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Home » Learning Center » Business and Marketing » Jewelry Photography » Photographic Images on Refractory Metals
Photographic Images on Refractory Metals
by Marilyn Shaw
The following article explains photo techniques used to transfer images onto refractory metals. These findings were developed during my graduate studies at California State University, Long Beach, California.
Traditionally photo resists have been used as a masking agent in the chemical etching of metals. While working with the electrolytic coloration of refractory metals, I became frustrated with the lack of control I had over the images which were produced through masking areas with tape, nail polish and so on. With the initial problem of producing colored lettering on titanium, I thought of using photo resists as a masking agent, and it has since proven to be an effective way to produce virtually any image that can be transferred to a negative.
Although I have used Kodak Thin Film Resist (KTFR) for its ability to reproduce fine detail, other photo resists on the market will work in a similar manner. The descriptions of how to work with the photo resist liquid is kept brief. (More detailed information can be found in two excellent articles in the Fall and Summer 83 issues of Metalsmith, "Photoetching for the Studio Jeweler.")
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Marilyn Shaw, My Brother and Me necklace
Columbium, plastic, 1982
Photo Resist Description
First the KTFR resist is applied to the metal in a liquid form which becomes a light-sensitive emulsion when it dries. This coated surface is then exposed by contact printing just like a piece of photographic film, and the exposed piece developed. The resist was left in the areas where the surface was exposed to light. Areas which the light did not strike were free of the resist.
After the resist is developed, it is used as a mask in electrolytic coloring of titanium or columbium. The resist prevents the electrolyte from contacting the surface of the metal, Thus the exposed areas of the metal can be colored at a particular voltage, and once the resist is removed, the areas previously covered can be colored at a lower voltage. This produces a bicolored image on the refractory metal. The following article describes the processes used to produce successful results with KTFR resist. They were derived from guidelines in Kodak publications and through many experiments.
Since resist chemicals all contain xylene, an oily, colorless, toxic, flammable liquid, several safety procedures should be followed when using it. First, it should be kept away from heat and flame. Second, since it may be narcotic if inhaled in high concentrations, a chemical respirator with organic vapor cartridges to filter the chemicals should be worn when working with the resist, developer or thinner. The darkroom should also have an exhaust fan. As a further precaution, the dish used to develop the coated plates should have a cover to contain the fumes. Finally, because the resist chemicals are also harmful to the skin, heavy-duty neoprene gloves and safety glasses should be worn when working with the chemicals.
Cleaning Metal
The first cleaning step is very important. If not done properly, the resist will peel off during acid etching. The metal is initially sanded to remove oxides and scratches, then scrubbed with a small amount of water and cleanser and finally cleaned with detergent and ammonia, The metal is clean only when a continuous sheet of water can be maintained on its surface, indicating the absence of grease.
To completely clean the metal, it can also be electro-cleaned by being attached to the negative terminal of a D. C. generator and immersed in electro-cleaning solution. A stainless steel sheet is also attached to the positive terminal of the generator and immersed in the solution. The D. C. generator is turned on for a few seconds at 10 volts, after which the piece is removed and rinsed in water. To avoid transferring body oils to the metal, it should be handled by the edges only. It is then dried by compressed air or a blow-dryer and wrapped in paper until it is coated with resist at a later time.
Coating Metal with Resist
At this point, the photo resist work is done in a darkroom Photo resists are sensitive to ultraviolet radiation and will be fogged by sunlight or normal red safelights. A yellow bug light was the only light source I used as a safelight when working with the KTFR resist.
The cleaned pieces of metal are coated with a diluted mixture of KTFR—one part KTFR and two parts KMER (Kodak Metal Etch Resist) thinner. The metal is first brushed clear of dust particles with a photographic blower dust brush. The metal plate is held by the edges and a small amount of KTFR mixture poured on the plate. When the plate is rocked, the liquid resist spreads over the plate. The excess liquid is then poured off one corner, back into the bottle of diluted resist, leaving only a very thin coating of resist on the metal plate. Each plate is then either hung or propped up vertically over paper towels to be air dried for 10 to 15 minutes in the darkroom. The lowest edge of each plate collects a thicker coating of resist, Since this edge is not exposed to the same degree as the rest of the plate, the plate should be larger than is actually necessary and cut down later.
Prebaking
After the coated plates are air dried, they are baked to remove any residual solvents in the resist coating. The prebaking operation is done by placing the coated plates on a wire-mesh screen over a Salton hot tray. The hot tray emits no light, but provides the correct amount of heat. The plates are in the darkroom for 20 minutes. After cooling, they are carefully wrapped to protect the resist from scratching and stored in a light-proof box to avoid exposure to sunlight, which would expose and ruin the resist.
The exposure time for the coated plates depends on several factors: "The coating thickness, the retention of solvents within the resist layer, the nature of the surface upon which the resist is coated, and the spectral output of the exposing source." All of these factors make experimentation necessary to determine the correct exposure time.
The exposure light source I used at California State University was a Nu-Arc Plate Maker equipped with a xenon light source. After experimentation I found that exposure times of 20 to 30 seconds were adequate. Other sources of ultraviolet light could have also been used, such as a black light.
Before each piece was exposed, it was dusted with a photographer's dust brush, The negative used was also brushed to remove dust particles. The glass on the Plate Maker was also cleaned before every exposure. The coated plate is then placed on the Plate Maker with the resist-coated side facing up. The negative is then placed on top of the plate with its emulsion side facing down. The glass is lowered and the vacuum turned on. The vacuum frame is then turned over to face the xenon light. The desired exposure time is set and the light turned on. After the plate is exposed, it is carefully stored in a light-proof box.
Marilyn Shaw, Didn't Things Look Larger When You Were Smaller
Sterling silver, titanium, plastic, 1982
Several types of negatives can be used on the project pieces. The simplest type, used as a negative for lettering, is made with rub-down lettering (press type) on frosted Mylar. For other images, high-contrast, normal black-and-white negatives can be used. The high contrast is needed to properly expose the KTFR resist. Only very dense black areas of a negative will prevent the exposure light from exposing the resist. Gray areas of a negative will partially or fully expose the resist and usually produce an unclear image. lf the negatives do not have enough contrast, they can be reexposed on Kodalith film which produces high-contrast images by eliminating gray areas in the original image. Many of the negatives used in my project were derived from my own black-and-white negatives. The high-contrast Kodalith negatives were then used to expose the photo-resist-coated plates.
A third type of negative is a halftone negative which can reproduce an original photograph with a continuous range of tones. On the halftone negative the tones of the original photograph are broken up into a series of small dots which are small enough to be merged by the human eye at a normal viewing distance, creating the illusion of a continuous tone. The dots are produced by projecting a continuous-tone negative through a screen with a pattern of gridded lines or a screen of vignette dots. When the light passes through the screen it breaks up the image into a series of dots. The dots on the film vary in size depending on the amount of light passing through the original continuous-tone negative. The halftones used on all of my pieces were made by a commercial graphic arts company with an 85-line-per-centimeter screen. However, the halftone used on the piece entitled Me and My Brother was made with a 120-line-per-centimeter screen.
The developer used for KTFR is KMER (Kodak Metal Etch Resist developer). It is extremely noxious and a respirator mask and heavy-duty gloves should be worn at all times when working with it. The developer, actually a solvent, dissolves the KTFR photo resist in areas where it is not hardened by exposure to ultraviolet light.
A covered glass dish is used to develop the exposed plates. About ½ inch of KMER developer is poured into the dish. The exposed plate is then placed in the developer with the coated side up. The cover is replaced on the dish and it is then gently rocked for three minutes. The plate is then removed and placed in a dish of water. The unexposed resist is removed by the water and the image appears at this time. Because the developer tends to soften all the resist, the image is very fragile. As a result, extreme care must be taken when handling the plate after development.
After this step, the plate can be exposed to normal light without affecting the image. It is then air dried. The developer should be stored in a separate container from unused developer and can be reused four to six times before being discarded.
