was too esoteric for the public and decided to record simpler music instead. Carl stated that Brian felt he could not complete the album and was intensely afraid of an unfavorable public response. In Brian's own words, he and his band felt "we were too selfishly artistic and weren't thinking about the public enough."
Criticism from Wilson's bandmates (1966–1967)
Writers frequently theorize that the album was cancelled because Wilson's bandmates were unable to appreciate the music. However, Stebbins says that the conclusions those writers draw from this perspective are "overly simplistic and mostly wrong" with not enough consideration for Wilson's psychological decline. Derek Taylor remembered that although Brian exhibited "scary" mood swings, his bandmates were generally supportive of him. Taylor also remembered Wilson being terribly insecure and highly sensitive to criticism, having "never [left me] in peace" whenever he would be asked by Wilson to offer music opinions.
Carl, Dennis, and Jardine contributed instrumentally to some of the tracking sessions, and Carl participated in the sessions more than anyone else in the band with the exception of Brian, although Stebbins notes, "Even Carl was unhappy with the project". Having attended some of the sessions circa January 1967, journalist Tracy Thomas reported in the NME that Brian's "dedication to perfection does not always endear him to his fellow Beach Boys, nor their wives, nor their next door neighbours, with whom they were to have dinner[...] But when the finished product is 'Good Vibrations' or Pet Sounds or Smile they hold back their complaints."
It is often suggested that Mike Love, in particular, was responsible for the project's collapse. Love dismissed such claims as hyperbole and said that his vocal opposition to Wilson's drug suppliers was what spurred the accusation that he, as well as other members of the band and Wilson's family, sabotaged the project. Wilson's statements on the matter have been inconsistent; he has both supported and denied whether his confidence in the project had been undermined by Love.
Parks has sometimes stated that he was dismissed from the project at Love's behest. In a 1974 interview, he elaborated that he had both "resigned" and "was fired" because Love and "the least known members" had decided "that I had written some words that were indecipherable and unnecessary." Two years later, when he was interviewed for the 1976 television special The Beach Boys: It's OK!, he indicated that he himself had suggested to Love that they discard his lyrics after Love had inquired about a particular line, "and so they did". In a 2013 interview, he said that he "walked away from the job" to escape Wilson's "buffoonery" and Love's "jealousy".
In journalist Clinton Heylin's estimation, other reports suggest that it is more likely that Wilson himself became dissatisfied with Parks' lyrics, although "Love certainly happily fed" Wilson's change of opinion. Commenting on the accusation that he contributed to the project's collapse by voicing his criticisms to Wilson, Love acknowledged that Wilson, under the influence of psychoactive drugs, "could have become extra-, ultrasensitive to attitudes, you know, body language, or whatever", but disputed the insinuation that he should "be held responsible" and "take a beating" for his cousin's drug-induced paranoia and debilitated mental condition, a subject that was much less understood in that era.
Drug use, Wilson's mental state and perfectionism (1966–1967)
One of the major issues that led to the project's collapse was Wilson's uncompromising perfectionism, which may have been exacerbated by his drug use at the time. In one Smile session tape, a horn player can be heard sarcastically remarking of the producer's repeated calls for retakes, "Perfect – just one more". At the end of another session, which had lasted until dawn, an engineer asked Wilson's wife if she thought he would be satisfied with a certain take, to which she responded, "No, when he gets home he won't be satisfied. He's never satisfied."
Wilson was later declared to have bipolar and schizoaffective disorders, although most of the members in his coterie did not feel that he showed signs of mental illness during the early Smile sessions. In Michael Vosse's recollection, Wilson was no more eccentric than "a lot of people in showbiz" and "all those things that people looked back upon later as quite alarming" had not originally appeared to be of significant concern. Anderle supported, "Brian wasn't the only [strange] one. We were all strange, doing strange things." Taylor remembered struggling with Wilson's "temporary whims".
To prepare for the album's writing and recording, Wilson had purchased about two thousand dollars' worth of marijuana and hashish (equivalent to $ in ). He erected a $30,000 ($) hotboxing tent in what was formerly his dining room, located a sandbox under the grand piano in his den, and, after developing a fixation with health and fitness, replaced his living room furniture with gym mats. In reference to the tent, Vosse said, "we were all excited about it, [and] anybody who thinks this was like Brian being wacko and everybody [else disapproving] is wrong." David Oppenheim, who briefly visited Wilson's home in late 1966, later described the scene as "a strange, insulated household, insulated from the world by money[...] A playpen of irresponsible people." The sandbox remained in Wilson's home until April 1967.
Carl recalled: "To get that album out, someone would have needed willingness and perseverance to corral all of us. Everybody was so loaded on pot and hash all of the time that it's no wonder the project didn't get done." Dennis echoed that the group became "very paranoid about the possibility of losing our public.[...] Drugs played a great role in our evolution but as a result we were frightened that people would no longer understand us, musically." Brian told an interviewer in 1976: "We were too fucking high, you know, to complete the stuff. We were stoned! You know, stoned on hash 'n' shit!" The only sober participant, Al Jardine, likened the experience to "being trapped in an insane asylum", referring to such incidents as a "Heroes and Villains" session where Brian instructed his bandmates to crawl around the studio space and make pig-snorting noises.
Wilson's use of LSD was negligible compared to his use of Desbutal. Parks said that he never witnessed Wilson using psychedelics, and, in a 2004 interview, stated that "Brian was strongly against acid at that time." He said that he had not been interested in using psychedelics himself, nor "anything that would incapacitate" Wilson. Anderle also said he never saw Wilson taking psychedelics. Vosse said that Wilson "may have taken LSD once" at the time. Siegel attributed Wilson's paranoid delusions, odd behavior, and loss of artistic confidence to his abuse of Desbutal:
Vosse said that, despite the large amount of marijuana that was available, Wilson "wasn't stoned all the time[...] really, Brian had a job to do, and he was a hard workin' guy." He referred to Brian's drug use as "the biggest red herring in [his] story I've heard so far", and rebuked the accusation that Brian was "some kind of nut". Danny Hutton disputed that the drugs "got in the way at all" and believed that Brian's use of certain substances had helped him "work longer hours." Parks said: "Don't let the marijuana confuse the issue here. If you look at the amount of work that was done in the amount of time it took to almost finish it, it's amazing. A very athletic situation, very focused."
Early sessions and promotion (May–December 1966)
On May 11, 1966, Wilson recorded an instrumental take of "Heroes and Villains" at Gold Star Studios. The session was conducted as an experiment and was not a full-fledged recording. On August 3, Wilson returned to the studio for the tracking of "Wind Chimes", marking the unofficial start of the album's sessions. From then, over 80 sessions were conducted for the album, spread out over the next ten months. "Good Vibrations" was completed on September 21. By then, Dumb Angel had been renamed to Smile.
Smile was one of the most-discussed albums in the rock press and was first projected for a December 1966 release date. Derek Taylor continued to write articles in the music press, sometimes anonymously, in an effort to further speculation about the album. "Good Vibrations" was released as a single and became the group's third US number-one hit, reaching the top of the Billboard Hot 100 in December, as well as their first number one in Britain. Wilson told Melody Maker that Smile would "be as much an improvement over [Pet] Sounds as that was over Summer Days". Dennis told Hit Parader: "In my opinion, it makes Pet Sounds stink. That's how good it is." At some point, Wilson, alongside Michael Vosse, made an appearance on The Lloyd Thaxton Show, where he spoke about the benefits of eating vegetables.
In December, Capitol ran ads for the album In Billboard that read: "Good Vibrations. Number One in England. Coming soon with the 'Good Vibrations' sound. Smile. The Beach Boys." This was followed with a color ad in TeenSet that exclaimed "Look! Listen! Vibrate! SMILE!" The ad promised the inclusion of "Good Vibrations" as well as "other new and fantastic Beach Boys songs[...] and[...] an exciting full-color sketch-book look inside the world of Brian Wilson!" Cardboard displays of the album's cover artwork were displayed in record stores, and Capitol circulated a promotional ad for employees at its label, which used "Good Vibrations" as the backdrop for a voice-over saying: "With a happy album cover, the really happy sounds inside, and a happy in-store display piece, you can't miss! We're sure to sell a million units[...] in January!"
In the UK, one headline proclaimed that the Beach Boys' British distributor EMI Records were giving the band the "biggest campaign since the Beatles". On December 10, NME published a reader's poll that placed Wilson as the fourth-ranked "World Music Personality"—about 1,000 votes ahead of Bob Dylan and 500 behind John Lennon. In addition, the Beach Boys were voted the top band in the world, ahead of the Beatles, the Walker Brothers, the Rolling Stones, and the Four Tops. On December 17, KRLA Beat published a nonsense article by Wilson, titled "Vibrations – Brian Wilson Style", that contained many private jokes and references.
A Los Angeles Times West Magazine piece by Tom Nolan noted Wilson as "the seeming leader of a potentially-revolutionary movement in pop music". Biographer David Leaf wrote that although the success of "Good Vibrations" "bought Brian some time [and] shut up everybody who said that Brian's new ways wouldn't sell[...] his inability to quickly follow up [the single was what] became a snowballing problem." Sanchez writes that Wilson was "poised to take his place next to the Beatles and Bob Dylan on the board of pop music luminaries", but as time passed, the hype for Smile went from "expectation" to "doubt" and "bemusement".
First signs of issues and resistance (November–December 1966)
Wilson started having increasing doubts about the project during the latter months of 1966. From October 25 to November 14, Wilson's bandmates embarked on a tour of Europe (which included the group's first dates in the UK), followed by their fourth annual US Thanksgiving tour from November 16 to 24. Vosse later wrote that Smile "was a totally conceived entity" when the group was away on their British tour, but upon their return, the project "started going nuts". In Gaines' description, Wilson's bandmates "knew nothing of Brian's strange behavior" and were "infuriated" when they returned to California; to them, Anderle now appeared as the leader of "a whole group of strangers [that] had infiltrated and taken over the Beach Boys", and which were encouraging Wilson's eccentricities. Anderle commented, "I stand guilty on those counts[...] I was an interloper and I was definitely fueling his creativity. No holds barred. No rules."
Wilson's friends, family, and colleagues often date the project's unraveling to around the time he recorded "Fire" on November 28. Parks did not attend the session and later said that he had avoided it "like the plague" due to what he had perceived as "regressive behavior" from Wilson. Within a few days of the "Fire" session, a building across the street from the studio burned down. Wilson was frightened that the music may have caused the fire and decided to discard the track. He later said that his use of marijuana and hashish led him to believe that he was creating witchcraft music.
Tensions during the recording sessions emerged around this time, marking a contrast from the joyous atmosphere that began the project. Anderle remembered that the debacle with "The Elements" coincided with what he felt was one of the greatest factors in the project's demise: resistance Wilson began to encounter in the studio – namely with "engineers", "getting studio time", and "giv[ing] parts to one of the fellas or to a group of the fellas". He said that Wilson "would go through a tremendous paranoia before he would get into the studio, knowing he was going to have to face an argument."
"Don't fuck with the formula"
"Don't fuck with the formula" is a quote that is often attributed to Love, although Love denied saying those specific words and later argued that the Beach Boys "have no formula." The remark originates from a 1971 Rolling Stone magazine article, "The Beach Boys: A California Saga", written by Nolan. Unusual for rock journalism of the era, Nolan's article devoted minimal attention to the group's music, and instead focused on the band's internal dynamics and history, especially the events surrounding the Smile sessions. The relevant text is as follows:
In a prior interview from 1968, Anderle said that Wilson's bandmates were first concerned about losing "what the Beach Boys are" by going too "far out" beyond a "simple dumb thing", and had "wanted to stay pretty much within the form of what the Beach Boys had created — really hard[...] whatever that is, California rock or whatever." By Vosse's account, while tensions had developed during the group vocal sessions, "older members of the Wilson family did everything possible to destroy the relationship between Brian and Van Dyke, Brian and David Anderle, and Brian and me.[...] out of suspicion[...] that the Beach Boys would dissolve.[...] and they didn't like our appearances."
Love addressed these accusations in a 1993 interview by stating that he had been deeply concerned about Wilson's treatment of "himself", "others", and "the reputation of the band", as well as the potential destruction of "our livelihoods". In a 2015 interview, he indicated that he did not have an issue with "crazy stupid sounds", nor with accommodating Wilson's odd requests, but had still desired "to make a commercially successful pop record, so I might have complained about some of the lyrics on Smile". According to Carl, "I know there's been a lot written, and maybe said about Michael not liking the Smile music. I think his main problem was [that] the lyrics were not relatable. They were so artistic, and to him, they were really airy-fairy and too abstract. Personally, I loved it."
Over the ensuing decades, "don't fuck with the formula" has been repeated in myriad books, articles, websites, and blogs. In Leaf's 1978 biography The Beach Boys and the California Myth, Anderle is quoted saying that the line had been "taken slightly out of context", and clarified that Love had actually agreed with Anderle on "a business level.[...] Artistically, it was another matter." In a 1998 deposition related to the memoir Wouldn't It Be Nice: My Own Story, Wilson testified that Love had never spoken the line to him.
Capitol lawsuit and Parks' departure (December 1966 – March 1967)
Vosse believed that "as schisms developed within the Beach Boys", Parks had become the "most convenient" scapegoat once the disapproving camp found that the songwriters "would fight every once in awhile [and] have arguments." In Parks' recollection, "the whole house of cards began tumbling down" when he was invited to the studio by Wilson to settle a dispute from Love over the "Cabinessence" lyric "over and over the crow cries uncover the cornfield". Love did not understand the lyrics and thought that the song contained possible references to drug culture, something that he did not wish to be associated with, and took to characterizing Parks' contributions as "acid alliteration". Parks did not offer him an explanation for the lyrics, and he sang the line despite his reservations. Reflecting on their exchange, Love said that he was not necessarily "against" the lyrics, and that Parks had not appeared to be insulted by his questioning. Jardine said that Love would ask Parks on multiple occasions, "What does that [lyric] mean?' And he would go, 'I don't know, I was high.' [laughs] Mike would go, 'That's disgusting. That doesn't make any sense.' [laughs]"
On December 15, Wilson informed Capitol A&R director Karl Engemann that the album and its lead single "Heroes and Villains" would probably be delivered "some time prior to January 15". In response, Capitol delayed the release date of Smile and "Heroes and Villains" to March 1967. Wilson had also begun to suspect that Capitol was withholding payments from the band and instructed Grillo to conduct an audit of the label's financial records. Discrepancies were soon found. Possibly due to Capitol's insistence on a ready single, Wilson returned to work on "Heroes and Villains" on December 19, 1966, after which he halted work on the album's other tracks until April 1967.
In January, Brian missed his deadline and began working less on the album, Carl received a draft notice from the US Army, "Good Vibrations" began falling off the top 20 chart positions after spending seven weeks in the top 10, and Parks was offered a solo artist deal from Warner Bros. Vosse said that Parks eventually signed the contract, "And the day he signed he put his head back into his own music again. And was less and less available to Brian. And Brian was less and less sure of what he was doing with the album."
On February 28, the band launched a lawsuit against Capitol that sought neglected royalty payments in the amount of $250,000 (equivalent to $ in ). Within the lawsuit, there was also an attempt to terminate their record contract prior to its November 1969 expiry. Following the suit, Wilson announced that the album's lead single would be "Vega-Tables", a song that he had yet to start recording.
Parks was strongly opposed to issuing "Vega-Tables" as the album's lead single, as he had considered the song to be one of their weaker efforts. After February, by Anderle's account, tensions between Parks and Wilson flared as the songwriters "started clashing" because Wilson thought Parks' "lyric was too sophisticated, and in some areas Brian's music was not sophisticated enough [for Van Dyke]." Vosse wrote, "Van Dyke would get really mad because he hated working in a subservient position where there was someone that could say no; and Brian always maintained that. And every once in a while, he would say no just to let Van Dyke know he could say no: and that's what really made Van Dyke mad." Jules Siegel supported that Parks was "tired of being constantly dominated by Brian."
On March 2, after a session for "Heroes and Villains", Wilson and Parks ran into disagreements, possibly over lyrics, and temporarily dissolved their partnership. This event is sometimes cited as marking the conclusion of the Smile "era". Parks himself stated that he did not wish to keep involving himself with what he felt were family feuds unrelated to him and thought that Smile could have been finished without his continued participation. Wilson depended on Parks whenever issues came up in the studio, and when Parks left, the end result was that Wilson lost track of how the album's fragmented music should be assembled. Another dilemma, according to Anderle, was the lyrics, since Wilson now had "to finish some of the lyrics himself. Well, how was he gonna put his lyrics in with the lyrics already started by Van Dyke? So he stopped recording for a while."
Wilson's move to Bel-Air and disintegrated circle (Late 1966 – April 1967)
Wilson's paranoid delusions had intensified throughout the winter, by which time his progressively erratic behavior had started to alarm his associates. One of the well-known stories involves a portrait of Wilson that Anderle had been painting in secret for several months. When he showed the painting to Wilson, Wilson believed that the portrait had literally captured his soul. Anderle later said that he felt his relationship with Wilson was never the same afterward. On another occasion, after attending a theatrical screening for the film Seconds, Wilson was convinced that it had coded messages about his life planted by Phil Spector and director John Frankenheimer. According to Gaines, Wilson suggested to his colleagues that Spector and Frankenheimer were working together as part of a Jewish conspiracy to "destroy Brian Wilson[...] Anderle, himself a Jew, was so insulted he couldn't speak.[...] It took him several days to forgive Brian." Taylor said that Wilson later assigned "people [to follow] Spector. Then Murry was having Brian tailed and so Brian got someone to tail Murry and it just went on and on. All of it complete insanity."
In Wilson's own words, he had become "fucked up" and "jealous" of Spector and the Beatles, and he said that when he started Smile, he had been "trying to beat" the Beatles. Taylor commented that Wilson was preoccupied with "a mad possessive battle" against the Rolling Stones and "particularly" the Beatles, and that he "didn't want me to like any other artist but himself." Throughout early 1967, the music industry and pop fans were aware that the Beatles were working on a significant new work as their follow-up to Revolver, with the band having been ensconced in their London studios since the previous November. According to historian Darren Reid: "In Wilson's mind, the first album to market [in 1967] would be the one to claim victory, it would be the record which would set the standard against which all other albums released after that time would have to be judged."
A popular rumor is that Wilson was deeply affected by his first exposure to the Beatles' February 1967 single "Strawberry Fields Forever". He heard the song while driving with Michael Vosse under the influence of Seconal (a sedating drug). Vosse recalled that as Wilson pulled over to listen, "He just shook his head and said, 'They did it already—what I wanted to do with Smile. Maybe it's too late.' I started laughing my head off, and he started laughing his head off." He tempered his statement by saying that he "never gave much import" to Wilson's remark. Responding to a fan's question on his website in 2014, Wilson denied that hearing the song had "weakened" him.
While litigation was underway, the Smile tapes were temporarily moved to Sound Recorders, a studio belonging to engineer Armin Steiner, and Anderle met with many record companies, but failed to secure a distributor for Brother Records. In March, Wilson cancelled a session – because he decided that the "vibrations" were too hostile – at a cost of $3,000 (equivalent to $ in ). Two other dates were also cancelled. On March 18, KMEM in San Bernardino conducted a radio survey that reported that Wilson was busy preparing "Heroes and Villains" and Smile, "and he's informed the Capitol bosses that he doesn't intend to 'hold back' on these projects." On March 30, KFXM reported that the continued litigation had held up the release of the new single. The next day, Parks briefly returned to the project, making an appearance at a session date.
In April, while staying with Taylor in Los Angeles, Paul McCartney visited a "Vega-Tables" session, after which he previewed an upcoming Beatles song for Wilson: "She's Leaving Home". Around this time, Wilson became aware of rumors alleging that Taylor had possibly played some of the Smile tapes for the Beatles. His attitude changed "completely", according to Parks, as Wilson felt "raped" and began "question[ing] the loyalties of the people who were working for him".
