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<TITLE>Review for GoodFellas (1990)</TITLE>
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GoodFellas (1990)

reviewed by
John Locke

                               GOODFELLAS
                               [Spoilers]
                       A film review by John Locke
                        Copyright 1995 John Locke

     The boldness--the effrontery--of GOODFELLAS' opening scene, the
non sequitur of disturbing brutality and cheery music, assaults our
conventional expectations of criminals and murder.  More subtly, the
opening lays out the design of the film; it's a paradigm of the film's
method.

     Three men--Henry (Ray Liotta), Tommy (Joe Pesci), and Jimmy
(Robert DeNiro)--are driving along a dark highway.  They hear a
thumping and pull over to investigate.  The noise is coming from the
car's trunk.  Henry raises the lid cautiously to reveal a barely
struggling body wrapped in bloody tablecloths.  Tommy pulls a butcher
knife from inside his coat and savages the defenseless victim.  Jimmy
empties his pistol into the body.  As Henry closes the trunk, his
voice-over narration breaks in.  The frame freezes on his expression, a
look of troubled, yet guarded, astonishment.  But the narration offers
a different sentiment:  "As far back as I can remember, I always wanted
to be a gangster."  To complete the contradiction, the music kicks up,
a brassy number with Tony Bennett optimistically singing of going from
"Rags to Riches." (1)

     The unexpected explosion of violence is characteristic of director
Martin Scorsese; the key to understanding GOODFELLAS, though, is in
what follows--Henry's expression, the narration, and the music.

                                Techniques
                                ==========

     When the action freezes on Henry's face, the scene has been
grounded in the point of view (POV) of the film's central character.
The scene switches from the director's omniscience to a representation
of Henry's experience.  Above all, GOODFELLAS is concerned with the POV
of its characters and not with any reciprocal views from the world
outside of them.  If the method of the film is consistent, then the
film becomes the POV of its characters, and not the director's or the
screenwriters' (2).

Narrative POV
-------------

     Scorsese employs a battery of techniques in seeking this
consistency.  Foremost (and most apparent) is the narration which sets
the film up as a story told in the first person.  Primarily, it will be
Henry's story and he levels with us as if we were trusted associates.
(3)  He is generous with insights about himself and the mob world.
Because his story is restricted to his POV, his narrative speculations
become an important source for understanding events for which he is not
an eyewitness, like the Lufthansa robbery and its aftermath.  The
design of the film does not allow Henry to be abandoned in order to
reveal plots going on behind his back.

     The introduction of Karen (Lorraine Bracco), Henry's future wife,
to the story adds a second narrative voice, which allows us to see
aspects of the gang life that are exclusively female, like the hostess
party in which the wives discuss their husbands.  Karen narrates those
scenes on her own, narrates other scenes in which Henry is present,
like their wedding, and in one case talks over a scene that features
Henry but not her--a nice economy allowing the story to move forward on
twin tracks.  (This points to an interesting side benefit of
narration.  The story can move forward while the on-screen action fills
in background detail.  Consider the prison scene where the new
convicts--Henry, Paulie (Paul Sorvino), et al.--cook up a fine Italian
dinner.  Overlaid on this seemingly abnormal portrait of prison life,
Henry's narrative provides a general explanation of wiseguy privilege.
The strength of this scene is suggested by alternative ways of handling
it without narration: the narration is simply deleted and the essential
lack of action bogs down the pace of the story; the wiseguys
unnaturally--since they take it for granted--explain their status to
each other; or pace is maintained by turning the wiseguys into
wisecrackers, something they're not.)

Visual POV
----------

     The narrative takes us inside the speaker's mind, but it remains
for the camera to show us what they see.  This entails risk for the
director--if the shot selections are repetitious, or the techniques
otherwise too obvious, the film's spell may be broken. (4)  Scorsese
avoids monotony by tailoring his techniques to the needs of each
scene--the film is buoyed by the frequent introduction of fresh ideas
but it rarely feels experimental or overly controlled.

     Scorsese telegraphs the film's concern with vision (and, through
it, POV) in the beginning.  The first shot following the credits (the
opening described above precedes them) is a close-up side view of the
adolescent Henry's face, revealing an angular reflection on the surface
of his eye.  The second shot pans across a street scene.  The next two
shots--Henry seen from opposite sides of the window he gazes
through--clarify the linkage implicit between the first two.  The
reflection on the eye is the window; the street scene is what Henry
sees through it.  The camera's aim then returns to the outside,
focusing now on the cabstand across the street, a front for the
neighborhood wiseguys; its significance as the object of Henry's
intense interest having been demonstrated.

     Usually the camera--objectively--remains outside the characters,
but grounds the scene by periodically moving in to identify a single
character's POV.  Much of the poker party scene, early in the movie, is
a single shot that picks up young Henry making a sandwich at the cold
cut table and follows him through the room.  With crowded poker tables
between him and the camera, he becomes lost from view.  The camera
picks up Paulie standing elevated on one side of the room.  It lingers
on his face and then continues toward the door, arriving at the right
moment to see Jimmy's jubilant entrance and the swarm of glad-handers
it attracts.  This closes the continuous shot.  The camera suddenly
cuts back to Henry, rapt with wonder by Jimmy's magnetism.  In a few
moments, the scene has managed to deliver three unique perspectives:
Paulie, the gang boss, surveying his empire from on high; Jimmy, the
young success, accorded respect fit a returning war hero; and
especially Henry whose "before" shot shows him paying his dues to his
elders, and whose "after" finds him dreaming of the rewards his work
will one day earn.

     In other ways the camera is more direct in identifying a POV.  It
may peer over a shoulder to see what the character sees, providing an
unobtrusive transition from an objective stance.  Or the camera may
actually substitute for the eyes of the character to create an absolute
identification.  In those cases, the advantage of momentarily gaining
the character's sight, ideally, compensates for the potential jar
resulting from the literal disappearance of the character from the
scene.  When Karen visits Henry in prison, the camera becomes her eyes
as she signs the registry.  The focus skids from line to line across
the open pages to zero in on the signature of Henry's mistress, a
recent visitor.  Now Karen's surrogate, we find our pulse quickening
with hers as suspicion is aroused and then confirmed.

     A more dramatic example occurs at the end of the scene in which
Tommy is to be inaugurated a "made man." We sense his anticipation as
he leaves home in the back of a limousine for this formal affair.  We
share the anticipation of Henry and Jimmy as they await the good news.
We see the door that Tommy will enter.  We see the doorway from the
other side, ostensibly from the POV of his benefactors, as Tommy enters
the room and smiles.  The shot quickly switches to show what Tommy
sees, an empty room, and as he utters his last words, we realize the
true nature of the ceremony with the shock and dismay that he does.

     On a few occasions, the camera switches back and forth between
what two characters see, such as when Henry meets Karen's mother.  The
quick juxtaposition of the two facing off across the threshold of the
front door seems to strip bare a confrontation--each threatens the
other's notion of Karen's best interest, but neither can say so.
Another scene opens to the sight of Karen aiming a pistol toward the
audience.  When the camera switches to her POV, it is Henry we see and
she is straddling his torso pointing the gun in his face.  When the
scene opens, we are placed in Henry's position, not only in seeing what
he sees but in sharing his confused awakening to a strange situation.
The camera toggles between them, building tension, before being
withdrawn to the edges of the room to let the scene play out.  A less
formal application is the scene in which Tommy kills Stacks, the
lethargic truck driver.  We first see the quick, businesslike murder
from Tommy's POV.  Tommy walks behind Stacks, who is putting on his
shoes, and while casually conversing shoots him through the head.
After the scene winds down the murder is replayed in slow motion from
Stacks' side.  Stacks does not see what's coming, of course, but the
switch in angle reveals Tommy's blank expression and the full horror of
his dispassionate brutality.

     GOODFELLAS features a pair of set-piece tracking shots, lengthy
sequences in which the camera is completely surrendered to a unique
POV.  The first is a serpentine glide through the Bamboo Club.  The
camera substitutes for a character's vision--presumably Henry's, since
he narrates the scene, but at first we are not actually shown who it
is.  A number of the customers turn to greet the character/camera as
Henry names them off, giving us the insider's tour of a gangster
enclave.  The shot proceeds into the kitchen where Henry emerges into
the frame as the POV.  Contrasted with the grounding technique used
elsewhere, the disembodied portion of the shot, where no visual
identification with the POV is established, is mildly unsettling.
Perhaps that portion of the shot is not intended to be taken
literally--it's a device for illustrating the gang's milieu rather than
a scene from the story. (5)

     The second great tracking shot is roughly symmetrical to the
first.  Rather than moving from the inside of a club outward, it
reverses the direction, documenting a journey from the street, through
the back door of the Copacabana, through the circuitous underworld of
the kitchen, and into the club.  This time, though, the camera hovers
behind its subjects, Henry and Karen, looking over their shoulders,
seeing what they see and at the same time allowing observation of their
reactions; the shot merges their POVs as walking side by side "merges"
them as a romantic pair.  She and Henry have just started dating and
this is Henry's way of impressing her.  She gets the insider's
tour--the premeditated POV--we received in the other shot.  This scene
is quite a bit longer, though, clocking at over three minutes.  The
very length of the walk is itself impressive and our excitement builds
with Karen's as Henry shakes hands with the help they meet along the
way, liberally hands out tips, and garners the best table in the house
for Henny Youngman's floor show, his familiarity with the Copacabana
staff proving him the ultimate insider.  (As long as this scene lasts,
the soundtrack for it is even longer, extending into the next scene.
As Henny Youngman's monologue continues, the thieves are shown at work
in the airport demonstrating the true foundation of Henry's success, a
counterpoint to the invented explanation he has just given Karen and a
reminder that we have greater access to Henry's POV than Karen does.)

Restrictions of POV
-------------------

     Telling the story through POVs shapes the way the story will be
presented; it also delimits the story's scope.  If the film is to be
utterly consistent in its approach, we will see nothing that our
selected few characters can't see, we will know nothing they can't
know, what is a mystery to them must remain a cause for speculation to
us.  In some respects, this may disappoint the audience--tantalizing
questions go unanswered.  However, the ultimate effect of conveying POV
is to bring the audience as close as possible to the experience of the
character; and not to engender feelings in the audience that the
character can't have, as, for example, in a suspense film where the
audience is aware of dangers unbeknown to the people on the screen.
(6)  In GOODFELLAS, the luxury of being places our characters aren't,
of possibly hearing secret plans made against them, is not permitted.
Consider the scene, late in the film, in which Karen visits Jimmy's
warehouse to ask for money.  It comes at a point in their acquaintance
when mutual trust has been eroded by too much mutual insight.  At the
end of the meeting Jimmy urges the reluctant Karen to take some stolen
Dior dresses from his office down the street.  He directs her along the
sidewalk and she seems afraid, uncertain whether his insistence is
something other than generosity.  Looking through the store front she
sees shadowy figures, then suddenly shouts excuses to Jimmy, and
screeches away in her car.  What would have happened inside the
office?  (After all, the scene builds up to that question.)  Karen's
panic prevents her from finding out, so we can't, either.  The scene
links us with her discomfort, not her surroundings.  Her paranoia is
the point.