Postbaking
Postbaking the developed plate helps the resist to adhere to the metal during acid etching. After development, the plate is placed on a wire-mesh screen above a Salton hot tray and left on it for 15 minutes. The resist should then be hard and ready to be colored electrolytically.
Coloring of Refractory Metals
When the photo resist is applied to the refractory metals, titanium or columbium, it is not intended to be an acid resist for etching. Instead, the photo resist is used as a mask for electrolytic coloring of the metals. The photographic image is developed through coloring of the metals rather than acid etching the image.
Titanium and columbium can be colored by the formation of oxides on the surface of the metal. The thickness of this oxide determines the color seen by the human eye. It is an effect created by an optical phenomenon known as interference, meaning that no dyes have been used to produce the colors. Interference is simply the combination of waves of light which in turn produce different colors visible to the human eye. These oxide layers can be formed by heating the metal or by electrical current.
The electrical coloring of titanium and columbium is achieved with a D. C. generator capable of producing voltage from zero to approximately 100 volts. Since this voltage is strong enough to kill the operator, strict safety procedures must be followed (discussed later in this section). The metal to be colored is attached to the positive terminal or anode, and another piece of stainless steel or titanium is attached to the negative terminal or cathode. Both pieces of metal are suspended, without touching each other, in a liquid capable of transferring current. The liquid or electrolyte I used was tap water with a few spoonfuls of ammonium sulfate fertilizer. The liquid is contained in a nonconductive material such as plastic or glass.
When the generator is turned on and voltage transmitted to the metal, oxygen is formed at the positive side or anode. The oxygen combines with the metal of the anode and forms an oxide film layer on the metal anode. The thickness of this oxide film increases with higher voltage, therefore, different colors are produced by different voltages. For instance, titanium subjected to 20 volts will produce a purple color, while 50 volts will produce a light green color.
Once an area of a piece of titanium or columbium has been colored at a specific voltage, it can be immersed again in the electrolyte and subjected to a lower voltage. The first color produced by the higher voltage will remain unchanged and a second color will be produced (on previously uncolored areas) by the lower voltage.
To achieve several colors on one piece of metal, the highest voltage colors must be created first. The areas that are to be colored with a lower voltage must be masked from contact with the electrolyte. Masking can be easily done by using plastic tape or by painting the metal with a non-water-soluble liquid such as nail polish. Both of these methods are effective but limited. For more detailed designs, photo resist can be used as a masking agent.
The previously described process for coloring is used when the titanium and columbium were coated with a photoresist image. To insure good contact on the entire piece of metal, a rectangular, adjustable armature of titanium sheet is built. The piece to be colored is then clipped to this armature with plastic-coated spring-clips which gives metal to metal contact down both sides of the piece of metal. The armature is then hung in a five-gallon plastic bucket from plastic rods. A titanium cathode is similarly suspended in the other side of the bucket. The cathode is attached to the negative terminal by an alligator clip lead, and the armature holding the piece to be colored is attached by another alligator clip lead to the positive terminal.
The generator is then turned on and the voltage slowly increased to the highest voltage needed to color the metal. It is kept at this setting for only a few seconds, then turned off and unplugged. The metal is then removed and checked for the desired color. The exposed areas of the metal should be uniformly colored while the areas of metal covered by resist remain uncolored.
The piece is then removed from the armature and soaked in paint thinner which removes the photo resist and exposes the uncolored portion of the metal. The metal is then washed in water and detergent to remove the paint thinner.
The final coloring step is the oxidation of the areas of metal previously covered with photo resist. The piece of metal is again clipped to the armature and immersed in the electrolytic solution. The power leads are again attached, and the generator plugged into the wall socket. The current is turned on and slowly raised to the desired voltage, lower than the first voltage so as not to destroy the first color. When the piece is removed, it now has a two-color image. The metal is rinsed and dried with a blow-dryer. The colored titanium or columbium pieces can then be cut, shaped and attached to other materials to form various finished pieces.
Additional Safety Precautions
While using the D. C. generator, many safety procedures were followed. These are especially important because the voltage produced by the generator is strong enough to kill the operator: Rubber gloves and rubbersoled shoes are worn when operating the generator; the work piece electrolytic bath and wires are never touched while the power is on; as an added safety precaution, the generator is also unplugged before anything is removed from the solution; the work is always done on a wooden, rather than metal, table; and the work area is kept neat and free of pieces of metal or water which could conduct electricity. All these precautions must be checked repeatedly while coloring many pieces of metal.
The most important considerations in using photo resists are cleanliness and safety. If the plate has not been sufficiently cleaned, the photo image can be ruined. It is even worth the effort to sand the plate with emery paper, using cleanser and electro-cleaning it. Also, after the metal is coated, it must be kept free of dust particles, which will otherwise be certain to appear on the finished piece. Do follow strict safety precautions when using the photo-resist chemicals and the D. C. generator.
The application of photo resists on refractory metals provides a way to control the images obtained on these metals. But one drawback to this technique is the health hazards involved with the photoresist chemicals and the power supply. Perhaps other resists are less harmful than KTFR, but this area needs further investigation. Also, the equipment and darkroom facilities available to me as a student made some of my work easier. For instance, now that I no longer have access to that equipment, I am investigating using a black light source instead of the Xenon Plate Maker. All of which is to say that the individual studio jeweler will need to invest time and money to set up the proper equipment and work environment, which could even include a darkroom to produce transparencies.
I hope the information I obtained while experimenting with this process will be of value to others. But more to the point, I hope this technique to master but a more creative way to express ideas on metal.
Chromatec: Producing Photographic Images on Refractory Metals
Dalley, Terence, ed. The Complete Guide to Illustration and Design Techniques and Materials, Secaucus, N. J.: Chartwell Books, 1981.
Eastman Kodak Company. Characteristics of Kodak Photo Resists. Rochester, N. Y.: Kodak, 1978
____________. Kodak Photosensitive Resist Products for Photofabrication, Rochester, N. Y.: Kodak, 1978
____________. Photofabrication Methods with Kodak Photo Resists. Rochester, N. Y.: Kodak, 1979.
Hall, Joseph. "Properties and Uses of Titanium, Zirconium, Hafnium, Niobium (Columbium), and Tantalum for the Artist-Metalsmith." Research paper published as part of a group of papers in Metalsmith Papers, Clinton, Ohio: Society of North American Goldsmiths, 1979.
Lahue,Kalton D., ed. Creative Darkroom Techniques. Lost Angeles: Petersen Publishing Co., 1973.
Ward, James Brent. "The Colouring and Working of the Refractory Metals Titanium, Niobium, and Tantalum for Jewellery and Applied Application." Report 34/1. London: The Worshipful Company of Goldsmiths, [n. d.].
Weiss, Linda. "Questions and Answers."
Metalsmith, 2, Winter, 1981-82, 53.
Eastman Kodak Company, Photofabrication Methods with Kodak Photo Resists (Rochester, N. Y.: Kodak, 1979), pp. 2-19; Eastman Kodak Company, Kodak Photosensitive Resist Products for Photofabrication (Rochester, N. Y.: Kodak, 1978), pp. 2-15.
Eastman Kodak Company, Photofabrication Methods, p. 12.
Eastman Kodak Company, Characteristics of Kodak Photo Resists (Rochester, N. Y.: Kodak, 1978), [n. p.].
Kitk Kitkpatrick, "Devious Litho Derivation Effect," Creative Darkroom Techniques, ed. Kalton C. Lahue (Los Angeles: Petersen Publishing Co., 1973), pp. 30-32.
Terence Dalley, ed. The Complete Guide to Illustration and Design Techniques and Materials (Secaucus, N. J.: Chartwell Books, 1981), pp. 194-96.
James Brent Ward, "The Colouring and Working of the Refractory Metals Titanium, Niobium, and Tantalum for Jewellery and Applied Application," Report No. 34/1 (London: The Worshipful Company of Goldsmiths, [n. d.]. p. 1.
Joseph F. Hall, "Properties and Uses of Titanium, Zirconium, Hafnium, Niobium (Columbium), and Tantalum for the Artist-Metalsmith," a research paper published as part of a group of papers in Metalsmith Papers (Clinton, Ohio: Society of North American Goldsmiths, 1979), p. 64.
Ward, "The Colouring and Working of the Refractory Metals," p. 2.
Linda Weiss, "Questions and Answers," Metalsmith, 2 (Winter, 1981-82), p. 53.
Metalsmith Magazine – 1984 Summer
In association with SNAG's
Metalsmith magazine, founded in 1980, is an award winning publication and the only magazine in America devoted to the metal arts.