In mid-1967, Wilson and his wife put their Beverly Hills home up for sale and took residence at a newly-purchased mansion in Bel Air. He also set to work on constructing a personal home studio. Most of the coterie, including Parks and Siegel, disassociated themselves or were exiled from Wilson's social group by April. Siegel was told by Vosse that he was banished from Wilson's social circle because his girlfriend was suspected by Wilson to have been disrupting his work through ESP. According to Siegel, "Wilson didn't trust [anyone] anymore, [but] with some of them he had good reason." Vosse was dismissed in March, as Wilson's bandmates resented the fact that they had been paying the salary of an aide who worked solely for Wilson.
Semi-hiatus (April–May 1967)
Parks' last recorded appearance on the album's sessions was for a "Vega-Tables" date on April 14, after which Wilson took a four-week break from the studio. Anderle said that, at the time, he felt that "the central thing [that destroyed Smile] was Van Dyke's severing of the relationship." He left of his own accord weeks later; the last time Wilson was visited by Anderle to discuss business matters, Wilson refused to leave his bedroom. Wilson had discussed breaking up the Beach Boys "on many occasions," according to Anderle, "But it was easier, I think to get rid of the outsiders like myself than it was to break up the brothers. You can't break up brothers."
On April 25, CBS premiered Inside Pop: The Rock Revolution, a documentary by David Oppenheim and Leonard Bernstein. According to Leaf, the documentary was originally supposed to be focused on Wilson, but it was later decided to expand the scope of the program due to the Beach Boys' waning popularity in early 1967. Wilson's segment was limited to footage of him singing "Surf's Up" at his piano without any interview footage or references to Smile. According to Kent, when Wilson viewed the finished documentary, he was disturbed by the praises he was afforded, thereby accelerating the album's collapse.
Desperate for a new product from the group, on April 28, the group's British distributor EMI released "Then I Kissed Her" as a single without the band's approval. On April 29, Taylor announced in Disc & Music Echo that "All the 12 songs for the new Beach Boys album are completed and[...] there are plans to release the album on a rush-schedule any moment." That same day, a Taylor-penned press release, published in Record Mirror and NME, revealed that "Heroes and Villains" was delayed due to "technical difficulties" and that the forthcoming lead single would be "Vegetables" backed with "Wonderful". A session scheduled for May 1 was cancelled.
Williams reported in the May issue of Crawdaddy! that the next Beach Boys LP would include "Heroes and Villains" ("weighing in at over four minutes"), "The Elements" ("a composition in four movements"), "The Child Is the Father of the Man" , "and something about going in the yard to eat worms." He wrote, "Lyrics are mostly by Van Dyke Parks, and it is possible that the LP will be finished one of these days. Smile." On May 6, a week after stating that Smile was to be released "any moment", Taylor announced in Disc & Music Echo that the album had been "scrapped" by Wilson; however, it is likely that the report was spurious and that Wilson was unaware of Taylor's proclamation.
On May 11, Wilson returned to the studio to work on "Heroes and Villains". On May 14, his bandmates conducted a press conference at the Amsterdam Hilton with the Dutch music press. Hitweek later reported that communications between Wilson and his bandmates had broken down to the point that his bandmates thought Smile had been scheduled for release by mid-May. The next day, Wilson cancelled a session for "Love to Say Dada", again due to "bad vibes". Badman states that the final session for the album was held for "Love to Say Dada" on May 18. A follow-up that was scheduled for the next day was cancelled.
Smiley Smile (June–September 1967)
It is sometimes suggested that Wilson cancelled Smile because of the widespread recognition afforded to the Beatles' Sgt. Pepper's Lonely Hearts Club Band (released in the U.S. on June 2). Leaf writes that the success of the Beatles' album was "probably only another contributing factor", reasoning that "if Brian had decided to scrap Smile only because of Pepper, then he probably would not have released ['Heroes and Villains' weeks later]." From June 3 to 7, the band resumed sessions at professional studios before retreating to the home studio. In a June issue of Hit Parader, Dennis reported that the group were still recording Smile and that the album was "50% done".
Wilson reflected that he had run out of ideas "in a conventional sense" during this period and had been "about ready to die". He said: "Time can be spent in the studio to the point where you get so next to it, you don't know where you are with it, you decide to just chuck it for a while." Wilson declared to his bandmates that most of the material recorded for Smile was now off-limits and later said that his decision to keep "Surf's Up" unreleased was one that "nearly broke up" the band.
From June to July, the Beach Boys reconvened at Wilson's home to record the bulk of Smiley Smile at his improvised studio. The album is a significantly less ambitious affair than Smile, being stylistically similar to Beach Boys' Party!, and includes simplified remakes of select Smile material. Only two tracks used modules that had originated from the Smile sessions (two for "Heroes and Villains" and two for "Vegetables"). Parks was not involved with the album's making, and despite the band's claim that Smile was shelved for being "too weird", there was no attempt to make the musical content on Smiley Smile appear any less bizarre for their standard audience.
Smiley Smile is sometimes considered the fulfillment of Wilson's "humor" concept album. This belief was shared by Anderle, who surmised, "I think that what Brian tried to do with Smiley Smile is he tried to salvage as much of Smile as he could and at the same time immediately go into his humor album." Carl compared it to "a bunt instead of a grand slam". The cover artwork featured a new illustration of Frank Holmes' smile shop, this time located in the middle of an overgrown jungle.
On July 18, Capitol announced that they had reached a settlement with the band, and Brian announced the launch of Brother Records, whose product was to be distributed by Capitol. Capitol A&R director Karl Engemann began circulating a memo, dated July 25, in which Smiley Smile was referred to as a "cartoon" stopgap for Smile. The memo also discussed conversations between him and Wilson pertaining to the release of a 10-track Smile album that would not have included "Heroes and Villains" or "Vegetables". This never came to fruition and, instead, the group embarked on a tour of Hawaii in August. On September 18, Smiley Smile, the first album by the band in which the production was credited to "the Beach Boys", was released to an underwhelming critical and commercial response.
Aftermath
Wilson's struggles and Song Cycle
Throughout 1967, Wilson's image reduced to that of an "eccentric" figure as a multitude of revolutionary rock albums were released to an anxious and maturing youth market. He gradually ceded production and songwriting duties to the rest of the group and self-medicated with the excessive consumption of food, alcohol, and drugs. In a 2004 interview, he indicated that listening to the Smile music would eventually, for him, reawaken "the bad feelings of the drugs". In a 1993 interview, Bruce Johnston remembered of the Smile sessions,
For many years after its shelving, Wilson had been traumatized by the project and regarded it as representing all of his failures in life. He had stated that he considered the recordings "contrived with no soul" and "corny drug influenced music", as well as imitations of the work of Phil Spector without "getting anywhere near him". If broached the subject of Smile, he would usually decline to comment or simply walk away from the inquisitive party. His discomfort in discussing the work lasted until around the early 2000s.
Parks initially attempted to distance himself from the album's legend. In 1998, he referred to Smile as "just a few months of work I did as a contract employee many, many years ago. Life goes on.[...] I think it means a lot more to other people than it does for me." Writing in his 2006 biography on Wilson, Carlin said that Parks had come to resent that his career had been eclipsed by "something that didn't quite get finished in 1967." The fact that he was not properly credited for some of his co-written songs that were published on later Beach Boys albums, including "Wind Chimes" and "Wonderful", was another source of frustration. Carlin added, "And if Van Dyke felt guilty about abandoning his Smile partner just as the going was getting tough, he was also a hardworking professional who believed that Brian's surrender, followed by decades of near-withdrawal, mounted to another kind of betrayal."
After breaking away from the project in early 1967, Parks signed a solo contract with Warner Bros, where he formed part of a creative circle that came to include producer Lenny Waronker and songwriter Randy Newman. At the end of the year, the company released Parks' debut album, Song Cycle, a record that often was, and continues to be, compared to Smile. Although Song Cycle sold poorly, Parks continued working at Warner as an arranger. Biographer Kevin Courrier wrote that the "failed aspiration of Smile served as a guiding spirit" for Song Cycle as well as the Parks- and Waronker-produced debut album by Newman, Randy Newman Creates Something New Under the Sun (1968). Music historian Timothy White writes that "the lives and business interests" of Wilson, Parks, Waronker, and Warner Bros. would become "forever intertwined".
Further recording and abandoned Reprise release
Some of the Smile material continued to trickle out in subsequent Beach Boys releases, often as filler songs to offset Wilson's unwillingness to contribute. The first two instances of recycled Smile songs appeared on the albums directly following Smiley Smile: "Mama Says" from Wild Honey (1967) and "Little Bird" from Friends (1968). "Mama Says" was based on a section from "Vega-Tables" and the bridge of "Little Bird" was based on the refrain of "Child Is Father of the Man". Neither of the tracks were recordings from the Smile sessions; they were each recorded for their respective albums.
In 1969, "Cabin Essence" (retitled "Cabinessence") and "Prayer" (retitled "Our Prayer") appeared on the band's album 20/20, with additional vocals that were recorded by Carl, Dennis, and Johnston in November 1968. "Workshop" was also integrated into the 20/20 version of "Do It Again". According to Carlin, Brian was opposed to the inclusion of "Prayer" and "Cabin Essence", and refused to participate in the overdub sessions.
After 20/20, the Beach Boys signed to Reprise Records, a deal that was brokered by Parks, by then a multimedia executive at Warner. The band's record contract held a clause which guaranteed a $50,000 advancement to the group provided that they deliver a completed Smile album by 1973. Brian was not consulted on this stipulation. Their first Reprise album, Sunflower, was released in 1970. At Waronker's insistence, the record included "Cool, Cool Water", a song that had evolved from "Love to Say Dada".
For the band's second Reprise album, tentatively titled Landlocked, Wilson agreed to the inclusion of "Surf's Up". From mid-June to early July 1971, Carl and band manager Jack Rieley retrieved the Smile multi-tracks from Capitol's vaults, primarily to locate the "Surf's Up" masters, and attempted to repair and splice the tapes. Brian joined them on at least two occasions. Afterward, the band set to work on recording the song at Brian's home studio. Brian initially refused to participate in these sessions, but after a few days, he added a part to the song's "Child Is Father of the Man" coda. Landlocked was then rechristened Surf's Up and released in August. Most listeners at the time were unaware that the song derived from a lost Beach Boys album.
On February 28, 1972, Carl announced the imminent release of Smile at a London press conference. Asked if he had been working on the album, he replied that he had, during the previous June, and that the group had created safety copies of all the tapes. He claimed that these tapes were now fully assembled and new vocals had been overdubbed where necessary. Melody Maker printed a list of songs that were to be included on Carl's proposed version of Smile, some of which "seem[ed] to come under the overall subtitle of 'Heroes and Villains'". They were: "Child Is Father of the Man", "Surf's Up", "Sunshine", "Cabinessence" (incorporating "Iron Horse"), "Mrs. O'Leary's Cow", "I Love to Say Dada" (incorporating "Cool, Cool Water"), and the original versions of "Vega-Tables", "Wind Chimes", and "Wonderful".
Asked about the forthcoming release at a later date, Carl responded: "We've all had intentions of finishing the album, but something persists that keeps that from happening, and I don't know what that is." In April 1973, the band's assistant manager Steve Love wrote a memo to remind the group that, "pursuant to the terms of contract between Warner Brothers and Brother Records, Inc., The Beach Boys' Smile album is supposed to be delivered to Warner Brothers no later than May 1st or $50,000 is to be deducted from any advance to the group after May 1st." No album was delivered, and as threatened, $50,000 was held back from the group's next payment (equivalent to $ in ).
In 1973, Brian told a Melody Maker reporter that there was not enough material to compile a Smile album and that it would never be released. Also in 1973, Wilson and his group American Spring contributed additional vocal and instrumental parts to a remix of Dean Torrence's 1967 rendition of "Vegetables", credited to "Laughing Gravy", and released on the Jan and Dean compilation Gotta Take That One Last Ride. In a 1976 interview, Wilson stated that he felt an obligation to release Smile and offered that the album would come out "probably in a couple years."
Bootlegs, partial releases, and fan efforts
Earliest bootlegs and fan network
Many of the original Smile recordings were only publicly available on bootlegs until 2011. These bootlegs often presented a hypothetical vision of the completed album, with compilers including liner notes that explained their choices of sequencing. One of the most relied-upon sources for the album's contents came from the list of song titles included on the discarded Smile album jackets that had been produced by Capitol in late 1966.
Audio bootlegs purported as Smile began circulating among fans during the late 1970s and drew upon released material from Smiley Smile, 20/20, and Surf's Up. The compilers were only informed by the song titles listed on the Smile album jacket and were sometimes unaware that most of the released material was not from the original Smile sessions. According to Andrew Flory, "Little is known about the process through which [actual] Smile material leaked into bootleggers' hands." One rumor holds that the first tapes came from Dennis, who had created copies for friends, who then created copies for their friends. Although there were rumors of leaked tape transfers and acetate discs in the late 1970s, only a minimal amount of this material was available to bootleggers until the early 1980s.
In the 1970s and early 1980s, fan groups for the Beach Boys were organized by at least a dozen people, including David Leaf, Don Cunningham, Marty Tabor, and Domenic Priore. Most of the fan correspondence was through newsletters, which helped disseminate information and attract people who were interested in compiling details concerning the band's music. The proliferation of these groups was due in part to an advertisement for Beach Boys Freaks United, the band's official fan club, that was displayed on the back cover of the 1976 album 15 Big Ones. Priore later wrote that "It wasn't much of a publication, but it did include a 'Trading Post' [that] became an essential, pre-Internet contact source."
To assist with the writing of his 1978 authorized biography of the band, Byron Preiss was given a tape of Smile recordings, the contents of which were distributed to a small group of people over the next few years. Another biography of the band, authored by Leaf, was published that year. In his book, Leaf wrote that Smile "can never be completed as Brian intended, so a compromise solution might be to release the surviving tapes and outtakes in a series of records called The Smile Sessions [like] Elvis' Sun Sessions[...]".
Leaf's book included quotes from Bruce Johnston, who believed that such a release would be a "bad idea" commercially and "would [only] live up to your expectations if you were [somebody like] Zubin Mehta analyzing a young composer's work." In a later interview that year, he told Leaf that the band's manager James William Guercio had insisted on opening their 1979 release L.A. (Light Album) with "Rock Plymouth Rock/Roll". Johnston said: "I wanted to make up a collage [of the Smile recordings], but I want Brian to be the one to put the collage together. I can tell he still feels funny about that stuff. You know, there's a lot of Smile stuff intact [...]". Johnston again mentioned Smile in a 1981 interview, where he declared plans to issue a six-minute compilation of the album's recording sessions without Wilson's knowledge.
"Brother Records" Smile and Linett tape
In 1983, a 48-minute cassette tape began circulating and was soon pressed onto an LP bootleg that was referred to as the "Brother Records" Smile. It included a range of material that originated from Smile or was thought to be related to the project, as well as an unrelated 1959 recording, "Here Come de Honey Man" by Miles Davis, that was erroneously listed as "Holidays". The LP did not indicate an authorial origin on its sleeve but featured the organizational addresses of Cunningham's Add Some Music, Tabor's Celebrate, Beach Boys Freaks United, and the Australian publication California Music.
In April 1985, the video documentary The Beach Boys: An American Band featured some previously unreleased Beach Boys music, including an excerpt of "Fire". Also that year, a "Second Edition" of the Brother Records LP surfaced without the labelled addresses and with a significantly different presentation order. The set also included different mixes that suggested a spread of newly available Smile recordings. Their improved sound quality indicated that a Beach Boys insider had accessed the band's tape vaults and created cassette copies of the recordings.
In 1987, Waronker encouraged Wilson to compose a Smile-esque song for his debut solo album, Brian Wilson (1988). This resulted in the "Rio Grande" suite, written with co-producer Andy Paley. At this time, Linett, who engineered the album, had prepared mixes of some Smile tracks in anticipation for a then-forthcoming release. In 1988, Wilson confirmed that Smile was being compiled and mixed for an imminent release. In another report, he said that the forthcoming project "got sidetracked with business" and worried whether the album would sell due to it being mostly instrumental tracks. He added that he had considered asking his bandmates to overdub the remaining vocal tracks.
According to journalist David Cavanaugh, "things went awry when a cassette compiled for Capitol executives leaked into the public domain, causing Brian to lose interest." One of the collaborators on Wilson's solo album had been given 1st-generation copies of Smile recordings, which were then passed on to a DJ, who then made copies for friends. Following this, in the words of music historian Andrew Doe, "Bootlegs of Smile came out left, right and centre."
Look! Listen! Vibrate! Smile!
In the late 1980s, Domenic Priore collaborated with musicians Darian Sahanaja and Nick Walusko on a punk-style fanzine called The Dumb Angel Gazette, the most comprehensive attempt to document information regarding the album. The second issue, Look! Listen! Vibrate! Smile!, featured a 300-page summary of Smile history told through press clippings, reprints of older articles, and various primary sources, as well as original commentary. Additional assistance for this issue came from David Leaf, Andy Paley, journalist Greg Shaw, and musician Probyn Gregory, a friend of Sahanaja and Walusko. Afterward, Sahanaja, Gregory, and Walusko formed the pop group Wondermints, and later, the core nucleus of Wilson's supporting band in the late 1990s and early 2000s.
According to Priore, although some "questioned the sanity behind the publication of such a huge book on an album that had never been released", the book ultimately "received accolades from Spin and Rolling Stone", as well as "positive personal reactions" from musicians such as XTC, Apples in Stereo, and former Beatle George Harrison.
Spread of bootlegs and Good Vibrations box set
The wider dissemination of Smile bootlegs informed the public that the album was closer to completion than Wilson had admitted in interviews. Since the mid-1980s, CDs had supplanted vinyl as the predominant medium for bootlegs, and, following the Linett tape leak, dozens of different Smile CD releases were traded and sold commercially by mail order, independent record stores, and head shops. Many of the new buyers had crossed over from Beatles bootleg markets. One of the most popular Smile bootlegs from the late 1980s was a Japanese CD (emerging in November 1989) that opened with a 15-minute version of "Good Vibrations".
Capitol issued alternate versions of "Good Vibrations" and "Heroes and Villains" as bonus tracks on a 1990 CD reissue of Smiley Smile and Wild Honey. In response to the 1992 appearance of a new three-disc vinyl bootleg, which contained uncirculated versions of "Wonderful", "Love to Say Dada" and "Barnyard", Capitol then issued over 40 minutes of original Smile recordings on the career-spanning box set Good Vibrations: Thirty Years of the Beach Boys (1993). Never-before-released tracks included "Do You Like Worms?", "I Love to Say Da Da", the Smile versions of "Wonderful", "Wind Chimes", and "Vegetables", session highlights of "Surf's Up" and "Cabinessence", and some erroneously titled "Heroes and Villains" outtakes.
The Good Vibrations set had featured the first official release of a compiled Smile album, which was sequenced by Leaf, Paley, and Linett. However, the material was largely presented "as-is", without truly approximating what the completed album would have sounded like. Responding to a suggestion in Leaf's Good Vibrations liner notes, a preponderance of listeners began constructing their own version of the album using the resources provided in the box set.
Two types of Smile bootlegs appeared in the 1990s: those in which the compilers attempted to assemble the album in a completed form, and others that simply presented the project as session recordings. The best-known releases were issued by the underground labels Vigotone and Sea of Tunes. They both released Smile sets that combined the two types of bootlegs and helped bring interest to the recordings among people outside of the Beach Boys fan community. Vigotone's 1993 version of the album was the heaviest-circulated Smile bootleg in the 1990s.
Smile box set rumors and arrests
In 1995, Wilson reteamed with Parks for the collaborative album Orange Crate Art, which provoked speculation regarding a future release of Smile. Wilson also performed "Wonderful", in its original Smile arrangement, for the Don Was-directed documentary I Just Wasn't Made for These Times, and this rendition was included on the accompanying soundtrack album. In addition, Capitol announced a three-CD box set entitled The Smile Era to be released in the autumn.