     Tommy's execution leaves more serious questions unanswered: Why is
he whacked?  Who made the decision?  GOODFELLAS bears no loyalty to the
murder mystery's injunction that loose ends will be tied up by the end
of the tale.  Henry's narrative insight into mob politics draws the
line between the known and the unknowable.  He speculates that Tommy
was killed for the Billy Batts murder and "a lot of other things."  If
killing Batts had been enough, Tommy would have gotten it years
earlier.  If a precise accounting of the "other things" and the timing
of the murder remain open questions in Henry's mind, then they must in
ours.  Conveying his perspective, even when it includes his ignorance,
takes precedence over filling in historical details.

     (At some peril, one can occasionally venture into the area of what
a story omits, a question with an unbounded answer.  For example,
Tommy's death leaves certain issues unresolved, such as the effect his
disappearance has on his mother, a person whose affection for him has
been established.  After Tommy is whacked she never reappears in the
story.  We do not learn, through her, what obligations of friendship
Jimmy or Henry may have felt toward tying up the loose ends of Tommy's
life.  However, the absence of evidence allows us to infer--with no
reliability--they felt none.)

The Apogee of Style
-------------------

     GOODFELLAS reaches the apogee of its style in the depiction of
Henry's manic bender on the day of the fateful bust that ends his
career in the Mafia.  We are tipped off to the significance of the
upcoming sequence when the screen goes blank, labeled with day, date
and time, down to the odd minute.  With the story having spanned three
decades, adroitly eclipsing years at a time, the finicky precision sets
the tempo for accelerated action, motivated by the acceleration in
Henry's mind as he attempts to keep pace with an unceasing series of
minor problems.  He must deliver guns to Jimmy, hide the guns after
Jimmy rejects them, retrieve the guns, pick up his brother from the
hospital, score drugs, deliver drugs, appease his mistress, shop for
dinner, prepare dinner, eat dinner.  And on and on.  All the while, he
boosts himself with cocaine and cigarettes, then smooths out the jags
with Valium.  He drives recklessly from place to place, squealing the
tires around every corner, barely avoiding an accident at one point.
It's excitement on an achingly personal scale.

     His narration coolly recollects the day but within the sequence
his dialogue speaks a feverish anxiety over the mounting details and an
obsession with the question of paranoia--who is and who isn't imagining
the dangers threatened by the potentially tapped phone and a mysterious
helicopter that keeps appearing above him in traffic.  His eyes are
pitted, his hair uncombed.  Henry's brain is on overload about to blow
and Scorsese enhances the scene with a variety of techniques to put us
in a similar state: rapid camera movements, quick cuts, and bursts of
fast music that accentuate Henry's moods and drug-peaked moments.  The
camera moves around every room, from person to person, to phone, to
door.  It overloads the screen with the details on Henry's mind, like
the panning shots across the kitchen counter that show the sloppy array
of dinner ingredients; it zooms in and out on the helicopter, it rushes
up to Henry's face as he snorts coke; it zeros in on every action,
Henry's foot on the brake, his hand with a gun, holding a pill, his
nose on a mirror.  The camera seldom stays still and the exhilaration
of the scene is incredible--a non-toxic amphetamine rush.  Putting us
into Henry's head on this day generates vertiginous thrills, like a
camera strapped to the nose of a roller coaster.  (Henry's, and the
scene's, catharsis comes when a quest for a lucky hat collides with the
bust and Henry's choices are no longer his own.  But as if Henry's
state wasn't enough, the scene gets a second wind from Karen who runs
around the house getting rid of drugs and a gun while the cops pound on
the door.)

                                Issues
                                ======

     The decision to bind the story to specific POVs imposes an
additional structure, indeed, a discipline, on GOODFELLAS beyond the
chronological recounting of lives and events.  The story is channeled
through the experiences of its characters, bringing their thoughts and
feelings to life on the screen, offering their lives to be felt as well
as witnessed.  This lends the film a kind of pure subjectivity, in the
sense that it portrays Henry's side of the story, in its unabashed
candor, and not Scorsese's spin on it.  The film conveys a sense of
unsanitized honesty, unfettered by editorial intrusion--and so it is
for the most part.  But Scorsese's detachment is not as complete as it
might first appear.  There are ways in which his attitude toward the
subject shapes the tone of the film.

The Soundtrack
--------------

     An area which gives the director wide editorial latitude is the
musical soundtrack and in GOODFELLAS music serves a variety of
purposes.  But let us begin by conceding that music is something of an
institution in film.  We have been conditioned to expect its presence
and are likely to be aware of its absence.  But music can be an alien
presence, adding a dimension to the action that stands at
cross-purposes to the self-conscious realism of a film like
GOODFELLAS.  If a movie is a window onto another world, then the
musical soundtrack is on the audience's side of the window.  On the
other side of the window, life's true soundtrack is composed by nature
or human activity (of which music forms some part).  When Henry careens
toward a rear-end collision in traffic and the soundtrack blasts the
frenetic drumbeat of "Magic Bus," we're not hearing something that is
actually part of the scene, but rather a stylized interpretation of
Henry's state of mind--his inarticulated POV, perhaps.  Let us also
concede, finally, that we walk on thin ice in challenging such a
universally entertaining aspect of film as music.  Other techniques in
GOODFELLAS employ artifice--freeze frames, for instance, and slow
motion--though these tend to be illuminating distortions rather than
additions of content.  But the use of music is of particular interest
here because the impetus of the film--without sacrificing drama--is
toward a high degree of realism.

     Obviously, music helps in setting the mood for a scene, or
reinforcing a mood otherwise indicated.  When Jimmy sits at a bar and
contemplates whacking Morrie, his face slowly contorts, he anxiously
moves a cigarette in and out of his mouth, and the urgent rock of
"Sunshine of Your Love" amplify what Henry describes as Jimmy's mind
"going in eight directions at once."

     This effect is in marked contrast to the upbeat music that ends
the opening scene (Batts in the trunk refusing to die quietly) which,
rather than reinforcing the grim mood of the scene, completely
contradicts it.  In the opening, we are rudely thrown off-balance and
alerted to the film's disturbing revelation that in the gang world
crime, violence, and even murder, is not necessarily tragic to its
participants; it is usually banal and, to the wiseguy, potentially
amusing.  Other disconcerting moods are set in the scene in which Batts
is battered to the tune of Donovan's "Atlantis," and in the sequence
wherein the corpses of the Lufthansa accomplices are discovered to the
piano section of "Layla."  In both instances, the violent debasement of
the human body is counterpointed with fairly calm melodies.  These
scenes make a memorable impression by voiding film violence cliches and
creating novel sensations.

     As widely noted, GOODFELLAS offers a flip side to the "Godfather"
saga.  "The Godfather" revolves around the power struggles among the
mob's ruling elites--political warfare.  Most of the crimes in the
series are assassinations and high-level conspiracies.  GOODFELLAS
explores the plebeian turf, portraying the life of the street hood, the
stick-up artist, the guy that hustles the wealth the mob's influence
depends upon.  The differences are indicative of the caste system
separating the officers from the foot soldiers, and the soundtracks for
the two movies reinforce the social disparities.  The Godfather
features a gentle, even proper, score; Nino Rota's lovely Sicilian
pastorales honoring the royal blood lineage of the "dapper dons."
GOODFELLAS employs the street sound of rock `n' roll: angry young man
music, jukebox music, top-forty dating music--American music, at its
roots, because with the exception of Tommy our characters lack a full
Sicilian birthright.  These wiseguys spend no time dreaming of a higher
social status that is automatically closed off to them; their status is
derived from an association with the elite that manifests itself as
first class service and front row seats.  They affirm their worth in
bars and nightclubs, the music that plays there forms the self-chosen
soundtrack of their lives. (7)

Cracks in the Edifice
---------------------

     As thus far discussed, the soundtrack supports the development of
the story--Henry's story--and its themes.  Scorsese places the choices
of music, as he does other details, in the service of the film's grand
plan.  But not exclusively.  There are moments in the film, a number of
them musical, when Scorsese drops reminders of his presence.  Except
for the most observant, they are subtle enough to escape notice on an
initial screening of the film.  In that respect, they form mere
hairline cracks in the edifice.

     The first examples are jokes that require connecting a few lyrics
of the accompanying song with the on-screen action, something we're not
apt to do automatically, especially when the music submissively bops
along in the background.  For instance, when complications arise from
Billy Batts' disappearance, we hear, "Whatever happened to/that boy
that I once knew?"  As the wiseguys dig him up in the dark, the song
continues, "Walking in the sand/the night was so exciting...," while
Henry retches from the smell.  Over the prison cooking scene, Bobby
Darin sings, "Somewhere, across the sea...," to underscore that
incarceration, for wiseguys, may be more of a forced vacation than a
punishment.  In another instance, the humor is neatly integrated into
the film's method.  We see a baby lowered onto a blanket from the POV
of whomever is holding it.  The opening lyrics of the Rolling Stones'
"Monkey Man" start up: "I'm a flea-bit peanut monkey/all my friends are
junkies." Then the camera switches to the baby's POV.  We see the
smiling faces of Henry and Karen, who have become cocaine dealers and
users, and Lois, the family baby-sitter/drug courier. (8)

     Scorsese steps in for another, albeit non-musical, jest during the
Batts exhumation.  Henry explains the dilemma in greater detail:  Batts
was a made man for the Gambino organization and therefore "untouchable"
by wiseguys from other mobs.  We then take a short flashback to the
fateful night in Henry's bar.  The camera takes Batts' POV on the floor
to show Jimmy's knee rising for another stomp to the midsection, and
Henry trying to restrain Tommy from doing likewise.  Untouchable,
indeed.

The Comedy of GOODFELLAS
--------------------------

     These subtle jokes impinge on a basic question: In what sense is
GOODFELLAS a comedy?  Tommy, in his classic scene, asks the same when
he demands of Henry, "How am I funny?  In what way am I funny?" The
question is profoundly deeper than Tommy realizes, for his tale of
hostility and violence invokes unbridled laughter from the wiseguy
audience.  But his sudden inexplicable aggravation instantly alters the
mood of the gathering from love of violence to fear of violence.

     The scene heats the film's volatile brew of violence and humor to
a boil. (9)  With violence always a possibility, tension mounts--in the
film's audience as well as in Tommy's--from not knowing which way the
action will break.  At Henry's expense, Tommy exploits the ambiguity
for a laugh.  In the process he unwittingly exposes the fragility of
trust between even close friends in the mob.  Henry can't tell whether
Tommy is about to harm him! It's a social consequence of consorting
outside the law.  What qualifies one for deceit disqualifies one for
trust.  At the end of his career, Henry carries the logic through:
"Your murderers come with smiles."