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DNC Chairwoman Just Threw Hillary And Obama Under The Bus!
No, you didn't misread that. No, that's not a typo. A gift from God is what this is. I can assure you I never expected to ever utter those words. I never expected what I will share with you to happen. I never expected the head of the Democrat Party to throw Hillary Clinton and Barack Obama under the bus.
What am I talking about? I'm talking about a Politico article that took some excerpts from Donna Brazile's book to be published on November 7th, 2017: "Hacks: The Inside Story of the Break-ins and Breakdowns that Put Donald Trump in the White House."
The article is quite long and takes a lot from the book, but there are some VERY key pieces that need to be shared. The article talks about how Donna wanted to look into the scandal that Hillary Clinton might've rigged the election and screwed Bernie from the beginning.
We begin with the first instance of throwing someone under the bus: "My predecessor, Florida Rep. Debbie Wasserman Schultz, had not been the most active chair in fundraising at a time when President Barack Obama's neglect had left the party in significant debt. As Hillary's campaign gained momentum, she resolved the party's debt and put it on a starvation diet. It had become dependent on her campaign for survival, for which she expected to wield control of its operations."
Wow. We begin with a big one. In that paragraph alone, she threw three Democrats under the bus: Debbie Wasserman Schultz, Obama and Hillary. She essentially said that Schultz was doing next to nothing in terms of fundraising, but more significantly, she ACCUSED Obama of neglecting the party financially.
And that's something I truly never thought I'd see. For as much as they loved Hillary, even they knew that she was a pretty terrible candidate. They knew the only thing she had going for herself was her gender. They were banking on that, since that was her only "positive". I put positive between quotation marks because gender shouldn't really be a significant factor in choosing a candidate for President. Just as voting for a black guy because he's black is just as racist as voting against him because he's black, voting for a woman because she's a woman is just as sexist as voting against a woman because she's a woman.
But let's not get sidetracked too much. This revelation from Brazile is simply too astonishing to go down a tangent that I can talk about at any other point. The article continues with more under-the-bus-throwing: "Debbie was not a good manager. She hadn't been very interested in controlling the party – she let Clinton's headquarters in Brooklyn do as it desired so she didn't have to inform the party officers how bad the situation was. How much control Brooklyn had and for how long was still something I had been trying to uncover for the last few weeks. By September 7th, the day I called Bernie, I had found my proof and it broke my heart."
Then, we move on to a phone call made to Gary Gensler, the chief financial officer of the Clinton campaign. "The Saturday morning after the convention in July, I called Gary Gensler… He wasted no words. He told me the Democratic Party was broke and $2 million in debt." She then responded to Gensler with: "I am an officer of the party and they've been telling us everything is fine and they were raising money with no problems."
And then, comes the detailed revelation from Gensler: "That wasn't true", he said. "Officials from Hillary's campaign had taken a look at the DNC's books. Obama left the party $24 million in debt - $15 million in bank debt and more than $8 million owed to vendors after the 2012 campaign – and had been paying that off very slowly. Obama's campaign was not scheduled to pay it off until 2016. Hillary for America (the campaign) and the Hillary Victory Fund (its joint fundraising vehicle with the DNC) had taken care of 80 percent of the remaining debt in 2016, about $10 million, and had placed the party on an allowance."
Oh my God. I honestly can't believe this is being released for the public (that at least researches a little) to see. Earlier, Brazile had thrown Obama under the bus by saying he neglected the party financially. Well, this is throwing Obama under the Space Shuttle. She's revealing that Obama was terrible with even his own PARTY'S finances.
I've mentioned that Obama essentially killed the Democrat Party in the past, but this goes a step even further. Back then, I only meant that in terms of politics. People didn't like what he did with the country, and decided to vote against Democrats. But now, we see that he even did his best in killing his party FINANCIALLY.
Regardless, we move on to the other target for the DNC bus: Hillary Clinton. The article continues: "On the phone Gary told me the DNC had needed a $2 million loan, which the campaign had arranged. 'No! That can't be true!' I said. 'The party cannot take out a loan without the unanimous agreement of all the officers.' 'Gary, how did they do this without me knowing?' I asked. 'I don't know how Debbie relates to the officers,' Gary said. He described the party as fully under the control of Hillary's campaign, which seemed to confirm the suspicions of the Bernie camp. The campaign had the DNC on life support, giving it money every month to meet its basic expenses, while the campaign was using the party as a fund-raising clearinghouse. Under FEC law, an individual can contribute a maximum of $2,700 directly to a presidential campaign. But the limits are much higher for contributions to state parties and a party's national committee."
"Individuals who had maxed out their $2,700 contribution limit to the campaign could write an additional check for $353,400 to the Hillary Victory Fund – that figure represented $10,000 to each of the 32 states' parties who were part of the Victory Fund agreement - $320,000 – and $33,400 to the DNC. The money would be deposited in the states first, and transferred to the DNC shortly after that. Money in the battleground states usually stayed in that state, but all the other states funneled that money directly to the DNC, which quickly transferred the money to Brooklyn."
Ok, that's a lot of information to look at, so I'll break down what it means. Gary informed Donna that the Clinton campaign had full control of the party. Meaning that the FEC contribution limit doesn't matter at all. The money contributed to either the Hillary Victory Fund or the individual states' local Democrat party went straight to the DNC. And since the party was under the control of the Clinton campaign, that means that the money then could go straight to the campaign.
In essence, what Donna mentioned earlier was right: the Clinton campaign was using the party as a cash cow. A mere platform for fundraisers.
Now, parties do everything they can to raise money for their respective campaigns. And campaigns typically control the party when they have an incumbent, such as in 2012 when Obama was the incumbent Democrat president. But parties typically aren't controlled by the campaign until a victor is declared. And Donna makes the shocking revelation (though, shocking to us conservatives for different reasons) that the Clinton campaign had full control of the DNC BEFORE she was the party's nominee.
"I had tried to search out any other evidence of internal corruption that would show that the DNC was rigging the system to throw the primary to Hillary, but I could not find any in party affairs or among the staff… Then I found this agreement. The funding agreement with HFA and the victory fund agreement was not illegal, but it sure looked unethical. If the fight had been fair, one campaign would not have control of the party before the voters decided which one they wanted to lead… I told Bernie I had found Hillary's Joint Fundraising Agreement. I explained that… she had exerted this control of the party long before she became its nominee."
That proves it. The agreement Donna is talking about shows that the Clinton campaign had full control of the party before Hillary was even the nominee. Now, I'm not shocked by this like, say, a liberal would be. I've known for a long time now that Hillary and the DNC screwed Bernie. What I'm shocked by is the fact that the current DNC head is REVEALING ALL OF THIS! She's revealed right there that Hillary and the DNC screwed Bernie's chances long before a nominee was even decided upon. Hillary had the nomination in the bag from almost the get-go.
I could talk so much more about this, but time constraints exist for me in these articles, so I'll try to summarize my thoughts as opposed to expressing them with as much detail as I usually do.
When reading that Politico article, the first thing that came to mind was how the Left said that Republicans were being torn apart because of Trump. That we're divided. That there's no unity. But in reality, while there are RINOs that divide the party, most Republicans are in favor of Trump. We're united with him.
But when we take a look at the DNC, we see nothing more than a dumpster fire. They are screwed financially. They are screwed politically. And they have no real sense of reality. At one point in the article, Donna even mentioned to Bernie that she did not believe the polls that had Hillary winning! Even THE DNC CHAIRWOMAN was hesitant about Clinton's chances!
I'll end this article with these words: the Democrat Party is in total shambles and I couldn't be happier about it.
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We sometimes find ourselves without opponents/party-mates for our game nights. It happens. But what if you still want to get some gaming in? Well, Chronicles of Arborell has you covered. They've released the Well of Shadows gamebook... and another 19 other books, available in .pdf format.
With so many adventures, you've got quite an instant-library of solo adventures you can go on. Finished with one and concerned that you won't be able to replay it? Well, just grab another book and go at it. These sets have been reformatted, had new graphics added to them, and have been oftentimes rewritten for this release.