A Smile box set failed to materialize at this time partly due to the arduous task of compiling and sequencing. Don Was said in a 1995 interview, "We showed Brian an interactive CD-ROM of Todd Rundgren's [No World Order] and told him that this is how he should release Smile. He could load up an interactive CD with seven hours of stuff from those sessions and just tell the people who buy it, 'You finish it.' Brian's into it; now it's up to the record company." Following the recording of the Beach Boys' 1996 album Stars and Stripes Vol. 1, the group discussed finishing Smile at a band meeting. Carl vetoed the idea, as he had feared that it would cause Brian another nervous breakdown. The difficulties that caused the 18-month delay for the release of The Pet Sounds Sessions (1997) discouraged Capitol from issuing a similar box set for Smile.
Asked about Smile during the press run for his 1998 comeback album Imagination, Wilson responded, "I thought too much. Smile was just a bunch of weird stuff that didn't even amount to anything." In 2001, weeks after his first public performance of "Heroes and Villains" in decades, he told an interviewer, "I don't really ever want to put out the Smile stuff. It's just not appropriate music.[...] I know it's a legendary thing. The Smile trip is a legend."
In the late 1990s, Sea of Tunes released seven hours of Smile music spread out over eight CDs as part of their "Unsurpassed Masters" series. By the end of the 1990s, Smile had become one of the most well-documented projects in the bootlegging community. Those involved with releasing the Sea of Tunes bootlegs were later apprehended by authorities, and it was reported that nearly 10,000 discs were seized. Vigotone planned to follow their 1998 bootleg, Heroes and Vibrations, with a multi-disc Smile box set before they were similarly raided and closed down by law enforcement in 2001.
Official versions
2004 – Brian Wilson Presents Smile
Wilson was able to complete a version of Smile in 2004 with the assistance of the Smile fan network that had developed since the 1970s. Following Wilson's early 2000s live performances of the Pet Sounds album, Sahanaja began suggesting Smile songs at band rehearsals, which led to plans for concerts that comprised a Smile-themed setlist. Sahanaja was assigned the role of "musical secretary" for the project and Parks was recruited to assist with the sequencing and the writing of new lyrics. Together with Wilson, they configured the presentation into three movements. Sahanaja said: "At that point, he [Brian] and Van Dyke were talking as if they were finishing Smile." According to Steven Gaines, Wilson had stated an intention to complete Smile in three movements as early as 1980.
Brian Wilson Presents Smile (BWPS) premiered at the Royal Festival Hall in London in February 2004. A studio album adaptation was recorded six weeks later and released in September. Beautiful Dreamer: Brian Wilson and the Story of Smile, a documentary film by Leaf, premiered on Showtime the next month. None of Wilson's bandmates were involved with BWPS or the documentary, and none of the original recordings were used on the album. The album debuted at number 13 on the Billboard Hot 100, the highest chart position of any album by the Beach Boys or Brian Wilson since 1976's 15 Big Ones. In support of the album, Wilson embarked on a world tour that included stops in the US, Europe, and Japan.
2011 – The Smile Sessions
The Smile Sessions, released as a five-CD box set in October 2011, was the first official package dedicated to the Beach Boys' Smile. It features comprehensive session highlights and outtakes, as well as an approximation of what the completed album might have sounded like, using the 2004 version as a model. Like BWPS, many of the people involved with the making had been involved with the Beach Boys fan community for decades, including Priore and Reum, who contributed essays and were consulted for the project. The set received immediate critical acclaim, was ranked on Rolling Stones 2012 list of the "500 Greatest Albums of All Time", and won Best Historical Album at the 55th Grammy Awards.
Influence and legacy
Legend and mystique
In the decades following Smiles non-release, it became the subject of intense speculation and mystique and gained status as the most legendary unreleased album in the history of popular music. Many of the writers and "hanger-ons" who surrounded Wilson at the time were largely responsible for the mythological status later afforded to the project. In October 1967, Cheetah magazine published "Goodbye Surfing, Hello God!", a memoir written by Jules Siegel that originated many of the subsequent myths and legends related to Smile. Flory credited the piece with giving "rock fans a manner in which to view Wilson as hip" as well as "venerat[ing] Smile as a relic of this hipness, intensifying audience interest in the unavailable work".
A published conversation between David Anderle and Paul Williams, serialized in Crawdaddy in 1968, was another early resource for information regarding the album. In his book How Deep Is the Ocean, Williams also included a 1997 conversation between the two. Anderle acknowledged of his role in inflating the mythology, "I guess we all do that. We all extend the story, don't we? We all extend the moment. It's satisfying. But what a burden for Brian[...]"
Responding to Anderle's statement, Siegel countered, "Brian was a genius and, if anything, I underestimated him.[...] I wasn't aware of him as a myth. I just wrote down what I saw and heard." Williams shifted his opinion on the album after having heard many of the recordings for the first time in 16 years. He felt that when "the myth" that he and Anderle had "certainly helped create" is discounted from his evaluation, the tracks "clearly" reveal themselves as "the work of someone very stoned", and that even though "there are moments of great sensitivity and deep feeling", the "overall character [...] is not at all a "heart" album (as Pet Sounds certainly is); rather it is, and was clearly meant to be, a sort of three-ring circus of flashy musical ideas and avant-garde entertainment."
During the 1970s, the perceived mystique around the project was increasingly shared by music critics. In 1983, Dave Marsh bemoaned the hype, calling it "an exercise in myth-mongering almost unparalleled in show business. Brian Wilson became a Major Artist by making music no one outside of his coterie ever heard." Writing in his 2014-published 33⅓ book about the album, Luis Sanchez opined that album's myth had since lost its power to "lure and convince" as "writers and cultists kept the story alive by rehashing hyperbole and rumor that could only take the story so far.[...] the myth itself overtook and nearly consumed the artist and the music it was about."
Bootlegs of the sessions became influential in their own right and intensified the public's interest in the album. Journalist Bill Holdship reported in 1995, "Since moving to LA, I've encountered people who are as obsessed with Smile the same way people are obsessed with the Kennedy assassination." By 1999, fans had published many essays devoted to the album through the Internet, and by the early 2000s, several books had been devoted to the album. Writing in 2002, journalist Rob Chapman summarized that the album had become "the ultimate metaphor for pop's golden age; that moment when everything seemed possible, when heaven seemed reachable". In Courrier's words, the project "became oddly influential. While functioning mostly as a rumor, when some bootlegged tracks confirmed its existence, Smile became a catalyst for records that followed in its wake." In 2011, Smile topped Uncuts list of the greatest bootleg recordings of all time.
Hypothetical release scenario
Many of the album's advocates believe that had it been released, it would have altered the group's direction and solidified their position at the vanguard of rock innovators. It may have also significantly impacted the development of concept albums, as Allan Moore argued, "it would have suggested an entirely different possible line of development for the concept album, wherein parts of tracks reappeared in others producing a form frankly far more sophisticated than any of its contemporaries." David Howard, writing in his book Sonic Alchemy, said that "Had Wilson been able to connect all the dots, Smile would most certainly be regarded as one of pop's major artistic statements, rather than an infamous, unfortunate footnote." In 2003, Ed Howard of Stylus Magazine wrote that the album "could have expanded boundaries for both the Beach Boys and pop music as a whole. Instead, for the most part it remains unheard today, and that's quite possibly the saddest fact in all of music."
Spencer Owen of Pitchfork argued in 2001 that the album could have dramatically altered the course of popular music history, such that "Perhaps we wouldn't be so monotheistic in our pop leanings, worshiping only at the Beatles' altar the way some do today." In Anderle's belief, "[Smile] would have been a major influence in pop music[...] as significant if not a bigger influence than Sgt. Pepper was." Brian Boyd of The Irish Times rued that Wilson's desire to match the Beatles had contributed to the project's collapse, but also commented that since this competitive instinct was shared by his rivals, the release of Smile may have prolonged the group's break-up.
It is likely that the vast majority of the content recorded for Smile would have been left off the record due to the runtime constraints of vinyl discs. According to Linett, although contemporaries such as Frank Zappa and Bob Dylan had experimented with double albums, there is "no indication" that a multi-disc format for Smile "was ever contemplated" in 1966 or 1967. Mojos Jim Irvin challenged "the assumption that, if completed, Smile would have been perfect" and proposed that "it might have simply been considered a giant, perplexing, forty-minute 'Heroes And Villains' with some stuff about vegetables in the middle. Would it really have gone over much bigger than Van Dyke's disastrous Song Cycle a year later? Would it be inviting such brouhaha today?"
Asked in a 1987 interview whether Smile would have topped his rivals' subsequent release, Wilson replied: "No. It wouldn't have come close. Sgt. Pepper would have kicked our ass." Later, he claimed that his work would have been "too advanced" for 1967 audiences. In 1993, Mike Love said he believed Smile "would have been a great record", but in its unfinished state, is "nothing, it's just fragments". Writing in his book about Sgt. Pepper, Clinton Heylin criticized Parks' lyrics as "little more than columns of non sequiturs from a man who once swallowed a thesaurus" and decreed that much of the surviving Smile recordings "confirm that Wilson was nowhere near completing an album to rival Revolver let alone its psychedelic successor." In the opinion of Kicks co-editor Billy Miller, "nobody would have got too jazzed over electricity being invented for the second time" had Smile followed the release of Sgt. Pepper, "And it's a damn shame, too".
Reviewing the available bootlegs and officially released tracks for AllMusic, Richie Unterberger said that "numerous exquisitely beautiful passages, great ensemble singing, and brilliant orchestral pop instrumentation" were in circulation, yet "the fact is that Wilson somehow lacked the discipline needed to combine them into a pop masterpiece that was both brilliant and commercial." Former Record Collector editor Peter Doggett states that Smile would most likely have had the same reception as that afforded Song Cycle – namely, critical acclaim but a commercial disaster. He wrote that the release of Smile "would surely have set the Beatles back for months while they considered a suitable reply[...] But it wouldn't have been commercial, in the way that the Doors, or Love, or Jefferson Airplane were."
Innovations
With Smile, Wilson anticipated editing practices that were not common until the digital age. "In a way", Linett said, "Brian invented the method of modular recording that we take for granted today." The album cover – considered to be among the most legendary in rock music, according to Priore – would have been one of the earliest instances of a popular music group featuring original commissioned artwork. Paul Williams argued that, with Smile, Wilson had become one of the earliest pioneers of sampling. Priore wrote that Wilson "manipulated sound effects in a way that would later be extremely successful when Pink Floyd released The Dark Side of the Moon in 1973, the best-selling album of the entire progressive rock period".
Sanchez offered his view of the project as a "radical" expansion of "the glow and sui generis vision" of Pet Sounds, one which "presents itself with a kind of directness that is unlike anything else in popular music". Ed Masley of AZ Central wrote that Smile "doesn't sound like" many other pop albums that were considered to be the vanguard of the "psychedelic revolution[...] but it clearly shares their spirit of adventure in a way that would have been unthinkable just two years earlier." Ed Howard wrote that the album's "arty experimentation", "exotic, often surprising arrangements", and "twisting wordplay" was "arguably" more innovative than contemporary work by the Beatles.
In 1999, Freaky Trigger wrote that Smile was not "the best album ever", but that it is "astoundingly original" and "tangible evidence of an alternative rock history which turned out differently". In 2011, despite its chosen focus being "new American music that is outside the commercial mainstream", online publication NewMusicBox made an exception with Smile, citing its standing as "an album recorded more than 45 years ago by one of the biggest (and most financially lucrative) musical acts of all time". The site's reviewer, Frank Oteri, wrote: Oteri concluded that "the same pride of place in American music history held by other great innovators" such as Charles Ives, George Gershwin, John Cage, John Coltrane, and James Brown would "probably" never include Smile, since, "For many people, the Beach Boys will always be perceived as a light-hearted party band that drooled over 'California Girls' while on a 'Surfing Safari'."
Alternative music
Smile was influential to indie rock and its mythology became a touchstone for chamber pop and the more art-inclined branches of post-punk. In Priore's estimation, the "alternate-rock" generation began embracing Smile after the early 1990s. In 2002, Chapman remarked that he had "yet to meet an ambient or electronica artist who doesn't have a soundfile full of Smile bytes".
The Elephant 6 Recording Company, a collective of bands that includes Apples in Stereo, the Olivia Tremor Control, Neutral Milk Hotel, Beulah, Elf Power, and of Montreal, was founded through a mutual admiration of 1960s pop music, with Smile being "their Holy Grail". Will Cullen Hart appreciated "the idea of the sections, each of them being a colorful world within itself. [Wilson's] stuff could be so cinematic and then he could just drop down to a toy piano going plink, plink, plink and then, when you least expect it, it can fly back into a million gorgeous voices." According to Kevin Barnes, of Montreal's album Coquelicot Asleep in the Poppies: A Variety of Whimsical Verse (2001) was partly based on Smile.
Released exclusively in Japan, the 1998 tribute album Smiling Pets featured cover versions of Pet Sounds and Smile tracks by artists such as the Olivia Tremor Control, Jim O'Rourke, and Sonic Youth's Thurston Moore. Trey Spruance, who recorded a version of "Good Vibrations" for the album, said that Smile "definitely" influenced the Mr. Bungle album California (1999), "especially when it comes to the Faustian scale of it." The cover artwork for Velvet Crush's Teenage Symphonies to God (1994) was based on the Smile cover.
Kevin Shields of My Bloody Valentine said that his band's 2013 album MBV was inspired by the modular approach of Smile. Priore believed that the Smile recordings influenced albums such as XTC's Oranges & Lemons (1989), the High Llamas' Gideon Gaye (1994) and Hawaii (1996), the Flaming Lips' The Soft Bulletin (1999), Mercury Rev's All Is Dream (2001), the Apples in Stereo's Her Wallpaper Reverie (1999), Heavy Blinkers' 2000 eponymous LP, and the Thrills' So Much for the City (2003).
Unfinished state and interactivity
There remains no definitive form or content of Smile, and whether Smile should be considered an "album" has itself been challenged. Quoted in Leaf's 1978 biography, Anderle felt that Smile should be viewed not as an album, but an epoch that includes Pet Sounds and "Good Vibrations". Heiser wrote, "Possibly the best term offered yet to describe the project is: 'sonic menagerie'", a term used by co-producer Dennis Wolfe in the liner notes of The Smile Sessions. Priore had long suggested that the album was virtually finished in 1967, however, Ed Howard contended: "Smile was, simply put, nowhere near finished[...] Furthermore, any effort to guess at what the album might have sounded like would be nothing more than conjecture.[...] it's likely that [Brian] himself didn't have a clear, constant, single idea for the album".
Upon the release of BWPS, critics popularly viewed Smile as "finally completed". In his review of The Smile Sessions, Toop argued that such attempts to complete the album are "misguided". He described Smile as a "labyrinth" that exists "in a memory house into which Wilson invited all those who could externalize its elements". Freaky Trigger shared a similar view, writing: "There is no 'correct' track sequence, there is no completed album, because Smile isn't a linear progression of tracks. As a collection of modular melodic ideas it is by nature organic and resists being bookended." Toop said the project's demise and film-like editing process also "parallels the great lost projects by Orson Welles, Erich Von Stroheim and Sergei Eisenstein." Howard supported that the material "is best heard as a movie reel on the making of a record: multiple takes of each song, with no definitive version."
Academic Larry Starr opined that "the idea there could be a 'definitive' Smile decades after Brian Wilson abandoned the project was always chimerical". He added, "Those whimsically inclined might suggest that Smile's apparent malleability could represent just one additional illustration of the extent to which it was ahead of its time." In a 2004 conversation with Wilson, Parks suggested that, with Smile, the pair may have inadvertently created the first ever interactive album.
In popular culture
Lewis Shiner's 1991 science fiction novel Glimpses contains a chapter in which the protagonist travels back in time to November 1966 and helps Wilson complete Smile.
The 2007 comedy film Walk Hard: The Dewey Cox Story contains a segment inspired by the Smile saga, in which the protagonist is consumed with recording his "masterpiece" (titled “Black Sheep”) and suffers a mental breakdown.
Reconstruction track listings
All tracks written by Brian Wilson and Van Dyke Parks, except where noted.
Track table
Adapted from The Smile Sessions liner notes and Andrew Doe's Bellagio 10542 online compendium.
Key
Personnel
Notes
References
Bibliography
Further reading
Contemporary articles
Web articles
Journals
Books
External links
1960s in American music
1967 in American music
1966 in American music
Albums produced by Brian Wilson
Albums arranged by Brian Wilson
Albums conducted by Brian Wilson
Americana albums
Capitol Records albums
Concept albums
Experimental rock albums by American artists
Folk rock albums by American artists
Progressive pop albums
Psychedelic rock albums by American artists
Psychedelic pop albums
Unreleased albums
Albums recorded at Gold Star Studios
Albums recorded at United Western Recorders
The Beach Boys bootleg recordings
Unfinished albums
Art pop albums
Avant-pop albums
Musique concrète albums |
David J. Brazil ( ; born September 20, 1963) is a Canadian politician from Newfoundland and Labrador. He has represented the district of Conception Bay East - Bell Island in the Newfoundland and Labrador House of Assembly since 2010. He served as interim Leader of the Progressive Conservative Party of Newfoundland and Labrador and interim Leader of the Opposition from 2021 to 2023.
Brazil previously served as Opposition Leader in 2018 between the resignation of Paul Davis and the election of Ches Crosbie as MHA.
Political career
Government member
In November 2010, Brazil won the nomination to be the Progressive Conservative Party of Newfoundland and Labrador candidate in a by-election for the electoral district of Conception Bay East – Bell Island defeating five other candidates for the nomination. The by-election was being held to replace the late Dianne Whalen who had died a month earlier.
The by-election was called for December 2, 2010 with two other candidates running for the New Democrats and the Liberals. One week before the by-election, on November 25, Premier Danny Williams announced that he would retire from politics on December 3, 2010. With the announcement that the Premier would be resigning it left many wondering if Brazil, who was initially thought to easily hold on to the seat for the Tories, would be able to win now that the party's popular leader was stepping down. However, on December 2, 2010, Brazil defeated both the New Democratic and Liberal Party candidates, winning 66% of the popular vote. The percentage of the vote was consistent with previous by-election wins the PCs had before the announcement that Williams was retiring.
Brazil was re-elected with 55% of the vote in the 2011 election. On July 17, 2014, Brazil was appointed to the Executive Council of Newfoundland and Labrador as Minister of Service NL. When Paul Davis took over as premier in September 2014, he moved Brazil to Minister of Transportation and Works.
Opposition member
Brazil was re-elected in the 2015 election, defeating Liberal Danny Dumaresque by almost 1,900 votes.
In 2017, Brazil declined to seek the leadership of the PC Party and endorsed Tony Wakeham in the 2018 election, serving as his campaign manager.
Following the election of Ches Crosbie as PC leader in April 2018, Paul Davis announced he would resign as Leader of the Opposition. Since Crosbie did not have a seat in the House of Assembly when elected leader, Brazil was appointed the Leader of the Opposition on May 14, 2018. On September 20, 2018 Crosbie won the district of Windsor Lake in a by-election, therefore becoming Leader of the Opposition.
Brazil was re-elected in the 2019 provincial election. Brazil was re-elected in the 2021 provincial election. PC leader Crosbie was personally defeated in his district of Windsor Lake. The Liberals under Furey won a majority government. On March 31, 2021, Crosbie resigned as leader and Brazil was appointed interim Leader and interim Leader of the Opposition. In 2022, Brazil suffered a major heart attack but returned to work a few months later. On January 16, 2023, Brazil announced he would not be a candidate in the 2023 provincial PC leadership election. He was succeeded as leader by Tony Wakeham on October 14, 2023.