     Thus are the lives of the wiseguys absurd, backward, dark mirrors
of the norm.  Rules are inverted, outrages accommodated.  A breech of
manners tempts death.  Loyalty turns on a dime.  And on this unstable
platform comedy makes its stand.  Their lives are so eccentric that
comic complications arise naturally.  Paulie fears wiretaps, so overfed
stooges trot through the rain to conduct his business from phone
booths.  Henry pinches his nose while hosing the stench of a rotting
corpse from his trunk.  After warning the participants in the Lufthansa
theft not to spend their cuts ostentatiously, Jimmy is dismayed when
Johnny Roastbeef shows up in a new Cadillac with a new wife wearing a
new fur.  As Johnny dumbfoundedly pleads his innocence--"but it's a
wedding gift"--we recognize the utter impossibility of preserving the
secrecy.  When the newlyweds are found sitting in the front seat of
their new pink Caddy, shot to death, the fur coat now a shroud, mob
justice is revealed.  In GOODFELLAS the anecdotes may be amusing, but
the punch lines are frequently grim.

     But it isn't enough to say that GOODFELLAS is a comedy because
many of the situations are comical.  Only to each other are Henry and
associates acceptable as amusing "good fellas"; seen from distances
outside the film's purview, they are punching, knifing, choking,
shooting thugs, organically feeding on weakness like bacteria on an
open sore.  Seeing the story from the POV of the participants tempers
the ugliness.  The wiseguys are the best candidates to find humor in
their own cruelty or misfortunes.  When they laugh--no questions
asked--at Tommy's endless tales of confrontation with cops or anyone
else unlucky enough to have crossed his path, it's gangland shoptalk:
belligerence as a working condition, a cost of doing business, violence
as an agreeable duty.  But Tommy tells tales within a tale.  It's the
more polished Henry who shines brightest as a storyteller.  He's an
insider who can talk outward.  He carries the story as none of his
circle, lacking his charm and perception, could.  His enthusiasm, his
shameless confession that times were great, even at their worst, makes
GOODFELLAS work, at least part-time, as a comedy.  Henry's glee is
infectious.

     In short, what drives the film's humor are the conditions and
consequences of gang life as only a gang insider could possibly know
them.  It follows then that Scorsese's teasing observations--musical
and otherwise--add a different brand of comedy to the film, a detached,
ironical view whereby the director steps outside the subject and looks
back in, grinning.  The technique tampers with the natural balance of
comedy and violence by tilting the story more toward the comical.  The
intrusion is too minimal to change the overall effect of the film but
it is indicative of the director's relationship to the subject.  He
dissociates from Henry and crew by registering views that don't belong
to them.  The detachment inhibits us from confusing Scorsese's
immersion in Henry's story as identification.  Instead, we are reminded
that when Henry speaks, it is really Henry we hear.  Henry has earned
Scorsese's honesty, but sympathy remains an open question.

The Soul of the Wiseguy
-----------------------

     Another interesting exception to the film's method occurs in the
last, brief scene.  The former Henry Hill, his character rewritten by
the FBI, has been teleported from the murky underworld to banishment in
a primary-colored suburbia.  Siberia?  As the scene opens, he steps out
of his tract home, in bare feet and a bathrobe, to retrieve the
newspaper.  While he meditates on what an ordinary shnook he's become,
a frontal shot of Tommy blasting away at us with a pistol is
interposed.

     It's a striking image, but an odd passage, sacrificing plot for
theme like no other shot in the film.  It cannot be clearly identified
as a flashback to a specific event, or as a reminiscence of Henry's.
At a minimum, it symbolizes the criminal life Henry has left behind;
but does it mean more than that?  To outward appearances, Henry now
looks every bit the law-abiding shnook.  Is the interposed image
Scorsese's revelation of the lawless heart within?  If so, why show
Tommy and not Henry himself engaged in some memorably blissful
illegality?

     Perhaps the choice suggests some scepticism at who most truthfully
represents the soul of the wiseguy.  Tommy is a litter of crude
emotions, free of the sociability that may restrain or conceal Henry's
viciousness.  Tommy measures his self-respect by the fears of those he
intimidates.  Like a human Geiger counter, he constantly monitors his
environment for the slightest whiff of disrespect.  Self-conscious of
his height, he seeks out physical imperfection in whomever he suspects,
particularly speech impediments which he has learned to induce through
verbal intimidation, e.g., Spider, the bar boy, is reduced to a
"stuttering prick" as a prelude to attack.  Tommy's the essential
hoodlum, loyal to his basest instincts, always seeking weakness to prey
upon, never reluctant to err on the side of too much force.  Though
Paulie describes Tommy as a "bad seed," Henry reveals no particular
animosity or affinity toward Tommy; apathy might better describe his
feelings, an apathy that expresses itself in unedited and unflattering
descriptions of Tommy's behavior, as Henry's story reveals it.  Henry
expresses more nostalgia about the life-style he has left behind than
any of the people in it.  The image of Tommy, gun blazing, may
represent an idealized life that has been lost to Henry.  Or is
Scorsese tipping us off to the wolf in shnook's clothing?

     Critically speaking, do Scorsese's musical and other ironic
intrusions into the film's grand design constitute flaws, or do they
merely elaborate the design?  They appear to serve multiple purposes.
They increase the comedy quotient.  They also autograph the work, in
effect, in a way the director's credit cannot.  But most indicative is
the irony; it detaches Scorsese from the characters whose story he
tells; it bespeaks an underlying fear, perhaps, of close association,
of being too sympathetic to the characters and, like one of the
"beneficiaries" of their protection, working too much for their
interests and not enough for his own.  Perhaps the overriding irony is
that Scorsese's artistry imposes a stern "law and order" on a work
whose themes are crime and disorder, yet he violates his own rules in
order to distance himself from the subject.

Henry
-----

     Recall the opening scene.  The frame freezes on Henry's expression
after he watches his pals finish the murder of Billy Batts: the camera
records an epiphany.  (The technique occurs elsewhere when, for
example, Henry and Jimmy are walking along the sidewalk discussing
Morrie's indiscretion.  The action halts as Henry describes his sudden
realization that Jimmy intended to whack Morrie.)  The look the opening
freezes on is one we see numerous times throughout the film.  Always
following some violent event, his face registers astonishment.  But at
the same time he controls his reaction; he will not, he cannot, express
it and he is unwilling to oppose what he has seen.  This is his act of
belonging; it's the core of his criminality.  Only by fully accepting
the violent and often unjust world of organized crime is his role
within it assured.  As Jimmy sagely advises him after his first pinch,
"Always keep your mouth shut."  Henry always keeps his mouth shut
(until he's finally trapped between suicidal loyalty and the law) and
tolerates any excess of his brethren in return for the romance of being
a gangster.

     It seems a straightforward trade-off, and one he willingly
reveals, but could there be more wrinkles to his character?  Of
necessity, we tend to trust Henry's version of things; he is our spy
inside the secret world of gangsters.  His candor elicits our
sympathies.  As for anyone, stating one's case is inherently
persuasive; manipulating opinion in one's favor is normal, expected,
but still seductive.  Henry realizes his actions are questionable, so
when possible he tugs favor back in his direction.  For us he
rationalizes a useful role for organized crime in society, explaining
that it provides "protection for people who can't go to the cops."
Another time he reassures Karen with a self-help gangster maxim:
"nobody goes to jail unless they want to."  In these statements is
Henry consciously inflating his advantages or is he betraying a
capacity for self-deception?  Either way, it behooves us to weigh his
evaluations against his motives for shading the truth.

     Despite his larcenous activities, Henry possesses a friendly,
likable persona.  He smiles a lot, laughs a lot.  Compared to Tommy,
he seems roughly normal.  (By the end of the film, it's easy to
remember Henry as a witness to violence but never a participant, though
this is not the case.)  His charm inspires confidence, but it's
striking to note how many of his important relationships are built on a
foundation of deceit.  It's practically the first thing we learn about
him: he conceals his truancy from his parents so that he can spend his
days with the local wiseguys.  Later, he courts Karen with money and
influence while hoodwinking her about its origin.  He cheats on her
throughout their marriage by keeping mistresses and accuses her of
mental problems when she confronts him about it.  He lies to his
benefactor, Paulie, about a serious matter, the Batts' disappearance,
and places Paulie at genuine risk by dealing drugs against his express
orders.

     At the same time, as he takes pain to point out, he does "the
right thing."  He pays Paulie a large tribute after the Air France
robbery; he brings home "the most expensive" tree at Christmas.  He's a
parody of good citizenship.  He satisfies the appearance of loyalty,
yet falls short of the substance.  He puts himself at odds with so
many, so seriously, for so long--his wife, the law, the mob--that, in
retrospect, his downfall was inevitable.  (Only providence--and the
FBI--gives him a second life.) His precariousness makes him an
interesting character: he risks a pratfall at every step.

     Given Henry's penchant for dishonesty, is it reasonable to take
him at face value?  Perhaps to bolster his credibility, he reveals much
that shows him in a bad light, at least by conventional standards--the
hijacks, the arsons, the record-breaking thefts.  He knows he's a
crook, that his life is well outside lawful norms, that his adventures
are capital to a raconteur.  However, he is not dispassionate about
what he looks back on as the achievements of a lifetime: "We had it all
just for the asking....  We ran everything."  He exhibits too much
pride to buy complete credibility from us; he boasts of acts that
others might find shameful.  It's fair then to wonder what he might not
be proud of and how much of his life didn't make it into the story.
Might he have motives to conceal parts of his life?  Might he have
edited his story to save embarrassment, or worse?

     As a still-married man, he may have reasons to protect himself
from his family.  He admits to having mistresses, but in relation to
his other extravagances the count seems low.  Perhaps coincidentally,
the two mistresses that figure in the story are both women that Karen
found out about--the first a suspicion confirmed, the second a fellow
arrestee from the crucial drug bust.  Were there no others in the years
of nightclubbing and business trips?  Defying our reasonable
scepticism, Henry leaves the impression that his extramarital sex life
belonged to the domestic side of his life rather than the wild lawless
side.

     Henry's relationship to his fellow wiseguys may be more
complicated, imposing further restraints.  When Henry tells of paying
tribute to Paulie, he wants us to know of his loyalty.  He's a company
man.  He follows the rules.  He's a law-abiding citizen--of the
underworld.  He asks for respect on the terms of his environment.  When
he goes against the rules, he purports to have a strong reason.
Dealing drugs against Paulie's wishes is not primarily disloyal, it's
the self-preservation of his family, a justification which can't be
reasonably denied.  If there's action in that middle area--where he
works for his own greed and cuts out the mob leadership simply because
he can get away with it--we don't hear about it.  It's hard to imagine
him as too virtuous to engage in double-dealing, yet this is the
impression he leaves.

     Henry may also have been circumspect with the authorities who have
swapped him freedom for information on his friends.  Perversely, an
opportunity for virtue?  The fates of many of his colleagues
essentially rested on Henry's testimony.  Did he condemn some because
he had to, and spare others because he could get away with it?  We
can't know because his confessional can't go beyond his official
biography, as the authorities know it.