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text:
constexpr int32_t kNumThreads = 10;
constexpr int32_t kIters = 1000;

namespace absl {
inline namespace lts_2018_06_20 {
namespace base_internal {

// This is defined outside of anonymous namespace so that it can be
// a friend of SpinLock to access protected methods for testing.
struct SpinLockTest {
  static uint32_t EncodeWaitCycles(int64_t wait_start_time,
                                   int64_t wait_end_time) {
    return SpinLock::EncodeWaitCycles(wait_start_time, wait_end_time);
  }
  static uint64_t DecodeWaitCycles(uint32_t lock_value) {
    return SpinLock::DecodeWaitCycles(lock_value);
  }
};

namespace {

static constexpr int kArrayLength = 10;
static uint32_t values[kArrayLength];
static SpinLock static_spinlock(base_internal::kLinkerInitialized);
static SpinLock static_cooperative_spinlock(
    base_internal::kLinkerInitialized,
    base_internal::SCHEDULE_COOPERATIVE_AND_KERNEL);
static SpinLock static_noncooperative_spinlock(
    base_internal::kLinkerInitialized, base_internal::SCHEDULE_KERNEL_ONLY);

// Simple integer hash function based on the public domain lookup2 hash.
// http://burtleburtle.net/bob/c/lookup2.c
static uint32_t Hash32(uint32_t a, uint32_t c) {
  uint32_t b = 0x9e3779b9UL;  // The golden ratio; an arbitrary value.
  a -= b; a -= c; a ^= (c >> 13);
  b -= c; b -= a; b ^= (a << 8);
  c -= a; c -= b; c ^= (b >> 13);
  a -= b; a -= c; a ^= (c >> 12);
  b -= c; b -= a; b ^= (a << 16);
  c -= a; c -= b; c ^= (b >> 5);
  a -= b; a -= c; a ^= (c >> 3);
  b -= c; b -= a; b ^= (a << 10);
  c -= a; c -= b; c ^= (b >> 15);
  return c;
}

static void TestFunction(int thread_salt, SpinLock* spinlock) {
  for (int i = 0; i < kIters; i++) {
    SpinLockHolder h(spinlock);
    for (int j = 0; j < kArrayLength; j++) {
      const int index = (j + thread_salt) % kArrayLength;
      values[index] = Hash32(values[index], thread_salt);
      std::this_thread::yield();
    }
  }
}

static void ThreadedTest(SpinLock* spinlock) {
  std::vector<std::thread> threads;
  for (int i = 0; i < kNumThreads; ++i) {
    threads.push_back(std::thread(TestFunction, i, spinlock));
  }
  for (auto& thread : threads) {
    thread.join();
  }