Electoral results
|-
|-
|NDP
|Bill Kavanagh
|align="right"|2,290
|align="right"|41.17%
|align="right"|+14.97%
|-
|}
|NDP
|George Murphy
|align="right"|1043
|align="right"|26.20%
|align="right"|+15.96%
|Liberal
|Joy Buckle
|align="right"|299
|align="right"|7.51%
|align="right"|−10.46%
|}
References
External links
David Brazil PC Party Website
1963 births
Living people
Members of the Executive Council of Newfoundland and Labrador
Progressive Conservative Party of Newfoundland and Labrador MHAs
21st-century Canadian politicians
Leaders of the Progressive Conservative Party of Newfoundland and Labrador |
Paul Mucureezi (born 11 February 1993) is a Ugandan footballer who plays as a midfielder for Kitara FC in the Startimes Uganda premier league.
International career
International goals
Scores and results list Uganda's goal tally first.
References
Living people
1993 births
Ugandan men's footballers
Men's association football midfielders
Uganda men's international footballers
People from Ntungamo District
Uganda men's A' international footballers
2018 African Nations Championship players
Vipers SC players
Kampala Capital City Authority FC players
Mbarara City FC players
Sportspeople from Western Region, Uganda |
Northwood is an area in the London Borough of Hillingdon, located north-west of Charing Cross. Northwood was part of the ancient parish of Ruislip, Middlesex. The area was situated on the historic Middlesex boundary with Hertfordshire, and since being incorporated into Greater London in 1965, has been on the Greater London boundary with that county.
The area consists of the elevated settlement of Northwood and Northwood Hills, both of which are served by stations on the Metropolitan line of the London Underground. At the 2011 census, the population of Northwood was 10,949, down from 11,068 in 2008, while the population of Northwood Hills was 11,578, up from 10,833 in 2001.
Northwood adjoins Ruislip Woods National Nature Reserve. It was also used for location filming of the Goods' and Leadbetters' houses and surrounding streets in the BBC TV sitcom The Good Life acting as Surbiton.
History
Toponymy
Northwood was first recorded in 1435 as Northwode, formed from the Old English 'north' and 'wode', meaning 'the northern wood', in relation to Ruislip.
Early developments
In 1086 at the Domesday Book the Northwood-embracing parish of Ruislip had immense woodland, sufficient to support one parish with 1,500 pigs per year, and a park for wild beasts (parcus ferarum).
The hamlet of Northwood grew up along the north side of the Rickmansworth-Pinner road which passes across the north-east of the parish. Apart from this road and internal networks in areas of scattered settlement to the east and west, Ruislip had only three ancient roads of any importance of which Ducks Hill Road was the only one in the Northwood hamlet. This followed the course of the modern road from its junction with the Rickmansworth road in the northwest corner of the parish. It then ran south through Ruislip village as Bury Street and continued through the open fields as Down Barns Road (now West End Road) to West End in Northolt.
Northwood had a manorial grange in 1248, which may have occupied the site of the later Northwood Grange. The monks of the Bec Abbey who lived at Manor Farm in Ruislip in the 11th century owned this grange. A few cottages at Northwood are mentioned in the 1565 national survey. Two hundred years later the shape of the hamlet, composed of a few farms and dwellings scattered along the Rickmansworth road, had altered little except for the addition of Holy Trinity church. Robert Cecil, 1st Earl of Salisbury had of Ruislip cleared of forest.
Northwood, however, elevated and separated from the rest of the parish by a belt of woodland, took until the 19th century to form a village — in the manor of St. Catherine's were inclosed under the first Middlesex Inclosure Act in 1769 privatizing land which lay west of Ducks Hill Road, including West Wood (now Mad Bess Wood) which was common ground. A further of Ruislip parish were inclosed in 1804. The character of the area in providing for Northwood and Northwood Hills to have the majority of open spaces as opposed to housing land was begun by transfers of open space land to the public as early as 1899. The open nature of the district attracted three hospitals to move or establish in this part of the parish: Mount Vernon Hospital, St. Vincent's Orthopaedic Hospital and Northwood, Pinner and District Hospital.
Urban development
A land survey of Northwood conducted in 1565 by King's College, Cambridge, the new lords of the manor of Ruislip, recorded ten houses and several farms.
By 1881, the population of Northwood had reached 257, with 62 houses recorded from 41 people in 1841. David Carnegie owned the large Eastbury Park Estate in the north of the area in 1881. In 1887, the Metropolitan Railway was extended from Harrow-on-the-Hill to Rickmansworth and Carnegie sold his land to Frank Carew for development for £59,422. Northwood station opened in August that year. Carew stipulated the prices for the new housing he had built, with the cottages along the west side of the High Street priced at £120. He had hoped these would be owned by the staff of the larger houses. The High Street itself had been a track leading on from Rickmansworth Road to Gate Hill Farm. The first shops opened in 1895 on the east side of the road, and included a hairdresser, butchers and a fishmongers. Carew sold the majority of the estate to George Wieland in 1892.
By 1902, the population had reached 2,500 in 500 houses and running 36 shops. In 1904, the Emmanuel Church opened in Northwood Hills, designed by Sir Frank Elgood, a local architect. It had been built in 1895, originally to serve as a school. Elgood later served as chairman of the Ruislip-Northwood Urban District Council.
Northwood and Pinner Cottage Hospital was built in 1926 as a memorial to the First World War, using donations from the Ruislip Cottagers' Allotments Charity.
Northwood is home to Northwood Headquarters, in the grounds of Eastbury Park, the estate purchased by David Carnegie in 1857. The Royal Air Force took over the site in 1939 for the use of RAF Coastal Command which made use of Eastbury house and also created a network of underground bunkers and operations blocks, at which time the house was used as the leading Officers' Mess, though was subsequently damaged by fire. The RAF vacated the site in 1969, and it is now the location of the British Armed Forces Permanent Joint Headquarters (PJHQ) for planning and controlling overseas military operations, together with the NATO Maritime Command.
A new community centre on the town's high street, replacing an older building, was officially opened by the local MP Nick Hurd in September 2012. The new building was named the Kate Fassnidge Community Centre after the Uxbridge landowner who donated some of her land to the borough, and replaced a derelict dining club that had originally been a Ritz cinema.
1948 Air Disaster
On 4 July 1948 a Scandinavian Airlines Douglas DC-6 on a flight from Amsterdam to RAF Northolt collided with an RAF Avro York coming from Malta over Northwood. Both aircraft crashed, killing all 39 people on both aircraft.
Geography
Northwood post town extends into two contiguous neighbourhoods in Hertfordshire named Eastbury and Moor Park. A triangular area of Northwood including the old High Street, Chester Road and Hallowell Road is a place of Local Architectural Special Interest, a restriction to protect the ornate Victorian houses made of high quality brickwork. Dotted across the area are 22 listed buildings (for their architecture).
Elevations range between 177 feet (54m) to 374 feet (114m) AOD, with many ridges and folds in the land creating an undulating terrain.
Localities
Northwood Hills
Northwood Hills includes Haste Hill and is separated by green buffers on almost all sides, though touches Eastcote Village to the south and had a population of 11,441 in 2008 according to the Office for National Statistics.
The land on which Northwood Hills, Haste Hill Golf Club and most of Northwood now stand was once the Great Common Wood. This covered in the 16th century, which residents would use for grazing their livestock and collecting firewood. Robert Cecil, 1st Earl of Salisbury achieved inclosure from Parliament and sold of the wood in 1608 for £4000. The remaining woodland became Copse Wood, part of the Ruislip Woods, a national nature reserve.
Northwood Hills has intermixed in its area the only social housing estates beyond one street of the area; much of its private housing stock was built during the 1930s by the Belton Estates company led by Harry Peachey while Harry Neal was responsible for building the shopping parade in Joel Street. Its name was chosen in a competition by a woman from North Harrow as the land was split between Northwood, North Harrow and Ruislip parishes. The first houses were built in Potter Street.
The Namaste Lounge Restaurant (formerly known as Northwood Hills public house and the Northwood Hills Hotel before that) opposite the tube station is accredited as where Sir Elton John first performed professionally. A picture of the pub appears on one of his album covers.
Each May one of the largest Scout Jumble sales in the country is held by 1st Northwood on the land next to their headquarters, the Hogs Back.
Northwood secondary school and Sixth Form is located in Potter Street (the former name of the school). The Olympic boxer Audley Harrison and Big Brother contestant Nikki Grahame are alumni of the school.
Landmarks
Northwood Grange
Northwood Grange incorporates a 15th-century block with a crown-post roof, a cross-wing of the same date, and a long range of about 1600. This is now the Hall School, Northwood.
Tree Trunk Sculptures
The Tree trunk sculptures are sculpted logs that are placed on Green Lane, diagonally opposite Northwood Station.
London School of Theology
The London School of Theology is an English interdenominational evangelical theological college.
Northwood Hills tube station
This early 20th century built construction was intended to be local landmark but was kept and is now built in neatly to the street façade of the high street.
Demography
At the 2021 census, the Northwood ward had a population of 11,310, a slight increase from 2011. The largest ethnic group in Northwood is White (51.5%) followed by Asian (36.5%). The largest religion was Christianity (39.4%), followed by Hinduism (19.5%), Islam (10.9%) and Judaism (4.7%), with 19.1% of the population non-religious. Women made up 52.6% of the population, with men at 47.4%.
Transport
The area is served by Northwood, Northwood Hills and Moor Park London Underground stations, on the Metropolitan line.
The area is also served by Transport for London contracted bus routes 282, 331 and H11, connecting the area to Ruislip, Harrow, Northolt, Denham, Greenford, Uxbridge and Ealing Hospital.
The area is also served by Arriva Shires & Essex route 508 connecting the area to South Oxhey, Watford, Leavesden and Abbots Langley, and by Red Eagle Buses, which terminate at Mount Vernon Hospital with the R1 to Maple Cross and the R2 to Chorleywood – through Harefield and Rickmansworth.
Schools
See the List of schools in Hillingdon.
Culture and community
A local residents' association and chamber of commerce joined forces in May 2010 calling for greater recognition of the area. In May 2011, the London Borough of Hillingdon announced Northwood Hills would receive £400,000 in funding for regeneration work.
Sport
The area is home to Northwood F.C. who play at Chestnut Avenue and play in the Isthmian League South Central Division as of the 2018/2019 season, Northwood Town Cricket Club also play at the same location in the Hertfordshire Cricket League. Northwood Cricket Club play at their Ducks Hill Road ground and are a club in the Saracens Hertfordshire Premier League.
Local government
Northwood was part of the ancient parish of Ruislip and became part of the Ruislip-Northwood Urban District in 1904. The urban district was abolished in 1965 and merged with others to become part of the London Borough of Hillingdon in Greater London. Northwood has three elected local Councillors: Cllr Scott Seaman-Digby (first elected 1998), Cllr Richard Lewis (first elected 2002) and Cllr Carol Melvin (first elected 2008).
The Member of Parliament (MP) for the constituency of Ruislip, Northwood and Pinner is currently David Simmonds, who was elected in the December 2019 general election with 55.6% of the vote. The current voting constituency was created from the former Ruislip-Northwood and parts of the Harrow West constituency, for the 6 May 2010 general election.
Notable people
Actress Kathleen Byron (1921–2009) lived in Northwood at the time of her death
Television and radio presenter Fearne Cotton was born in Northwood and attended Haydon School, Northwood Hills
Sir William Dickson (1898–1987), former head of the British armed forces, was born in Northwood
Former Big Brother contestant Nikki Grahame (1982–2021) was born and raised in Northwood
Artist Roger Hilton (1911–1975), post-war pioneer of abstract art, was born in Northwood
Film director Derek Jarman (1942–1994), whose credits include Jubilee and The Tempest (1979), was born in Northwood
George W. Jones, printer and type designer, buried at Holy Trinity Church
Actor Geoffrey Keen (1916–2005) lived in Northwood at the time of his death
Actress Betty Marsden (1919–1998) lived in Northwood at the time of her death
Actor David Quilter was born in Northwood
Actor Arnold Ridley (1896–1984), best known as Private Charles Godfrey in BBC sitcom Dad's Army, lived in Northwood
Actress Patsy Smart (1918–1996) lived in Northwood at the time of her death
Character actor Geoffrey Toone (1910–2005) lived in Northwood at the time of his death
The singer Elena Tonra grew up in Northwood.
Double agent George Blake (1922–2020) lived in Northwood after escaping from Nazi-occupied Netherlands.
Theatre director and co-artistic director of performance company Clod Ensemble Suzy Willson was born in Northwood.
Scientist Louis Harold Gray (1905–1965) worked at the Mount Vernon Hospital and died in Northwood in 1965.
References
Notes
Citations
Bibliography
Bowlt, Eileen. M. (1994) Ruislip Past. London: Historical Publications
Bowlt, Eileen. M. (2007) Around Ruislip, Eastcote, Northwood, Ickenham & Harefield. Stroud: Sutton Publishing
Cotton, Carolynne. (1994) Uxbridge Past. London: Historical Publications
Mills, Anthony David (2001). Dictionary of London Place Names. Oxford University Press.
External links
Northwood Hills Residents Association
Areas of London
Districts of the London Borough of Hillingdon
Places formerly in Middlesex
District centres of London
hi:नॉर्थवुड हिल्स |
Dabada (Arabic" دابادا) is the first and most famous novel by the Iraqi writer Hassan Mutlak, It consists of 220 pages and its first edition was published by the Arab House of encyclopedias in Beirut in 1988. The second edition was published by the Egyptian General Book Authority in Cairo in 2001, the third edition was published by the Arab House of Sciences publishers in Beirut 2006, and the new edition by Dar Al-Mada.
Description
Some consider it to be the most important Iraqi novel that was published at the end of the twentieth century. It is a different novel by all specifications; It came as a single text rather than divided into chapters. It touches human concerns.
Criticism
"It is an unusual novel, It is new and its author is a brave young man," Jabra Ibrahim Jabra.
The novelist Abdul Rahman al-Rubaie said: "I loved this disobedient novel, it is a different novel, it cannot remind us of any other work of fiction, and it has not been based on a previous novel achievement. It's a lonely novel and it's independent of what it carried".
"Dabada is writing according to the terms of life, “said Qasim Mahmud Jandari.
The critic Dr. Abdullah Ibrahim: "it is a novel that excites the reader, and it deals with major issues, this novel will raise problems in the level of reading and the level of interpretation and opinions will differ about it".
The poet Salah Hassan said: "it is the only Iraqi novel that has emerged with such distinctive features. Dabada is truly an outstanding Iraqi novel, and it is undeniably innovative on both the structural and substantive levels, as it enables it to stand alongside the great novels".
The critic Dr.Bassel Al-shikhli: "this novel goes beyond the limits of realism to enter into a larger and broader problem than the stereotype of persuasive writing. The language of dapada is the secret of its power."
"I hope everyone will read (Dabada) by the very international writer Hassan Mutlak". The storyteller Karim Shaalan said.
The poet and storyteller Abdul Hadi Saadoun said: "dabada has influenced a whole generation of young Iraqi writers, and the texts that have emerged since. He suggested that reading the new Iraqi novel should be started starting from the date of publication of dapada, as it is a bright point that cannot be crossed, “he said.
Ahmed al-Dosari described it as "a sharp fracture of the skull of the novel, Hassan Mutlak broke pyramids, whose visit became a sacred duty for the writers of the novel, conquering the plot and suspending the dramatic growth."
Mahmoud Jandari considered it: "it represents writing on the terms of life".
Content
The novel contains five tales:
For the first story: the mysterious disappearance of father Mahmoud.
The second tale: the symbolism of the dog Sharar.
The third story: the symbolism of Abdul-Majid's death by the poison of mice
The fourth tale: the symbolism of Qundis’s donkey.
The fifth story: the symbolism of Shahin's disappearance.
References
Arabic-language novels
Iraqi novels
1988 novels |
Nygårdstangen is a small peninsula on the southeastern end of the city center of Bergen in Vestland county, Norway. The neighborhood borders the Store Lungegårdsvann bay. Most of the peninsula is occupied by an interchange. It is the meeting place of E16, E39, and National Road 555. To the northeast, the Fløyfjell Tunnel, where E16 and E39 run commonly, mouthes out into interchange, as does E39 from the south via the Nygård Bridge. To the west, 555 terminates at the intersection, arriving via the Nygård Tunnel. The interchange also allows access to the city center via Fjøsangerveien. Also located at Nygårdstangen is Bergen Fire Station and one campus of the Bergen University College.
Road interchanges in Norway
Neighbourhoods of Bergen
European route E16 in Norway
European route E39 in Norway
Norwegian National Road 555 |
```xml
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</vector>
``` |
```makefile
################################################################################
#
# xdriver_xf86-video-vesa
#
################################################################################
XDRIVER_XF86_VIDEO_VESA_VERSION = 2.3.3
XDRIVER_XF86_VIDEO_VESA_SOURCE = xf86-video-vesa-$(XDRIVER_XF86_VIDEO_VESA_VERSION).tar.bz2
XDRIVER_XF86_VIDEO_VESA_SITE = path_to_url
XDRIVER_XF86_VIDEO_VESA_LICENSE = MIT
XDRIVER_XF86_VIDEO_VESA_LICENSE_FILES = COPYING
XDRIVER_XF86_VIDEO_VESA_DEPENDENCIES = xserver_xorg-server xproto_fontsproto xproto_randrproto xproto_renderproto xproto_xextproto xproto_xproto
$(eval $(autotools-package))
``` |
The Kamioka Gravitational Wave Detector (KAGRA), is a large interferometer designed to detect gravitational waves predicted by the general theory of relativity. KAGRA is a Michelson interferometer that is isolated from external disturbances: its mirrors and instrumentation are suspended and its laser beam operates in a vacuum. The instrument's two arms are three kilometres long and located underground at the Kamioka Observatory which is near the Kamioka section of the city of Hida in Gifu Prefecture, Japan.
KAGRA is a project of the gravitational wave studies group at the Institute for Cosmic Ray Research (ICRR) of the University of Tokyo. It became operational on 25 February 2020, when it began data collection. It is Asia's first gravitational wave observatory, the first in the world built underground, and the first whose detector uses cryogenic mirrors. It is expected to have an operational sensitivity equal to, or greater than, LIGO and Virgo.
The Kamioka Observatory specializes in the detection of neutrino, dark matter and gravitational waves, and has other important instruments, including Super Kamiokande, XMASS and NEWAGE. KAGRA is a laser interferometric gravitational wave detector. It is near the neutrino physics experiments.
The collaboration of LIGO, Virgo, and KAGRA started its current observation run (O4) on 24 May 2023. KAGRA ended its first observation run on 21 April 2020.
Name
It was formerly known as the Large Scale Cryogenic Gravitational Wave Telescope (LCGT). The ICRR was established in 1976 for cosmic ray studies. The LCGT project was approved on 22 June 2010. In January 2012, it was given its new name, KAGRA, deriving the "KA" from its location at the Kamioka mine and "GRA" from gravity and gravitational radiation. The word KAGRA is also a homophonic pun of Kagura (神楽), which is a ritual dance dedicated to Gods in Japanese Shinto shrines. The project is led by Nobelist Takaaki Kajita who had a major role in getting the project funded and constructed. The project was estimated to cost about 200 million US dollars.
Development and construction
Two prototype detectors were constructed to develop the technologies needed for KAGRA. The first, TAMA 300, was located in Mitaka, Tokyo and operated 1998-2008, demonstrating the feasibility of KAGRA. The second, CLIO, started operating in 2006 underground near the KAGRA site. It was used to develop cryogenic technologies for KAGRA.
The detector is housed in a pair of 3 km-long arm tunnels meeting at a 90° angle in the horizontal plane, located more than 200 m underground. The excavation phase of tunnels was started in May 2012 and was completed on 31 March 2014.
The construction of KAGRA was completed 4 October 2019, with the construction taking nine years. However, further technical adjustments were needed before it could start observations. The "baseline" planned cryogenic operation ("bKAGRA") was planned to follow in 2020.