     Any or all of these factors would affect his desire to tell the
truth.  There are numerous ways in which honesty might betray his
self-interest.  Where does that leave us, the seekers of truth?  To
return to the opening scene one last time, of the three wiseguys, it is
Tommy and Jimmy who brutally consummate the murder of Batts.  Of the
three, it is Tommy and Jimmy who beat up Batts in the first place.
But, of the three, it is Henry who tells the story.

     It boils down to a single problem: if he is shading the truth, and
his admitted dishonesty and motives for further dishonesty make it
likely that he is, how would a full reckoning of his story change our
view of him? (10)  How would it alter our impression of the inner realm
of the mob, an impression the film seeks to convey?  The heart of the
film contains this enigma.  We approach a set of truths through Henry's
thoughts, his senses, his recollection of dark and unknown corners, yet
he remains a mystery and the truth, elusive.

Getting at the Truth
--------------------

     Despite the exceptions noted, Scorsese adheres closely, in content
and style, to the thoughtful design laid out for GOODFELLAS.  The film
allows a character (who in fact represents a real person) to present
his side of his life in crime.  The film includes no attempt to assess
the truthfulness of the story or the morality of the storyteller.  The
resulting shameless enthusiasm of the character shapes the film's risky
mix of violence and humor.  Though an affront to conventional morality,
GOODFELLAS depicts a life where threats and violence are a routine cost
of doing business--the cold inverse of entertaining a client--and comic
or tragic overtones result whenever events waver from their expected
course.  When the wiseguys laugh in reaction to some violent event,
they take, in effect, an unconscious moral position on the
acceptability of violence.  In addition they illustrate how naturally
violence plays a part in their lives.  The crux of the film is that
this authenticity is achieved by denying convention its voice.

     The gangsters live in a rigidly insulated world.  They are
isolated from the lawful mainstream of society by an obvious need for
secrecy.  Within the mob, social stratifications divide them further.
The wiseguys, the street hoods, the earners, are isolated from an upper
echelon of made men who, in addition to possessing greater influence
and rights of protection, also meet unbending standards of ethnic
purity.  Even among peers, secrecy follows from reluctance to ask
uncomfortable questions, desire not to know incriminating information,
or outright fear of betrayal.  The family, too, must be kept in the
dark: the wives about the girlfriends, the girlfriends about the other
girlfriends, other relatives about the criminal life.  The genius of
GOODFELLAS is in how it recreates this insulation.  It confines us to
the narrow world of the wiseguys, knowing only them, and keeps the
"safe" world we're familiar with on the outside.

     We end up with an insider's view of the mob, which is necessarily
deeper than the observer's and, for the sake of understanding mob life,
the next best thing to actually being a member.  By the end of
GOODFELLAS, we are likely to understand crime and career criminals in a
new and realistic way.

     Still, we must acknowledge, as outsiders, our disadvantages for
getting at the truth.  We can never be assured that what the insider
supplies is honest and, more than honest, accurate.  The insider can be
sincere and mistaken, suffering the same disadvantage when looking
outward as the outsider does when looking in, and perhaps to a greater
degree.  The insider understands the benefits of being a criminal; he
overlooks the ordinary pleasures that aren't achieved through crime.
(Thus Henry's dismay at becoming a shnook.)  He is trapped in the
fortress of privacy.  The battlements of secrecy the gang erects around
itself keeps criminal activities private; just as significant, it also
tends to keep the influence of conventional moral sensibilities at
bay.

     For Henry, the process of retreating into the secret world of the
mob began at an early age; it's really the beginning of the story.  His
association with the neighborhood wiseguys earn him the satisfaction of
being "part of something," the perquisites of membership, and the
deferential respect of other boys his age; all of which overpower his
parent's countervailing rectitude.  After his parents quickly recede
from the narrative, no further moral reference points are seen to
intrude upon his complacency: no crusading cops, no Pat
O'Brien-boyhood-pal priests, no sermonizing judges.  In neither of the
courtroom scenes do the judges take moral positions on his behavior.
In Henry's story, the judges are silent (or at least unnoteworthy).
Even the FBI, whose representative appears to take his responsibilities
seriously, calmly deals away society's retribution against Henry as
part of a plea bargain that nets them Jimmy and Paulie.

     A more disturbing problem occurs when those we expect to uphold
conventional morality not only remain silent, but actually accommodate
gang activities.  In GOODFELLAS, not only are the cops not crusaders,
they're not necessarily committed to law enforcement at all.  In one
scene, police drive up while cigarettes are being unloaded from a
stolen truck.  We expect, much as a traditional crime movie would have
delivered, a confrontation between natural enemies: the thieves run for
cover or shoot it out in desperation, providing a dramatic
demonstration of how society follows the blueprint laid down by the
law.  Instead the wiseguys don't even flinch.  The cops are paid off in
grins and booty, and any naive sentiments we may hold about the law are
up-ended by the evidence of crime co-opting the enforcers to subvert
order.

Mob Rules
---------

     In such a setting, what then is the cost of immorality if neither
individual conscience nor societal opposition exacts much of a toll
from the immoral?  The answer may lie in the rules the gangsters
establish for themselves.

     Among their rules, certain formal principles are recognized such
as the hierarchy determining how authority passes down through the
organization and its corollary, the rule for moving profits up the
other direction.  They recognize a formal dimension to loyalty, the
idea that the gangster, when in trouble with the law, sacrifices
himself for the greater good of the organization.  As Jimmy puts it,
"never rat on your friends," which has its obvious meaning and the
broader implication that the existence of the organization must remain
secret at all costs. (11)  Failing to observe the rules, or even
raising suspicion, exacts harsh punishment from the mob.

     Though members of the organization, the wiseguys appear to operate
autonomously from the leadership in much of their actions.  To maintain
peace within the ranks, they follow a number of informal guidelines:
steering clear of each other's crimes or small neighborly gestures like
not taking their wives out on Friday's girlfriends night.  With their
autonomy comes a wide discretion on the acceptable use of force.  But
force too has its limits.  The mob distinguishes violence that is
controlled and in the interest of business (or defending honor) from
the savagery which follows when emotion runs amuck.  Paulie disdains
Tommy as a "cowboy" suggesting that Tommy does not and cannot keep
close enough control of the distinction.

     Murder, in the mob as elsewhere, is the king of violent crimes--an
expedient end to a trouble, as one would have it.  Mobsters tend to
have more of the kind of troubles that murder suggests a fix for, and
their code is broad enough to include it on the list of thinkable
options.  There are prohibitions against murdering made men and,
presumably, cops, judges, lawyers, or other people of service to the
cause.  Their furtive instincts dictate a rule of thumb that indiscreet
killing draws unwanted attention.  Beyond that, granted by mutual
consent, comes a virtual license to kill and with it the latitude to
determine necessity.  Here lurks the cost of the privilege: with
killing allowed at individual discretion, life is devalued.  The cost
of devaluing someone else's life is to devalue your own.

     When Tommy senselessly kills Spider, there will be no commensurate
justice to vindicate his stolen life.  He has no status, therefore no
rights.  (Unlike Billy Batts who, as a made man, warrants reprisal for
his death through the grimly poetic murder of Tommy.)  Spider's death,
if anything, makes plain that gang association carries with it an
implicit surrender of the protective rights that society promises its
citizens through the justice system.  In society, one has no right to
murder and, as a complementary rule, the right not to be murdered.
Within the gang's proletarian ranks, however, the order is reversed:
one has a right to kill and, consequently, little right not to be
killed.  When Spider is killed the issue for the other wiseguys must be
Tommy's judgement, not his morality; moral outrage at the deed has no
basis within the self-government of a group that allows murder.  The
implications are played out in grand and cold-blooded style when Jimmy
murders his Lufthansa heist co-conspirators one-by-one to avoid sharing
the loot.  Henry accepts it.  He understands all along that his life is
no more sacred than his fellow wiseguys' who are whacked when they
least expect it.  Your murderers come with smiles: you smile when you
murder.

Crime-think
-----------

     GOODFELLAS creates an insulated environment, the paranoid
subterranean society of organized crime, and traps the audience within
it.  While moving within its circles, we catch glimpses of a wider
world we no longer belong to, that place where the sun shines too much
and nothing ever happens.  The immersion is total and too exciting to
be claustrophobic.  But having been drawn so completely in, can we then
completely escape?

     GOODFELLAS' seamless portrayal of POV lures us into an unconscious
identification with the characters--to become one of the gang.  We walk
in their footsteps, see what they see.  We live in their minds and
lives.  They influence us by carrying the debate while opposing views
are kept silent.  The tight focus on the wiseguy POV amounts to a de
facto indoctrination into crime-think.

     Morals swim in a relative sea.  Without familiar reference points,
we are tempted to forget who we are--who we have been--as we become
intoxicated with the life that intoxicates Henry, a rags to riches
American dream, brought to life by secret abilities.  GOODFELLAS tempts
our acceptance of crime by posing reasons for embracing it.  Although
our consciences tell us the wiseguys violate even the most liberal
standards of decency and fairness, they still conjure a romanticism in
their rebellion against the methodical system of obedience and routine
that weights the ordinary life with tedium.  We cannot deny the
fraudulent underpinnings of a success built on theft; but the
trappings--big cars, extravagant jewelry, silk suits, front row seats,
the servility of waiters and doormen--are an advertizer's prophecy of
making it in America.  If our wiseguys are in rebellion, it's surely
not against materialism.  With the soiled corners tucked under, their
lives could sell refrigerators.  If upholding our common images of
success was the only rule, they would be model citizens.  Perhaps the
real danger of GOODFELLAS is in discovering not that there are people
so brutally different from most of us, but that these people are not
different enough.

     In the end, Henry has argued a case for organized crime by
dwelling on the good life it brought him and by not repenting.
Scorsese refrains from all but subtle commentary on the moral
implications of Henry's argument, thereby shifting the burden of
judgement to the audience where it uncomfortably belongs.  GOODFELLAS
presents an unfamiliar world and dares us to feel at home in it.
Scorsese frames it as a moral wilderness and dares us to remain
unaware.

---
Footnotes:

(1) The same scene, edited differently, reappears in the middle of the
movie, in its correct chronological sequence.  The second time around
its disturbing power is diminished, though.  By then we have grown up
with the characters enough that the violence is not surprising.  The
scene assumes a new role as a dramatic watershed in the story, marking
the end of a lengthy introduction to the characters, their world, and
the rules they live by, and beginning the sequence of events that
ultimately leads to their respective downfalls.

(2) The script was written by Scorsese and Nicholas Pileggi, based on
Pileggi's biography of Henry Hill, WISEGUY: LIFE IN A MAFIA FAMILY
(Simon and Schuster, New York, 1985).

(3) Henry and Karen are closest to their book versions of any of the
characters.  Tommy DeVito is a composite of the book's character of
that name and Paulie's sons, whom Henry grows up with.  Jimmy and most
of the other characters are more or less based on characters from the
book.

