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mariaki
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8/1/17 Lecture Note Discussion: Remakes, Homages, and Films Inspired by Hitchcock
in The Master of Suspense: 50 Years of Hitchcock
Plein Soleil (1960): In a taut, expertly crafted thriller Delon is Ripley, an emissary sent by a wealthy American industrialist to save his son, errant playboy Phillipe Greenleaf (Maurice Ronet), from a life of decadence in Rome.
Insinuating himself into Greenleaf's existence, Ripley practices his signature and dresses up in his clothes before attempting to steal his life, his girl and most importantly his money.
Excellent choice! I was thinking about Hitchcock when I last saw this film a few months ago. Aside from the story which I think Hitch would have liked, there's gorgeous use of color and definite fetishistic focus on the perfect beauty of Alain Delon.
Mario Bava's The Girl Who Knew Too Much (1963) is clearly a Hitchcock homage, and one of those transnational films mentioned in the class. It has interesting camera angles, lots of shadow and silhouettes, outdoor and well-known locations in Rome, a man who may be a good guy or a bad guy helping the woman, and more. Here's the
Welles' A Touch of Evil (1958) is another that comes to mind.
And finally, Shutter Island (Scorsese, 2010)
Questions for Alexandre Philippe for August 1st Shindig
How deep was Hitchcock's level of interest in the work of Freud, Jung and psychoanalysis in general? Did he read their works and consult with experts? Or was it just fashionable psychobabble? Watching Marnie so close to Vertigo really hits home that he had an interest in the theories and vocabulary of the field, as does also his comment on the subliminal effects of music and color.
We know Truffaut's feelings about Hitchcock, but how did Hitchcock feel about Truffaut and about French New Wave in general?
Daily Dose #20: Look! (Opening Scene of Frenzy)
From the start, I wonder if an element of British class structure is going to be in this film. Using the medieval heraldry for London to identify the place seems pedantic. Why is any identification needed? As soon as the bridge comes into view, the 1972 audience will know the location. There's something upper-crusty about that heraldic icon- not to mention the regal music.
We come to a well-dressed upper class politician, probably a member of parliament, who is quoting romantic nature poetry from Wordsworth and promising the river will be cleaned up so the brown trout and this bird and the other will be back. In other words, a return to idealized times. He says the water will be "cleared of the waste products of our society" (you know - those long hairs who practice free love) a few seconds before a woman's corpse makes its appearance. It's also noteworthy that he specifies all the water "above this point" will be clear. This specificity makes me wonder about the rest of the river. Is this a class thing? Clean here, dump there?
The majority of people in the crowd are members of the press. Only the back edge of the crowd seems to be the general public. This is a press moment more than a true interaction of representative class and the people being represented. Just something that highlights a little class separation again.
The notes on the Daily Dose begin with a quote from T.S. Eliot which suddenly made me position Hitchcock in the Modernist era. In a way, he is an Imagist in that he shows instead of tells and has nothing that is without meaning in his shots. In another way, he is a Surrealist, not in his visual style but in the shared surrealist concept of busyness of the unconscious and how it can impact our surface world. I also feel that his narrative is moved along by use of existing texts- the monogrammed matchbook cover, the neon hotel sign, a newspaper headline, a name in hotel guest book, etc. (Was it Foreign Correspondent that allowed us to view teletype ribbon as it was being printed?) This reminds me of the way some Modernist artists- Picasso comes to mind- worked printed materials of urban life into collages- another bit for us to assemble meaning.
Daily Dose #19: Real Identities (Opening Scene of Marnie)
I am ashamed to say I haven't seen this film and greatly look forward to it because from the reading in our Daily Dose I am very intrigued.
I am going to hazard a guess that Hitch's direct camera look in his cameo is an act of self-reflexivity. In the reading we learned that the critics panned the fake backdrop paintings and poor quality rear projection. We know in some film styles total realism is not always a goal and those aspects disparaged by critics might have been by choice rather than poor technique. I think my hypothesis is furthered by the clear intertextual references to other films. In addition to a recurring motif of a woman with money illicitly gained, I agree with Professor Edwards about the drain shot harkening back to Psycho. The first ID that we see, the one she had just used, was "Marion", again from Psycho. The shot at a station, walking away from the back, waist down, is Strangers on a Train. And a key close-up is in many films- Dial M For Murder, Psycho, North by Northwest and Notorious come quickly to mind.
I can't wait to see more and try to figure out why Hitchcock might have been in a self-referencing frame of mind, why he would choose that for this film- if he did.
Daily Dose #18: Love Birds (Opening Scene of The Birds)
Prior to The Birds, there were other films about nature gone wrong, often connected to radiation. In many that I can recall, humans unambiguously win in the end and show the ultimate superiority of human intelligence. However, The Birds is not just apocalyptic but almost anti-Enlightenment in its refusal to spell out cause and effect and its nightmarish unresolved ending. We humans think we are in control of nature and that our God-given superiority gives us the right to express mastery over other lower order species. We have great logical capabilities, like Mitch's law degree, and we are confident of our success, like Melanie's undaunted determination to pursue Mitch. But in the end, neither looks nor money, not logic nor expertise will suffice to save us from what we don't know that we don't know or from what is simply random absurdity. And Hitch is reminding us that any at moment, in places where we least expect it, illogical absurdity can complete crush rationalism and collapse our sense of civilized superiority.
Does anyone else think of 1968 Night of the Living Dead with the refugees boarded up in a house?
Daily Dose #17: What Do I Do With My Free Afternoon? (Title Sequence and Opening Scene of Psycho)
The graphics in the opening sequence are about one splitting apart and two coming together. It's a visual interpretation of an individual (a name in the title) being torn apart and the complementary action of two parts of person forming a whole. Together with the music, the whole opening is really angst-filled. The music has a driving forcefulness that hints at speed- a linear movement that makes me feel the urge to flee or to hurry to get somewhere before its too late. Then it slows just a little and a thinner higher melody is worrying and nagging, not soothing.
I think the specificity of day and time is more important than the city because a weekday afternoon immediately establishes the rendezvous as illicit. When there are secrets to keep, things are only going to get more complicated. Going through the window to move into the interior shot is such a fabulous touch! We again are put in the position of voyeur. Our eyes even need a few seconds to get used to the gloom, at first not seeing the objects in the room, after being "out" in the noonday sun!
Daily Dose #16: It's a Nice Face (Scene from North by Northwest)
Before I finish the lesson and reply to the assigned discussion questions, I wanted to comment on the Osborne interviews which were so revealing.
Both Novak and Saint commented on how Hitchcock was concerned with every detail of outward appearance much more so than the internal character. I think this points to the fact that the interior of the men is what drives the films this week. The women remind me of all the furniture in the room that Fred Astaire dances with. They exist for the man to interact with as catalysts, obstacles, frenemies on the hero's journey. Of course, the women are hugely important to the films but not their depth of character as much as how the men react to them. Detailed appearance is important because we have to read the women the same way the men do.
Novak thought it odd that Hitchcock watched her through the camera, but to me, that makes perfect sense. He is looking at the message expressed in the frame, not the wide set. What is in that frame is what makes the movie- the matchbook, the color of a sweater, the skyline, the books in the bookcase. I'm not saying that the women are only of equal important to a book of matches or the color of a sweater, but I feel that Hitch designs the women, much more so than an average dressing of a character, so that every minute detail adds to the meaning conveyed in the mise-en-scene.
It was also quite interesting how both Saint and Novak discussed their wardrobe. It seems Hitch believed "clothes make the 'man'" because the actors described how putting on certain clothes- the external formation- caused their character to form internally. The idea of him sitting on a plush sofa in Bergdorf's as a bunch of models stroll by is such a chuckle.
I have seen Saint being interviewed by Osborne before, but never Novak. Her fragility brought a tear to my eye. I loved her and Stewart in Bell, Book, and Candle also.
Daily Dose #15: Lissajous Figures (Title Design Sequence from Vertigo)
Got to see it Chris! Very enjoyable and odd how well it fits!
[this is a partial quote of my daily dose on Saul Bass' credits for Vertigo.]
I became so intrigued thinking about the relationship between Bernard Hermann's wonderful score for Vertigo and Wagner's 'Liebestod' from Tristan and Isolde that I made a video (just for fun) replacing Hermann's music in the climactic transformation scene with the Wagner.
https://ccoombs1964.wixsite.com/cinemachris/homework
In Wagner's Tristan and Isolde the two characters' love remains unfulfilled until First Tristan and then she (Isolde) dies and their love can finally be
Chris thanks for all this work! You've brought together two of my favorites- Hitchcock and Wagner! Both artists plumbed the depth of emotion and the psyche, both tapped into the primal conflicts and desires of human existence. I won't pretend to understand all the musical examples you gave, but I do understand Wagnerian "non-resolution" and his use of motif, you got me to hear those touches in our Daily Dose as well. The video you made seems to have been removed. Any way to remedy that?
https://www.youtube.com/watch?v=8ciu0QzdJJ8
In Wagner's Tristan and Isolde the two characters' love remains unfulfilled until First Tristan and then she (Isolde) dies and their love can finally be consummated. Isolde sings this most famous aria talking about Tristan rising from death to join her in love:
Softly and gently
how he smiles,
how his eyes
fondly open
—do you see, friends?
do you not see?
how he shines
ever brighter.
Star-haloed
rising higher
[...and ends...]
to drown,
to founder –
unconscious –
Utmost bliss!
How similar is THAT to Scotty's feeling for the 'reborn' Madeline at that moment. Even the ideas of 'drowning', the 'smiles' and 'eyes' (think of the opening credit sequence by Saul Bass), of foundering (a ship that sinks into an abyss). I find this comparison fascinating, but most importantly the idea that 'death' will bring them together. (This is why the music is called 'Liebestod' - Literally 'love death').
The parallel to the death and 'rebirth' of Madeline, and Scotty finally being able to 'consummate' his love with her (and now he actually has her all to himself for she is no longer Gavin's wife) is clearly visible to me.
Anyway, I made the video just for fun. Take into consideration that film scores are written to be precisely timed to hit certain beats in a film - a line of dialogue, a specific edit, a close up or zoom, the length of the shot, etc. - I did not want to re-cut the scene or edit the Wagner (both would be sacrilege to do). So I fit it in as best I could.