Operational history
After the initial adjustment operations, the first observation run started on 25 February 2020. Because of COVID-19, the observation run was ended 21 April 2020. The sensitivity during this run was only 660 kpc (binary neutron star inspiral range). This is less than 1% the sensitivity of LIGO during the same run, and around 10% of KAGRA's expected sensitivity for the run. The sensitivity has reached 1 Mpc and the latest observations (O4) started on 25 May 2023.
See also
TAMA300, an early prototype in Japan.
CLIO, a current prototype that is developing cryogenic technologies.
DECIGO, a proposed Japanese space-based interferometer.
References
External
Official page (English)
KAGRA experiment record on INSPIRE-HEP
Interferometric gravitational-wave instruments
Astronomical observatories in Japan
University of Tokyo |
Bismarck Normu Kuyon (September 15, 1939February 12, 2014) was a Liberian politician and educator. He was a legislator in the 1970s, and would return to politics during the First Liberian Civil War. In 1993, he was chosen by the warring factions to become the head of the executive of the Liberian National Transitional Government (LNTG), but his nomination was withdrawn before the LNTG was installed.
Early life and career
Kuyon was born on September 15, 1939, in Gbarnga, Liberia. He belonged to the Kpelle people. He attended school in his hometown of Gbarnga. Kuyon obtained a B.Sc. degree in agriculture from the Cuttington University College in Suacoco in 1962. He worked as an agricultural extension agent at the Ministry of Agriculture between 1962–1963. In 1965 he obtained a M.Sc. degree in General Science from Iowa State University in the United States. From 1965–1968 he served as Director of Aquaculture at the Ministry of Agriculture. Between 1968 and 1975, he served as principal of the United Methodist Church school in Gbarnga, the Tubman Elementary and Junior High School. He studied Law through apprenticeship system and was admitted to the Bar in 1971.
Legislator
Kuyon was elected to the House of Representatives in the 1975 Liberian general election from Bong County. In the same year, he was named president and Manager of the Bong County Cooperative. He was a member of the Deshield Commission on National Unity, which was mandated by the legislature to review national symbols (flag, anthem, national motto, constitution) to ensure inclusiveness. In the House of Representatives, he was the chairman of the House Committee on Education.
1980s
In the 1980s he served as Acting President of the College of West Africa (He would later serve of the Board of Trustees of Cuttington University and the College of West Africa). He worked with the Peace Corps programmes in Liberia in different roles.
Civil war years
In 1990, Kuyon re-entered politics. He became a member of the Interim Legislative Assembly, the parliament linked to the Interim Government of National Unity (IGNU) active during the First Liberian Civil War. He would become of the speaker of the Interim Legislative Assembly. On August 16, 1993, in the wake of the Cotonou Peace Accord, Liberian factions voted Kuyon as the chairman of the Council of State which was to serve as a collective executive branch of the Liberia National Transitional Government (LNTG) until elections could be held. Kuyon was nominated by IGNU, one of the three signatories of the Cotonou Peace Accord. However, Kuyon was removed from the post as Council of State chairman before the LNTG was installed. Kuyon had developed differences with the IGNU President Amos Sawyer over the management of disarmament of the warring factions. On November 13, 1993, he was replaced on the Council of State by Philip A. Z. Banks, III. During the 1997 Liberian general election, he belonged to the Unity Party.
Later period
He was founding chairman of the Bong County Emergency Organization. Active in religious activities, he was Methodist conference lay-leader emeritus. Kuyon received the Humane Order of African Redemption, with the grade of Knight Great Band.
Kuyon died in 2014 and was buried in Gbarnga.
References
1939 births
2014 deaths
Burials in Liberia
People from Bong County
Liberian United Methodists
True Whig Party politicians
Unity Party (Liberia) politicians
Members of the House of Representatives of Liberia
Iowa State University alumni
20th-century Liberian politicians |
The 1981–82 Washington State Cougars men's basketball team represented Washington State University for the 1981–82 NCAA Division I men's basketball season. Led by tenth-year head coach George Raveling, the Cougars were members of the Pacific-10 Conference and played their home games on campus at Beasley Coliseum in Pullman, Washington.
The Cougars were overall in the regular season and in conference play, fifth in the standings. There was no conference tournament yet, which debuted five years later.
Washington State hosted the first two rounds in the West regional of the 48-team NCAA tournament at Beasley Coliseum. The highest seeds, conference champions #2 Oregon State and #3 Idaho, had both defeated WSU on the tartan court this season; they advanced and met in the Sweet Sixteen in Provo, Utah.
References
External links
Sports Reference – Washington State Cougars: 1981–82 basketball season
Washington State Cougars men's basketball seasons
Washington State Cougars
Washington State
Washington State |
To Court the King is a dice-based board game for 2–5 players designed by Tom Lehmann. It was published in German by Amigo Spiele as Um Krone und Kragen (Around Crown and Collar) in 2006, and in English as To Court the King by Rio Grande Games. The basic mechanics of rolling and re-rolling dice have drawn comparisons to the game of Yahtzee.
Publication History
When Amigo Spiele was designing this game, they invited players to comment on the ongoing development and make suggestions. This started with the initial conceptualization, and continued through the prototype game, initial sketches of the character cards, final oil paintings, and selection of the symbols appearing on each card. Players were also invited to submit suggestions for a game title, and one of them, Um Krone und Kragen, was chosen.
Description
Components
The game components are:
60 character cards with 19 different characters
12 dice
5 character overview cards
a starting player marker
rulebook
Gameplay
For setup, the character cards are distributed in the middle of the table.
The first player receives the starting player marker and starts a round of dice rolling with three dice. After the first roll, the active player may choose to reserve any number of those dice (but must choose at least one), and then re-rolls the rest. The active player can repeat this process a second time. Once the active player is done rolling, they may use those dice to claim any of the character cards. Different cards will require different combinations of dice. The Laborer, for example, requires a total of 15 or greater. The Knight requires 5 of a kind. Each character card claimed will give the owner an additional ability, ranging from rolling more dice or having additional re-rolls to the ability the change the die to the number of your choice, but a player cannot claim more than one of any type of character. Claimed cards are placed face-up in front of the owner.
Once the first player is finished, play then passes to the player on the left.
Once everyone has had a chance to roll dice and claim characters, the starting player marker is passed to the right, and the new starting player begins a new round of dice rolling.
Dice-rolling abilities gradually progress due to abilities conferred by owned character cards.
Endgame
The first player to roll seven identical dice acquires the king and queen. One final round of dice rolling follows this action, where each player is given the opportunity to wrest ownership of the king from the current owner by rolling a better dice result than the current owner rolled.
If the king is successfully claimed by another player during this final round, the owner of the queen has one last chance to roll a better total of dice to win back the king.
Victory conditions
After the final round of dice rolling is complete, the owner of the king is the winner.
Reception
The independent board game review site Games of Tradition gave this game an above average rating of 7.5 out of 10, saying "Typically played under 45 minutes, this is also a good family filler: the rules are easy, there is competition, and even kids from 10 years old will enjoy it. On a rainy Sunday afternoon, you’ll appreciate opening the box for a few rounds." The reviewer did warn that due to the requirement for a table, it might not be suitable for camping, but concluded that it "will be a great one for a nice friendly evening."
On the German game website Reich der Spiele, Carsten Pinnow found the game generally took about 10–20 minutes per person, so that a game with five players could much longer than the 45 minutes claimed by the publisher; this increased substantially if some of the players "take their time when they have already collected five or six cards." Although Pinnow liked the "excellently designed character cards", he criticized the tiny pictograms on the cards, saying, "even people with normal eyes need a magnifying glass." He concluded that if played with fewer players, the game "offers relaxed gaming fun."
On the German game review website Holgs Spieleteufel, the reviewer found the cumulative dice rolling was hard for new players to understand, and led to "considerable delays. If five newcomers play, the game will certainly last longer than the specified 45 minutes." The reviewer also didn't like the fact that your character cards improve your chances in the final round but have no bearing on the final point total. "It can happen that you were better than everyone else during the game, but in the end you did not win because you had a bad final round [...] There is the feeling that you 'struggle' for 45 to 60 minutes and in the last round everything depends on a single happy or unfortunate roll of the die." Despite this, the reviewer concluded, "I really liked this strategic dice card game [...] but I will not play with more than three players again, unless everyone knows the game well and is very familiar with the requirements and skills of the characters."
On the German game review site Starstpieler, the reviewer admired the high production values of the components and "beautiful artwork"of the cards, but found the game "a bit too lengthy." The reviewer also felt that new players had difficulties learning the various abilities of the character cards. The reviewer concluded with a thumbs up, but recommended not playing with any more than 3 players to shorten the length of the game.
Awards
This game was nominated for the following awards:
2006 Österreichischer Spielepreis [Austrian Game Prize], (Wiener Spiele Akademie [Vienna Games Museum]) in the "Spiele Hit mit Freunden" category [Game Hit with Friends].<
2006 International Gamers Awards: General Strategy, Multi-player
2006 Golden Geek (BoardGameGeek): Best Light/Party Game Nominee
2007 Golden Geek: Best Party Board Game; Best Family Board Game
References
External links
To Court the King at Rio Grande Games
Dice games
Amigo Spiele games
Rio Grande Games games |
```kotlin
package de.westnordost.streetcomplete.screens.main.teammode
import android.content.Context
import android.view.LayoutInflater
import android.view.WindowManager
import androidx.appcompat.app.AlertDialog
import androidx.core.view.isGone
import androidx.core.widget.doAfterTextChanged
import androidx.recyclerview.widget.GridLayoutManager
import de.westnordost.streetcomplete.databinding.DialogTeamModeBinding
import de.westnordost.streetcomplete.screens.main.teammode.TeamModeColorCircleView.Companion.MAX_TEAM_SIZE
/** Shows a dialog containing the team mode settings */
class TeamModeDialog(
context: Context,
onEnableTeamMode: (Int, Int) -> Unit
) : AlertDialog(context) {
private var selectedTeamSize: Int? = null
private var selectedIndexInTeam: Int? = null
private val binding = DialogTeamModeBinding.inflate(LayoutInflater.from(context))
init {
val adapter = TeamModeIndexSelectAdapter()
adapter.listeners.add(object : TeamModeIndexSelectAdapter.OnSelectedIndexChangedListener {
override fun onSelectedIndexChanged(index: Int?) {
selectedIndexInTeam = index
updateOkButtonEnablement()
}
})
binding.colorCircles.adapter = adapter
binding.colorCircles.layoutManager = GridLayoutManager(context, 3)
binding.teamSizeInput.doAfterTextChanged { editable ->
selectedTeamSize = parseTeamSize(editable.toString())
updateOkButtonEnablement()
if (selectedTeamSize == null) {
binding.introText.isGone = false
binding.teamSizeHint.isGone = false
binding.colorHint.isGone = true
binding.colorCircles.isGone = true
} else {
binding.introText.isGone = true
binding.teamSizeHint.isGone = true
binding.colorHint.isGone = false
binding.colorCircles.isGone = false
adapter.count = selectedTeamSize!!
}
}
setButton(BUTTON_POSITIVE, context.resources.getText(android.R.string.ok)) { _, _ ->
onEnableTeamMode(selectedTeamSize!!, selectedIndexInTeam!!)
dismiss()
}
setOnShowListener { updateOkButtonEnablement() }
window?.setSoftInputMode(WindowManager.LayoutParams.SOFT_INPUT_STATE_VISIBLE)
setView(binding.root)
}
private fun updateOkButtonEnablement() {
getButton(BUTTON_POSITIVE)?.isEnabled = selectedTeamSize != null && selectedIndexInTeam != null
}
private fun parseTeamSize(string: String): Int? =
try {
val number = Integer.parseInt(string)
if (number in 2..MAX_TEAM_SIZE) number else null
} catch (e: NumberFormatException) {
null
}
}
``` |
Angelina Grün (born 2 December 1979) is a German former volleyball player, who was a member of the German Women's Team at the 2000 Summer Olympics in Sydney, Australia. Grün also competed at the 2004 Summer Olympics in Athens, Greece.
Career
A ninth-time consecutive German Volleyball Player of the Year (2000–2008), she played in Turkey for VakıfBank Güneş Sigorta Istanbul for the 2008–2009 season.
After winning the European Champions League with the Italian team Foppapedretti Bergamo in 2007 for a second time after 2005, Grün was honored "Most Valuable Player" of the tournament.
Starting her career in Münster, Germany, where she won the national title in 1997 and the Cup in 2000, she won several Italian Cups (2002, 2006), Championships (2004, 2006) and the CEV Cup (2002 and 2004).
She was awarded Volleyball-Award 2010, by the Germany Volleyball Association for her services to the sport. In April 2010 she decided to retire from indoor volleyball and switched to beach volleyball, partnering Rieke Brink-Abeler playing the 2010 and 2011 Swatch FIVB World Tour.
But she returned to indoor volleyball and played with her national team in the 2011 FIVB World Cup and later played with the Russian club Dinamo Moscow winning the 2011 Russian Cup where she was the Most Valuable Player and the 2011–12 Russian Championship silver medal, being also elected the best player in the Russian league that season.
Grün won the silver medal and the Best Server award in the 2012 FIVB Club World Championship, playing with the Azerbaijani club Rabita Baku.
Personal life
She has been married to volleyball player Stefan Hübner since 2012. The couple has two sons, Jakob (born 2014) and Benjamin (born 2017).
Clubs
VC Essen Borbeck (1990–1996)
USC Münster (1996–2001)
Volley Modena (2001–2003)
Foppapedretti Bergamo (2003–2008)
VakıfBank Güneş Sigorta Istanbul (2008–2009)
Alemannia Aachen (2011)
Dinamo Moscow (2011–2012)
Rabita Baku (2012–2013)
Awards
Individuals
2006-07 Champions League "Most Valuable Player"
2000 to 2008 Germany "Volleyball Player of the Year"
2007–08 Italian League "Best Server"
2011 European Championship "Best Receiver" 2011 Russian Cup "Most Valuable Player" 2011–12 Russia Super League "Best Player" 2012 FIVB Women's Club World Championship "Best Server"''
Clubs
1997 German Championship – Champion, with USC Münster
2002 CEV Cup – Champion, with Volley Modena
2003 Italian Supercup – Champion, with Volley Modena
2004 CEV Cup – Champion, with Foppapedretti Bergamo
2004 Italian Championship Champion, with Foppapedretti Bergamo
2005 Champions League – Champion, with Foppapedretti Bergamo
2004 Italian Championship Champion, with Foppapedretti Bergamo
2006 Italian Cup – Champion, with Foppapedretti Bergamo
2006 Italian Championship Champion, with Foppapedretti Bergamo
2007 Champions League – Champion, with Foppapedretti Bergamo
2008 Italian Cup – Champion, with Foppapedretti Bergamo
2011 Russian Cup – Champion, with Dinamo Moscow
2011–12 Russian Championship – Runner-Up, with Dinamo Moscow
2012 FIVB Club World Championship – Runner-Up, with Rabita Baku
2012–13 CEV Champions League – Runner-Up, with Rabita Baku
References
External links
FIVB biography
Italian League Profile
1979 births
Living people
Sportspeople from Cologne
German women's volleyball players
Russian and Soviet-German people
Olympic volleyball players for Germany
Volleyball players at the 2000 Summer Olympics
Volleyball players at the 2004 Summer Olympics
VakıfBank S.K. volleyballers
Sportspeople from Dushanbe
Soviet emigrants to Germany
Citizens of Germany through descent
German expatriate volleyball players
German women's beach volleyball players
Expatriate volleyball players in Turkey
Expatriate volleyball players in Italy
Expatriate volleyball players in Azerbaijan
Expatriate volleyball players in Russia
German expatriate sportspeople in Azerbaijan
German expatriate sportspeople in Russia
German expatriate sportspeople in Italy
German expatriate sportspeople in Turkey |
```c++
// TnzLib includes
#include "toonz/tstageobjectcmd.h"
#include "toonz/txsheethandle.h"
#include "toonz/tobjecthandle.h"
#include "toonz/tcolumnhandle.h"
#include "toonz/tfxhandle.h"
#include "toonz/txsheet.h"
#include "toonz/toonzscene.h"
#include "toonz/tstageobjectspline.h"
#include "toonz/tstageobjecttree.h"
#include "toonz/tcamera.h"
#include "toonz/tcolumnfxset.h"
#include "toonz/fxdag.h"
// TnzBase includes
#include "tdoublekeyframe.h"
#include "tfx.h"
// TnzCore includes
#include "tundo.h"
#include "tconvert.h"
#include "historytypes.h"
// Qt includes
#include <QMap>
#include <QString>
namespace {
bool canRemoveFx(const std::set<TFx *> &leaves, TFx *fx) {
for (int i = 0; i < fx->getInputPortCount(); i++) {
TFx *inputFx = fx->getInputPort(i)->getFx();
if (!inputFx) continue;
if (leaves.count(inputFx) > 0) continue;
if (!canRemoveFx(leaves, inputFx)) return false;
}
return fx->getInputPortCount() > 0;
}
//=========================================================
//
// NewCameraUndo
//
//---------------------------------------------------------
class NewCameraUndo final : public TUndo {
TStageObjectId m_cameraId, m_oldCurrentId;
TStageObject *m_stageObject;
TXsheetHandle *m_xshHandle;
TObjectHandle *m_objHandle;
public:
NewCameraUndo(const TStageObjectId &cameraId, TXsheetHandle *xshHandle,
TObjectHandle *objHandle)
: m_cameraId(cameraId)
, m_stageObject(0)
, m_xshHandle(xshHandle)
, m_objHandle(objHandle) {
assert(cameraId.isCamera());
TXsheet *xsh = m_xshHandle->getXsheet();
m_stageObject = xsh->getStageObject(m_cameraId);
m_stageObject->addRef();