(4) In DARK PASSAGE (1947), for example, technique becomes
overbearing.  For a substantial portion of the film, we hear the
protagonist's voice but see the world exclusively through his eyes--the
camera.  The other characters speak straight to the camera and the
camera moves with the protagonist's head.  The technique achieves the
effect of concealing the protagonist's face before plastic surgery.
But its side effect is visual claustrophobia--the film becomes a
novelty.

(5) We tend to think of novels as a purely textual form of story
telling; and of film as predominately visual.  This scene illustrates
one method of bridging the gap.  The narration is a textual component,
a background description of a group of minor characters.  The tracking
shot provides the visual component, a shot that would not stand on its
own without the narrative embellishment.

(6) According to Alfred Hitchcock: "To get real suspense, you must let
the audience have information."  (Quoted from THE MEN WHO MADE THE
MOVIES, Schickel.) Hitchcock describes two people talking casually at a
table.  A bomb is under the table.  If unaware of the bomb, the
audience gets a brief shock when it explodes.  If made aware, they
experience continuing anxiety in the wait.  But making the audience
aware divorces them from the experience of the characters.  GOODFELLAS
avoids this technique.

(7) The music forms the calendar, too, particularly in the first half
of the film.  Subtitled dates are used sparingly, so the songs, chosen
to typify pop eras, date the rapidly moving story.

(8) Additionally, an odd surprise occurs at the end of GOODFELLAS as
Sid Vicious' punk parody of "My Way" plays over the closing credits,
appearing to take an oblique swipe at THE GODFATHER.

(9) Older crime movies tended to slant toward either a serious or comic
extreme.  Gangster movies--WHITE HEAT, THE ROARING TWENTIES,
etc.--dramatized society's official prognosis for the criminal: crime
never pays, a violent death is sure and shameful, and laughter, a
symptom of sadism or madness.  Giving the subject comic treatment--BORN
YESTERDAY, GUYS AND DOLLS, or SOME LIKE IT HOT--precluded anything more
violent than a sock in the jaw.

(10) It could be that while soft-peddling his own exploits, he is
uncharitably frank about Jimmy and Tommy, and it is in their actions,
perhaps, that we see the most truth.

(11) Confirming the success of that policy, the existence of organized
crime was widely considered a myth in the late 1950's when Jimmy gives
that advice.
---

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text:
import time
from os import environ

from twisted.internet import reactor
from twisted.internet.defer import DeferredList

from autobahn.twisted.wamp import ApplicationSession, ApplicationRunner

class Component(ApplicationSession):
    """
    An application component using the time service.
    """

    def onJoin(self, details):
        print("session attached")

        def got(res, started, msg):
            duration = 1000. * (time.clock() - started)
            print("{}: {} in {}".format(msg, res, duration))

        t1 = time.clock()
        d1 = self.call('com.math.slowsquare', 3)
        d1.addCallback(got, t1, "Slow Square")

        t2 = time.clock()
        d2 = self.call('com.math.square', 3)
        d2.addCallback(got, t2, "Quick Square")

        def done(_):
            print("All finished.")
            self.leave()

        DeferredList([d1, d2]).addBoth(done)

    def onDisconnect(self):
        print("disconnected")
        reactor.stop()

if __name__ == '__main__':
    runner = ApplicationRunner(
        environ.get("AUTOBAHN_DEMO_ROUTER", "ws://127.0.0.1:8080/ws"),
        u"crossbardemo",
        debug_wamp=False,  # optional; log many WAMP details
        debug=False,  # optional; log even more details
    )
    runner.run(Component)

redpajama_set_name: RedPajamaGithub


text:
package com.navercorp.pinpoint.io.header;

import java.util.Map;

/**
 * @author minwoo.jung
 */
public interface HeaderDataGenerator {

    Map<String,String> generate();
}


text:
#region COPYRIGHT© 2009-2014 Phillip Clark. All rights reserved.

// For licensing information see License.txt (MIT style licensing).

#endregion

using System;

namespace FlitBit.IoC.Constructors
{
	/// <summary>
	///   Factory constructor adapter.
	/// </summary>
	/// <typeparam name="T">target type T</typeparam>
	public sealed class FactoryConstructorAdapter<T> : ConstructorAdapter<T>
	{
		readonly Func<IContainer, T> _factory;

		internal FactoryConstructorAdapter(Func<IContainer, T> factory)
		{
			if (factory == null)
			{
				throw new ArgumentNullException("factory");
			}
			_factory = factory;
		}

		/// <summary>
		///   Executes the constructor and returns the resulting instance.
		/// </summary>
		/// <param name="container">scoping container</param>
		/// <param name="name">the registered name or null</param>
		/// <param name="parameters">parameters intended for the new instance</param>
		/// <returns>a new instance</returns>
		public override T Execute(IContainer container, string name, params object[] parameters)
		{
			var instance = _factory(container);
			return instance;
		}
	}

	/// <summary>
	///   Factory constructor adapter.
	/// </summary>
	/// <typeparam name="T">target type T</typeparam>
	/// <typeparam name="TConcrete">concrete type C</typeparam>
	internal sealed class FactoryConstructorAdapter<T, TConcrete> : ConstructorAdapter<T>
		where TConcrete : T
	{
		readonly Func<IContainer, TConcrete> _factory;

		internal FactoryConstructorAdapter(Func<IContainer, TConcrete> factory)
		{
			if (factory == null)
			{
				throw new ArgumentNullException("factory");
			}
			_factory = factory;
		}

		/// <summary>
		///   Executes the constructor and returns the resulting instance.
		/// </summary>
		/// <param name="container">scoping container</param>
		/// <param name="name">the registered name or null</param>
		/// <param name="parameters">parameters intended for the new instance</param>
		/// <returns>a new instance</returns>
		public override T Execute(IContainer container, string name, params object[] parameters)
		{
			T instance = _factory(container);
			return instance;
		}
	}
}


text:
#include <X11/Intrinsic.h>
#include <X11/StringDefs.h>
#include "TabString.h"

/*
 *	Like DrawImageString, except it takes an additional  "tabs"
 *	argument, used to specify what horizontal pixel position to
 *	move to when tab characters are present in the string.  If
 *	the "tabs" argument is NULL, works exactly like its
 *	counterpart.
 */
void XfwfDrawImageString(Display *display, Drawable drawable, GC gc, int x, int y, String string, int length, int *tabs)
{
    register char *p, *ep;
    register int tx, tab;

    tab = tx = 0;
    for (p = string; length;) {
        ep = strnchr(p, '\t', length);
        if (ep && tabs) {
            XDrawImageString(display, drawable, gc, x + tx, y, p, ep - p);
            tx = tabs[tab++];
            length -= ep - p + 1;
            p = ep + 1;
        } else {
            XDrawImageString(display, drawable, gc, x + tx, y, p, length);
            break;
        }
    }
}


text:
package command

import (
	"fmt"
	"github.com/missinglink/pbf/handler"
	"github.com/missinglink/pbf/parser"
	"sort"

	"github.com/urfave/cli"
)

// NodeRefs cli command
func NodeRefs(c *cli.Context) error {

	// create parser
	parser := parser.NewParser(c.Args()[0])

	// stats handler
	stats := &handler.Refs{Counts: make(map[int64]int)}

	// parse file
	parser.Parse(stats)

	cc := make(map[int]int)

	for _, c := range stats.Counts {
		// fmt.Printf("%v: %v\n", nodeid, c)
		cc[c]++
	}

	// sort in a slice
	var keys []int
	for k := range cc {
		keys = append(keys, k)
	}
	sort.Ints(keys)

	fmt.Println("Amount of ways that share a nodeid.")
	fmt.Println("left: number of times *any* unique node id appeared in *any* way")
	fmt.Println("right: total time the above condition occured in the file")
	for _, k := range keys {
		fmt.Printf("%3v: %v\n", k, cc[k])
	}

	return nil
}


text:
function Add-VSAppMeshVirtualRouterVirtualRouterSpec {
    <#
    .SYNOPSIS
        Adds an AWS::AppMesh::VirtualRouter.VirtualRouterSpec resource property to the template. An object that represents the specification of a virtual router.

    .DESCRIPTION
        Adds an AWS::AppMesh::VirtualRouter.VirtualRouterSpec resource property to the template.
An object that represents the specification of a virtual router.

    .LINK
        http://docs.aws.amazon.com/AWSCloudFormation/latest/UserGuide/aws-properties-appmesh-virtualrouter-virtualrouterspec.html

    .PARAMETER Listeners
        The listeners that the virtual router is expected to receive inbound traffic from. You can specify one listener.

        Type: List
        Documentation: http://docs.aws.amazon.com/AWSCloudFormation/latest/UserGuide/aws-properties-appmesh-virtualrouter-virtualrouterspec.html#cfn-appmesh-virtualrouter-virtualrouterspec-listeners
        ItemType: VirtualRouterListener
        UpdateType: Mutable

    .FUNCTIONALITY
        Vaporshell
    #>
    [OutputType('Vaporshell.Resource.AppMesh.VirtualRouter.VirtualRouterSpec')]
    [cmdletbinding()]
    Param
    (
        [parameter(Mandatory = $true)]
        [ValidateScript( {
                $allowedTypes = "Vaporshell.Resource.AppMesh.VirtualRouter.VirtualRouterListener"
                if ([string]$($_.PSTypeNames) -match "($(($allowedTypes|ForEach-Object{[RegEx]::Escape($_)}) -join '|'))") {
                    $true
                }
                else {
                    $PSCmdlet.ThrowTerminatingError((New-VSError -String "This parameter only accepts the following types: $($allowedTypes -join ", "). The current types of the value are: $($_.PSTypeNames -join ", ")."))
                }
            })]
        $Listeners
    )
    Begin {
        $obj = [PSCustomObject]@{}
        $commonParams = @('Verbose','Debug','ErrorAction','WarningAction','InformationAction','ErrorVariable','WarningVariable','InformationVariable','OutVariable','OutBuffer','PipelineVariable')
    }
    Process {
        foreach ($key in $PSBoundParameters.Keys | Where-Object {$commonParams -notcontains $_}) {
            switch ($key) {
                Default {
                    $obj | Add-Member -MemberType NoteProperty -Name $key -Value $PSBoundParameters.$key
                }
            }
        }
    }
    End {
        $obj | Add-ObjectDetail -TypeName 'Vaporshell.Resource.AppMesh.VirtualRouter.VirtualRouterSpec'
        Write-Verbose "Resulting JSON from $($MyInvocation.MyCommand): `n`n$($obj | ConvertTo-Json -Depth 5)`n"
    }
}


text:
package net.caustic.http;

import java.net.MalformedURLException;
import java.net.URL;
import java.util.Enumeration;
import java.util.Hashtable;
import java.util.Vector;

import net.caustic.util.StringUtils;

/**
 * Idiotic cookie handling.  Stores only name-value pairs on a host-by-host basis.
 * @author talos
 *
 */
public class BasicCookieManager implements CookieManager {

	/**
	 * A {@link Hashtable} of domains mapped to {@link Hashtable}s of key-value pairs
	 * for the name and value of the cookie.
	 */
	private final Hashtable cookies = new Hashtable();

	public String[] getCookiesFor(String urlStr, Hashtable requestHeaders)
			throws BadURLException {