Again, this is just for fun and in no way am I saying the Hermann is not good. I honestly believe Hermann's Vertigo scores is one of the best film scores ever written.
Anyway, hope you like it.
Vertigo is a film I can watch every year (and I do) and find something new. Nothing in the mise-en-scene is by accident or unimportant and the film can be read on so many levels. It's a wonderful puzzle. I love what Scorsese said about the "quiet moments" in this film. There so much visually going on that quiet moments are genuinely needed to take it all in and digest it. And one of the most amazing quiet moments in any film is when Madelaine/ Judy walks out of that crummy hotel bathroom into the green light.
Trying to look at the titles with fresh eyes, I find myself perplexed with the b/w face. I think a woman's face with darting eyes takes us off on the wrong path as far as predicting what the film is about-- if we take the image literally, that is. However, if we just go with the feelings that this face image gives us, we are set up to enter the Scotty's dizzy and confusing world.
So, the first face image is the truncated shot which is very creative. I may be wrong, but that is more of what is happening in European cinema at that time, not in Hollywood. It reminds me of Bergman or some director like that. The off-centering immediately establishes a sense of imbalance.
The second face shot I want to mention is when Jimmy Stewart's name is is associated with the female lips. Our brain really wants to create an association between any image that is shown in tandem with text, so it's jarring to see the man's name over the woman's lips- jarring and odd. Again, we experience a sense of imbalance, perfect for the mood of the film.
Daily Dose #14: Here Lie the Broken Bones of L.B. Jefferies (Opening Scene of Rear Window)
" Why would this incredible woman exert so much effort on this not so attractive or attentive man? I came to think that Jeff became something of a "cause" for Lisa....her chance to get the guy who didn't want to be gotten. The only problem for her is, it's not working. So she's got to go to great lengths and even put her life in danger to impress him. Now why Jeff isn't crazy about Lisa....that's just inexplicable."
I agree this is the wonder of the film! Regarding Lisa, the idea of a "cause" is a good one. Women in her class did pick causes to work on, they didn't they? I need to see this again to pay close attention to the dialog, but she could also be attracted to him because of who he WAS, not who he is now. In her society position, she must meet a lot of "the right boys", i.e., boring sons of bankers and guys poised to take over daddy's chemical factory who all go to the same club and vacation at the same spot. We know from her action in the film that she is an adventure-seeker herself. Maybe that was her attraction to him. Doesn't she imply that she can travel with him but he tells her no?
Regarding Jeff's feelings towards Lisa- there are Freudian readings of this film that have to do with impotency, preference for voyeurism over agency, and most definitely, the symbolism of that giant long-lensed camera that he seems to have as an extension of his body! Is he feeling less of a man now that he can't have his foreign adventures and prove his manliness? His costuming too serves him up as an invalid with a frailty that seems to go beyond a busted leg. He's got a gorgeous woman right next to him and yet Miss Torso seems to equally hold his attention. Something telling for me is that awesome POV shot when Lisa's close up face moves toward the camera, presumably to kiss Jeff. She is beautiful and yet there is a a sense of menace at the same time! "We" are trapped and can't move!
Daily Dose #13: Criss Cross (Opening Scene of Strangers on a Train)
Everyone has done such a thorough job on our questions this week that I would like to take the opportunity to bring up something else.
In an earlier discussion between the professors, both agreed that Gregory Peck just "didn't work" as a Hitchcock lead male. Deep down I knew I had always felt that Peck was an odd man out and hearing our professors say that got me wondering why. Was he too good looking? Cary Grant is about as good looking as they come. Was he too "every man"? Jimmy Stewart was America's "every man."
I've come to the conclusion that Peck was just too upright and earnest. Aside from "Duel In The Sun", I can't think of any role of the period in which he was a bad guy or even in which he needed to give off multi-layered complex vibes. I don't even think his Ahab was multi-layered; instead, Peck gives a more "what you see is what you get," perhaps a more straightforward affect than a Hitchcock man needs. Peck is perfect for "The Yearling" and "Mockingbird", - of course- "Gentleman's Agreement."
When I go back to Jimmy Stewart, I see he doesn't have the physical presence that Peck has. He's lanky and not too broad-shouldered (which is why Stewart was perfect for "High Noon." * He doesn't necessarily look like a strong character.) He therefore makes a good Hitchcock type because he will be weak enough, psychologically, physically, when needed. I mean, try to imagine Peck wearing a robe stuck in the wheelchair in "Rear Window." I can't.
Peck's charm is notched at the right level, handsome, but natural with his style, not overplayed like Grant's whose charm than can be iced up to cut- as he does in "Notorious." Grant's ability to make his face freeze with a half smile and flat dead eyes gives him a edge you wouldn't think was there by watching only his comedies.
Just my take on why Peck doesn't seem like a Hitchcockian protagonist- he doesn't muster the weakness or dark side that is needed.
*My edit the morning after waking up at 3:00 am with a thought: Silly me, Stewart wasn't in High Noon! That was Gary Cooper, so I need to rethink this. How about using Mr Smith Goes to Washington as an example instead of a man who doesn't necessarily appear strong, who can be played by others, but ....?
Daily Dose #10: Nothing on Me (Opening Scene of Shadow of a Doubt)
There was a bit of moralizing at the very end of Shadow of a Doubt, I thought. It was an interesting counterbalance to Hitchcock's oftentimes bleak view of humanity. During Uncle Charlie's funeral when the niece and detective are outside talking, the detective says something along the lines of (paraphrase here) "The world is not as bad as that, but it seems to go crazy now and then, like your Uncle Charlie, and needs to be watched." I actually found this quite a hopeful message even though I was ultimately disturbed that an innocent man would always be blamed for Charlie's crimes. I also wondered if this was possibly a reference to the war that was currently underway and which was invisible in this film.
"Shadow of a Doubt," "Little Foxes, Mrs. Miniver, "Pride of the Yankees," and "Best Years of Our Lives," have one thing in common: one of Hollywood's most underappreciated and talented actresses, Teresa Wright!
To star in one of these films, would be a highlight in anyone's career, but to star in all five!
I don't know why her film career did not last a long time, but she is in five of greatest films ever made.
------I was thinking about this last night while watching the film. She is wonderful in those films and often plays a character who at first seems simply young and carefree but ends up exhibiting her strength in a trying circumstance.
Daily Dose #12: Why Do You Care How I Feel? (Early Scene from Notorious)
Bergman's a mess in this scene, definitely playing against type. First, she is not lit for glamour. Though she still gets some nice hair highlights and a tear near the end that looks like a diamond beneath her eye, she doesn't quite have the star lighting that generally emphasizes her luminous beauty.
More notable, in my opinion, is what her look tells us about her character. What kind of woman goes to bed in last night's party clothes? THAT kind! And in her dishabille we see her unattractively picking something off her tongue and handling her hair rat- things you don't expect to see a star do. Grant, on the other, is sleekly and sharply put together, so creased and slicked back that he looks like a cut out. Grant being Grant, in other words. The pairing says he's a man with the upper hand who's got it all together, while poor Ingrid is at a definite disadvantage.
I have to say the shot where she's framed in the door, listening to the recording of herself and her father is just a gorgeous bit of acting. The look on her face changes several times, leading to the end of the scene where she tries again to "hang tough," spitting out "I didn't turn him in." It's a great reaction shot and shows the wonderful softness beneath the tougher exterior. No wonder Hitchcock wanted her in his films.
Uncle Charlie has a way with women; he is able to garner their sympathy and even when she learns the two men are not Charlie's friends, she all the more concerned with him. She picks up the money and pulls down the shade, so he can take a long nap. That's just what you need she tells him, a long rest.
What an awesome point this is! It is so crucial to the film- to his crimes and to his ability to fool his sister and his niece- and there it is, right in the first couple of minutes. Even though he seems a little menacing to us, laying there on his bed in the dark, his landlady clearly has no trouble mothering him.
1) He seems to be involved in something shady as he is renting a room yet he clearly has money. So much so that he doesn't even bother to put it away, giving the indication that it isn't important to him or that it doesn't matter if it is lost. He also has a temper that we clearly see when he finds out about the men that came looking for him. As he stands there contemplating whether to confront them or wait for them, he throws the glass in what appears to be anger at the fact that he is being backed into a corner. I think it would also be safe to assume that Charlie isn't afraid in that his decision is to go out and face the men to see what they do.
Your response here made me think more deeply about what these elements show us of the character. I think they add to make him more psychopathic, less of a "accidental bad guy" and more clearly a criminal who flies into violence in a moment, who seems crazily fearless as he brazenly nearly brushes against the men in the street. I particularly love your point about the money laying around like "it isn't important to him." Later on when he gives his "I hate rich widows" speech at his sister's dinner table, we actually do get the sense that it isn't about money at all but more about a irrational hatred.
I've read somewhere that "if it's gonna be noir, you gotta have Venetian blinds." They add that shadowy, barred look to a space, linear reminders of the dark mixed in with the light, and more importantly, a visual metaphor of imprisonment, of not being able to escape one's fate.
In the opening clip of Shadow of a Doubt that we saw, I was taken aback by the motif of "bars" in a single shot. I've attached a snip I grabbed from our class video, a single still. From the white lines on the landlady's dress, to the slats in the rocker, the pinstripes in his suit, the stripes on the pillow and the shadow of the window pane (and more!) this can't be accidental. I believe it exemplifies Hitch's attention to every detail of mise-en-scene and his tight collaboration with the visual designers.
The strains of "The Merry Widow Waltz" are wonderfully woven within the scene as well. Audiences at the time would have been more familiar with the waltz tune than audiences today though I'm not sure if the earlier Lubitsch film of the same name had the waltz in it or not. But the music plays incongruously with the kids playing ball and the "Rooms to Rent" sign. Later in his room when Cotten decides to go outside, the motif is heard again in a light music box style which is an attention-grabbing juxtaposition to the already known danger of the situation. I love Hitch's far-ranging use of music- nothing seems out of bounds. Here he's grabbing something from the 19th century, and a contrast that comes to mind is the dissonant screeching of sound in Psycho, sounds clear pilfered from modernist/avant-garde composers.
Looking forward to Shadow of a Doubt tonight!