m_oldCurrentId = m_objHandle->getObjectId();
}
~NewCameraUndo() { m_stageObject->release(); }
void undo() const override {
TXsheet *xsh = m_xshHandle->getXsheet();
if (m_cameraId == m_objHandle->getObjectId())
m_objHandle->setObjectId(m_oldCurrentId);
xsh->getStageObjectTree()->removeStageObject(m_cameraId);
m_xshHandle->notifyXsheetChanged();
}
void redo() const override {
TXsheet *xsh = m_xshHandle->getXsheet();
xsh->getStageObjectTree()->insertStageObject(m_stageObject);
m_objHandle->setObjectId(m_cameraId);
m_xshHandle->notifyXsheetChanged();
}
int getSize() const override { return sizeof(*this); }
QString getHistoryString() override {
return QObject::tr("New Camera %1")
.arg(QString::fromStdString(m_cameraId.toString()));
}
int getHistoryType() override { return HistoryType::Schematic; }
private:
// not implemented
NewCameraUndo(const NewCameraUndo &);
NewCameraUndo &operator=(const NewCameraUndo &);
};
//=========================================================
//
// NewPegbarUndo
//
//---------------------------------------------------------
class NewPegbarUndo final : public TUndo {
TStageObjectId m_id, m_oldCurrentId;
TStageObject *m_stageObject;
TXsheetHandle *m_xshHandle;
TObjectHandle *m_objHandle;
public:
NewPegbarUndo(const TStageObjectId &id, TXsheetHandle *xshHandle,
TObjectHandle *objHandle)
: m_id(id)
, m_stageObject(0)
, m_xshHandle(xshHandle)
, m_objHandle(objHandle) {
assert(!id.isTable());
TXsheet *xsh = m_xshHandle->getXsheet();
m_stageObject = xsh->getStageObject(m_id);
m_stageObject->addRef();
m_oldCurrentId = m_objHandle->getObjectId();
}
~NewPegbarUndo() { m_stageObject->release(); }
void undo() const override {
TXsheet *xsh = m_xshHandle->getXsheet();
if (m_id == m_objHandle->getObjectId())
m_objHandle->setObjectId(m_oldCurrentId);
xsh->getStageObjectTree()->removeStageObject(m_id);
m_xshHandle->notifyXsheetChanged();
}
void redo() const override {
TXsheet *xsh = m_xshHandle->getXsheet();
xsh->getStageObjectTree()->insertStageObject(m_stageObject);
m_objHandle->setObjectId(m_id);
m_xshHandle->notifyXsheetChanged();
}
int getSize() const override { return sizeof(*this); }
QString getHistoryString() override {
return QObject::tr("New Pegbar %1")
.arg(QString::fromStdString(m_id.toString()));
}
int getHistoryType() override { return HistoryType::Schematic; }
private:
// not implemented
NewPegbarUndo(const NewPegbarUndo &);
NewPegbarUndo &operator=(const NewPegbarUndo &);
};
//===================================================================
//
// SetActiveCameraUndo
//
//your_sha256_hash---
class SetActiveCameraUndo final : public TUndo {
TStageObjectId m_oldCameraId, m_newCameraId;
TXsheetHandle *m_xshHandle;
public:
SetActiveCameraUndo(const TStageObjectId &oldCameraId,
const TStageObjectId &newCameraId,
TXsheetHandle *xshHandle)
: m_oldCameraId(oldCameraId)
, m_newCameraId(newCameraId)
, m_xshHandle(xshHandle) {}
void undo() const override {
TXsheet *xsh = m_xshHandle->getXsheet();
xsh->getStageObjectTree()->setCurrentCameraId(m_oldCameraId);
// make the preview camera same as the final camera
xsh->getStageObjectTree()->setCurrentPreviewCameraId(m_oldCameraId);
m_xshHandle->notifyXsheetChanged();
}
void redo() const override {
TXsheet *xsh = m_xshHandle->getXsheet();
xsh->getStageObjectTree()->setCurrentCameraId(m_newCameraId);
// make the preview camera same as the final camera
xsh->getStageObjectTree()->setCurrentPreviewCameraId(m_newCameraId);
m_xshHandle->notifyXsheetChanged();
}
int getSize() const override { return sizeof(*this); }
QString getHistoryString() override {
return QObject::tr("Set Active Camera %1 > %2")
.arg(QString::fromStdString(m_oldCameraId.toString()))
.arg(QString::fromStdString(m_newCameraId.toString()));
}
int getHistoryType() override { return HistoryType::Schematic; }
};
//===================================================================
//
// RemoveSplineUndo
//
//your_sha256_hash---
class RemoveSplineUndo final : public TUndo {
TStageObjectId m_id;
TStageObjectSpline *m_spline;
std::vector<TStageObjectId> m_ids;
TXsheetHandle *m_xshHandle;
public:
RemoveSplineUndo(TStageObjectSpline *spline, TXsheetHandle *xshHandle)
: m_spline(spline), m_xshHandle(xshHandle) {
m_spline->addRef();
TStageObjectTree *pegbarTree =
m_xshHandle->getXsheet()->getStageObjectTree();
for (int i = 0; i < pegbarTree->getStageObjectCount(); i++) {
TStageObject *pegbar = pegbarTree->getStageObject(i);
if (pegbar->getSpline() == m_spline) m_ids.push_back(pegbar->getId());
}
}
~RemoveSplineUndo() { m_spline->release(); }
void undo() const override {
TXsheet *xsh = m_xshHandle->getXsheet();
xsh->getStageObjectTree()->insertSpline(m_spline);
for (int i = 0; i < (int)m_ids.size(); i++) {
TStageObject *pegbar = xsh->getStageObject(m_ids[i]);
assert(pegbar);
pegbar->setSpline(m_spline);
}
m_xshHandle->notifyXsheetChanged();
}
void redo() const override {
TXsheet *xsh = m_xshHandle->getXsheet();
for (int i = 0; i < (int)m_ids.size(); i++) {
TStageObject *pegbar = xsh->getStageObject(m_ids[i]);
assert(pegbar);
pegbar->setSpline(0);
}
xsh->getStageObjectTree()->removeSpline(m_spline);
m_xshHandle->notifyXsheetChanged();
}
int getSize() const override {
return sizeof *this + sizeof(TStageObjectSpline) +
sizeof(TStageObjectId) * m_ids.size();
}
QString getHistoryString() override {
return QObject::tr("Remove Spline %1")
.arg(QString::fromStdString(m_id.toString()));
}
int getHistoryType() override { return HistoryType::Schematic; }
};
//===================================================================
//
// NewSplineUndo
//
//your_sha256_hash---
class NewSplineUndo final : public TUndo {
TStageObjectId m_id;
TStageObjectSpline *m_spline;
TXsheetHandle *m_xshHandle;
public:
NewSplineUndo(const TStageObjectId &id, TStageObjectSpline *spline,
TXsheetHandle *xshHandle)
: m_id(id), m_spline(spline), m_xshHandle(xshHandle) {
m_spline->addRef();
}
~NewSplineUndo() { m_spline->release(); }
void undo() const override {
TXsheet *xsh = m_xshHandle->getXsheet();
TStageObject *pegbar = xsh->getStageObject(m_id);
assert(pegbar);
pegbar->setSpline(0);
xsh->getStageObjectTree()->removeSpline(m_spline);
m_xshHandle->notifyXsheetChanged();
}
void redo() const override {
TXsheet *xsh = m_xshHandle->getXsheet();
xsh->getStageObjectTree()->insertSpline(m_spline);
TStageObject *pegbar = xsh->getStageObject(m_id);
assert(pegbar);
pegbar->setSpline(m_spline);
m_xshHandle->notifyXsheetChanged();
}
int getSize() const override {
return sizeof *this + sizeof(TStageObjectSpline);
}
QString getHistoryString() override {
return QObject::tr("New Motion Path %1")
.arg(QString::fromStdString(m_spline->getName()));
}
int getHistoryType() override { return HistoryType::Schematic; }
};
//===================================================================
//
// SplineLinkUndo
//
//your_sha256_hash---
class SplineLinkUndo final : public TUndo {
TStageObjectId m_id;
TStageObjectSpline *m_spline;
TXsheetHandle *m_xshHandle;
public:
SplineLinkUndo(const TStageObjectId &id, TStageObjectSpline *spline,
TXsheetHandle *xshHandle)
: m_id(id), m_spline(spline), m_xshHandle(xshHandle) {
m_spline->addRef();
}
~SplineLinkUndo() { m_spline->release(); }
void undo() const override {
TStageObject *object = m_xshHandle->getXsheet()->getStageObject(m_id);
object->setSpline(0);
m_xshHandle->notifyXsheetChanged();
}
void redo() const override {
TStageObject *object = m_xshHandle->getXsheet()->getStageObject(m_id);
object->setSpline(m_spline);
m_xshHandle->notifyXsheetChanged();
}
int getSize() const override {
return sizeof *this + sizeof(TStageObjectSpline);
}
QString getHistoryString() override {
return QObject::tr("Link Motion Path %1 > %2")
.arg(QString::fromStdString(m_spline->getName()))
.arg(QString::fromStdString(m_id.toString()));
}
int getHistoryType() override { return HistoryType::Schematic; }
};
//===================================================================
//
// DeleteSplineLinkUndo
//
//your_sha256_hash---
class RemoveSplineLinkUndo final : public TUndo {
TStageObjectId m_id;
TStageObjectSpline *m_spline;
TXsheetHandle *m_xshHandle;
TObjectHandle *m_objHandle;
public:
RemoveSplineLinkUndo(const TStageObjectId &id, TStageObjectSpline *spline,
TXsheetHandle *xshHandle, TObjectHandle *objHandle)
: m_id(id)
, m_spline(spline)
, m_xshHandle(xshHandle)
, m_objHandle(objHandle) {
m_spline->addRef();
}
~RemoveSplineLinkUndo() { m_spline->release(); }
void undo() const override {
TXsheet *xsh = m_xshHandle->getXsheet();
TStageObjectTree *objTree = xsh->getStageObjectTree();
TStageObject *object = objTree->getStageObject(m_id, false);
if (!object) return;
object->setSpline(m_spline);
if (m_objHandle->getObjectId() == m_id) m_objHandle->setIsSpline(true);
m_xshHandle->notifyXsheetChanged();
}
void redo() const override {
TXsheet *xsh = m_xshHandle->getXsheet();
TStageObjectTree *objTree = xsh->getStageObjectTree();
TStageObject *object = objTree->getStageObject(m_id, false);
if (!object) return;
object->setSpline(0);
if (m_objHandle->getObjectId() == m_id) m_objHandle->setIsSpline(false);
m_xshHandle->notifyXsheetChanged();
}
int getSize() const override {
return sizeof *this + sizeof(TStageObjectSpline);
}
};
//===================================================================
//
// RemovePegbarNodeUndo
//
//your_sha256_hash---
class RemovePegbarNodeUndo final : public TUndo {
TStageObjectId m_objId;
TXshColumnP m_column;
TStageObjectParams *m_params;
QList<TStageObjectId> m_linkedObj;
TXsheetHandle *m_xshHandle;
public:
RemovePegbarNodeUndo(TStageObjectId id, TXsheetHandle *xshHandle)
: TUndo(), m_objId(id), m_xshHandle(xshHandle), m_column(0) {
TXsheet *xsh = xshHandle->getXsheet();
TStageObject *obj = xsh->getStageObject(id);
assert(obj);
m_params = obj->getParams();
if (id.isColumn()) m_column = xsh->getColumn(id.getIndex());
}
~RemovePegbarNodeUndo() { delete m_params; }
void setLinkedObjects(const QList<TStageObjectId> &linkedObj) {
m_linkedObj = linkedObj;
}
void undo() const override {
// reinsert Object
TXsheet *xsh = m_xshHandle->getXsheet();
if (m_objId.isColumn() && m_column)
xsh->insertColumn(m_objId.getIndex(), m_column.getPointer());
TStageObject *obj = xsh->getStageObject(m_objId);
obj->assignParams(m_params);
obj->setParent(m_params->m_parentId);
int i, linkCount = m_linkedObj.size();
for (i = 0; i < linkCount; i++) {
TStageObject *linkedObj = xsh->getStageObject(m_linkedObj[i]);
assert(linkedObj);
linkedObj->setParent(m_objId);
}
m_xshHandle->notifyXsheetChanged();
xsh->notifyStageObjectAdded(m_objId);
}
void redo() const override {
TXsheet *xsh = m_xshHandle->getXsheet();
int pegbarsCount = xsh->getStageObjectTree()->getStageObjectCount();
int i;
for (i = 0; i < pegbarsCount; ++i) {
TStageObject *other = xsh->getStageObjectTree()->getStageObject(i);
if (other->getId() == m_objId) continue;
if (other->getParent() == m_objId)
other->setParent(xsh->getStageObjectParent(m_objId));
}
if (m_objId.isColumn())
xsh->removeColumn(m_objId.getIndex());
else
xsh->getStageObjectTree()->removeStageObject(m_objId);
m_xshHandle->notifyXsheetChanged();
}
int getSize() const override {
return sizeof *this + sizeof(TStageObjectParams) + sizeof(m_xshHandle);
}
QString getHistoryString() override {
return QObject::tr("Remove Object %1")
.arg(QString::fromStdString(m_objId.toString()));
}
int getHistoryType() override { return HistoryType::Schematic; }
};
//===================================================================
//
// RemoveColumnsUndo
//
//your_sha256_hash---
class RemoveColumnsUndo final : public TUndo {
std::vector<TFx *> m_deletedFx;
std::vector<TFx *> m_terminalFx;
QMap<TStageObjectId, QList<TFxPort *>> m_columnFxConnections;
QList<TFx *> m_notTerminalColumns;
TXsheetHandle *m_xshHandle;
public:
RemoveColumnsUndo(
const std::vector<TFx *> &deletedFx, const std::vector<TFx *> &terminalFx,
const QMap<TStageObjectId, QList<TFxPort *>> columnFxConnections,
const QList<TFx *> ¬TerminalColumns, TXsheetHandle *xshHandle)
: TUndo()
, m_deletedFx(deletedFx)
, m_terminalFx(terminalFx)
, m_columnFxConnections(columnFxConnections)
, m_notTerminalColumns(notTerminalColumns)
, m_xshHandle(xshHandle) {
int i;
for (i = 0; i < (int)m_deletedFx.size(); i++) m_deletedFx[i]->addRef();
}
~RemoveColumnsUndo() {
int i;
for (i = 0; i < (int)m_deletedFx.size(); i++) m_deletedFx[i]->release();
}
void undo() const override {
TXsheet *xsh = m_xshHandle->getXsheet();
TFxSet *terminalFxs = xsh->getFxDag()->getTerminalFxs();
TFxSet *internalFxs = xsh->getFxDag()->getInternalFxs();
int i;
for (i = 0; i < (int)m_deletedFx.size(); i++)
internalFxs->addFx(m_deletedFx[i]);
for (i = 0; i < (int)m_terminalFx.size(); i++)
terminalFxs->addFx(m_terminalFx[i]);
QMap<TStageObjectId, QList<TFxPort *>>::const_iterator it;
for (it = m_columnFxConnections.begin(); it != m_columnFxConnections.end();
it++) {
TStageObjectId id = it.key();
QList<TFxPort *> ports = it.value();
TXshColumnP column = xsh->getColumn(id.getIndex());
assert(column);
int j;
for (j = 0; j < ports.size(); j++) ports[j]->setFx(column->getFx());
}
for (i = 0; i < m_notTerminalColumns.size(); i++)
terminalFxs->removeFx(m_notTerminalColumns[i]);
m_xshHandle->notifyXsheetChanged();
xsh->notifyFxAdded(m_deletedFx);
}
void redo() const override {
TXsheet *xsh = m_xshHandle->getXsheet();
TFxSet *terminalFxs = xsh->getFxDag()->getTerminalFxs();
TFxSet *internalFxs = xsh->getFxDag()->getInternalFxs();
int i;
for (i = 0; i < (int)m_deletedFx.size(); i++)
internalFxs->removeFx(m_deletedFx[i]);
for (i = 0; i < (int)m_terminalFx.size(); i++)
terminalFxs->removeFx(m_terminalFx[i]);
m_xshHandle->notifyXsheetChanged();
}
int getSize() const override {
return sizeof *this + m_deletedFx.size() * sizeof(TFx) +
m_terminalFx.size() * sizeof(TFx) +
m_columnFxConnections.size() *
(sizeof(TStageObjectId) + 10 * sizeof(TFxPort)) +
m_notTerminalColumns.size() * sizeof(TFx) + sizeof(TXsheetHandle);
}
QString getHistoryString() override {
QString str = QObject::tr("Remove Column ");
QMap<TStageObjectId, QList<TFxPort *>>::const_iterator it;
for (it = m_columnFxConnections.begin(); it != m_columnFxConnections.end();
it++) {
TStageObjectId id = it.key();
if (it != m_columnFxConnections.begin())
str += QString::fromStdString(", ");
str += QString::fromStdString(id.toString());
}
return str;
}
int getHistoryType() override { return HistoryType::Schematic; }
};
//===================================================================
//
// UndoGroup
//
//your_sha256_hash---
class UndoGroup final : public TUndo {
QList<TStageObjectId> m_ids;
int m_groupId;
QList<int> m_positions;
TXsheetHandle *m_xshHandle;
public:
UndoGroup(const QList<TStageObjectId> &ids, int groupId,
const QList<int> &positions, TXsheetHandle *xshHandle)
: m_ids(ids)
, m_groupId(groupId)
, m_positions(positions)
, m_xshHandle(xshHandle) {}
~UndoGroup() {}
void undo() const override {
assert(m_ids.size() == m_positions.size());
TStageObjectTree *pegTree = m_xshHandle->getXsheet()->getStageObjectTree();
int i;
for (i = 0; i < m_ids.size(); i++) {
TStageObject *obj = pegTree->getStageObject(m_ids[i], false);
if (obj) {
obj->removeGroupName(m_positions[i]);
obj->removeGroupId(m_positions[i]);
}
}
m_xshHandle->notifyXsheetChanged();
}
void redo() const override {
assert(m_ids.size() == m_positions.size());
TStageObjectTree *pegTree = m_xshHandle->getXsheet()->getStageObjectTree();
int i;
for (i = 0; i < m_ids.size(); i++) {
TStageObject *obj = pegTree->getStageObject(m_ids[i], false);
if (obj) {
obj->setGroupId(m_groupId, m_positions[i]);
obj->setGroupName(L"Group " + std::to_wstring(m_groupId),
m_positions[i]);
}
}
m_xshHandle->notifyXsheetChanged();
}
int getSize() const override { return sizeof *this; }
};
//===================================================================
//
// UndoUngroup
//
//your_sha256_hash---
class UndoUngroup final : public TUndo {
QList<TStageObjectId> m_objsId;
QList<int> m_positions;
int m_groupId;
std::wstring m_groupName;
TXsheetHandle *m_xshHandle;
public:
UndoUngroup(const QList<TStageObject *> &objs, TXsheetHandle *xshHandle)
: m_xshHandle(xshHandle) {
assert(objs.size() > 0);
int i;
for (i = 0; i < objs.size(); i++) {
m_objsId.append(objs[i]->getId());
if (i == 0) {
m_groupId = objs[i]->getGroupId();
m_groupName = objs[i]->getGroupName(false);
}
}
}
~UndoUngroup() {}
void setStackPositions(const QList<int> &positions) {
m_positions = positions;
}
void undo() const override {
assert(m_objsId.size() == m_positions.size());
TStageObjectTree *objTree = m_xshHandle->getXsheet()->getStageObjectTree();
if (!objTree) return;
int i;
for (i = 0; i < m_objsId.size(); i++) {
TStageObject *obj = objTree->getStageObject(m_objsId[i], false);
if (!obj) continue;
obj->setGroupId(m_groupId, m_positions[i]);
obj->setGroupName(m_groupName, m_positions[i]);
}
m_xshHandle->notifyXsheetChanged();
}
void redo() const override {
assert(m_objsId.size() == m_positions.size());
TStageObjectTree *objTree = m_xshHandle->getXsheet()->getStageObjectTree();
if (!objTree) return;
int i;
for (i = 0; i < m_objsId.size(); i++) {
TStageObject *obj = objTree->getStageObject(m_objsId[i], false);
if (!obj) continue;
obj->removeGroupName(m_positions[i]);
obj->removeGroupId(m_positions[i]);
}
m_xshHandle->notifyXsheetChanged();
}
int getSize() const override { return sizeof *this; }
};
//===================================================================
//
// UndoRenameGroup
//
//your_sha256_hash---
class UndoRenameGroup final : public TUndo {
QList<TStageObject *> m_objs;
QList<int> m_positions;
std::wstring m_oldGroupName;
std::wstring m_newGroupName;
TXsheetHandle *m_xshHandle;
public:
UndoRenameGroup(const QList<TStageObject *> &objs,
const QList<int> &positions, const std::wstring &newName,
const std::wstring &oldName, TXsheetHandle *xshHandle)
: m_objs(objs)
, m_newGroupName(newName)
, m_oldGroupName(oldName)
, m_xshHandle(xshHandle)
, m_positions(positions) {
assert(objs.size() > 0);
int i;
for (i = 0; i < m_objs.size(); i++) m_objs[i]->addRef();
}
~UndoRenameGroup() {
int i;
for (i = 0; i < m_objs.size(); i++) m_objs[i]->release();
}
void undo() const override {
assert(m_objs.size() == m_positions.size());
int i;
for (i = 0; i < m_objs.size(); i++) {
m_objs[i]->removeGroupName(m_positions[i]);
m_objs[i]->setGroupName(m_oldGroupName, m_positions[i]);
}
m_xshHandle->notifyXsheetChanged();
}
void redo() const override {
assert(m_objs.size() == m_positions.size());
int i;
for (i = 0; i < m_objs.size(); i++) {
m_objs[i]->removeGroupName(m_positions[i]);
m_objs[i]->setGroupName(m_newGroupName, m_positions[i]);
}
m_xshHandle->notifyXsheetChanged();
}
int getSize() const override { return sizeof *this; }
};
//===================================================================
//
// UndoStatusChange
//
//your_sha256_hash---
class UndoStatusChange final : public TUndo {
TStageObject *m_obj;
TStageObject::Status m_oldStatus, m_newStatus;
TXsheetHandle *m_xshHandle;
public:
UndoStatusChange(TStageObject *obj, TXsheetHandle *xshHandle)
: m_obj(obj), m_xshHandle(xshHandle) {
m_obj->addRef();
// devo fare addref della spline altimenti crasha in uscita
// m_obj non fa addref della spline a lui associata, e quindi crasha perche'
// la spline viene distrutta
// prima di m_obj... sarebbe piu' corretto fare addref della spline quando
// viene settata all'oggetto
// piuttosto che farla qui?