		Hashtable cookiesForDomain = getCookies(urlStr);
		final Vector result = new Vector();

		Enumeration e = cookiesForDomain.keys();
		while(e.hasMoreElements()) {
			String name = (String) e.nextElement();
			result.addElement(name + "=" + cookiesForDomain.get(name));
		}

		String[] resultAry = new String[result.size()];
		result.copyInto(resultAry);
		return resultAry;
	}

	public void addCookiesFromResponseHeaders(String urlStr,
			ResponseHeaders responseHeaders) throws BadURLException,
			CookieStorageException {
		Hashtable cookiesForDomain = getCookies(urlStr);

		String[] cookieHeaders = responseHeaders.getHeaderValues(SET_COOKIE_HEADER_NAME);
		if(cookieHeaders != null) {
			for(int i = 0 ; i < cookieHeaders.length ; i ++) {
				// name/value is first in cookie
				String[] nameValue = StringUtils.split(StringUtils.split(cookieHeaders[i], "; ")[0], "=");
				cookiesForDomain.put(nameValue[0], nameValue[1]);
			}
		}
	}

	public void addCookies(String urlStr, Hashtable cookies) throws BadURLException {
		Hashtable cookiesForDomain = getCookies(urlStr);

		Enumeration keys = cookies.keys();
		while(keys.hasMoreElements()) {
			String name = (String) keys.nextElement();
			cookiesForDomain.put(name, cookies.get(name));
		}
	}

	public CookieManager copy() {
		BasicCookieManager copy = new BasicCookieManager();

		// deep copy
		Enumeration hosts = cookies.keys();
		while(hosts.hasMoreElements()) {
			String host = (String) hosts.nextElement();
			Hashtable cookiesForHost = (Hashtable) cookies.get(host);
			Hashtable cookiesForHostCopy = new Hashtable();
			copy.cookies.put(host, cookiesForHostCopy);

			Enumeration names = cookiesForHost.keys();
			while(names.hasMoreElements()) {
				String name = (String) names.nextElement();
				cookiesForHostCopy.put(name, cookiesForHost.get(name));
			}
		}

		return copy;
	}

	/**
	 * Get the hash of name-value pairs for a host.  Creates a new hash
	 * if one doesn't exist yet for that host.
	 * @param urlStr A {String} path, from which the host will be isolated.
	 * @return
	 * @throws BadURLException if the host could not be extracted from urlStr.
	 */
	private Hashtable getCookies(String urlStr) throws BadURLException {
		try {
			String host = new URL(urlStr).getHost();
			Hashtable cookiesForHost= (Hashtable) cookies.get(host);

			if(cookiesForHost == null) {
				cookiesForHost = new Hashtable();
				cookies.put(host, cookiesForHost); // create hash for URL if it doens't already exist
			}
			return cookiesForHost;
		} catch(MalformedURLException e) {
			throw new BadURLException(urlStr, "Could not extract host");
		}
	}
}


text:
#include <aws/core/client/AWSError.h>
#include <aws/iotevents/IoTEventsErrorMarshaller.h>
#include <aws/iotevents/IoTEventsErrors.h>

using namespace Aws::Client;
using namespace Aws::IoTEvents;

AWSError<CoreErrors> IoTEventsErrorMarshaller::FindErrorByName(const char* errorName) const
{
  AWSError<CoreErrors> error = IoTEventsErrorMapper::GetErrorForName(errorName);
  if(error.GetErrorType() != CoreErrors::UNKNOWN)
  {
    return error;
  }

  return AWSErrorMarshaller::FindErrorByName(errorName);
}


text:
package com.spike.giantdataanalysis.model.logic.relational.expression.raw;

import com.google.common.base.Preconditions;
import com.spike.giantdataanalysis.model.logic.relational.expression.raw.DBObjects.Uid;

/**
 *

utilityStatement
    : simpleDescribeStatement | fullDescribeStatement
    | helpStatement | useStatement
    ;
 *

 */
public interface UtilityStatement extends SqlStatement {

  /**
   *

   describeObjectClause
    : (
        selectStatement | deleteStatement | insertStatement
        | replaceStatement | updateStatement
      )                                                             #describeStatements
    | FOR CONNECTION uid                                            #describeConnection
    ;
   *

   */
  public static interface DescribeObjectClause extends PrimitiveExpression {
  }

  public static class DescribeStatements implements DescribeObjectClause {
    public final SelectStatement selectStatement;
    public final DeleteStatement deleteStatement;
    public final InsertStatement insertStatement;
    public final ReplaceStatement replaceStatement;
    public final UpdateStatement updateStatement;

    DescribeStatements(SelectStatement selectStatement, DeleteStatement deleteStatement,
        InsertStatement insertStatement, ReplaceStatement replaceStatement,
        UpdateStatement updateStatement) {
      Preconditions.checkArgument(!(selectStatement == null && deleteStatement == null
          && insertStatement == null && replaceStatement == null && updateStatement == null));

      this.selectStatement = selectStatement;
      this.deleteStatement = deleteStatement;
      this.insertStatement = insertStatement;
      this.replaceStatement = replaceStatement;
      this.updateStatement = updateStatement;
    }

    @Override
    public String literal() {
      if (selectStatement != null) {
        return selectStatement.literal();
      }
      if (deleteStatement != null) {
        return deleteStatement.literal();
      }
      if (insertStatement != null) {
        return insertStatement.literal();
      }
      if (replaceStatement != null) {
        return replaceStatement.literal();
      }
      if (updateStatement != null) {
        return updateStatement.literal();
      }

      return "";
    }

  }

  public static class DescribeConnection implements DescribeObjectClause {
    public final Uid uid;

    DescribeConnection(Uid uid) {
      Preconditions.checkArgument(uid != null);

      this.uid = uid;
    }

    @Override
    public String literal() {
      return "FOR CONNECTION " + uid.literal();
    }

  }

}


text:
package com.axway.ats.harness.testng.dataproviders;

import org.testng.TestNGException;
import org.testng.annotations.Test;

import com.axway.ats.harness.BaseTest;
import com.axway.ats.harness.testng.TestOptions;

@TestOptions( dataFileFolder = TestDetails.DATA_FILES_FOLDER + "AnotherFolder/")
public class Test_BasicDataProvider extends BaseTest {

    @Test( dataProvider = "ConfigurableDataProvider", dataProviderClass = AtsDataProvider.class)
    @TestOptions( dataFileFolder = TestDetails.DATA_FILES_FOLDER, dataFile = TestDetails.DATA_FILE1, dataSheet = TestDetails.FIRST_TEST_SCENARIO)
    public void dataFileFolder_fromMethodAnnotation( String user, String pswd, String subject ) {}

    @Test( dataProvider = "ConfigurableDataProvider", dataProviderClass = AtsDataProvider.class)
    @TestOptions( dataFile = TestDetails.DATA_FILE2, dataSheet = TestDetails.FIRST_TEST_SCENARIO)
    public void dataFileFolder_fromClassAnnotation( String user, String pswd, String subject ) {}

    @Test( dataProvider = "ConfigurableDataProvider", dataProviderClass = AtsDataProvider.class)
    @TestOptions( dataFileFolder = TestDetails.DATA_FILES_FOLDER, dataFile = TestDetails.DATA_FILE1, dataSheet = TestDetails.FIRST_TEST_SCENARIO)
    public void dataFile_fromMethodAnnotation( String user, String pswd, String subject ) {}

    @Test( dataProvider = "ConfigurableDataProvider", dataProviderClass = AtsDataProvider.class)
    @TestOptions( dataFile = "Test_BasicDataProvider.xls", dataSheet = TestDetails.FIRST_TEST_SCENARIO)
    public void dataFile_notInPackage( String user, String pswd, String subject ) {}

    @Test( dataProvider = "ConfigurableDataProvider", dataProviderClass = AtsDataProvider.class)
    @TestOptions( dataFileFolder = "src/test/resources/", dataFile = "com/axway/ats/harness/testng/dataproviders.ExcelProviderTest.xls", dataSheet = TestDetails.FIRST_TEST_SCENARIO)
    public void dataFile_withinPackage( String arg0, String arg1, String arg2, String arg3, String arg4, String arg5,
                                        String arg6, String arg7, String arg8 ) {}

    @Test( dataProvider = "ConfigurableDataProvider", dataProviderClass = AtsDataProvider.class, expectedExceptions = TestNGException.class)
    @TestOptions( dataFile = "Test_BasicDataProvider", dataSheet = TestDetails.FIRST_TEST_SCENARIO)
    public void dataFile_noFileExtension( String user, String pswd, String subject ) {}

    @Test( dataProvider = "ConfigurableDataProvider", dataProviderClass = AtsDataProvider.class, expectedExceptions = TestNGException.class)
    @TestOptions( dataFileFolder = TestDetails.DATA_FILES_FOLDER, dataFile = TestDetails.DATA_FILE1
                                                                             + "NON_EXISTING_FILE", dataSheet = TestDetails.FIRST_TEST_SCENARIO)
    public void dataFile_wrongFile( String user, String pswd, String subject ) {}

    @Test( dataProvider = "ConfigurableDataProvider", dataProviderClass = AtsDataProvider.class)
    @TestOptions( dataFileFolder = TestDetails.DATA_FILES_FOLDER, dataFile = TestDetails.DATA_FILE1, dataSheet = TestDetails.FIRST_TEST_SCENARIO)
    public void dataSheet_fromMethodAnnotation( String user, String pswd, String subject ) {}

    @Test( dataProvider = "ConfigurableDataProvider", dataProviderClass = AtsDataProvider.class)
    @TestOptions( dataFileFolder = TestDetails.DATA_FILES_FOLDER, dataFile = TestDetails.DATA_FILE1)
    public void dataSheet_usingTheMethodName( String user, String pswd, String subject ) {}
}


text:
#import <SenTestingKit/SenTestingKit.h>

@interface ZXFieldParserTest : SenTestCase

@end


text:
<?xml version="1.0"?>
<sparql
    xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"
    xmlns:xs="http://www.w3.org/2001/XMLSchema#"
    xmlns="http://www.w3.org/2005/sparql-results#" >
  <head>
    <variable name="who"/>
    <variable name="g"/>
    <variable name="mbox"/>
  </head>
  <results ordered="false" distinct="false">
    <result>
      <binding name="who">
        <literal>Bob Hacker</literal>
      </binding>
      <binding name="g">
        <uri>http://www.w3.org/2001/sw/DataAccess/proto-tests/data/select/queryonly-foaf-bob.ttl</uri>
      </binding>
      <binding name="mbox">
        <uri>mailto:bob@oldcorp.example</uri>
      </binding>
    </result>
    <result>
      <binding name="who">
        <literal>Alice Hacker</literal>
      </binding>
      <binding name="g">
        <uri>http://www.w3.org/2001/sw/DataAccess/proto-tests/data/select/queryonly-foaf-alice.ttl</uri>
      </binding>
      <binding name="mbox">
        <uri>mailto:alice@work.example</uri>
      </binding>
    </result>
  </results>
</sparql>


text:
@interface TracksTableViewController ()