  SpinLockHolder h(spinlock);
  for (int i = 1; i < kArrayLength; i++) {
    EXPECT_EQ(values[0], values[i]);
  }
}

TEST(SpinLock, StackNonCooperativeDisablesScheduling) {
  SpinLock spinlock(base_internal::SCHEDULE_KERNEL_ONLY);
  spinlock.Lock();
  EXPECT_FALSE(base_internal::SchedulingGuard::ReschedulingIsAllowed());
  spinlock.Unlock();
}

TEST(SpinLock, StaticNonCooperativeDisablesScheduling) {
  static_noncooperative_spinlock.Lock();
  EXPECT_FALSE(base_internal::SchedulingGuard::ReschedulingIsAllowed());
  static_noncooperative_spinlock.Unlock();
}

TEST(SpinLock, WaitCyclesEncoding) {
  // These are implementation details not exported by SpinLock.
  const int kProfileTimestampShift = 7;
  const int kLockwordReservedShift = 3;
  const uint32_t kSpinLockSleeper = 8;

  // We should be able to encode up to (1^kMaxCycleBits - 1) without clamping
  // but the lower kProfileTimestampShift will be dropped.
  const int kMaxCyclesShift =
    32 - kLockwordReservedShift + kProfileTimestampShift;
  const uint64_t kMaxCycles = (int64_t{1} << kMaxCyclesShift) - 1;

  // These bits should be zero after encoding.
  const uint32_t kLockwordReservedMask = (1 << kLockwordReservedShift) - 1;

  // These bits are dropped when wait cycles are encoded.
  const uint64_t kProfileTimestampMask = (1 << kProfileTimestampShift) - 1;

  // Test a bunch of random values
  std::default_random_engine generator;
  // Shift to avoid overflow below.
  std::uniform_int_distribution<uint64_t> time_distribution(
      0, std::numeric_limits<uint64_t>::max() >> 4);
  std::uniform_int_distribution<uint64_t> cycle_distribution(0, kMaxCycles);

  for (int i = 0; i < 100; i++) {
    int64_t start_time = time_distribution(generator);
    int64_t cycles = cycle_distribution(generator);
    int64_t end_time = start_time + cycles;
    uint32_t lock_value = SpinLockTest::EncodeWaitCycles(start_time, end_time);
    EXPECT_EQ(0, lock_value & kLockwordReservedMask);
    uint64_t decoded = SpinLockTest::DecodeWaitCycles(lock_value);
    EXPECT_EQ(0, decoded & kProfileTimestampMask);
    EXPECT_EQ(cycles & ~kProfileTimestampMask, decoded);
  }

  // Test corner cases
  int64_t start_time = time_distribution(generator);
  EXPECT_EQ(0, SpinLockTest::EncodeWaitCycles(start_time, start_time));
  EXPECT_EQ(0, SpinLockTest::DecodeWaitCycles(0));
  EXPECT_EQ(0, SpinLockTest::DecodeWaitCycles(kLockwordReservedMask));
  EXPECT_EQ(kMaxCycles & ~kProfileTimestampMask,
            SpinLockTest::DecodeWaitCycles(~kLockwordReservedMask));

  // Check that we cannot produce kSpinLockSleeper during encoding.
  int64_t sleeper_cycles =
      kSpinLockSleeper << (kProfileTimestampShift - kLockwordReservedShift);
  uint32_t sleeper_value =
      SpinLockTest::EncodeWaitCycles(start_time, start_time + sleeper_cycles);
  EXPECT_NE(sleeper_value, kSpinLockSleeper);

  // Test clamping
  uint32_t max_value =
    SpinLockTest::EncodeWaitCycles(start_time, start_time + kMaxCycles);
  uint64_t max_value_decoded = SpinLockTest::DecodeWaitCycles(max_value);
  uint64_t expected_max_value_decoded = kMaxCycles & ~kProfileTimestampMask;
  EXPECT_EQ(expected_max_value_decoded, max_value_decoded);

  const int64_t step = (1 << kProfileTimestampShift);
  uint32_t after_max_value =
    SpinLockTest::EncodeWaitCycles(start_time, start_time + kMaxCycles + step);
  uint64_t after_max_value_decoded =
      SpinLockTest::DecodeWaitCycles(after_max_value);
  EXPECT_EQ(expected_max_value_decoded, after_max_value_decoded);

  uint32_t before_max_value = SpinLockTest::EncodeWaitCycles(
      start_time, start_time + kMaxCycles - step);
  uint64_t before_max_value_decoded =
    SpinLockTest::DecodeWaitCycles(before_max_value);
  EXPECT_GT(expected_max_value_decoded, before_max_value_decoded);
}
TEST(SpinLockWithThreads, StaticSpinLock) {
  ThreadedTest(&static_spinlock);
}
TEST(SpinLockWithThreads, StackSpinLock) {
  SpinLock spinlock;
  ThreadedTest(&spinlock);
}

TEST(SpinLockWithThreads, StackCooperativeSpinLock) {
  SpinLock spinlock(base_internal::SCHEDULE_COOPERATIVE_AND_KERNEL);
  ThreadedTest(&spinlock);
}

TEST(SpinLockWithThreads, StackNonCooperativeSpinLock) {
  SpinLock spinlock(base_internal::SCHEDULE_KERNEL_ONLY);
  ThreadedTest(&spinlock);
}

TEST(SpinLockWithThreads, StaticCooperativeSpinLock) {
  ThreadedTest(&static_cooperative_spinlock);
}

TEST(SpinLockWithThreads, StaticNonCooperativeSpinLock) {
  ThreadedTest(&static_noncooperative_spinlock);
}