Lois A. Kurtz, age 81 of Beaver Dam, passed away unexpectedly on Thursday, November 15, 2018 at Beaver Dam Community Hospital.
Lois was born on May 4, 1937 in Beaver Dam, the daughter of James and Amanda (Kaseman) Rollins Sr., and was united in marriage to Norman Kurtz. She worked for West Bend Company for over 25 years. She is survived by her husband, Norman of Beaver Dam; children, Stephen Kurtz of Beaver Dam, Sue (Michael) Bath of Louisiana, Scott (Debbie) Kurtz of Jackson and Brad Kurtz of Beaver Dam; four grandchildren; five great-grandchildren; siblings, James (Shirley) Rollins Jr. of Beaver Dam, David (Bridget) Rollins of Hudson and Phyllis Vanhierden of Waupun; and further survived by other relatives and friends. She was preceded in death by her parents; twin sister, Janet Guzeman; a child in infancy and other relatives.
In honoring Lois' wishes, a private family service will be held and she will be laid to rest at Oakwood Cemetery, Beaver Dam.


BATON ROUGE, La. — More than 700 Louisiana leaders, workers, supporters and students came together on Tuesday, April 24, to show support for the state's future and most important economic driver at 2018 Oil & Natural Gas Industry Day. The event featured a keynote speech by U.S. Department of Energy Under Secretary The Honorable Mark Menezes as well as remarks from Louisiana leaders who emphasized the energy sector's significant role in Louisiana and the United States.
Under Secretary Mark Menezes spoke on the Trump Administration's vision for the future of the industry in America and how it fits into a global context. As a Louisiana native, he acknowledged the leading role our state has in building the nation's energy capacity and gave insight into what policies he believes will foster innovation, growth and prosperity.
Grow Louisiana Coalition Executive Director Marc Ehrhardt said Tuesday's event demonstrated the widespread, positive economic impact the oil and natural gas industry has on the state, with attendees showing their leaders how vital oil and natural gas is to the way of life of more than 260,000 Louisianians working in and alongside the industry. The oil and natural gas industry provides one out of every six jobs in Louisiana and is the No. 1 private investor in our state.
"We cannot let our leaders take Louisiana's oil and natural gas industry for granted. To be heard, we must show up. Our state needs leaders who will step up to protect our jobs and our quality of life," said Grow Louisiana Coalition Executive Director Marc Ehrhardt.
In addition to remarks from the Under Secretary, Industry Day attendees also heard from industry professional Mike Moncla, president of Moncla Companies. Moncla discussed the challenges we face in growing the oil and natural gas industry here in Louisiana and how that has caused a drastic movement of our state's population and businesses to states that have more appealing economic and legal landscapes.
"I was in a customer's office in Houston last week who was probably the largest taxpayer in Louisiana. Since these lawsuits have surfaced they have spent billions of dollars in other states. While Louisiana used to represent over 60 percent of their production it is now less than 10 percent," said Moncla.
Representing St. Charles Parish, Superintendent Felicia Gomez-Walker spoke about how productive things can happen when communities and the industry work together, including high performing public schools, thousands of well-paying jobs and major community investments.
"Industry leaders, parish government and the school system work together supporting each other and knowing that what benefits the school system benefits our entire community," said Gomez-Walker.
The event, hosted by Grow Louisiana Coalition (GLAC), Louisiana Mid-Continent Oil and Gas Association (LMOGA) and the Louisiana Oil and Gas Association (LOGA), provided attendees with the opportunity to discuss issues impacting Louisiana's industry with professionals in the field, along with state lawmakers. New this year, attendees experienced interactive activities such as a virtual reality look at offshore platforms, S.T.E.M education activations and an overview of the Oyster Shell Recycling Program.
Industry leaders and partners who directly supported the event through sponsorships included LMOGA, LOGA, Louisiana Association of Business and Industry, Consumer Energy Alliance, Greater Iberia Chamber of Commerce, Gulf Economic Survival Team, Madere & Sons Towing and Offshore Marine Service Association.
2018 Oil & Natural Gas Industry Day, held at A.Z. Young Park on the Louisiana State Capitol grounds, drew more than 700 supporters from across the state, including Baton Rouge, Lafayette, Shreveport, New Iberia, Plaquemines, Houma, Thibodaux, Morgan City and New Orleans.


SALT LAKE CITY, UT -- (MARKET WIRE) -- April 2, 2007 -- Superwire, Inc. (PINKSHEETS: SUPI) has filed for and executed a 40:1 reverse stock split. The new symbol is SUPI. As part of the process, Superwire, Inc. has restructured the company and refocused its direction. Among other things, it has executed documentation providing for the acquisition of ExtreamTV LLC ("ETV") from US LEC Corp. and other owners.
Superwire owns a 15-year contract to provide services to Leisure World Seal Beach in California. This contract allows Superwire to serve over 6700 household customers, organized as a Multi-Dwelling Unit. Additionally, with the purchase of ETV Superwire currently provides high speed internet access, video on demand, and other services described below, to more than 11,000 timeshare units, with many more units under contract and scheduled to come online over the course of time. The timeshare industry is in need of major upgrades in the entertainment arena and Superwire is poised to attract major market share.
Superwire will become the premier provider of world-class interactive television and broadband media service solutions, focused on advertising to the hospitality industry, with emphasis on time-share and planned master communities.
High-speed Internet access is a leader product that will drive the revenue in all markets and act as the base line product in a phased approach for the advertising platform. Redirected pages and interstitial ads on the internet during and after purchase of the service will guarantee a number of impressions to the adverting community, thus creating significant value, emulating the business model of internet giants like Google and Yahoo. Partnership with advertising agencies will enhance the time-to-market and provide a step function in its success. Superwire, along with the property management and marketing planners, has access to a variety of advertising portals with the system including digital signage in common areas.
Superwire will expand its customer base by completing the installation of 6,700 homes currently under contract, and expects to capture an additional 38,000 units currently in negotiation. Superwire's approach for 2007 will be to include a 32" LCD TV with each sale that will make the sale more attractive, and increase on-screen product purchases by the nature of improve digital viewing. In 2007 Superwire will increase the current footprint from the mid-Atlantic and Southeast, to southwest and west coast.
The Company's sales organization is focused on developing relationships with multi-property owners and management groups in key clusters in the United States. Superwire is currently under contract with Central Florida Investments (CFI)/Westgate) the third-largest time-share management company in the US.
By positioning itself as an aggregator of bundled services, Superwire enjoys the economies and marketing advantage of providing multiple products and advertising through one efficient network.
Superwire is poised by the combination of experience, partnerships, and a pre-sold customer database to become one of the largest interactive advertising and marketing organizations in the hospitality industry. Superwire's approach brings the best of each discipline together to deliver a first-class, reliable, and profitable in-room entertainment and advertising product. The Company believes that its premier entertainment product, layered with local and national advertising and tailored for the hospitality industry, is a valuable new platform for services to the industry.
Statements contained in this press release that are not statements of historical fact are "forward-looking statements" as that term is defined under federal securities laws, including, without limitation, all statements concerning expectations, beliefs, goals, intention or strategies for the future of Superwire, Inc. Forward-looking statements may be identified by words such as "goals," "plans," "believes," "will," "expects" and other words of similar meaning used in conjunction with, among other things, discussions of future operations, financial performance, product development and new ventures. Many factors could cause actual events or results to differ materially from those expressed in any forward-looking statement. Investors are cautioned not to place any undue reliance on any forward-looking statements.
About this company Superwire, Inc.


text:
// TabbedDockingWindow.h: interface for the CTabbedDockingWindow class.
//
// NOTE: This class depends on Sergey Klimov's docking window framework
//  and "TabbedFrame.h"
//
//////////////////////////////////////////////////////////////////////

#ifndef __TABBED_DOCKING_WINDOW_H__
#define __TABBED_DOCKING_WINDOW_H__

#pragma once

#if !defined(__WTL_DW__EXTDOCKINGWINDOW_H__) && !defined(AFX_EXTDOCKINGWINDOW_H__0CD64AFC_8687_4B20_8B8F_EE149C8C0E94__INCLUDED_)
	#error TabbedDockingWindow.h requires ExtDockingWindow.h to be included first
#endif
#if !defined(__WTL_DW__DOCKMISC_H__) && !defined(AFX_DOCKMISC_H__2A1A3052_6F61_4F89_A2C4_AAAC46D67AF1__INCLUDED_)
	#error TabbedDockingWindow.h requires DockMisc.h to be included first
#endif
#ifndef __WTL_TABBED_FRAME_H__
	#error TabbedDockingWindow.h requires TabbedFrame.h to be included first
#endif

class CTabbedDockingWindow :
	public CTabbedFrameImpl<CTabbedDockingWindow, CDotNetTabCtrl<CTabViewTabItem>, dockwins::CTitleDockingWindowImpl< CTabbedDockingWindow,ATL::CWindow,dockwins::COutlookLikeTitleDockingWindowTraits> >
{
protected:
	typedef CTabbedDockingWindow thisClass;
	typedef CTabbedFrameImpl<CTabbedDockingWindow, CDotNetTabCtrl<CTabViewTabItem>, dockwins::CTitleDockingWindowImpl< CTabbedDockingWindow,ATL::CWindow,dockwins::COutlookLikeTitleDockingWindowTraits> > baseClass;

// Constructors
public:
	CTabbedDockingWindow(bool bReflectNotifications = true) :
		baseClass(bReflectNotifications)
	{
	}

// Message Handling
public:
	DECLARE_WND_CLASS_EX(_T("TabbedDockingWindow"), CS_DBLCLKS, COLOR_APPWORKSPACE)

	BOOL PreTranslateMessage(MSG* pMsg)
	{
		//if(baseClass::PreTranslateMessage(pMsg))
		//	return TRUE;

		//return m_view.PreTranslateMessage(pMsg);

		HWND hWndFocus = ::GetFocus();
		if(m_hWndActive != NULL && ::IsWindow(m_hWndActive) &&
			(m_hWndActive == hWndFocus || ::IsChild(m_hWndActive, hWndFocus)))
		{
			//active.PreTranslateMessage(pMsg);
			if(::SendMessage(m_hWndActive, WM_FORWARDMSG, 0, (LPARAM)pMsg))
			{
				return TRUE;
			}
		}

		return FALSE;
	}

	BEGIN_MSG_MAP(thisClass)
		MESSAGE_HANDLER(WM_SIZE, OnSize)
		CHAIN_MSG_MAP(baseClass)
	END_MSG_MAP()

	LRESULT OnSize(UINT /*uMsg*/, WPARAM wParam, LPARAM /*lParam*/, BOOL& bHandled)
	{
		if(wParam != SIZE_MINIMIZED)
		{
			//T* pT = static_cast<T*>(this);
			//pT->UpdateLayout();
			UpdateLayout();
		}
		bHandled = FALSE;
		return 1;
	}

// Overrideables
public:
	void UpdateBarsPosition(RECT& /*rect*/, BOOL /*bResizeBars = TRUE*/)
	{
	}
};

#ifdef DF_AUTO_HIDE_FEATURES

class CTabbedAutoHideDockingWindow :
	public dockwins::CBoxedDockingWindowImpl< CTabbedAutoHideDockingWindow,ATL::CWindow,dockwins::CVC7LikeExBoxedDockingWindowTraits>
{
protected:
	typedef CTabbedAutoHideDockingWindow	thisClass;
	typedef dockwins::CBoxedDockingWindowImpl< CTabbedAutoHideDockingWindow,ATL::CWindow,dockwins::CVC7LikeExBoxedDockingWindowTraits> baseClass;

// Member variables
protected:
	HWND m_hWndClient;
	bool m_bReflectNotifications;
	bool m_bClientFlatOutline;
	int m_nMenuID;

// Constructors
public:
	CTabbedAutoHideDockingWindow(HWND hWndClient = NULL) :
		m_hWndClient(hWndClient),
		m_bReflectNotifications(false),
		m_bClientFlatOutline(false),
		m_nMenuID(0)
	{
	}

// static public Methods:
public:
	static CTabbedAutoHideDockingWindow* CreateInstance(void)
	{
		return new CTabbedAutoHideDockingWindow;
	}

// Public Methods
public:
	bool AutoHide(bool bAutoHideOwnerTabBoxAsGroup = true)
	{
		bool returnValue = false;
		if(this->IsWindow() && this->IsDocking() && !this->IsPinned())
		{
			// NOTE: "IsPinned" really should be renamed to "IsAutoHidden" or something
			// TODO: The way IsPinned works seems backwards.
			//  Its true if the window is being auto-hidden.