@property(nonatomic) UIStatusBarStyle statusBarStyle;
@property(weak, nonatomic) GCKMediaControlChannel *controlChannel;
@property(weak, nonatomic) GCKMediaInformation* media;
@property(strong, nonatomic) NSMutableArray* tracks;
@property(nonatomic) GCKMediaTrackType type;
@property(nonatomic) BOOL toolbarWasShowing;
@property(nonatomic) NSNumber *currSelected;
@property(nonatomic) NSNumber *currSelectedRow;
@end

@implementation TracksTableViewController

- (void)viewWillAppear:(BOOL)animated {
  [super viewWillAppear:animated];
  if (!self.navigationController.toolbarHidden) {
    self.toolbarWasShowing = true;
    [self.navigationController setToolbarHidden:YES animated:animated];
  }
  NSString *title = self.type == GCKMediaTrackTypeAudio ? @"Audio Tracks" : @"Subtitles";
  [self.tabBarController.navigationItem setTitle:title];
  self.statusBarStyle = [UIApplication sharedApplication].statusBarStyle;
  [[UIApplication sharedApplication] setStatusBarStyle:UIStatusBarStyleLightContent];
}

- (void)viewWillDisappear:(BOOL)animated {
  [super viewWillDisappear:animated];
  if (self.toolbarWasShowing) {
    [self.navigationController setToolbarHidden:NO animated:animated];
  }
  [[UIApplication sharedApplication] setStatusBarStyle:_statusBarStyle];
}

- (void)viewDidAppear:(BOOL)animated {
  [super viewDidAppear:animated];
  NSIndexPath *indexPath = [NSIndexPath indexPathForRow:[self.currSelectedRow integerValue]
                                              inSection:0];
  [self.tableView selectRowAtIndexPath:indexPath animated:YES
                        scrollPosition:UITableViewScrollPositionTop];
}

- (void)setMedia:(GCKMediaInformation *)media
         forType:(GCKMediaTrackType)type
    deviceController:(GCKMediaControlChannel *)controlChannel {
  self.tracks = [[NSMutableArray alloc] init];
  self.type = type;
  self.controlChannel = controlChannel;
  NSInteger i = 1;
  NSArray *activeTracks = _controlChannel.mediaStatus.activeTrackIDs;
  for(GCKMediaTrack *track in media.mediaTracks) {
    if (track.type == type) {
      NSNumber *trackId = [NSNumber numberWithInteger:track.identifier];
      if (activeTracks && [activeTracks containsObject:trackId]) {
        self.currSelected = trackId;
        self.currSelectedRow = @(i);
      }
      [self.tracks addObject:track];
      i++;
    }
  }
  [self.tableView reloadData];
}

#pragma mark - Table view data source

- (NSInteger)numberOfSectionsInTableView:(UITableView *)tableView {
  return 1;
}

- (NSInteger)tableView:(UITableView *)tableView numberOfRowsInSection:(NSInteger)section {
  return [self.tracks count] + 1;
}

- (UITableViewCell *)tableView:(UITableView *)tableView cellForRowAtIndexPath:(NSIndexPath *)indexPath{
  UITableViewCell *cell = [tableView dequeueReusableCellWithIdentifier:@"trackcell"
                                                          forIndexPath:indexPath];
  if (!cell) {
    cell = [[UITableViewCell alloc] initWithStyle:UITableViewCellStyleDefault
                                  reuseIdentifier:@"trackcell"];
  }
  NSInteger row = indexPath.row;
  if(row == 0) {
    cell.textLabel.text = self.type == GCKMediaTrackTypeText ? @"None" : @"Default";
  } else {
    row--;
    GCKMediaTrack *track = self.tracks[row];
    cell.textLabel.text = track.name;
  }

  return cell;
}

- (void)tableView:(UITableView *)tableView didSelectRowAtIndexPath:(NSIndexPath *)indexPath {
  NSMutableArray *tracks = [NSMutableArray arrayWithArray:_controlChannel.mediaStatus.activeTrackIDs];
  NSInteger row = indexPath.row;
  if (self.currSelected) {
    [tracks removeObjectIdenticalTo:self.currSelected];
  }
  if (row > 0) {
    row--;
    GCKMediaTrack *track = self.tracks[row];
    NSNumber *trackIdentifier  = [NSNumber numberWithInteger:track.identifier];
    [tracks addObject:trackIdentifier];
    self.currSelected = trackIdentifier;
  } else {
    self.currSelected = nil;
  }
  [_controlChannel setActiveTrackIDs:tracks];
}

@end


text:
package com.naughtyzombie.hashmapdefault;

import java.util.Map;
import java.util.concurrent.ConcurrentHashMap;

/**
* Provides access to Accounts.
*/
class OldStyle {
    private static Map<String, Account> oldAccounts = new ConcurrentHashMap<>();

    /**
     * The old way before computeIfAbsent: Take a look at the code, note the use of synchronized, this is used to
     * avoid a race condition where two competing threads, could create the Account object twice.
     */
    public static Account oldStyle() {
        String accountId = "9876543210";
        synchronized(oldAccounts) {
            // First, attempt to retrieve the Account
            Account account = oldAccounts.get(accountId);
            if (account == null) {

                account = new Account(accountId);

                // The Account didn't exist, create a new account and put in map.
                oldAccounts.put(accountId, account);
            }
            return account;
        }
    }
}


text:
package changwon.study.project.euler;

import java.io.File;
import java.io.FileNotFoundException;
import java.util.Scanner;

public class Product {

	private String inputFileName;
	private int[][] digitList;

	public Product(String inputFileName) {
		this.inputFileName = inputFileName;
	}

	public long getMaximumProduct() {
		init();
		long maximumProduct = 0;
		long product = 0;
		for (int i = 0; i < digitList.length; i++) {
			for (int j = 0; j < digitList[i].length - 3; j++) {
				product = digitList[i][j] * digitList[i][j+1] *
						digitList[i][j+2] * digitList[i][j+3];
				if ( product > maximumProduct)	maximumProduct = product;

				product = digitList[j][i] * digitList[j+1][i] *
						digitList[j+2][i] * digitList[j+3][i];

				if ( product > maximumProduct)	maximumProduct = product;
			}
		}
		for (int i = 0; i < digitList.length - 3; i++) {
			for (int j = 0; j < digitList[i].length - 3; j++) {
				product = digitList[i][j] * digitList[i+1][j+1] *
						digitList[i+2][j+2] * digitList[i+3][j+3];
				if ( product > maximumProduct)	maximumProduct = product;

				product = digitList[i][j+3] * digitList[i+1][j+3-1] *
						digitList[i+2][j+3-2] * digitList[i+3][j+3-3];

				if ( product > maximumProduct)	maximumProduct = product;
			}
		}

		return maximumProduct;
	}

	private void init() {
		digitList = new int[20][20];
		File file = new File(inputFileName);

		try {
			Scanner sc = new Scanner(file);

			for (int i = 0; i < 20; i++) {
				for (int j = 0; j < 20; j++) {
					digitList[i][j] = sc.nextInt();
				}
			}

		} catch (FileNotFoundException e) {
			e.printStackTrace();
		}

	}

	private void display(){
		for (int i = 0; i < digitList.length; i++) {
			for (int j = 0; j < digitList[i].length; j++) {
				System.out.format("%d ", digitList[i][j]);
			}
			System.out.println();
		}
	}

}


text:
extern zend_class_entry *phalcon_http_requestinterface_ce;

ZEPHIR_INIT_CLASS(Phalcon_Http_RequestInterface);

ZEND_BEGIN_ARG_INFO_EX(arginfo_phalcon_http_requestinterface_get, 0, 0, 0)
	ZEND_ARG_INFO(0, name)
	ZEND_ARG_INFO(0, filters)
	ZEND_ARG_INFO(0, defaultValue)
ZEND_END_ARG_INFO()

ZEND_BEGIN_ARG_INFO_EX(arginfo_phalcon_http_requestinterface_getpost, 0, 0, 0)
	ZEND_ARG_INFO(0, name)
	ZEND_ARG_INFO(0, filters)
	ZEND_ARG_INFO(0, defaultValue)
ZEND_END_ARG_INFO()

ZEND_BEGIN_ARG_INFO_EX(arginfo_phalcon_http_requestinterface_getquery, 0, 0, 0)
	ZEND_ARG_INFO(0, name)
	ZEND_ARG_INFO(0, filters)
	ZEND_ARG_INFO(0, defaultValue)
ZEND_END_ARG_INFO()

ZEND_BEGIN_ARG_INFO_EX(arginfo_phalcon_http_requestinterface_getserver, 0, 0, 1)
	ZEND_ARG_INFO(0, name)
ZEND_END_ARG_INFO()

ZEND_BEGIN_ARG_INFO_EX(arginfo_phalcon_http_requestinterface_has, 0, 0, 1)
	ZEND_ARG_INFO(0, name)
ZEND_END_ARG_INFO()

ZEND_BEGIN_ARG_INFO_EX(arginfo_phalcon_http_requestinterface_haspost, 0, 0, 1)
	ZEND_ARG_INFO(0, name)
ZEND_END_ARG_INFO()

ZEND_BEGIN_ARG_INFO_EX(arginfo_phalcon_http_requestinterface_hasput, 0, 0, 1)
	ZEND_ARG_INFO(0, name)
ZEND_END_ARG_INFO()

ZEND_BEGIN_ARG_INFO_EX(arginfo_phalcon_http_requestinterface_hasquery, 0, 0, 1)
	ZEND_ARG_INFO(0, name)
ZEND_END_ARG_INFO()

ZEND_BEGIN_ARG_INFO_EX(arginfo_phalcon_http_requestinterface_hasserver, 0, 0, 1)
	ZEND_ARG_INFO(0, name)
ZEND_END_ARG_INFO()

ZEND_BEGIN_ARG_INFO_EX(arginfo_phalcon_http_requestinterface_getheader, 0, 0, 1)
	ZEND_ARG_INFO(0, header)
ZEND_END_ARG_INFO()

ZEND_BEGIN_ARG_INFO_EX(arginfo_phalcon_http_requestinterface_getclientaddress, 0, 0, 0)
	ZEND_ARG_INFO(0, trustForwardedHeader)
ZEND_END_ARG_INFO()

ZEND_BEGIN_ARG_INFO_EX(arginfo_phalcon_http_requestinterface_ismethod, 0, 0, 1)
	ZEND_ARG_INFO(0, methods)
	ZEND_ARG_INFO(0, strict)
ZEND_END_ARG_INFO()

ZEND_BEGIN_ARG_INFO_EX(arginfo_phalcon_http_requestinterface_hasfiles, 0, 0, 0)
	ZEND_ARG_INFO(0, onlySuccessful)
ZEND_END_ARG_INFO()