TEST(SpinLockWithThreads, DoesNotDeadlock) {
  struct Helper {
    static void NotifyThenLock(Notification* locked, SpinLock* spinlock,
                               BlockingCounter* b) {
      locked->WaitForNotification();  // Wait for LockThenWait() to hold "s".
      b->DecrementCount();
      SpinLockHolder l(spinlock);
    }

    static void LockThenWait(Notification* locked, SpinLock* spinlock,
                             BlockingCounter* b) {
      SpinLockHolder l(spinlock);
      locked->Notify();
      b->Wait();
    }

    static void DeadlockTest(SpinLock* spinlock, int num_spinners) {
      Notification locked;
      BlockingCounter counter(num_spinners);
      std::vector<std::thread> threads;

      threads.push_back(
          std::thread(Helper::LockThenWait, &locked, spinlock, &counter));
      for (int i = 0; i < num_spinners; ++i) {
        threads.push_back(
            std::thread(Helper::NotifyThenLock, &locked, spinlock, &counter));
      }

      for (auto& thread : threads) {
        thread.join();
      }
    }
  };

  SpinLock stack_cooperative_spinlock(
      base_internal::SCHEDULE_COOPERATIVE_AND_KERNEL);
  SpinLock stack_noncooperative_spinlock(base_internal::SCHEDULE_KERNEL_ONLY);
  Helper::DeadlockTest(&stack_cooperative_spinlock,
                       base_internal::NumCPUs() * 2);
  Helper::DeadlockTest(&stack_noncooperative_spinlock,
                       base_internal::NumCPUs() * 2);
  Helper::DeadlockTest(&static_cooperative_spinlock,
                       base_internal::NumCPUs() * 2);
  Helper::DeadlockTest(&static_noncooperative_spinlock,
                       base_internal::NumCPUs() * 2);
}

}  // namespace
}  // namespace base_internal
}  // inline namespace lts_2018_06_20
}  // namespace absl

redpajama_set_name: RedPajamaGithub


JOSE MOURINHO is feeling the heat at Manchester United - and Tottenham's fans haven't let the Portuguese forget it.
Mourinho's men fell 2-0 behind at home to Spurs tonight - just like they did at Brighton last time out.
United put in a better first-half showing than they did at the Amex Stadium.
But Tottenham netted twice in as many minutes after the break to leave Mourinho in big trouble.
And Spurs fans at Old Trafford wasted little time letting the ex-Chelsea boss know about it.
Minutes after Lucas Moura converted a Christian Eriksen cross to make it 2-0 - the away fans could be head loudly chanting 'You're getting sacked in the morning' to the under-fire Portuguese.
United and Tottenham had fought out an entertaining but goalless first half at Old Trafford.
Romelu Lukaku had numerous chances to give the hosts what would have been a deserved lead, including dragging across the face of an open goal after rounding Hugo Lloris.
But Spurs' directness unsettled the hosts and Phil Jones was fortunate not to give away a penalty for barging over Lucas Moura.
Harry Kane then made United pay for their wastefulness by heading home a Kieran Trippier cross.
Kane all too easily got away from Jones at a corner and directed a super header into the top right-hand corner.
The 50th-minute opener was soon added to as Eriksen ghosted behind to send in a cross directed home by Moura.
Things only got worse for United, as Moura added his second with five minutes to go to put the visitors 3-0 ahead.


text:
The 4 other names that Metallica considered when choosing their name
One of the biggest Heavy Metal bands in history, Metallica was formed in 1981 in Los Angeles by vocalist and singer James Hetfield and drummer Lars Ulrich. However, the name of the band didn't appeared righ away and they had other options in mind as Ulrich revealed in an interview with Playboy Magazine back in 2001.
One of the most successful bands of all time, Metallica sold more than 125 million albums worldwide. Also was inducted into the Rock and Roll Hall Of Fame back in 2009.
"We had a list of 20 possible names: Nixon, Helldriver, Blitzer. I was really keen on Thunderfuck," Lars Ulrich said.
Helldriver
Thunderfuck
How the name Metallica was chosen
In an interview with NPR back in 2017, the band's co-founder and drummer Lars Ulrich revealed how he "came up" with the name Metallica. "Well, I came up here actually in the spring of 1981 and ended up at a kegger over on Strawberry Hill. I met a bunch of really cool San Francisco kids. One them was named Ron."
"He told me he wanted to start his own fanzine, like a hard rock fanzine, where he wrote about all his favorite bands. He wanted, he asked me whether he should call the fanzine Metallica or Metal Mania. So I suggested that he call it Metal Mania (Laughs)."
Ex-guitarist Dave Mustaine used to call the band The Four Horsemen
Guitarist Dave Mustaine was the Metallica lead guitarist from 1982 to 1983 until he was fired due to addiction and behavior problems, being replaced by Kirk Hammett. Mustaine went on to create Megadeth, that became one of the biggest Thrash Metal bands of all time.
In a conversation with Guitar World back in 2011, Mustaine said that he used to call the band The Four Horsemen before it was named Metallica. "I had always called us, as a group, the 'Four Horsemen.' Before I was in Metallica, I really loved this band called Montrose and guitarist was Ronnie Montrose".
"He went on to form a band called Gamma. One of their records had a shark fin cutting through the grass. I thought was so awesome. Anyway, he had a song on there called "Four Horsemen" that I did with my band Panic, which I was with before Metallica".
He continued:
"So when I joined Metallica, I had the song 'Mechanix,' which I wrote. 'Four Horsemen' was a suggestion of mine to do 'cause we were doing cover songs. So that had planted the seed with James.
"One day when we were coming to rehearsal Lars had just said something about slowing down my song, 'Mechanix.' I had just gotten to the studio with Cliff. We had been listening to Lynyrd Skynyrd. I was being a jerk. So I played 'Sweet Home Alabama' instead of 'Mechanix.' That's basically the middle part of what would become 'Four Horsemen.'
Related Topics:articles, CLASSIC ROCK, cliff burton, dave mustaine, Featured, hard rock, heavy metal, interviews, james hetfield, kirk hammett, lars ulrich, lists, metallica, thrash metal
New Alex Lifeson band Envy Of None released new song "Look Inside"
The 7 best movies with Mick Jagger