			HWND hWndDockingBox = this->GetOwnerDockingBar();
			if(bAutoHideOwnerTabBoxAsGroup && dockwins::CDockingBox::IsWindowBox(hWndDockingBox))
			{
				// The pane window is docked, not auto-hidden already, and in a tab box.
				// Auto-hide the whole box at once (this will auto-hide all other
				// pane windows in this tab box as well).

				dockwins::DFPINBTNPRESS btnPress = {0};
				btnPress.hdr.hWnd = m_hWnd;
				btnPress.hdr.hBar = hWndDockingBox;
				btnPress.hdr.code = DC_PINBTNPRESS;
				btnPress.bVisualize = FALSE;
				returnValue = ::SendMessage(hWndDockingBox, WMDF_DOCK, 0, (WPARAM)&btnPress) ? true : false;

				//returnValue = ownerTabBox->PinBtnPress(false);
			}
			else //if(dockwins::CDockingBox::IsWindowBox(m_hWnd))
			{
				// The pane window is docked, not auto-hidden already and *not* in a tab box.
				// Auto-hide just the pane window.

				//dockwins::DFPINBTNPRESS btnPress = {0};
				//btnPress.hdr.hWnd = m_hWnd;
				//btnPress.hdr.hBar = hWndDockingBox;
				//btnPress.hdr.code = DC_PINBTNPRESS;
				//btnPress.bVisualize = FALSE;
				//::SendMessage(m_hWnd, WMDF_DOCK, 0, (WPARAM)&btnPress);
				returnValue = this->PinBtnPress(false);
			}
		}
		return returnValue;
	}

	void SetClient(HWND hWndClient)
	{
		m_hWndClient = hWndClient;

		if(	m_hWndClient && ::IsWindow(m_hWndClient) &&
			m_hWnd && ::IsWindow(m_hWnd))
		{
			// Set our small icon to the small icon of the client
			HICON hIcon = (HICON)::SendMessage(m_hWndClient, WM_GETICON, ICON_SMALL, 0L);
			if(hIcon==NULL)
			{
// need conditional code because types don't match in winuser.h
#ifdef _WIN64
				hIcon = (HICON)::GetClassLongPtr(m_hWndClient, GCLP_HICONSM);
#else
				hIcon = (HICON)LongToHandle(::GetClassLongPtr(m_hWndClient, GCLP_HICONSM));
#endif
			}
			if(hIcon)
			{
				this->SetIcon(hIcon, ICON_SMALL);
			}

			if(m_bClientFlatOutline)
			{
				DWORD dwExStyle = (DWORD)::GetWindowLong(m_hWndClient, GWL_EXSTYLE);
				dwExStyle &= ~(WS_EX_CLIENTEDGE);
				::SetWindowLong(m_hWndClient, GWL_EXSTYLE, dwExStyle);
			}

			// Resize the client to fill our client area
			RECT rect;
			this->GetClientRect(&rect);

			if(m_bClientFlatOutline)
			{
				::SetWindowPos(m_hWndClient, NULL, rect.left+1, rect.top+1,
					rect.right - rect.left-2, rect.bottom - rect.top-2,
					SWP_NOZORDER | SWP_NOACTIVATE | SWP_FRAMECHANGED);
			}
			else
			{
				::SetWindowPos(m_hWndClient, NULL, rect.left, rect.top,
					rect.right - rect.left, rect.bottom - rect.top,
					SWP_NOZORDER | SWP_NOACTIVATE);
			}
		}
	}

	HWND GetClient(void)
	{
		return m_hWndClient;
	}

	void SetReflectNotifications(bool bReflectNotifications = true)
	{
		m_bReflectNotifications = bReflectNotifications;
	}

	bool GetReflectNotifications(void) const
	{
		return m_bReflectNotifications;
	}

	void SetClientFlatOutline(bool bFlat = true)
	{
		if(m_bClientFlatOutline!=bFlat)
		{
			ATLASSERT((m_hWndClient==NULL) && "Please call SetClientFlatOutline before setting client");
			m_bClientFlatOutline = bFlat;
		}
	}

	bool GetClientFlatOutline(void) const
	{
		return m_bClientFlatOutline;
	}

	void SetMenuID(int nMenuID)
	{
		m_nMenuID = nMenuID;
	}

	int GetMenuID(void) const
	{
		return m_nMenuID;
	}

	BOOL IsOwnerDockBarVisible()
	{
		HWND hWnd = this->GetOwnerDockingBar();
		return hWnd && ::IsWindowVisible(hWnd);
	}

	BOOL IsCurrentDockBarVisible()
	{
		HWND hWnd = m_pos.hdr.hBar;
		return hWnd && ::IsWindowVisible(hWnd);
	}

	bool GetCurrentDockingPosition(dockwins::DFDOCKPOS* dockPos)
	{
		if(dockPos == NULL)
		{
			return false;
		}

		::CopyMemory(dockPos, &m_pos, sizeof(m_pos));
		return true;
	}

	bool SetCurrentDockingPosition(dockwins::DFDOCKPOS* dockPos)
	{
		if(dockPos == NULL)
		{
			return false;
		}

		::CopyMemory(&m_pos, dockPos, sizeof(m_pos));
		return true;
	}

// Message Handling
public:
	DECLARE_WND_CLASS_EX(_T("TabbedAutoHideDockingWindow"), CS_DBLCLKS, COLOR_APPWORKSPACE)

	virtual void OnFinalMessage(HWND /*hWnd*/)
	{
		// NOTE: This class is meant to be created with "new"
		delete this;
	}

	BOOL PreTranslateMessage(MSG* pMsg)
	{
		//if(baseClass::PreTranslateMessage(pMsg))
		//	return TRUE;

		//return m_view.PreTranslateMessage(pMsg);

		HWND hWndFocus = ::GetFocus();
		if(m_hWndClient != NULL && ::IsWindow(m_hWndClient) &&
			(m_hWndClient == hWndFocus || ::IsChild(m_hWndClient, hWndFocus)))
		{
			//active.PreTranslateMessage(pMsg);
			if(::SendMessage(m_hWndClient, WM_FORWARDMSG, 0, (LPARAM)pMsg))
			{
				return TRUE;
			}
		}

		return FALSE;
	}

	BEGIN_MSG_MAP(thisClass)
		MESSAGE_HANDLER(WM_CREATE, OnCreate)
		MESSAGE_HANDLER(WM_DESTROY, OnDestroy)
		MESSAGE_HANDLER(WM_CLOSE, OnClose)
		//MESSAGE_HANDLER(WM_PARENTNOTIFY, OnParentNotify)
		MESSAGE_HANDLER(WM_SIZE, OnSize)
		MESSAGE_HANDLER(WM_ERASEBKGND, OnEraseBackground)
		MESSAGE_HANDLER(WM_SETFOCUS, OnSetFocus)

		CHAIN_MSG_MAP(baseClass)
		if(m_bReflectNotifications)
		{
			REFLECT_NOTIFICATIONS()
		}
	END_MSG_MAP()

	LRESULT OnCreate(UINT /*uMsg*/, WPARAM /*wParam*/, LPARAM /*lParam*/, BOOL& bHandled)
	{
		bHandled = FALSE;
		return 0;
	}

	LRESULT OnDestroy(UINT /*uMsg*/, WPARAM /*wParam*/, LPARAM /*lParam*/, BOOL& bHandled)
	{
		bHandled = FALSE;
		return 0;
	}

	LRESULT OnClose(UINT /*uMsg*/, WPARAM /*wParam*/, LPARAM /*lParam*/, BOOL& bHandled)
	{
		// IMPORTANT!
		// The docking window framework deals with WM_CLOSE differently
		// than you might expect.  To the framework, WM_CLOSE essentially
		// means "Hide".  So if you send WM_CLOSE to this window, don't
		// expect it to destruct.  Instead, you should send WM_CLOSE to the window
		// first, then DestroyWindow if that's what you're wanting to do.
		bHandled = FALSE;

		// What we might do if WM_CLOSE didn't mean "hide"
		/*
		if(m_hWndClient != NULL)
		{
			if(::IsWindow(m_hWndClient))
			{
				LRESULT lResult = ::SendMessage(m_hWndClient, WM_CLOSE, 0, 0L);
				if(lResult)
				{
					// If the client doesn't want to close,
					// don't let DefWindowProc have at WM_CLOSE,
					// and return the response from the client
					bHandled = TRUE;
					return lResult;
				}
				// else, let DefWindowProc happen,
				// and let go of m_hWndClient
				m_hWndClient = NULL;
			}
		}
		*/
		return 0;
	}

	// If we ever need it:
	//LRESULT OnParentNotify(UINT /*uMsg*/, WPARAM wParam, LPARAM /*lParam*/, BOOL& bHandled)
	//{
	//	bHandled = FALSE;
	//	if(LOWORD(wParam) == WM_DESTROY)
	//	{
	//		m_hWndClient = NULL;
	//	}
	//	return 0;
	//}

	LRESULT OnSize(UINT /*uMsg*/, WPARAM wParam, LPARAM /*lParam*/, BOOL& bHandled)
	{
		if(wParam != SIZE_MINIMIZED )
		{
			// resize client window
			if(m_hWndClient != NULL)
			{
				RECT rect;
				this->GetClientRect(&rect);

				if(m_bClientFlatOutline)
				{
					::SetWindowPos(m_hWndClient, NULL, rect.left+1, rect.top+1,
						rect.right - rect.left-2, rect.bottom - rect.top-2,
						SWP_NOZORDER | SWP_NOACTIVATE);
				}
				else
				{
					::SetWindowPos(m_hWndClient, NULL, rect.left, rect.top,
						rect.right - rect.left, rect.bottom - rect.top,
						SWP_NOZORDER | SWP_NOACTIVATE);
				}
			}
		}
		bHandled = FALSE;
		return 1;
	}

	LRESULT OnEraseBackground(UINT /*uMsg*/, WPARAM wParam, LPARAM /*lParam*/, BOOL& bHandled)
	{
		if(m_hWndClient != NULL)
		{
			if(m_bClientFlatOutline)
			{
				// Paint a flat outline
				HDC hdc = (HDC)wParam;
				if(hdc != NULL)
				{
					RECT rcClient={0};
					this->GetClientRect(&rcClient);
					::FrameRect(hdc,&rcClient,::GetSysColorBrush(COLOR_BTNSHADOW));
				}
			}

			// view will paint itself
			return 1;
		}

		// Else no client view is set, so let the default erase happen
		// (which will use the brush of the window class)
		bHandled = FALSE;
		return 0;

		//HDC hdc = (HDC)wParam;
		//if(hdc != NULL)
		//{
		//	RECT rect;
		//	::GetClipBox(hdc, &rect);
		//	::SetBkColor(hdc, ::GetSysColor(COLOR_APPWORKSPACE));
		//	::ExtTextOut(hdc, 0, 0, ETO_OPAQUE, &rect, NULL, 0, NULL);
		//}
		//return 1;
	}