ZEND_BEGIN_ARG_INFO_EX(arginfo_phalcon_http_requestinterface_getuploadedfiles, 0, 0, 0)
	ZEND_ARG_INFO(0, onlySuccessful)
ZEND_END_ARG_INFO()

ZEPHIR_INIT_FUNCS(phalcon_http_requestinterface_method_entry) {
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, get, arginfo_phalcon_http_requestinterface_get)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, getPost, arginfo_phalcon_http_requestinterface_getpost)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, getQuery, arginfo_phalcon_http_requestinterface_getquery)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, getServer, arginfo_phalcon_http_requestinterface_getserver)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, has, arginfo_phalcon_http_requestinterface_has)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, hasPost, arginfo_phalcon_http_requestinterface_haspost)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, hasPut, arginfo_phalcon_http_requestinterface_hasput)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, hasQuery, arginfo_phalcon_http_requestinterface_hasquery)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, hasServer, arginfo_phalcon_http_requestinterface_hasserver)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, getHeader, arginfo_phalcon_http_requestinterface_getheader)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, getScheme, NULL)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, isAjax, NULL)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, isSoapRequested, NULL)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, isSecureRequest, NULL)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, getRawBody, NULL)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, getServerAddress, NULL)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, getServerName, NULL)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, getHttpHost, NULL)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, getPort, NULL)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, getClientAddress, arginfo_phalcon_http_requestinterface_getclientaddress)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, getMethod, NULL)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, getUserAgent, NULL)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, isMethod, arginfo_phalcon_http_requestinterface_ismethod)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, isPost, NULL)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, isGet, NULL)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, isPut, NULL)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, isHead, NULL)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, isDelete, NULL)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, isOptions, NULL)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, isPurge, NULL)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, isTrace, NULL)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, isConnect, NULL)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, hasFiles, arginfo_phalcon_http_requestinterface_hasfiles)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, getUploadedFiles, arginfo_phalcon_http_requestinterface_getuploadedfiles)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, getHTTPReferer, NULL)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, getAcceptableContent, NULL)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, getBestAccept, NULL)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, getClientCharsets, NULL)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, getBestCharset, NULL)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, getLanguages, NULL)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, getBestLanguage, NULL)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, getBasicAuth, NULL)
	PHP_ABSTRACT_ME(Phalcon_Http_RequestInterface, getDigestAuth, NULL)
	PHP_FE_END
};


text: Content not found


text:
module Azure::ApiManagement::Mgmt::V2018_01_01
  module Models
    #
    # Schema Contract details.
    #
    class SchemaContract < Resource

      include MsRestAzure

      # @return [String] Must be a valid a media type used in a Content-Type
      # header as defined in the RFC 2616. Media type of the schema document
      # (e.g. application/json, application/xml).
      attr_accessor :content_type

      # @return [String] Json escaped string defining the document representing
      # the Schema.
      attr_accessor :value

      #
      # Mapper for SchemaContract class as Ruby Hash.
      # This will be used for serialization/deserialization.
      #
      def self.mapper()
        {
          client_side_validation: true,
          required: false,
          serialized_name: 'SchemaContract',
          type: {
            name: 'Composite',
            class_name: 'SchemaContract',
            model_properties: {
              id: {
                client_side_validation: true,
                required: false,
                read_only: true,
                serialized_name: 'id',
                type: {
                  name: 'String'
                }
              },
              name: {
                client_side_validation: true,
                required: false,
                read_only: true,
                serialized_name: 'name',
                type: {
                  name: 'String'
                }
              },
              type: {
                client_side_validation: true,
                required: false,
                read_only: true,
                serialized_name: 'type',
                type: {
                  name: 'String'
                }
              },
              content_type: {
                client_side_validation: true,
                required: true,
                serialized_name: 'properties.contentType',
                type: {
                  name: 'String'
                }
              },
              value: {
                client_side_validation: true,
                required: false,
                serialized_name: 'properties.document.value',
                type: {
                  name: 'String'
                }
              }
            }
          }
        }
      end
    end
  end
end


text:
"""
====================
SimpleFitter wrapper
====================
Adds a variable height (background) component to any model

Module API
^^^^^^^^^^
"""
import numpy
from pyspeckit.mpfit import mpfit
from numpy.ma import median
from pyspeckit.spectrum.moments import moments

class SimpleFitter(object):

    def __init__():
        pass

    def moments(self, *args, **kwargs):
        """
        Get the spectral moments from the moments package
        """
        return moments(*args,**kwargs)

def vheightmodel(zeroheightmodel):
    def vhm(xax, *pars,**kwargs):
        """
        Wrapper function vhm to set variable height.
        Parameter order: height, amplitude, shift, width
        """
        vheight=True
        if 'vheight' in kwargs:
            vheight = kwargs.pop('vheight')
        if vheight:
            return zeroheightmodel(xax, *pars[1:],**kwargs) + pars[0]
        else:
            return zeroheightmodel(xax, *pars[1:],**kwargs)
    vhm.__doc__ += zeroheightmodel.__doc__
    return vhm


text:
/**
* Node process entry
*
* @author - Mark Williams
* Entry point for node process. All bootstrapping activity is handled
* by bootstrapping process in the loader created by factory
*/
var webapp = require('jostack');
var path = require('path');
webapp.config.paths.push(path.join(path.dirname(module.filename), 'public'));


text:
using System;

namespace GitVersion.Helpers
{
    public class EnvironmentHelper
    {
        public static string GetEnvironmentVariableForProcess(string envVar)
        {
#if NETDESKTOP
            return Environment.GetEnvironmentVariable(envVar, EnvironmentVariableTarget.Process);
#else
            return Environment.GetEnvironmentVariable(envVar);
#endif
        }
    }
}


text:
@protocol CRParametrizedTransaction <NSObject>

@optional
- (void)callWithObject:(id)aObject;

@end


text:
package microsoft.exchange.webservices.data;

import java.util.EnumSet;

/**
 * The Class GetUserConfigurationRequest.
 */
class GetUserConfigurationRequest extends
    MultiResponseServiceRequest<GetUserConfigurationResponse> {

  /**
   * The name.
   */
  private String name;

  /**
   * The parent folder id.
   */
  private FolderId parentFolderId;

  /**
   * The properties.
   */
  private EnumSet<UserConfigurationProperties> properties;

  /**
   * The user configuration.
   */
  private UserConfiguration userConfiguration;

  /**
   * Validate request.
   *
   * @throws microsoft.exchange.webservices.data.ServiceLocalException the service local exception
   * @throws Exception                                                 the exception
   */
  @Override
  protected void validate() throws ServiceLocalException, Exception {
    super.validate();

    EwsUtilities.validateParam(this.name, "name");
    EwsUtilities.validateParam(this.parentFolderId, "parentFolderId");
    this.getParentFolderId().validate(
        this.getService().getRequestedServerVersion());
  }

  /**
   * Creates the service response.
   *
   * @param service       the service
   * @param responseIndex the response index
   * @return Service response.
   * @throws Exception the exception
   */
  @Override
  protected GetUserConfigurationResponse createServiceResponse(
      ExchangeService service, int responseIndex) throws Exception {
    // In the case of UserConfiguration.Load(), this.userConfiguration is
    // set.
    if (this.userConfiguration == null) {
      this.userConfiguration = new UserConfiguration(service,
          this.properties);
      this.userConfiguration.setName(this.name);
      this.userConfiguration.setParentFolderId(this.parentFolderId);
    }

    return new GetUserConfigurationResponse(this.userConfiguration);
  }

  /**
   * Gets the request version.
   *
   * @return Earliest Exchange version in which this request is supported.
   */
  @Override
  protected ExchangeVersion getMinimumRequiredServerVersion() {
    return ExchangeVersion.Exchange2010;
  }

  /**
   * Gets the expected response message count.
   *
   * @return Number of expected response messages.
   */
  @Override
  protected int getExpectedResponseMessageCount() {
    return 1;
  }

  /**
   * Gets the name of the XML element.
   *
   * @return XML element name
   */
  @Override
  protected String getXmlElementName() {
    return XmlElementNames.GetUserConfiguration;
  }

  /**
   * Gets the name of the response XML element.
   *
   * @return XML element name
   */
  @Override
  protected String getResponseXmlElementName() {
    return XmlElementNames.GetUserConfigurationResponse;
  }

  /**
   * Gets the name of the response message XML element.
   *
   * @return XML element name
   */
  @Override
  protected String getResponseMessageXmlElementName() {
    return XmlElementNames.GetUserConfigurationResponseMessage;
  }

  /**
   * Writes XML elements.
   *
   * @param writer the writer
   * @throws Exception the exception
   */
  @Override
  protected void writeElementsToXml(EwsServiceXmlWriter writer)
      throws Exception {
    final String EnumDelimiter = ",";

    // Write UserConfiguationName element
    UserConfiguration.writeUserConfigurationNameToXml(writer,
        XmlNamespace.Messages, this.name, this.parentFolderId);

    // Write UserConfigurationProperties element
    writer.writeElementValue(XmlNamespace.Messages,
        XmlElementNames.UserConfigurationProperties, this.properties
            .toString().replace(EnumDelimiter, "").
                replace("[", "").replace("]", ""));
  }

  /**
   * Initializes a new instance of the class.
   *
   * @param service the service
   * @throws Exception
   */
  protected GetUserConfigurationRequest(ExchangeService service)
      throws Exception {
    super(service, ServiceErrorHandling.ThrowOnError);
  }

  /**
   * Gets  the name. <value>The name.</value>
   *
   * @return the name
   */
  protected String getName() {
    return this.name;
  }

  /**
   * Sets the name.
   *
   * @param name the new name
   */
  protected void setName(String name) {
    this.name = name;
  }

  /**
   * Gets  the parent folder Id. <value>The parent folder Id.</value>
   *
   * @return the parent folder id
   */
  protected FolderId getParentFolderId() {
    return this.parentFolderId;
  }

  /**
   * Sets the parent folder id.
   *
   * @param parentFolderId the new parent folder id
   */
  protected void setParentFolderId(FolderId parentFolderId) {
    this.parentFolderId = parentFolderId;
  }

  /**
   * Gets  the user configuration. <value>The user
   * configuration.</value>
   *
   * @return the user configuration
   */
  protected UserConfiguration getUserConfiguration() {
    return this.userConfiguration;
  }

  /**
   * Sets the user configuration.
   *
   * @param userConfiguration the new user configuration
   */
  protected void setUserConfiguration(UserConfiguration userConfiguration) {
    this.userConfiguration = userConfiguration;
    this.name = this.userConfiguration.getName();
    this.parentFolderId = this.userConfiguration.getParentFolderId();
  }

  /**
   * Gets the properties.
   *
   * @return the properties
   */
  protected EnumSet<UserConfigurationProperties> getProperties() {
    return this.properties;
  }

  /**
   * Sets the properties.
   *
   * @param properties the new properties
   */
  protected void setProperties(
      EnumSet<UserConfigurationProperties> properties) {
    this.properties = properties;
  }

}


text:
RedditPulse
===========

Check the status and sentiments of different subreddits at a certain time. This project is made at HackMIT 2013.