TStageObjectSpline *spline = m_obj->getSpline();
if (spline) spline->addRef();
m_oldStatus = m_obj->getStatus();
}
~UndoStatusChange() {
TStageObjectSpline *spline = m_obj->getSpline();
m_obj->release();
if (spline) spline->release();
}
void onAdd() override { m_newStatus = m_obj->getStatus(); }
void undo() const override {
m_obj->setStatus(m_oldStatus);
m_xshHandle->notifyXsheetChanged();
}
void redo() const override {
m_obj->setStatus(m_newStatus);
m_xshHandle->notifyXsheetChanged();
}
int getSize() const override { return sizeof *this; }
};
//===================================================================
//
// removePegbarNode
//
//your_sha256_hash---
void removeStageObjectNode(const TStageObjectId &id, TXsheetHandle *xshHandle,
TObjectHandle *objHandle, TFxHandle *fxHandle,
bool doUndo = true) {
TXsheet *xsh = xshHandle->getXsheet();
TStageObject *pegbar = xsh->getStageObject(id);
// Lacamera corrente e il tavolo non si devono rimuovere
if (id.isTable() ||
(id.isCamera() && xsh->getStageObjectTree()->getCurrentCameraId() == id))
return;
if (id.isCamera() && xsh->getCameraColumnIndex() == id.getIndex())
xsh->setCameraColumnIndex(
xsh->getStageObjectTree()->getCurrentCameraId().getIndex());
// stacco tutti i figli e li attacco al padre
QList<TStageObjectId> linkedObjects;
int pegbarsCount = xsh->getStageObjectTree()->getStageObjectCount();
int i;
for (i = 0; i < pegbarsCount; ++i) {
TStageObject *other = xsh->getStageObjectTree()->getStageObject(i);
if (other == pegbar) continue;
if (other->getParent() == id) {
other->setParent(pegbar->getParent());
linkedObjects.push_back(other->getId());
}
}
if (id == objHandle->getObjectId())
objHandle->setObjectId(TStageObjectId::TableId);
RemovePegbarNodeUndo *undo = new RemovePegbarNodeUndo(id, xshHandle);
undo->setLinkedObjects(linkedObjects);
if (id.isColumn())
xsh->removeColumn(id.getIndex());
else
xsh->getStageObjectTree()->removeStageObject(id);
if (doUndo)
TUndoManager::manager()->add(undo);
else
delete undo;
}
//===================================================================
//
// removeColumns
//
//your_sha256_hash---
void removeColumns(const QVector<int> &columnIndexes, TXsheetHandle *xshHandle,
TObjectHandle *objHandle, TFxHandle *fxHandle,
bool doUndo = true) {
TXsheet *xsh = xshHandle->getXsheet();
int i;
QMap<TStageObjectId, QList<TFxPort *>> columnFxConnection;
std::set<TFx *> leafesFx;
QList<TFx *> notTerminalColumns;
for (i = columnIndexes.size() - 1; i >= 0; i--) {
TStageObjectId id = TStageObjectId::ColumnId(columnIndexes[i]);
TXshColumnP column = xsh->getColumn(id.getIndex());
if (!column) continue;
TFx *columnFx = column->getFx();
if (!columnFx) continue;
int j;
for (j = 0; j < columnFx->getOutputConnectionCount(); j++)
columnFxConnection[id].append(columnFx->getOutputConnection(j));
leafesFx.insert(columnFx);
if (!xsh->getFxDag()->getTerminalFxs()->containsFx(columnFx))
notTerminalColumns.append(columnFx);
}
std::vector<TFx *> fxsToKill;
std::vector<TFx *> terminalFxsToKill;
TFxSet *fxSet = xsh->getFxDag()->getInternalFxs();
for (i = 0; i < fxSet->getFxCount(); i++) {
TFx *fx = fxSet->getFx(i);
if (canRemoveFx(leafesFx, fx)) {
fxsToKill.push_back(fx);
if (xsh->getFxDag()->getTerminalFxs()->containsFx(fx))
terminalFxsToKill.push_back(fx);
}
}
if (doUndo) {
RemoveColumnsUndo *undo =
new RemoveColumnsUndo(fxsToKill, terminalFxsToKill, columnFxConnection,
notTerminalColumns, xshHandle);
TUndoManager::manager()->add(undo);
}
for (i = 0; i < (int)fxsToKill.size(); i++) {
TFx *fx = fxsToKill[i];
if (fx == fxHandle->getFx()) fxHandle->setFx(0);
if (fx->getLinkedFx() != fx) fx->unlinkParams();
int j, outputPortCount = fx->getOutputConnectionCount();
for (j = outputPortCount - 1; j >= 0; j--) {
TFxPort *port = fx->getOutputConnection(j);
std::vector<TFx *>::iterator it =
std::find(fxsToKill.begin(), fxsToKill.end(), port->getOwnerFx());
std::set<TFx *>::iterator it2 =
std::find(leafesFx.begin(), leafesFx.end(), port->getFx());
if (it == fxsToKill.end() && it2 == leafesFx.end()) port->setFx(0);
}
fxSet->removeFx(fx);
xsh->getFxDag()->getTerminalFxs()->removeFx(fx);
}
for (i = columnIndexes.size() - 1; i >= 0; i--)
removeStageObjectNode(TStageObjectId::ColumnId(columnIndexes[i]), xshHandle,
objHandle, fxHandle, doUndo);
}
//===================================================================
//
// removeSpline
//
//your_sha256_hash---
void removeSpline(TStageObjectSpline *spline, TXsheetHandle *xshHandle,
TObjectHandle *objHandle, bool doUndo = true) {
if (doUndo)
TUndoManager::manager()->add(new RemoveSplineUndo(spline, xshHandle));
TStageObjectTree *pegbarTree = xshHandle->getXsheet()->getStageObjectTree();
for (int i = 0; i < pegbarTree->getStageObjectCount(); i++) {
TStageObject *pegbar = pegbarTree->getStageObject(i);
if (pegbar->getSpline() == spline) {
pegbar->setSpline(0);
if (pegbar->getId() == objHandle->getObjectId())
objHandle->setIsSpline(false);
}
}
pegbarTree->removeSpline(spline);
// xshHandle->notifyXsheetChanged();
}
void removeLink(const QPair<TStageObjectId, TStageObjectId> &link,
TXsheetHandle *xshHandle, TObjectHandle *objHandle,
bool doUndo = true) {
TStageObjectTree *objTree = xshHandle->getXsheet()->getStageObjectTree();
if (link.first ==
link.second) { // is a link connecting a spline with an object
TStageObject *object = objTree->getStageObject(link.first, false);
if (!object) return;
TStageObjectSpline *spline = object->getSpline();
assert(spline);
object->setSpline(0);
if (objHandle->getObjectId() == link.first) objHandle->setIsSpline(false);
if (doUndo) {
TUndo *undo =
new RemoveSplineLinkUndo(link.first, spline, xshHandle, objHandle);
TUndoManager::manager()->add(undo);
}
} else {
TStageObject *object = objTree->getStageObject(link.first, false);
TStageObject *parentObject = objTree->getStageObject(link.second, false);
if (!object || !parentObject || object->isGrouped() ||
parentObject->isGrouped())
return;
assert(object->getParent() == parentObject->getId());
TStageObjectCmd::setParent(object->getId(), TStageObjectId::NoneId, "",
xshHandle, doUndo);
}
}
} // namespace
//===================================================================
//
// SetAttributeUndo & sons
//
//your_sha256_hash---
namespace {
//your_sha256_hash---
template <class T>
class SetAttributeUndo : public TUndo {
TStageObjectId m_id;
T m_oldValue, m_newValue;
TXsheetHandle *m_xshHandle;
public:
SetAttributeUndo(const TStageObjectId &id, TXsheetHandle *xshHandle,
T oldValue, T newValue)
: m_id(id)
, m_xshHandle(xshHandle)
, m_oldValue(oldValue)
, m_newValue(newValue) {}
TStageObjectId getId() const { return m_id; }
TStageObject *getStageObject() const {
TStageObject *pegbar = m_xshHandle->getXsheet()->getStageObject(m_id);
assert(pegbar);
return pegbar;
}
virtual void setAttribute(TStageObject *pegbar, T value) const = 0;
void setAttribute(T value) const {
TStageObject *pegbar = getStageObject();
if (pegbar) setAttribute(pegbar, value);
}
void undo() const override {
setAttribute(m_oldValue);
m_xshHandle->notifyXsheetChanged();
}
void redo() const override {
setAttribute(m_newValue);
m_xshHandle->notifyXsheetChanged();
}
int getSize() const override { return sizeof(*this); }
int getHistoryType() override { return HistoryType::Unidentified; }
QString getHistoryString() override {
return QString("%1 %2 : %3 -> %4")
.arg(getActionName())
.arg(QString::fromStdString(getId().toString()))
.arg(getStringFromValue(m_oldValue))
.arg(getStringFromValue(m_newValue));
}
virtual QString getActionName() { return QString(); }
virtual QString getStringFromValue(T value) { return QString(); }
};
//your_sha256_hash---
class StageObjectRenameUndo final : public SetAttributeUndo<std::string> {
public:
StageObjectRenameUndo(const TStageObjectId &id, TXsheetHandle *xshHandle,
std::string oldName, std::string newName)
: SetAttributeUndo<std::string>(id, xshHandle, oldName, newName) {}
void setAttribute(TStageObject *pegbar, std::string name) const override {
pegbar->setName(name);
}
QString getActionName() override { return QString("Rename Object"); }
QString getStringFromValue(std::string value) override {
return QString::fromStdString(value);
}
};
//your_sha256_hash---
class ResetOffsetUndo final : public SetAttributeUndo<TPointD> {
public:
ResetOffsetUndo(const TStageObjectId &id, TXsheetHandle *xshHandle,
const TPointD &oldOffset)
: SetAttributeUndo<TPointD>(id, xshHandle, oldOffset, TPointD()) {}
void setAttribute(TStageObject *pegbar, TPointD offset) const override {
pegbar->setOffset(offset);
}
QString getActionName() override { return QString("Reset Center"); }
QString getStringFromValue(TPointD value) override {
return QString("(%1,%2)")
.arg(QString::number(value.x))
.arg(QString::number(value.y));
}
};
//your_sha256_hash---
class ResetCenterAndOffsetUndo final : public SetAttributeUndo<TPointD> {
public:
ResetCenterAndOffsetUndo(const TStageObjectId &id, TXsheetHandle *xshHandle,
const TPointD &oldOffset)
: SetAttributeUndo<TPointD>(id, xshHandle, oldOffset, TPointD()) {}
void setAttribute(TStageObject *pegbar, TPointD offset) const override {
pegbar->setCenterAndOffset(offset, offset);
}
QString getActionName() override { return QString("Reset Center"); }
QString getStringFromValue(TPointD value) override {
return QString("(%1,%2)")
.arg(QString::number(value.x))
.arg(QString::number(value.y));
}
};
//your_sha256_hash---
class SetHandleUndo final : public SetAttributeUndo<std::string> {
TPointD m_center, m_offset;
TXsheetHandle *m_xshHandle;
public:
SetHandleUndo(const TStageObjectId &id, std::string oldHandle,
std::string newHandle, TXsheetHandle *xshHandle)
: SetAttributeUndo<std::string>(id, xshHandle, oldHandle, newHandle)
, m_xshHandle(xshHandle) {
TStageObject *pegbar = getStageObject();
if (pegbar) pegbar->getCenterAndOffset(m_center, m_offset);
}
void setAttribute(TStageObject *pegbar, std::string handle) const override {
pegbar->setHandle(handle);
}
void undo() const override {
SetAttributeUndo<std::string>::undo();
TStageObject *pegbar = getStageObject();
if (pegbar) pegbar->setCenterAndOffset(m_center, m_offset);
m_xshHandle->notifyXsheetChanged();
}
QString getActionName() override { return QString("Set Handle"); }
QString getStringFromValue(std::string value) override {
return QString::fromStdString(value);
}
};
//your_sha256_hash---
class SetParentHandleUndo final : public SetAttributeUndo<std::string> {
public:
SetParentHandleUndo(const TStageObjectId &id, TXsheetHandle *xshHandle,
std::string oldHandle, std::string newHandle)
: SetAttributeUndo<std::string>(id, xshHandle, oldHandle, newHandle) {}
void setAttribute(TStageObject *pegbar, std::string handle) const override {
pegbar->setParentHandle(handle);
}
QString getActionName() override { return QString("Set Parent Handle"); }
QString getStringFromValue(std::string value) override {
return QString::fromStdString(value);
}
};
//your_sha256_hash---
typedef std::pair<TStageObjectId, std::string> ParentIdAndHandle;
class SetParentUndo final : public SetAttributeUndo<ParentIdAndHandle> {
public:
SetParentUndo(const TStageObjectId &id, TXsheetHandle *xshHandle,
TStageObjectId oldParentId, std::string oldParentHandle,
TStageObjectId newParentId, std::string newParentHandle)
: SetAttributeUndo<ParentIdAndHandle>(
id, xshHandle, ParentIdAndHandle(oldParentId, oldParentHandle),
ParentIdAndHandle(newParentId, newParentHandle)) {}
void setAttribute(TStageObject *pegbar,
ParentIdAndHandle parent) const override {
pegbar->setParent(parent.first);
pegbar->setParentHandle(parent.second);
}
QString getActionName() override { return QString("Set Parent Handle"); }
QString getStringFromValue(ParentIdAndHandle value) override {
return QString("(%1,%2)")
.arg(QString::fromStdString(value.first.toString()))
.arg(QString::fromStdString(value.second));
}
};
//your_sha256_hash---
class ResetPositionUndo final : public TUndo {
TXsheetHandle *m_xshHandle;
TStageObjectId m_id;
TPointD m_center, m_offset;
std::vector<TDoubleKeyframe> m_xKeyframes, m_yKeyframes;
void saveKeyframes(std::vector<TDoubleKeyframe> &keyframes,
const TDoubleParam *param) {
int n = param->getKeyframeCount();
if (n == 0)
keyframes.clear();
else {
keyframes.resize(n);
for (int i = 0; i < n; i++) keyframes[i] = param->getKeyframe(i);
}
}
void deleteAllKeyframes(TDoubleParam *param) const {
while (param->getKeyframeCount() > 0)
param->deleteKeyframe(param->keyframeIndexToFrame(0));
}
void restoreKeyframes(TDoubleParam *param,
const std::vector<TDoubleKeyframe> &keyframes) const {
deleteAllKeyframes(param);
for (int i = 0; i < (int)keyframes.size(); i++)
param->setKeyframe(keyframes[i]);
}
TStageObject *getStageObject() const {
return m_xshHandle->getXsheet()->getStageObject(m_id);
}
public:
ResetPositionUndo(const TStageObjectId &id, TXsheetHandle *xshHandle)
: m_xshHandle(xshHandle), m_id(id) {
TStageObject *stageObject = getStageObject();
if (stageObject) {
stageObject->getCenterAndOffset(m_center, m_offset);
saveKeyframes(m_xKeyframes, stageObject->getParam(TStageObject::T_X));
saveKeyframes(m_yKeyframes, stageObject->getParam(TStageObject::T_Y));
}
}
void undo() const override {
TStageObject *stageObject = getStageObject();
if (!stageObject) return;
stageObject->setCenterAndOffset(m_center, m_offset);
restoreKeyframes(stageObject->getParam(TStageObject::T_X), m_xKeyframes);
restoreKeyframes(stageObject->getParam(TStageObject::T_Y), m_yKeyframes);
m_xshHandle->notifyXsheetChanged();
}
void redo() const override {
TStageObject *stageObject = getStageObject();
if (!stageObject) return;
stageObject->setCenterAndOffset(TPointD(0, 0), TPointD(0, 0));
deleteAllKeyframes(stageObject->getParam(TStageObject::T_X));
deleteAllKeyframes(stageObject->getParam(TStageObject::T_Y));
m_xshHandle->notifyXsheetChanged();
}
int getSize() const override {
return sizeof(*this) + sizeof(TDoubleKeyframe) *
(m_xKeyframes.size() + m_yKeyframes.size());
}
};
//your_sha256_hash---
} // namespace
//===================================================================
//
// pegbar rename
//
//your_sha256_hash---
void TStageObjectCmd::rename(const TStageObjectId &id, std::string name,
TXsheetHandle *xshHandle) {
TStageObject *pegbar = xshHandle->getXsheet()->getStageObject(id);
if (!pegbar) return;
std::string oldName = pegbar->getName();
if (oldName == name) return;
pegbar->setName(name);
TUndoManager::manager()->add(
new StageObjectRenameUndo(id, xshHandle, oldName, name));
}
//===================================================================
//
// resetOffset
//
//your_sha256_hash---
void TStageObjectCmd::resetOffset(const TStageObjectId &id,
TXsheetHandle *xshHandle) {
TStageObject *peg = xshHandle->getXsheet()->getStageObject(id);
if (!peg) return;
TPointD oldOffset = peg->getOffset();
peg->setOffset(TPointD());
TUndoManager::manager()->add(new ResetOffsetUndo(id, xshHandle, oldOffset));
xshHandle->notifyXsheetChanged();
// TNotifier::instance()->notify(TStageChange());
}
//===================================================================
//
// resetCenterAndOffset
//
//your_sha256_hash---
void TStageObjectCmd::resetCenterAndOffset(const TStageObjectId &id,
TXsheetHandle *xshHandle) {
TStageObject *peg = xshHandle->getXsheet()->getStageObject(id);
if (!peg) return;
TPointD oldOffset = peg->getOffset();
peg->setCenterAndOffset(TPointD(), TPointD());
TUndoManager::manager()->add(
new ResetCenterAndOffsetUndo(id, xshHandle, oldOffset));
xshHandle->notifyXsheetChanged();
}
//===================================================================
//
// resetPosition
//
//your_sha256_hash---
void TStageObjectCmd::resetPosition(const TStageObjectId &id,
TXsheetHandle *xshHandle) {
TStageObject *obj = xshHandle->getXsheet()->getStageObject(id);
if (!obj) return;
TUndo *undo = new ResetPositionUndo(id, xshHandle);
undo->redo();
TUndoManager::manager()->add(undo);
}
//===================================================================
//
// setHandle
//
//your_sha256_hash---
void TStageObjectCmd::setHandle(const TStageObjectId &id, std::string handle,
TXsheetHandle *xshHandle) {
TStageObject *peg = xshHandle->getXsheet()->getStageObject(id);
if (!peg) return;
std::string oldHandle = peg->getHandle();
TUndoManager::manager()->add(
new SetHandleUndo(id, oldHandle, handle, xshHandle));
peg->setHandle(handle);
}
//===================================================================
//
// setParentHandle
//
//your_sha256_hash---
void TStageObjectCmd::setParentHandle(const std::vector<TStageObjectId> &ids,
std::string handle,
TXsheetHandle *xshHandle) {
for (int i = 0; i < (int)ids.size(); i++) {
TStageObjectId id = ids[i];
TStageObject *peg = xshHandle->getXsheet()->getStageObject(id);
if (!peg) continue;
std::string oldHandle = peg->getParentHandle();
peg->setParentHandle(handle);
TUndoManager::manager()->add(
new SetParentHandleUndo(id, xshHandle, oldHandle, handle));
}
}
//===================================================================
//
// setParent
//
//your_sha256_hash---
void TStageObjectCmd::setParent(const TStageObjectId &id,
TStageObjectId parentId,
std::string parentHandle,
TXsheetHandle *xshHandle, bool doUndo) {
if (parentId == TStageObjectId::NoneId) {
if (id.isColumn() || id.isPegbar()) {
parentId = TStageObjectId::TableId;
parentHandle = "B";
}
}
TStageObject *stageObject = xshHandle->getXsheet()->getStageObject(id);
if (!stageObject) return;
TStageObjectId oldParentId = stageObject->getParent();
std::string oldParentHandle;
if (oldParentId != TStageObjectId::NoneId)
oldParentHandle = stageObject->getParentHandle();
stageObject->setParent(parentId);
stageObject->setParentHandle(parentHandle);
if (doUndo) {
TUndoManager *undoManager = TUndoManager::manager();
TUndoManager::manager()->add(new SetParentUndo(
id, xshHandle, oldParentId, oldParentHandle, parentId, parentHandle));
}
}
//===================================================================
//
// setSplineParent
//
//your_sha256_hash---
void TStageObjectCmd::setSplineParent(TStageObjectSpline *spline,
TStageObject *parentObj,
TXsheetHandle *xshHandle) {
TUndoManager::manager()->add(
new SplineLinkUndo(parentObj->getId(), spline, xshHandle));
parentObj->setSpline(spline);
}
//===================================================================
//
// addNewCamera
//