text:
To participate in the poll, please enable JavaScript or use a browser that supports it.
◄ IMDb Polls
Poll: Let's Go to a Circus or Carnival
A poll by horn-5.
Films that have a circus or carnival (the side-show kind and not a fiesta-festival) and/or a wild west show or an aerial show as the primary setting.
http://www.imdb.com/list/Ne_LMu8TCpk/
Smell the sawdust and popcorn at the one you choose to attend.
See results without voting »
Circus World (1964)
Billy Rose's Jumbo (1962)
Trapeze (1956)
The Greatest Show on Earth (1952)
The Circus (1928)
At the Circus (1939)
Charlie Chan at the Circus (1936)
The Big Circus (1959)
Nightmare Alley (1947)
Poppy (1936)
Sally of the Sawdust (1925)
Daredevils of the Red Circle (1939)
Ring of Fear (1954)
Laugh, Clown, Laugh (1928)
The Last Circus (2010)
7 Faces of Dr. Lao (1964)
I'm No Angel (1933)
Buffalo Bill and the Indians, or Sitting Bull's History Lesson (1976)
Annie Oakley (1935)
You Can't Cheat an Honest Man (1939)
Psycho-Circus (1966)
Merry Andrew (1958)
The Wagons Roll at Night (1941)
Man on a Tightrope (1953)
Acrobatty Bunny (1946)
The Shadow of the Eagle (1932)
The Big Show (1936)
Gorilla at Large (1954)
State Fair (1945)
Something Wicked This Way Comes (1983)
Carnival of Souls (1962)
The Cabinet of Dr. Caligari (1920)
IMDb Polls
Follow @IMDb on Twitter
Poll FAQ
groovy-vic voted for Dumbo (1941)
stefanBetty voted for Dumbo (1941)
anthropo voted for The Greatest Show on Earth (1952)
jamesfisherjf voted for Circus World (1964)
shannonlee1956 voted for Carnival of Souls (1962)
luisgrant46 voted for The Greatest Show on Earth (1952)
MarlowCrew voted for Freaks (1932)
loonapick voted for Freaks (1932)
s007davis voted for Circus World (1964)
emmalieblakemore voted for Ring of Fear (1954)


text:
search filter Books & JournalsAll JournalsCamera Obscura
About Camera Obscura: Feminism, Culture, and Media Studies
Search Results for archive
Critical Ethnic Studies (6)
Gender and Sexuality (248)
Feminism and Women's Studies (43)
LGBTQ Studies (7)
Media Studies (258)
Theory and Philosophy (211)
Feminist Theory (205)
Race and Indigeneity (6)
Camera Obscura: Feminism, Culture, and Media Studies (258)
Archive of the Future/Archive of Everyday Practices: Feminism, Materiality, Temporality
Mary Desjardins
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2006) 21 (1 (61)): 33–37.
.... A R C H I V E F O R T H E F U T U R E Archive of the Future/Archive of Everyday Practices: Feminism, Materiality, Temporality Mary Desjardins My first exposure to Camera Obscura was in 1979 or 1980, while I was a master's student in comparative literature at the...
Creating an Archive of LGBTQ Video Game Content: An Interview with Adrienne Shaw
Bonnie Ruberg
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2017) 32 (2 (95)): 165–173.
...Bonnie Ruberg In this interview, Temple University assistant professor of media studies and production Adrienne Shaw discusses her work creating the LGBTQ Video Game Archive. Today, the dynamic interplay between queerness and video games provides scholars with an emerging area of exploration. The...
Photography, the Archive, and the Question of Feminist Form: A Conversation with Zoe Leonard
Huey Copeland
... productively deform Western conceptualizations of the aesthetic. In February 2011, Copeland interviewed Leonard about her practice and its implications for feminist approaches to vision, history, and the archive. Their conversation took place at the College Art Association annual conference in New York as part...
Kate and Allie: "New Women" and the Audience's Television Archive
Robert H. Deming
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1988) 6 (1 (16)): 154–168.
DOI: https://doi.org/10.1215/02705346-6-1_16-154
...Robert H. Deming Copyright © 1988 by The Johns Hopkins University Press 1988 Kate and Allie Kate and Allie: "New Women" and the Audience's Television Archive Robert H. Deming Network television rediscovered the "new woman" again in the Fall 1984 season. Several prime...
Camera Obscura 's Archive for the Future
... Camera Obscura 2006 A R C H I V E F O R T H E F U T U R E Camera Obscura's Archive for the Future To celebrate Camera Obscura's thirtieth anniversary, we are pub- lishing short writings that we are calling an archive for the future of...
Postfeminism and the Archive for the Future
Yvonne Tasker, Diane Negra
... A R C H I V E F O R T H E F U T U R E Postfeminism and the Archive for the Future Yvonne Tasker and Diane Negra Recent analyses (including our own) have taken note of the extent to which popular media have become thoroughly "postfeminized" lately. Employing postfeminism's...
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2006) 21 (3 (63)): 135.
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2007) 22 (1 (64)): 179.
The Archive, the Phallus, and the Future
Karen Beckman
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2007) 22 (1 (64)): 186–193.
... Archive, the Phallus, and the Future Karen Beckman I was delighted to read Camera Obscura's call for submissions to an archive for the future and was especially interested to see "the phallus (a dead object on the list of possible contributions. I was caught by the potential for comedy...
... Camera Obscura 2007 ARCHIVE FOR THE FUTURE Camera Obscura's Archive for the Future To celebrate Camera Obscura's thirtieth anniversary, we published a series of short essays as a means of compiling a conceptual archive for the future of feminism...
Sad Songs of Nitrate: Women's Work in the Silent Film Archive
Jane M. Gaines
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2007) 22 (3 (66)): 171–178.
... Courtesy of Deutsches Filminstitut ARCHIVE FOR THE FUTURE Sad Songs of Nitrate: Women's Work in the Silent Film Archive Jane M. Gaines The first phase of feminist film theory elaborated the gaping wound that was women's structural position in culture, but...
The Imaginary Archive: Current Practice
Tess L. Takahashi
...." ARCHIVE FOR THE FUTURE The Imaginary Archive: Current Practice Tess L. Takahashi The term archive usually connotes an officially sanctioned reposi- tory of objects and documents that reinforce a group or nation's identity and origins. What then can be made of the deluge of...
Against House Arrest: Digital Memory and the Impossible Archive
Domietta Torlasco
... memory that originates from the future—one that remembers not only what happened but also what did not happen in our cinematic past (and yet might have, under different conditions), what "will have happened" by virtue of these archival interventions: a memory of, and in, the future anterior. As it draws...
Big Affect: The Ephemeral Archive of Second-Wave Feminist Video Collectives in Canada
Marusya Bociurkiw
...Marusya Bociurkiw From 1972 to the early 1990s, Canadian feminist media collectives created dozens of social-issue documentaries and television series, producing an ephemeral archive of a vibrant era of political and social change. This article discusses the loss and/or deterioration of the...
Camera Obscura at Thirty: Archiving the Past, Imagining the Future
The Camera Obscura collective
...The Camera Obscura collective Camera Obscura 2006 This content is made freely available by the publisher. It may not be redistributed or altered. All rights reserved. A R C H I V E F O R T H E F U T U R E Camera Obscura at Thirty: Archiving the Past...
In the Archives of Lesbian Feelings: Documentary and Popular Culture
Ann Cvetkovich
...Ann Cvetkovich Camera Obscura 2002 Ann Cvetkovich is associate professor of English at the University of Texas at Austin. She is the author of Mixed Feelings: Feminism, Mass Culture, and Victorian Sensationalism and An Archive of Feelings: Trauma, Sexuality, and Lesbian Public...
Closet Archives
Lynne Joyrich
..., locker, receptacle, recess, repository, safe, storeroom, vault, walk-in, wardrobe. ARCHIVE: cache, canon, catalog, chronicle, collection, depository, file, index, journal, memorial, record, register, repository, safe, storehouse, tomb, vault, warehouse, writing. A R C...
Breathing in the Archives
Amelie Hastie
... "Detritus and the Moving Image." Courtesy of the Freud Museum, London A R C H I V E F O R T H E F U T U R E Breathing in the Archives Amelie Hastie Thoughts were things, to be collected, collated, analyzed, shelved, or resolved. — H. D., A Tribute to...
Unfixings: Archiving the Future
E. Ann Kaplan
... Politics of Terror and Loss in Media and Literature (2005). She is working on two further book projects, "Public Feelings, Memory, and Affective Difference: Contemporary Visual Culture" and "Screening Older Women: Desire, Shame and the Body." ARCHIVE FOR THE FUTURE...
Show Me Yours: Cyber-Exhibitionism from Perversion to Politics
Julie Levin Russo
... specifically on JenniCam and the LiveJournal community "exhibitionism_2," as well as more broadly on the ways in which the Internet reconfigures psychic and archival structures. Such developments draw mediated scopophilia ever closer to the domain of archival knowledge, while at the same time unsettling the...