	LRESULT OnSetFocus(UINT, WPARAM, LPARAM, BOOL& bHandled)
	{
		if(m_hWndClient != NULL && ::IsWindowVisible(m_hWndClient))
			::SetFocus(m_hWndClient);

		bHandled = FALSE;
		return 1;
	}

// "Overridden" from base class
public:
	void OnDocked(HDOCKBAR hBar,bool bHorizontal)
	{
		DWORD dwStyle = GetWindowLong(GWL_STYLE)&(~WS_SIZEBOX);
		SetWindowLong( GWL_STYLE, dwStyle);

		baseClass::OnDocked(hBar,bHorizontal);
	}
	void OnUndocked(HDOCKBAR hBar)
	{
		DWORD dwStyle = GetWindowLong(GWL_STYLE) | WS_SIZEBOX;
		SetWindowLong( GWL_STYLE , dwStyle);

		baseClass::OnUndocked(hBar);
	}
	virtual void GetMinMaxInfo(LPMINMAXINFO pMinMaxInfo) const
	{
		pMinMaxInfo->ptMinTrackSize.y = 100;
		pMinMaxInfo->ptMinTrackSize.x = 100;
	}
};

#endif //DF_AUTO_HIDE_FEATURES

#endif

redpajama_set_name: RedPajamaGithub


text:
/* Licensed under the Apache License, Version 2.0 (the "License");
 * you may not use this file except in compliance with the License.
 * You may obtain a copy of the License at
 *
 *      http://www.apache.org/licenses/LICENSE-2.0
 *
 * Unless required by applicable law or agreed to in writing, software
 * distributed under the License is distributed on an "AS IS" BASIS,
 * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
 * See the License for the specific language governing permissions and
 * limitations under the License.
 */
package org.flowable.app.conf;

import javax.sql.DataSource;

import org.springframework.beans.factory.annotation.Autowired;
import org.springframework.context.annotation.Bean;
import org.springframework.context.annotation.Configuration;
import org.springframework.core.env.Environment;
import org.springframework.jdbc.datasource.DataSourceTransactionManager;
import org.springframework.transaction.PlatformTransactionManager;
import org.springframework.transaction.annotation.EnableTransactionManagement;

@Configuration
@EnableTransactionManagement
public class DatabaseConfiguration {

    @Autowired
    protected Environment env;

    @Bean
    public DataSource dataSource() {
        return FlowableAppDatasourceUtil.createDataSource(env);
    }

    @Bean
    public PlatformTransactionManager annotationDrivenTransactionManager() {
        DataSourceTransactionManager dataSourceTransactionManager = new DataSourceTransactionManager();
        dataSourceTransactionManager.setDataSource(dataSource());
        return dataSourceTransactionManager;
    }

}


text:
Polska Fair Play – polski ruch polityczny założony 2 marca 2019 przez ekonomistę i prawnika Roberta Gwiazdowskiego oraz część środowiska Bezpartyjnych Samorządowców. Powstał na bazie fundacji o tej samej nazwie, zarejestrowanej w kwietniu 2017 (jej prezesem jest lider Ruchu Obywatelskiego na rzecz JOW Patryk Hałaczkiewicz). Ruch wystartował w wyborach do Parlamentu Europejskiego w 2019, rejestrując listy w 6 z 13 okręgów i zdobywając 74 013 (0,54%) głosów w skali kraju (7. miejsce spośród wszystkich komitetów). 4 czerwca 2019 założyciel i lider ruchu Robert Gwiazdowski poinformował o zakończeniu działalności Polski Fair Play.

Założenia programowe
Podstawę programową stanowił pakiet postulatów nazwany Szóstką Gwiazdowskiego:

 Zmniejszenie opodatkowania pracy w celu zwiększenia płac i rozwoju gospodarki.
 Wprowadzenie emerytury obywatelskiej obudowanej rynkowymi mechanizmami wsparcia społecznego.
 Wprowadzenie 460 okręgów jednomandatowych w wyborach do Sejmu.
 Decentralizacja i deglomeracja, tj. podzielenie władzy rządu z samorządami, rozproszenie terytorialne instytucji państwowych w celu rozwoju małych i średnich miast.
 Reforma wymiaru sprawiedliwości.
 Silna Polska w Unii Europejskiej.

Działacze

Do czołowych działaczy ruchu (poza Robertem Gwiazdowskim i Patrykiem Hałaczkiewiczem) należeli m.in. Piotr Roman, Konrad Rytel, Patryk Wild, Łukasz Mejza, Paweł Wróblewski, Elżbieta Hibner, Jerzy Karwelis i Sławomir Antonik.

Państwo Fair Play
13 grudnia 2019 zarejestrowane zostało założone przez działaczy wywodzących się z ruchu związane z Koalicją Polską stowarzyszenie zwykłe Państwo Fair Play, nawiązujące do idei Polski Fair Play. Na jego czele stanęła Jolanta Milas (wcześniej kandydatka PFP do Parlamentu Europejskiego i następnie – z listy PSL do Sejmu), która w lutym 2020 znalazła się w krajowej radzie programowej KP. W wyborach do Sejmu uzyskała ona poparcie Roberta Gwiazdowskiego, który wziął także udział w panelu programowym Władysława Kosiniaka-Kamysza przed wyborami prezydenckimi.

Przypisy

Nieistniejące partie i ugrupowania III Rzeczypospolitej

redpajama_set_name: RedPajamaWikipedia


text:
Q: How to make Spring Security resolve Eureka names? I have an OAuth 2.0 Resource Server and I want to configure the issuer URI:
spring:
  security:
    oauth2:
      resourceserver:
        jwt:
          issuer-uri: http://AUTHORIZATION-SERVICE/auth/realms/books

All services are registered with eureka
eureka:
  client:
    registerWithEureka: true
    fetchRegistry: true
    serviceUrl:
      defaultZone: http://<ip>:8761/eureka