//your_sha256_hash---
void TStageObjectCmd::addNewCamera(TXsheetHandle *xshHandle,
TObjectHandle *objHandle,
QPointF initialPos) {
TXsheet *xsh = xshHandle->getXsheet();
int cameraIndex = 0;
TStageObjectTree *tree = xsh->getStageObjectTree();
TStageObjectId cameraId;
for (;;) {
cameraId = TStageObjectId::CameraId(cameraIndex);
if (tree->getStageObject(cameraId, false) != 0) {
cameraIndex++;
continue;
}
break;
}
// crea la nuova camera
TStageObject *newCameraPegbar = xsh->getStageObject(cameraId);
// make the new peg at the cursor position
if (!initialPos.isNull())
newCameraPegbar->setDagNodePos(TPointD(initialPos.x(), initialPos.y()));
// settings uguali a quelli della camera corrente
TCamera *currentCamera = tree->getCurrentCamera();
*newCameraPegbar->getCamera() = *currentCamera;
TUndoManager::manager()->add(
new NewCameraUndo(cameraId, xshHandle, objHandle));
xshHandle->notifyXsheetChanged();
}
//===================================================================
//
// addNewPegbar
//
//your_sha256_hash---
void TStageObjectCmd::addNewPegbar(TXsheetHandle *xshHandle,
TObjectHandle *objHandle,
QPointF initialPos) {
TXsheet *xsh = xshHandle->getXsheet();
// crea la nuova pegbar
TStageObjectTree *pTree = xsh->getStageObjectTree();
int pegbarIndex = 0;
while (pTree->getStageObject(TStageObjectId::PegbarId(pegbarIndex), false))
pegbarIndex++;
TStageObjectId id = TStageObjectId::PegbarId(pegbarIndex);
TStageObject *obj = pTree->getStageObject(id, true);
if (!initialPos.isNull())
obj->setDagNodePos(TPointD(initialPos.x(), initialPos.y()));
TUndoManager::manager()->add(new NewPegbarUndo(id, xshHandle, objHandle));
xshHandle->notifyXsheetChanged();
}
//===================================================================
//
// setAsActiveCamera
//
//your_sha256_hash---
void TStageObjectCmd::setAsActiveCamera(TXsheetHandle *xshHandle,
TObjectHandle *objHandle) {
TXsheet *xsh = xshHandle->getXsheet();
TStageObjectId currentPegbarId = objHandle->getObjectId();
assert(currentPegbarId.isCamera());
TStageObjectId newCameraId = currentPegbarId;
TStageObjectId oldCameraId = xsh->getStageObjectTree()->getCurrentCameraId();
xsh->getStageObjectTree()->setCurrentCameraId(newCameraId);
// make the preview camera same as the final render camera
xsh->getStageObjectTree()->setCurrentPreviewCameraId(newCameraId);
TUndoManager::manager()->add(
new SetActiveCameraUndo(oldCameraId, newCameraId, xshHandle));
xshHandle->notifyXsheetChanged();
}
//===================================================================
//
// addNewSpline
//
//your_sha256_hash---
void TStageObjectCmd::addNewSpline(TXsheetHandle *xshHandle,
TObjectHandle *objHandle,
TColumnHandle *colHandle,
QPointF initialPos) {
TXsheet *xsh = xshHandle->getXsheet();
TStageObjectSpline *spline = xsh->getStageObjectTree()->createSpline();
if (!initialPos.isNull())
spline->setDagNodePos(TPointD(initialPos.x(), initialPos.y()));
TStageObjectId objId = objHandle->getObjectId();
if (objId == TStageObjectId::NoneId) {
int col = colHandle->getColumnIndex();
if (col >= 0) objId = TStageObjectId::ColumnId(col);
}
if (objId != TStageObjectId::NoneId) {
TStageObject *pegbar = xsh->getStageObject(objId);
assert(pegbar);
pegbar->setSpline(spline);
TUndoManager::manager()->add(new NewSplineUndo(objId, spline, xshHandle));
}
xshHandle->notifyXsheetChanged();
}
//===================================================================
//
// deleteSelection
//
//your_sha256_hash---
void TStageObjectCmd::deleteSelection(
const std::vector<TStageObjectId> &objIds,
const std::list<QPair<TStageObjectId, TStageObjectId>> &links,
const std::list<int> &splineIds, TXsheetHandle *xshHandle,
TObjectHandle *objHandle, TFxHandle *fxHandle, bool doUndo) {
if (doUndo) TUndoManager::manager()->beginBlock();
QVector<int> columnIndexes;
QVector<int> pegbarIndexes;
QVector<int> cameraIndexes;
std::vector<TStageObjectId>::const_iterator it2;
for (it2 = objIds.begin(); it2 != objIds.end(); it2++) {
if (it2->isColumn()) columnIndexes.append(it2->getIndex());
if (it2->isPegbar()) pegbarIndexes.append(it2->getIndex());
if (it2->isCamera()) cameraIndexes.append(it2->getIndex());
}
if (!columnIndexes.isEmpty()) {
std::sort(columnIndexes.begin(), columnIndexes.end());
}
if (!pegbarIndexes.isEmpty()) {
std::sort(pegbarIndexes.begin(), pegbarIndexes.end());
}
if (!cameraIndexes.isEmpty()) {
std::sort(cameraIndexes.begin(), cameraIndexes.end());
}
// remove all selected objects
removeColumns(columnIndexes, xshHandle, objHandle, fxHandle, doUndo);
int i;
for (i = pegbarIndexes.size() - 1; i >= 0; i--)
removeStageObjectNode(TStageObjectId::PegbarId(pegbarIndexes[i]), xshHandle,
objHandle, fxHandle, doUndo);
for (i = cameraIndexes.size() - 1; i >= 0; i--)
removeStageObjectNode(TStageObjectId::CameraId(cameraIndexes[i]), xshHandle,
objHandle, fxHandle, doUndo);
std::list<QPair<TStageObjectId, TStageObjectId>>::const_iterator it1;
for (it1 = links.begin(); it1 != links.end() && objIds.empty(); it1++)
removeLink(*it1, xshHandle, objHandle, doUndo);
std::list<int>::const_iterator it3;
TStageObjectTree *objTree = xshHandle->getXsheet()->getStageObjectTree();
for (it3 = splineIds.begin(); it3 != splineIds.end(); it3++) {
int splineCount = objTree->getSplineCount();
int i;
for (i = 0; i < splineCount; i++) {
TStageObjectSpline *spline = objTree->getSpline(i);
if (spline->getId() == *it3) {
removeSpline(spline, xshHandle, objHandle, doUndo);
break;
}
}
}
if (doUndo) TUndoManager::manager()->endBlock();
xshHandle->notifyXsheetChanged();
}
//===================================================================
//
// group
//
//your_sha256_hash---
void TStageObjectCmd::group(const QList<TStageObjectId> ids,
TXsheetHandle *xshHandle) {
TStageObjectTree *pegTree = xshHandle->getXsheet()->getStageObjectTree();
int groupId = pegTree->getNewGroupId();
int i;
QList<int> positions;
for (i = 0; i < ids.size(); i++) {
TStageObject *obj = pegTree->getStageObject(ids[i], false);
if (obj) {
int position = obj->setGroupId(groupId);
obj->setGroupName(L"Group " + std::to_wstring(groupId));
positions.append(position);
}
}
TUndoManager::manager()->add(
new UndoGroup(ids, groupId, positions, xshHandle));
}
//===================================================================
//
// ungroup
//
//your_sha256_hash---
void TStageObjectCmd::ungroup(int groupId, TXsheetHandle *xshHandle) {
TStageObjectTree *objTree = xshHandle->getXsheet()->getStageObjectTree();
if (!objTree) return;
QList<TStageObject *> objs;
int i;
for (i = 0; i < objTree->getStageObjectCount(); i++) {
TStageObject *obj = objTree->getStageObject(i);
if (!obj) continue;
if (obj->getGroupId() == groupId) objs.push_back(obj);
}
QList<int> positions;
UndoUngroup *undo = new UndoUngroup(objs, xshHandle);
TUndoManager::manager()->add(undo);
for (i = 0; i < objs.size(); i++) {
TStageObject *obj = objs[i];
if (obj) {
obj->removeGroupName();
int position = obj->removeGroupId();
positions.append(position);
}
}
undo->setStackPositions(positions);
}
//===================================================================
//
// renameGroup
//
//your_sha256_hash---
void TStageObjectCmd::renameGroup(const QList<TStageObject *> objs,
const std::wstring &name, bool fromEditor,
TXsheetHandle *xshHandle) {
std::wstring oldName;
TStageObjectTree *pegTree = xshHandle->getXsheet()->getStageObjectTree();
QList<int> positions;
int i;
for (i = 0; i < objs.size(); i++) {
if (i == 0) oldName = objs[i]->getGroupName(fromEditor);
int position = objs[i]->removeGroupName(fromEditor);
objs[i]->setGroupName(name, position);
positions.push_back(position);
}
TUndoManager::manager()->add(
new UndoRenameGroup(objs, positions, name, oldName, xshHandle));
}
//===================================================================
//
// renameGroup
//
//your_sha256_hash---
void TStageObjectCmd::duplicateObject(const QList<TStageObjectId> ids,
TXsheetHandle *xshHandle) {
TXsheet *xsh = xshHandle->getXsheet();
TStageObjectTree *objTree = xsh->getStageObjectTree();
int i, objCount = ids.size();
for (i = 0; i < objCount; i++) {
TStageObjectId id = ids[i];
TStageObject *obj = objTree->getStageObject(id, false);
assert(obj);
TStageObject *duplicatedObj = 0;
if (id.isPegbar() || id.isCamera()) {
int index = 0;
TStageObjectId newId;
for (;;) {
newId = id.isPegbar() ? TStageObjectId::PegbarId(index)
: TStageObjectId::CameraId(index);
if (objTree->getStageObject(newId, false)) {
index++;
continue;
}
break;
}
duplicatedObj = xsh->getStageObject(newId);
TStageObjectParams *params = obj->getParams();
duplicatedObj->assignParams(params);
delete params;
if (id.isCamera()) *(duplicatedObj->getCamera()) = *(obj->getCamera());
}
}
xshHandle->notifyXsheetChanged();
}
//your_sha256_hash---
void TStageObjectCmd::enableSplineAim(TStageObject *obj, int state,
TXsheetHandle *xshHandle) {
UndoStatusChange *undo = new UndoStatusChange(obj, xshHandle);
obj->enableAim(state != 2);
TUndoManager::manager()->add(undo);
}
//your_sha256_hash---
void TStageObjectCmd::enableSplineUppk(TStageObject *obj, bool toggled,
TXsheetHandle *xshHandle) {
UndoStatusChange *undo = new UndoStatusChange(obj, xshHandle);
obj->enableUppk(toggled);
TUndoManager::manager()->add(undo);
}
``` |
The South Island line (), identified by light green on the MTR route map, is a rapid transit line of Hong Kong's MTR metro system. This line connects the HK business district from Admiralty station to the Southern District of Hong Kong Island and the island of Ap Lei Chau, which was not served by any rail transport prior to the opening of this line. The rolling stock of South Island line is purpose-built for driverless operation. Trains are remotely controlled from the Operations Control Centre in Tsing Yi. Approved by the Executive Council in 2007, the line commenced service on 28 December 2016.
This line was known during planning and construction as the South Island line (East) to distinguish from South Island line (West), which is still being planned.
History
The initial proposal for the line was in 2002, and went through a number of changes, at times combined with the West Island line and South Island line (West). The final alignment corresponds with "option B" of the 2005 revised scheme, with no intermediate station at Happy Valley included, in order to reduce the travel time to the CBD.
Rolling stock
MTR defines the railway as a medium capacity system. The final order for rolling stock for the new line consisted of 10 new three-car MTR CNR Changchun EMUs using steel wheels. These trains are externally similar to the new existing sets in service on the Kwun Tong line, but are fully automatic and driverless – the second such line in the MTR system after the Disneyland Resort line, and the third such line in Hong Kong. However, every train has at least one staff for patrol in the traffic hour who is qualified to control the train manually according to the requirements of the Fire Services Department since the commencement of the line. Trains operate with a frequency of three minutes during rush hour.
Alignment
South Island line begins in tunnel at Admiralty station, an underground station connecting to the pre-existing Tsuen Wan and Island lines. From Admiralty the line travels southeastwards beneath Mount Cameron through the Nam Fung Tunnel, emerging into a covered viaduct at a site between the portal of Aberdeen Tunnel and Gleneagles Hospital, just before Ocean Park station.
The line then continues west on a viaduct through Wong Chuk Hang and Staunton Creek over a nullah, on which the Wong Chuk Hang station was built, and crosses the channel to the island of Ap Lei Chau on the Aberdeen Channel Bridge; after landing on Ap Lei Chau, the line enters a tunnel and continues to Lei Tung and South Horizons stations.
Stations
This is a list of the stations on the South Island line.
List
Construction
Construction progress
Project Agreements and Entrustment Agreement for MTR South Island line and the Kwun Tong line extension were signed by the Hong Kong government and MTR Corporation on 18 May 2011. In August 2012, drilling and blasting work began for constructing the Nam Fung Tunnel, between Admiralty and Ocean Park stations. The line was built by a Leighton Asia – John Holland Group joint venture.
On 9 December 2013, structural work for Ocean Park station was completed. The first 3-car trainset arrived at MTR Siu Ho Wan Depot on 19 February 2014. The project was 78% complete by late September 2014, and Nam Fung Tunnel was broken through on 17 October. In 2015, trial runs began between Wong Chuk Hang and South Horizons stations. 84% of construction work was completed by the end of February 2015. Work in Lei Tung station was prolonged by geological problems, but the MTR claimed it would not postpone the line opening.
Delayed opening
The opening of the South Island line was originally planned for 2015. On 21 May 2014, an informant told Apple Daily that the commencement date of the line would be postponed by one and a half years. MTR Corporation asserted it would be opened as expected. Yet, the Transport and Housing Bureau revealed the delay of construction work and demanded MTR to review the commencement. Members of the Legislative Council and District Council criticised MTR for hiding the project's progress from the public and demanded a progress report at the Council's meeting. Eight days later at the South District Council meeting, MTRC announced the delay was caused by the expansion work of Admiralty station. High-density building, underground public facilities and the existing Admiralty station would prolong the work progress, as "safety comes first". However, the claimed 2015 opening date remained unchanged. In November 2014, a revised opening date of December 2016 was announced.
In October 2016, MTRC chairman Frederick Ma warned that the opening of the South Island line could be delayed by three more months. However, on 10 November 2016, he announced the South Island line would open by the end of 2016, saying the engineering team overcame the many challenges in expanding Admiralty Station. Finally, MTRC chief executive Lincoln Leong officially declared the South Island line would begin operation on 28 December 2016.
Commencement
On 28 December, before South Horizons station opened, many residents and enthusiasts gathered outside the entrance. MTR managerial officials, including CEO Lincoln Leong, welcomed passengers and rode on the first departure. The first train departed from South Horizons station at 5:55 am, five minutes earlier than usual. After 11 hours of operation, there had been over 92,000 passenger journeys. However, the day after the line opened, an electrical fault triggered power outages at 2:15 pm, causing lighting systems, escalators, elevators, and fare gates to stop working. The driverless trains were switched into manual mode in order to maintain service. Normal operation resumed after half an hour.
Interchange stations
At Admiralty, a new island platform was built under Harcourt Garden. Transfer passages connect the new station area with the older Tsuen Wan line and Island line platforms, as well as the East Rail line platforms.
At Wong Chuk Hang, the platform structure was planned to be a double island platform with three tracks (like Choi Hung station). South Island line (West) trains would use the centre track while South Island line trains would use those on each side, allowing for convenient cross-platform interchanges. However, according to the final plan, any future South Island line (West) platforms were to be built above the existing platforms.
See also
Future projects of the MTR
References
Further reading
Papers from Government and Legislature
Press releases
External links
MTR South Island line Introduction
Papers from Legislative Council concerning West Island line and South Island line
1432 mm gauge railways in Hong Kong
1500 V DC railway electrification
MTR lines
Central and Western District, Hong Kong
Southern District, Hong Kong
Ap Lei Chau
Railway lines opened in 2016
2016 establishments in Hong Kong |
Karanayevo (; , Qaranay) is a rural locality (a village) in Duvan-Mechetlinsky Selsoviet, Mechetlinsky District, Bashkortostan, Russia. The population was 170 as of 2010. There are 4 streets.
Geography
Karanayevo is located 41 km south of Bolsheustyikinskoye (the district's administrative centre) by road. Duvan-Mechetlino is the nearest rural locality.
References
Rural localities in Mechetlinsky District |
Edward William Dawson (13 February 1904 – 4 June 1979) was an English cricketer who played in five Test matches between 1928 and 1930.
A batsman whose studious technique made use of his talent, Dawson excelled as a schoolboy for Eton College, scoring 159 in the traditional fixture against Harrow. He went up to Magdalene College, Cambridge, and earned his blue as a freshman, captaining the university in 1927.
Dawson played his county cricket for Leicestershire, captaining the county for four seasons: 1928, 1929, 1931 and 1933. He toured with England to South Africa in 1927–28 and New Zealand in 1929–30. He made 55 in his last Test, at Auckland, opening the innings with Ted Bowley. He scored 12,598 first-class runs with 14 centuries, the highest being a knock of 146 against Gloucestershire. His swansong was a chanceless 91 against the Australians in 1934.
As a member of the Coldstream Guards during World War II, Dawson's duties included guarding Rudolf Hess in Sussex. In his later years he was a creative director of the Outward Bound movement.
References
External links
1904 births
1979 deaths
People educated at Eton College
Alumni of Magdalene College, Cambridge
England Test cricketers
Cambridge University cricketers
Leicestershire cricketers
Leicestershire cricket captains
English cricketers
Free Foresters cricketers
Marylebone Cricket Club cricketers
North v South cricketers
Gentlemen cricketers
Gentlemen of England cricketers
Sir Julien Cahn's XI cricketers
English cricketers of 1919 to 1945
H. D. G. Leveson Gower's XI cricketers
Lord Hawke's XI cricketers
C. I. Thornton's XI cricketers
Marylebone Cricket Club South African Touring Team cricketers
Cricketers from Paddington |
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