And the @EnableEurekaClient annotation is set.
But when I start the service I get:
org.springframework.beans.factory.BeanCreationException: Error creating bean with name 'jwtDecoderByIssuerUri' defined in class path resource [org/springframework/boot/autoconfigure/security/oauth2/resource/servlet/OAuth2ResourceServerJwtConfiguration$JwtDecoderConfiguration.class]: Bean instantiation via factory method failed; nested exception is org.springframework.beans.BeanInstantiationException: Failed to instantiate [org.springframework.security.oauth2.jwt.JwtDecoder]: Factory method 'jwtDecoderByIssuerUri' threw exception; nested exception is java.lang.IllegalArgumentException: Unable to resolve the Configuration with the provided Issuer of "http://AUTHORIZATION-SERVICE/auth/realms/books"
    at org.springframework.beans.factory.support.ConstructorResolver.instantiate(ConstructorResolver.java:656) ~[spring-beans-5.2.6.RELEASE.jar:5.2.6.RELEASE]
    at org.springframework.beans.factory.support.ConstructorResolver.instantiateUsingFactoryMethod(ConstructorResolver.java:484) ~[spring-beans-5.2.6.RELEASE.jar:5.2.6.RELEASE]
    at org.springframework.beans.factory.support.AbstractAutowireCapableBeanFactory.instantiateUsingFactoryMethod(AbstractAutowireCapableBeanFactory.java:1338) ~[spring-beans-5.2.6.RELEASE.jar:5.2.6.RELEASE]
    at org.springframework.beans.factory.support.AbstractAutowireCapableBeanFactory.createBeanInstance(AbstractAutowireCapableBeanFactory.java:1177) ~[spring-beans-5.2.6.RELEASE.jar:5.2.6.RELEASE]
    at org.springframework.beans.factory.support.AbstractAutowireCapableBeanFactory.doCreateBean(AbstractAutowireCapableBeanFactory.java:557) ~[spring-beans-5.2.6.RELEASE.jar:5.2.6.RELEASE]
    at org.springframework.beans.factory.support.AbstractAutowireCapableBeanFactory.createBean(AbstractAutowireCapableBeanFactory.java:517) ~[spring-beans-5.2.6.RELEASE.jar:5.2.6.RELEASE]
    at org.springframework.beans.factory.support.AbstractBeanFactory.lambda$doGetBean$0(AbstractBeanFactory.java:323) ~[spring-beans-5.2.6.RELEASE.jar:5.2.6.RELEASE]
    at org.springframework.beans.factory.support.DefaultSingletonBeanRegistry.getSingleton(DefaultSingletonBeanRegistry.java:226) ~[spring-beans-5.2.6.RELEASE.jar:5.2.6.RELEASE]
    at org.springframework.beans.factory.support.AbstractBeanFactory.doGetBean(AbstractBeanFactory.java:321) ~[spring-beans-5.2.6.RELEASE.jar:5.2.6.RELEASE]
    at org.springframework.beans.factory.support.AbstractBeanFactory.getBean(AbstractBeanFactory.java:202) ~[spring-beans-5.2.6.RELEASE.jar:5.2.6.RELEASE]
    at org.springframework.beans.factory.support.DefaultListableBeanFactory.preInstantiateSingletons(DefaultListableBeanFactory.java:895) ~[spring-beans-5.2.6.RELEASE.jar:5.2.6.RELEASE]
    at org.springframework.context.support.AbstractApplicationContext.finishBeanFactoryInitialization(AbstractApplicationContext.java:878) ~[spring-context-5.2.6.RELEASE.jar:5.2.6.RELEASE]
    at org.springframework.context.support.AbstractApplicationContext.refresh(AbstractApplicationContext.java:550) ~[spring-context-5.2.6.RELEASE.jar:5.2.6.RELEASE]
    at org.springframework.boot.web.servlet.context.ServletWebServerApplicationContext.refresh(ServletWebServerApplicationContext.java:143) ~[spring-boot-2.3.0.RELEASE.jar:2.3.0.RELEASE]
    at org.springframework.boot.SpringApplication.refresh(SpringApplication.java:758) ~[spring-boot-2.3.0.RELEASE.jar:2.3.0.RELEASE]
    at org.springframework.boot.SpringApplication.refresh(SpringApplication.java:750) ~[spring-boot-2.3.0.RELEASE.jar:2.3.0.RELEASE]
    at org.springframework.boot.SpringApplication.refreshContext(SpringApplication.java:397) ~[spring-boot-2.3.0.RELEASE.jar:2.3.0.RELEASE]
    at org.springframework.boot.SpringApplication.run(SpringApplication.java:315) ~[spring-boot-2.3.0.RELEASE.jar:2.3.0.RELEASE]
    at org.springframework.boot.SpringApplication.run(SpringApplication.java:1237) ~[spring-boot-2.3.0.RELEASE.jar:2.3.0.RELEASE]
    at org.springframework.boot.SpringApplication.run(SpringApplication.java:1226) ~[spring-boot-2.3.0.RELEASE.jar:2.3.0.RELEASE]
    at de.fronetic.books.room.Application.main(Application.java:12) ~[classes/:na]
Caused by: org.springframework.beans.BeanInstantiationException: Failed to instantiate [org.springframework.security.oauth2.jwt.JwtDecoder]: Factory method 'jwtDecoderByIssuerUri' threw exception; nested exception is java.lang.IllegalArgumentException: Unable to resolve the Configuration with the provided Issuer of "http://AUTHORIZATION-SERVICE/auth/realms/books"
    at org.springframework.beans.factory.support.SimpleInstantiationStrategy.instantiate(SimpleInstantiationStrategy.java:185) ~[spring-beans-5.2.6.RELEASE.jar:5.2.6.RELEASE]
    at org.springframework.beans.factory.support.ConstructorResolver.instantiate(ConstructorResolver.java:651) ~[spring-beans-5.2.6.RELEASE.jar:5.2.6.RELEASE]
    ... 20 common frames omitted
Caused by: java.lang.IllegalArgumentException: Unable to resolve the Configuration with the provided Issuer of "http://AUTHORIZATION-SERVICE/auth/realms/books"
    at org.springframework.security.oauth2.jwt.JwtDecoderProviderConfigurationUtils.getConfiguration(JwtDecoderProviderConfigurationUtils.java:85) ~[spring-security-oauth2-jose-5.3.2.RELEASE.jar:5.3.2.RELEASE]
    at org.springframework.security.oauth2.jwt.JwtDecoderProviderConfigurationUtils.getConfigurationForIssuerLocation(JwtDecoderProviderConfigurationUtils.java:52) ~[spring-security-oauth2-jose-5.3.2.RELEASE.jar:5.3.2.RELEASE]
    at org.springframework.security.oauth2.jwt.JwtDecoders.fromIssuerLocation(JwtDecoders.java:88) ~[spring-security-oauth2-jose-5.3.2.RELEASE.jar:5.3.2.RELEASE]
    at org.springframework.boot.autoconfigure.security.oauth2.resource.servlet.OAuth2ResourceServerJwtConfiguration$JwtDecoderConfiguration.jwtDecoderByIssuerUri(OAuth2ResourceServerJwtConfiguration.java:93) ~[spring-boot-autoconfigure-2.3.0.RELEASE.jar:2.3.0.RELEASE]
    at java.base/jdk.internal.reflect.NativeMethodAccessorImpl.invoke0(Native Method) ~[na:na]
    at java.base/jdk.internal.reflect.NativeMethodAccessorImpl.invoke(NativeMethodAccessorImpl.java:62) ~[na:na]
    at java.base/jdk.internal.reflect.DelegatingMethodAccessorImpl.invoke(DelegatingMethodAccessorImpl.java:43) ~[na:na]
    at java.base/java.lang.reflect.Method.invoke(Method.java:566) ~[na:na]
    at org.springframework.beans.factory.support.SimpleInstantiationStrategy.instantiate(SimpleInstantiationStrategy.java:154) ~[spring-beans-5.2.6.RELEASE.jar:5.2.6.RELEASE]
    ... 21 common frames omitted
Caused by: org.springframework.web.client.ResourceAccessException: I/O error on GET request for "http://AUTHORIZATION-SERVICE/auth/realms/books/.well-known/openid-configuration": AUTHORIZATION-SERVICE; nested exception is java.net.UnknownHostException: AUTHORIZATION-SERVICE
    at org.springframework.web.client.RestTemplate.doExecute(RestTemplate.java:748) ~[spring-web-5.2.6.RELEASE.jar:5.2.6.RELEASE]
    at org.springframework.web.client.RestTemplate.exchange(RestTemplate.java:651) ~[spring-web-5.2.6.RELEASE.jar:5.2.6.RELEASE]
    at org.springframework.security.oauth2.jwt.JwtDecoderProviderConfigurationUtils.getConfiguration(JwtDecoderProviderConfigurationUtils.java:72) ~[spring-security-oauth2-jose-5.3.2.RELEASE.jar:5.3.2.RELEASE]
    ... 29 common frames omitted
Caused by: java.net.UnknownHostException: AUTHORIZATION-SERVICE
    at java.base/java.net.AbstractPlainSocketImpl.connect(AbstractPlainSocketImpl.java:229) ~[na:na]
    at java.base/java.net.Socket.connect(Socket.java:608) ~[na:na]
    at java.base/java.net.Socket.connect(Socket.java:557) ~[na:na]
    at java.base/sun.net.NetworkClient.doConnect(NetworkClient.java:182) ~[na:na]
    at java.base/sun.net.www.http.HttpClient.openServer(HttpClient.java:474) ~[na:na]
    at java.base/sun.net.www.http.HttpClient.openServer(HttpClient.java:569) ~[na:na]
    at java.base/sun.net.www.http.HttpClient.<init>(HttpClient.java:242) ~[na:na]
    at java.base/sun.net.www.http.HttpClient.New(HttpClient.java:341) ~[na:na]
    at java.base/sun.net.www.http.HttpClient.New(HttpClient.java:362) ~[na:na]
    at java.base/sun.net.www.protocol.http.HttpURLConnection.getNewHttpClient(HttpURLConnection.java:1253) ~[na:na]
    at java.base/sun.net.www.protocol.http.HttpURLConnection.plainConnect0(HttpURLConnection.java:1187) ~[na:na]
    at java.base/sun.net.www.protocol.http.HttpURLConnection.plainConnect(HttpURLConnection.java:1081) ~[na:na]
    at java.base/sun.net.www.protocol.http.HttpURLConnection.connect(HttpURLConnection.java:1015) ~[na:na]
    at org.springframework.http.client.SimpleBufferingClientHttpRequest.executeInternal(SimpleBufferingClientHttpRequest.java:76) ~[spring-web-5.2.6.RELEASE.jar:5.2.6.RELEASE]
    at org.springframework.http.client.AbstractBufferingClientHttpRequest.executeInternal(AbstractBufferingClientHttpRequest.java:48) ~[spring-web-5.2.6.RELEASE.jar:5.2.6.RELEASE]
    at org.springframework.http.client.AbstractClientHttpRequest.execute(AbstractClientHttpRequest.java:53) ~[spring-web-5.2.6.RELEASE.jar:5.2.6.RELEASE]
    at org.springframework.web.client.RestTemplate.doExecute(RestTemplate.java:739) ~[spring-web-5.2.6.RELEASE.jar:5.2.6.RELEASE]
    ... 31 common frames omitted

Process finished with exit code 1

If I use the IP instead of the eureka name everything works fine.
How can I make Spring Security to resolve the Eureka names?
EDIT
As requested my security config:
@Configuration
public class SecurityConfig extends WebSecurityConfigurerAdapter {

    @Override
    protected void configure(final HttpSecurity http) throws Exception {
        http
                .authorizeRequests(auth -> auth
                        .antMatchers(HttpMethod.GET, "/rooms/**").hasAuthority("SCOPE_read")
                        .antMatchers(HttpMethod.POST, "/rooms").hasAuthority("SCOPE_write")
                        .anyRequest().authenticated())
                .oauth2ResourceServer(OAuth2ResourceServerConfigurer::jwt);
    }
}

Dependencies:
<dependencies>
    <!-- Spring Boot Dependencies Start -->
    <dependency>
        <groupId>org.springframework.boot</groupId>
        <artifactId>spring-boot-starter-web</artifactId>
    </dependency>
    <dependency>
        <groupId>org.springframework.boot</groupId>
        <artifactId>spring-boot-starter-oauth2-resource-server</artifactId>
    </dependency>
    <dependency>
        <groupId>org.springframework.boot</groupId>
        <artifactId>spring-boot-starter-actuator</artifactId>
    </dependency>
    <dependency>
        <groupId>org.springframework.boot</groupId>
        <artifactId>spring-boot-starter-logging</artifactId>
    </dependency>
    <dependency>
        <groupId>org.springframework.boot</groupId>
        <artifactId>spring-boot-starter-data-jpa</artifactId>
    </dependency>
    <!-- Spring Boot Dependencies End -->
    <!-- Spring Cloud Dependencies Start -->
    <dependency>
        <groupId>org.springframework.cloud</groupId>
        <artifactId>spring-cloud-starter-config</artifactId>
    </dependency>
    <dependency>
        <groupId>org.springframework.cloud</groupId>
        <artifactId>spring-cloud-starter-netflix-eureka-client</artifactId>
    </dependency>
    <dependency>
        <groupId>org.springframework.cloud</groupId>
        <artifactId>spring-cloud-starter-sleuth</artifactId>
    </dependency>
    <!-- Spring Cloud Dependencies End -->
    <dependency>
        <groupId>org.mariadb.jdbc</groupId>
        <artifactId>mariadb-java-client</artifactId>
        <version>2.7.4</version>
    </dependency>
    <dependency>
        <groupId>org.projectlombok</groupId>
        <artifactId>lombok</artifactId>
    </dependency>
</dependencies>

redpajama_set_name: RedPajamaStackExchange


Zayat Stables' Triple Crown champion American Pharoah departed Churchill Downs on Thursday morning en route to Hall of Fame trainer Bob Baffert's Southern California base at Santa Anita.
The 3-year-old homebred son of Pioneerof the Nile walked out of Barn 33, Stall 28 – his home for most of the last 67 days – just after 7:20 a.m. ET for a short Brook Ledge Horse Transportation van ride to Louisville International Airport to catch an H.E. "Tex" Sutton Forwarding Company charter flight back to his California base. The flight departed at 9:04 a.m. ET and was due to arrive at Ontario International Airport at 9:40 a.m. PT.
Both Barnes and Alvarez reported that American Pharoah would likely resume training on Friday morning at Santa Anita.
Travelling alongside the Triple Crown winner for Thursday's flight were stablemates Cat Burglar, Fame and Power and Hoppertunity, all of which ran last Saturday night as a part of Churchill Downs' 11-race Downs After Dark program.
A field of nine fillies and mares are set for Saturday's featured event, the sixth running of the $70,000-added Roxelana overnight stakes at six furlongs.
MILAM COULD SCRATCH IF ROXELANA COMES UP MUDDY; FIRES TALKS PISTOLPACKINPENNY'S NAME – Donamire Farm's unbeaten 4-year-old filly Willow Hills, a runaway allowance winner on May 21 for her third straight win, is the 2-1 morning line favorite. Meanwhile, Joseph W. Sutton's Milam is the 3-1 second-choice and looks to give her owner and trainer Eddie Kenneally their second victory in the race after teaming to win the 2013 renewal with Burban.
In five career starts on Churchill Downs' dirt oval, the homebred daughter of Street Sense has been in the money three times, one of which came in last year's Eight Belles (GIII) where she ran second behind Fiftyshadesofgold. She enters Saturday's race off a fourth-place effort in the May 25 Winning Colors (GIII).
With Saturday's National Weather Service forecast of a 70-percent chance of showers and thunderstorms, there is a possibility that Milam could scratch if the track comes up too muddy.
Jockey Corey Lanerie, who rides Milam, will be seeking his second Roxelana victory after winning the race in 2012 aboard Salty Strike.
Also coming out of the Winning Colors is Penny Fires' Pistolpackinpenny who ran a well-beaten seventh in that race. The Arkansas-bred daughter of Portobello Road is trained by William "Jinks" Fires, husband to the owner.
Fires told the story behind the 5-year-old mare's name, which involved a run-in with the police at Little Rock International Airport.
Jon Court, son-in-law to the Fires, has the mount aboard Pistolpackinpenny.
DOWN THE STRETCH – Cliff and Michele Love's Louisville Handicap (GIII) winner Xtra Luck breezed a half-mile in :48 Thursday morning for trainer Neil Howard. "He's doing good," Howard said. "He's one of those horses that is pretty straight forward. We had to skip turf training today because of (Wednesday's) rain so we'll put him back on the turf on Tuesday." Xtra Luck is scheduled to make his next start in the $100,000 Stars and Stripes (GIII) on July 11 at Arlington International. … Also breezing Thursday for Howard was Stoneway Farm's Ahh Chocolate, who was third in the May 15 Black Eyed Susan (GII) at Pimlico. The 3-year-old homebred daughter of Candy Ride went five furlongs in 1:01.00. Howard is targeting the $200,000 Indiana Oaks (GII) at Indiana Grand on July 18. … John C. Oxley's Noble Bird returned to the track Thursday for the first time since his victory in Saturday night's Stephen Foster Handicap (GI). The son of Birdstone jogged one mile around the main track. "The goal is to run in the (Aug. 8) Whitney," assistant trainer Norman Casse said. "But that's a long ways away so we'll see. If he isn't training well, we won't run him." … Jamie Grubbs' Missing Sefa will be making her 109th career start in Churchill Downs' fourth race on Thursday evening. The 13-year-old mare will make her 17th start at Churchill Downs. Her first local start came 11 years ago on May 12, 2004. Missing Sefa seeks her first victory of the year. Her last triumph was May 10, 2014 at Belterra Park. John McKee has the mount aboard the veteran mare, who is trained by her owner. … Popular area country music artist J.D. Shelburne will perform between races on the Plaza stage during today's Twilight Thursday eight-race card. Also featured are $1 beer of the 12-ounce variety from 5-8 p.m., food trucks and a special Handicapping 101 tent for newcomers. Gates open at 4 p.m. Thursday, the first race is 5 p.m. and the finale is set for 8:39 p.m. … Sunday doubles as Father's Day and Family Adventure Day Presented by Kroger with more than 20 fun activities for children under 12. Kids' activities include a Mighty Titans obstacle course, Father's Day crafts, strawberry carnival ride, stick horse races in the historic Churchill Downs Paddock, petting zoo, miniature pony rides, inflatable bounce house, corn hole, face painting, sidewalk chalk art, Kona Ice trucks, video game truck, bubble station, interactive sports games, miniature horse meet and greet, a strolling magician, Carmichael's Kids Story Time and more.


Each day since 2000, I have looked forward to coming to Saint John's School. It is filled with creativity and innovation. The students and faculty work together like a family; it is so inspiring. In addition to teaching, I enjoy coaching two mite hockey teams, tinkering with all things plants and gardening, reading, and spending time with my three boys and husband.
I have a Bachelor of Science degree in Psychology, with a minor in Coaching from the University of Wisconsin River Falls. I have a Master of Arts degree in Curriculum and Instruction from the University of St. Thomas in Minneapolis. I have been a classroom teacher for grades 3, 4 and 5, and have also been a K-8 specialist teacher in technology, physical education, art and library. In addition to teaching, I am a Google and IT administrator.
In creating a positive environment in my classes, my students feel welcome and are active participants in their education. My teaching style is that of a teacher/coach. When students are encouraged and understood, learning can take place.


Remaining healthy generally is one of the toughest challenges a guy can face. The results to be healthy are extremely rewarding for you personally can live longer and more happy. What exactly are these health improvement tips?
Existence could be sad should there be no stress, however if you simply have lots of it, it will make you weak. Good stresses are great to help keep, but bad stress must be reduced or managed effectively. To ensure that us to reduce stress, we have to understand how to set goals, stick to it, and learn to do it. Personal time management and support certainly play an important role in cutting stress.
Certainly one of best health improvement tips where feelings listed here are associated with the body systems. In case your have strong feelings you tend to get a high bloodstream pressure which in extraordinary instances lead to cardiovascular illnesses. Take control of your feelings by widening knowing about it others and also the existence you reside in.
Regular activities play an important role in remaining healthy. No requirement for someone to spend lots of money, you are able to exercise by yourself for instance brisk walking, biking, sports, along with other hobbies. You are able to incorporate it inside your day to day activities as with likely to work, doing your family chores, and so on.
There aren't any cures for Aids/AIDS and also the signs and symptoms of getting such take time and effort to find out. It may lead to dying otherwise treated correctly. Remain faithful and become safe by utilizing contraceptives.
Getting an optimistic attitude and ethics will certainly enhance your existence. This is among the best health improvement strategies for if you're a positive person, you have a tendency to attract good results too. Keep in mind that existence is really short for all of us to become negative so remain healthy when you are positive, live a contented existence.


text:
467 entries found.
rich (adj.)
Old English rice "strong, powerful; great, mighty; of high rank" (senses now obsolete), in later Old English "wealthy;" from Proto-Germanic *rikijaz (source also of Old Norse rikr, Swedish rik, Danish rig, Old Frisian rike "wealthy, mighty," Dutch rijk, Old High German rihhi "ruler, powerful, rich," German reich "rich," Gothic reiks "ruler, powerful, rich"), borrowed from a Celtic source akin to Gaulish *rix, Old Irish ri (genitive rig) "king," from Proto-Celtic *rix, from PIE root *reg- "move in a straight line," with derivatives meaning "to direct in a straight line," thus "to lead, rule" (compare rex).
The form of the word was influenced in Middle English by Old French riche "wealthy, magnificent, sumptuous," which is, with Spanish rico, Italian ricco, from Frankish *riki "powerful," or some other cognate Germanic word. Old English also had a noun, rice "rule, reign, power, might; authority; empire" (compare Reich). The evolution of the word reflects a connection between wealth and power in the ancient world, though the "power" sense seems to be the oldest.
In transferred and extended senses from c. 1200. The meaning "magnificent" is from c. 1200; that of "of great value or worth" is from mid-13c. Of food and colors, "having an abundance of a characteristic quality that pleases the senses," from early 14c.; of sounds, from 1590s; of soils from 1570s. Sense of "entertaining, amusing" is recorded from 1760. The noun meaning "the wealthy" was in Old English.
English once had a related verb rixle "have domination, rule," from Old English rixian "to rule."
sardine (n.)
"pilchard, type of small oily fish," migratory and highly esteemed as a food, early 15c., from Latin sardina, sarda, from late Greek sardinē, sardinos, earlier sardē, which is often said to be from or related to Sardō "Sardinia" (see Sardinia), the Mediterranean island, near which the fish probably were caught and from which they were exported.
But Klein writes, "It is hardly probable that the Greeks would have obtained fish from so far as Sardinia at a time relatively so early as that of Aristotle, from whom Athenaios quotes a passage in which the fish sardinos is mentioned." There were other place names in Sard- in the region. D'Arcy Thompson ("A Glossary of Greek Fishes") writes that "The pilchard does not reach Palestine, and the various Clupeids to be found in Greece are not well identified," and also notes that Greek sarda, whatever its origin, "became a very general name, not only for pickled Tunny and Pelamyd, but for a great variety of other potted fish."
When cold the fish are placed on tables, to be arranged in the boxes, in oil dipped from barrels. The oil being worth more than the fish, bulk for bulk, it is an object to fill the boxes as closely as possible with fish. [Century Dictionary]
Hence, as a verb, "to pack closely" (by 1895); the colloquial phrase packed like sardines (in a tin, etc.) is recorded by 1845. As the name of a hide-and-seek party game where each person who finds the hider then joins in hiding, by 1924.
staff (n.)
Old English stæf (plural stafas), "walking stick, strong pole used for carrying, rod used as a weapon, pastoral staff," probably originally *stæb, from Proto-Germanic *stab- (source also of Old Saxon staf, Old Norse stafr, Danish stav, Old Frisian stef, Middle Low German and Middle Dutch staf, Old High German stab, German Stab, Gothic *stafs "element;" Middle Dutch stapel "pillar, foundation"), from PIE root *stebh- "post, stem, to support, place firmly on, fasten" (source also of Old Lithuanian stabas "idol," Lithuanian stiebas "staff, pillar;" Old Church Slavonic stoboru "pillar;" Sanskrit stabhnati "supports;" Greek stephein "to tie around, encircle, wreathe," staphyle "grapevine, bunch of grapes;" Old English stapol "post, pillar").
As "pole from which a flag is flown," 1610s. In musical notation from 1660s. Sense of "group of military officers that assists a commander" is attested from 1702, apparently from German, from the notion of the "baton" that is a badge of office or authority (a sense attested in English from 1530s); hence staff officer (1702), staff-sergeant (1811). Meaning "group of employees (as at an office or hospital)" is first found 1837. Staff of life "bread" is from the Biblical phrase break the staff of bread meaning "cut off the supply of food" (Leviticus xxvi.26), translating Hebrew matteh lekhem.
The Old English word, in plural, was the common one used for "letter of the alphabet, character," hence "writing, literature," and many compounds having to do with writing, such as stæfcræft "grammar," stæfcræftig "lettered," stæflic "literary," stæfleahtor "grammatical error," with leahtor "vice, sin, offense."
pizza (n.)
"a savoury dish of Italian origin, consisting of a base of dough, spread with a selection of such ingredients as olives, tomatoes, cheese, anchovies, etc., and baked in a very hot oven" [OED], 1931, from Italian pizza, originally "cake, tart, pie," a name of uncertain origin. The 1907 "Vocabolario Etimologico della Lingua Italiana" reports it is said to be from dialectal pinza "clamp" (from Latin pinsere "to pound, stamp"). Klein suggests a connection with Medieval Greek pitta "cake, pie" (see pita). Watkins says it is (perhaps via Langobardic) from a Germanic source akin to Old High German bizzo, pizzo "bite, morsel," from Proto-Germanic *biton- (see bit (n.1)). Ayto ["Diner's Dictionary"] seems inclined toward this explanation, too.
The notion of taking a flat piece of bread dough and baking it with a savoury topping is a widespread one and of long standing — the Armenians claim to have invented it, and certainly it was known to the ancient Greeks and Romans — but it is Italy, and particularly Naples, that has given its version of the dish to the world. ... Since then it has undergone a series of metamorphoses in base, topping, and general character that would make it hard for Neapolitans to recognize as their own, but which have transformed it into a key item on the international fast-food menu. [Ayto]
A pizza is manufactured, as far as I can ascertain, by garnishing a slab of reinforced asphalt paving with mucilage, whale-blubber and the skeletons of small fishes, baking same to the consistency of a rubber heel, and serving piping-hot with a dressing of molten lava. ["Simon Stylites," in The Bergen Evening Record, May 15, 1931]
melt (v.)
Middle English melten, from Old English meltan (intransitive) "become liquid through heat" (class III strong verb; past tense mealt, past participle molten), from Proto-Germanic *meltanan; fused with Old English gemæltan (Anglian), gemyltan (West Saxon) "make liquid, reduce from a solid to a fluid state by means of heat" (transitive), from Proto-Germanic *gamaltijan (source also of Old Norse melta "to digest").
Both Germanic words are from PIE *meldh- (source also of Sanskrit mrduh "soft, mild," Greek meldein "to melt, make liquid," Latin mollis "soft, mild"), from root *mel- (1) "soft." Also in Middle English "dissolve" (of salt, sugar, etc.), "corrode" (of iron), "putrefy" (of flesh). Meaning "pass imperceptibly from one thing into another" is by 1781. Related: Melted; melting.
Figurative use "to diminish, wane; be touched, grow tender" is by c. 1200; transitive sense of "soften" (to love, pity, tenderness) is by early 14c. Of food, to melt in (one's) mouth is from 1690s. Melting point "degree of temperature at which a solid body melts" is by 1807. Melting pot is from early 15c.; figurative use from 1855; popularized with reference to immigrant assimilation in the United States by the play "The Melting Pot" by Israel Zangwill (1908):
DAVID Yes, East and West, and North and South, the palm and the pine, the pole and the equator, the crescent and the cross—how the great Alchemist melts and fuses them with his purging flame! Here shall they all unite to build the Republic of Man and the Kingdom of God. Ah, Vera, What is the glory of Rome and Jerusalem where all nations and races come to worship and look back, compared with the glory of America where all races and nations come to labour and look forward!
fish (n.)
"a vertebrate which has gills and fins adapting it for living in the water," Old English fisc "fish," from Proto-Germanic *fiskaz (source also of Old Saxon, Old Frisian, Old High German fisc, Old Norse fiskr, Middle Dutch visc, Dutch vis, German Fisch, Gothic fisks), perhaps from PIE root *pisk- "a fish." But Boutkan on phonetic grounds thinks it might be a northwestern Europe substratum word.
Popularly, since Old English, "any animal that lives entirely in the water," hence shellfish, starfish (an early 15c. manuscript has fishes bestiales for "water animals other than fishes"). The plural is fishes, but in a collective sense, or in reference to fish meat as food, the singular fish generally serves for a plural. In reference to the constellation Pisces from late 14c.
Fish (n.) for "person" is from 1750 with a faintly dismissive sense; earlier it was used in reference to a person considered desirable to "catch" (1722). Figurative sense of fish out of water "person in an unfamiliar and awkward situation" attested by 1610s. To drink like a fish is from 1744. Fish-story "incredible or extravagant narration" is attested by 1819, U.S. colloquial, from the tendency to exaggerate the size of the catch (or the one that got away).
Do not tell fish stories where the people know you; but particularly, don't tell them where they know the fish. ["Mark Twain," in "More Maxims of Mark" by Merle Johnson (1927)]
To have other fish to fry "other objects which invite or require attention" is from 1650s. Fish-eye as a type of lens is from 1961. Fish-and-chips is from 1876; fish-fingers from 1962.
Yankee (n.)
1683, a name applied disparagingly by Dutch settlers in New Amsterdam (New York) to English colonists in neighboring Connecticut. It may be from Dutch Janke, literally "Little John," diminutive of common personal name Jan; or it may be from Jan Kes familiar form of "John Cornelius," or perhaps an alteration of Jan Kees, dialectal variant of Jan Kaas, literally "John Cheese," the generic nickname the Flemings used for Dutchmen.
[I]t is to be noted that it is common to name a droll fellow, regarded as typical of his country, after some favorite article of food, as E[nglish] Jack-pudding, G[erman] Hanswurst ("Jack Sausage"), F[rench] Jean Farine ("Jack Flour"). [Century Dictionary, 1902, entry for "macaroni"]
Originally it seems to have been applied insultingly to the Dutch, especially freebooters, before they turned around and slapped it on the English. A less-likely theory (attested by 1832) is that it represents some southern New England Algonquian language mangling of English. In English a term of contempt (1750s) before its use as a general term for "native of New England" (1765); during the American Revolution it became a disparaging British word for all American natives or inhabitants. Contrasted with southerner by 1828. Shortened form Yank in reference to "an American" first recorded 1778. Latin-American form Yanqui attested in English by 1914 (in Mexican Spanish by 1835).
The rule observed in this country is, that the man who receives that name [Yankee] must come from some part north of him who gives it. To compensate us for giving each other nicknames, John Bull "lumps us all together," and calls us all Yankees. ["Who is a Yankee?" Massachusetts Spy, June 6, 1827]
serve (v.)
late 12c., "to render habitual obedience to," also "minister, give aid, give help," from Old French servir "to do duty toward, show devotion to; set table, serve at table; offer, provide with," from Latin servire "be a servant, be in service, be enslaved;" figuratively "be devoted; be governed by; comply with; conform; flatter," originally "be a slave," related to servus "slave," which is of uncertain origin.
Perhaps from Etruscan (compare Etruscan proper names Servi, Serve, Latinized as Servius), but de Vaan says it is from Proto-Italic *serwo- "shepherd," *serwā- "observation," from PIE *seruo- "guardian" (source also of Avestan haraiti "heeds, protects"):
Rix 1994a argues that the original meaning of *serwo- probably was 'guard, shepherd', which underwent a pejorative development to 'slave' in Italy between 700 and 450 BC. Servire would be the direct derivative of servus, hence 'be a slave'; servare would in his view be derived from an older noun *serwa- or *serwom 'observation, heedance'.
By c. 1200 also as "to be in the service of, perform a service for; attend upon, be personal servant to; be a slave; owe allegiance to; officiate at Mass or other religious rites;" from early 13c. as "set food at table;" mid-14c. as "to wait on (customers)." From late 14c. as "treat (someone or something) in some fashion."
To serve (someone) right "to treat as he deserves" is recorded from 1580s. Sense of "be useful, be beneficial, be suitable for a purpose or function" is from early 14c.; that of "take the place or meet the needs of, be equal to the task" is from late 14c.; that of "suffice" is from mid-15c. Meaning "render active military service" is from 1510s. Sporting sense, in tennis, badminton, etc., first recorded 1580s. Legal sense "present" (a writ, warrant, etc.), "give legal notice of" is from early 15c.
He no schuld neuer wond
To seruen him fro fot to hond
["Amis and Amiloun," c. 1330]
pork (n.)
c. 1300 (early 13c. in surname Porkuiller), "flesh of a pig as food," from Old French porc "pig, swine, boar," and directly from Latin porcus "pig, tame swine," from PIE root *porko- "young pig." Also in Middle English "a swine, a hog" (c. 1400).
Pork barrel in the literal sense "barrel in which pork is kept" is from 1801, American English; the meaning "state's financial resources (available for distribution)" is attested from 1907 (in full, national pork barrel); it was noted as an expression of U.S. President President William Howard Taft:
"Now there is a proposition that we issue $500,000,000 or $1,000,000,000 of bonds for a waterway, and then that we just apportion part to the Mississippi and part to the Atlantic, a part to the Missouri and a part to the Ohio. I am opposed to it. I am opposed to it because it not only smells of the pork barrel, but it will be the pork barrel itself. Let every project stand on its bottom." [The Outlook, Nov. 6, 1909, quoting Taft]
The magazine article that includes the quote opens with:
We doubt whether any one knows how or when, or from what application of what story, the phrase "the National pork barrel" has come into use. If not a very elegant simile, it is at least an expressive one, and suggests a graphic picture of Congressmen eager for local advantage going, one after another, to the National pork barrel to take away their slices for home consumption.
Pork in this sense is attested from 1862 (compare figurative use of bacon). Pork chop "slice of meat from the ribs of a pork" is attested from 1858. Pork pie "pie made of pastry and minced pork" is from 1732; pork-pie hat (1855) originally described a woman's style popular c. 1855-65, but also worn by men. It was distinguished by a brim turned up around the low crown, a shape that resembled a deep pork pie.
cover (n.)
mid-14c., "something laid, placed or spread (on something else)," from cover (v.). Sense of "something which veils or screens from sight" is from c. 1400. From c. 1500 as "shelter" of any kind, later especially in hunting, "shrubbery, brush, or thickets which conceal game" (1719).
Meaning "binding or wrapper of a book" is from 1590s; that of "envelope or wrapper for a letter" is by 1748. Meaning "recording of a song already recorded by another" is by 1970, short for cover version (1966). Cover-band "band that plays only cover songs" is by 1981. Cover girl is U.S. slang from 1915, shortening of magazine-cover girl (1899).
Cover-charge is attested by 1913. The immediate sense of cover in it appears to be the old one of "plate, knives, forks, spoons, napkin, wine glasses, etc., used at the table by one person," from French couvert, literally "a cover," in the same sense; supposedly they were so called because they were originally brought together in a case.
According to contemporary publications, cover came to include table condiments and bread and butter, and c. 1910 some restaurants began to charge extra for these. ["... a smart New York restauranteur recently made a 'cover charge' of twenty-five cents for bread and butter and ice-water. Others followed." - Edward Hungerford, "The Personality of American Cities," 1913]
In this sense, cover also probably involves the banquet service use of cover for a charge which includes ("covers") everything provided with the food — menu card, flowers, music, etc.
In recent years hotels, particularly those featuring entertainment in their restaurants, have made a so-called cover charge which includes entertainment in addition to the table service. For instance, at some of the larger hotels in New York, where there is dancing, or cabaret, or high-priced soloists, or entertainment of costly nature provided, there is a cover charge, sometimes as high as $1 the seat. [Hotel Monthly, December 1917]
6. concord
8. good
10. perky

redpajama_set_name: RedPajamaCommonCrawl


text:
Sancti Spíritus is een gemeente en stad in het midden van Cuba en de hoofdstad van de gelijknamige provincie Sancti Spíritus.

De stad heeft een rijk koloniaal verleden. Vandaag zakken nog weinig toeristen af naar deze door Diego Velázquez de Cuéllar gestichte stad. Ze ligt wat verloren te midden van een uitgestrekt en verarmd landbouwgebied, maar is met haar kunstpatrimonium bijna de evenknie van Cienfuegos en Trinidad.

Voornaamste bezienswaardigheid is de tweehonderd jaar oude terracotta Yayabo-brug die de nieuwe stad met het oude koloniale centrum verbindt.

Geboren
 George Alvarez (1960), Amerikaans acteur
 Eglis Yaima Cruz Farfan (1980), schutter
 Dayaris Mestre (1986), judoka
 Adrián Puentes (1988), boogschutter

Galerij

Stad in Cuba
Gemeente in Cuba