text:
Surname Studies
Study Stories
Church Marriage Finder
The Surname Society was founded as a not-for-profit entity by a worldwide group of experienced genealogists. The vision of the Society is to connect like-minded people by providing up-to-date facilities which enable members to share knowledge, data and good practice with others regardless of where in the world they are. The Society is entirely online and focusses on single surname studies to meet the needs of researchers in the world of family history and genealogy as it evolves in the 21st century. [Read more..]
What is a surname study?
A surname study is much more than a family pedigree which only researches the ancestors and descendants of one individual. Studying a surname in depth, many individuals, groups and associations choose to collect all references to a surname on either a global or limited basis. Studies could be restricted to a particular country, or a state, county or region within a country. [Read more..]
Latest study registrations: Willmore, Mason, Wild, Goodenough, Newman.
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info@surname-society.org
Surname Scribbler V6 I1 published
The latest newsletter has been published and is available to download from the Newsletters page in the Members Only section of the website.
Is one of our members researching your surname?
© 2014-2018 The Surname Society Suffusion theme by Sayontan Sinha


Here are my two biggest gripes with commencement addresses: they are usually too long and the speaker usually doesn't actually address the graduates. I once sat through an hour and a half long commencement address. It was bad enough that it was overly lengthy (he even had supplemental material in the lobby because he just couldn't get to it in a "reasonable time"), but the worst offense was that it had absolutely nothing to do with the graduating class (or even graduating in general). I also sat in the audience at a high school stadium as the state senator who gave the address completely failed to look at the graduating class (who sat to her left) even once. She addressed her remarks to those of us in the audience who weren't, you know, graduating.
These are some of the reasons I have (admittedly far-fetched)dreams of one day somehow giving a commencement address. I've thought about it for years and, if I'm ever given the opportunity, can guarantee this: I will address the graduating class and it won't be too long.
You may have answered, "to college," "the military," or maybe even, "I'm going to travel for a year." For many, the answer came easily because it is what you've prepared for. It is what you've worked for. Even if you don't have a grand pan, I wager that the answer still came easily because the questions have been asked so many times.
I, too, have a question for you, but I fear it is one you may not have yet heard. Even if you have, I doubt it's been repeated as often as the others.
This is my question: "Who will you be?" Think carefully before you answer, because this answer shapes your life more than any college, career, or love affair. This answer requires the greatest thought and the most exquisite care. It determines how you react when you don't wind up where you thought you'd go. It decides your course when you can't accomplish what you planned to do.
Will you be a man or woman of integrity, or will you sacrifice anything for the top grade, the best promotion? Will you be honest, or abandon Truth when it is convenient. Will you be who you are in spite of all around you? Will you be a constant others can count on, or a shiftless, changing form?
Who will you be? Decide now, decide today that being better does not come from a higher GPA, scoring the most points, getting the better promotion, or even being more well known. Decide now that it comes from the strength of your character. Decide now that where you go or what you do will never be more important than who you are!
Who will you be? The decision is yours alone. Decide well, then, Go Forth, sure of who you are.
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Tardy to the "Russian Doll" party? Welcome, sweet birthday babies!
Like this show's main fête, this mysterious show has grown into a phenomenon. But its appeal is very simple
By Melanie McFarland
February 22, 2019 10:00PM (UTC)
Natasha Lyonne in "Russian Doll" (Courtesy of Netflix)
Being tardy in discovering a series is an unnecessarily apologetic concept that needs to be done away with, especially given the deluge of choice viewers face whenever we turn on the television. Admittedly my motivation for saying this is that, by this standard, I am not only "late" in digesting Netflix's "Russian Doll," I'm arriving at the dregs of the party, just in time to feast my eyes on a sea of empty bottles and revelers passed out in piles.
But there's still music and plenty to drink, appropriate to a show about a woman, Nadia Vulvokov, who appears to be trapped in a time-loop that resets in the midst of her 36th birthday celebration. Nadia, played by Natasha Lyonne, is a raspy-voiced New Yorker hellbent on living like there's no tomorrow, a woman who treats her body like an ashtray and, soon into the first episode, jumps at the chance to smash with a middle-aged douchebag so full of himself that his ego is leaking out of his ear holes.
Nadia doesn't think much about many people beyond herself, including her friends hosting the festive celebration on her behalf. Said party is filled with people who seem to be there mostly at the behest of the host Maxine (Greta Lee), and the promise of liquor and dancing, as opposed to honoring any significant ties to the guest of honor. But it's not as if she cares. We meet Nadia in Maxine's avant-garde bathroom, staring at herself in the mirror as other partygoers bang on the door. When she crankily emerges it's not clear whether the annoyed people waiting their turn know or even like her. Whatever. In a room and a world teeming with strangers, Nadia is defiantly solo.
When she's mowed down by a cab and dies in the street, only to wake up back at that bathroom sink, suddenly she starts caring about her life. She may have been barreling through it toward an early grave, but at least it was moving forward.
That's pretty much anyone can tell you without getting into spoiler territory — inevitable in any discussion that goes into specifics beyond the series trailer. Which, by the way, doesn't necessarily sell its high artistic worth.
Enough people have digested "Russian Doll" to let supposed "latecomers" finally know that yes, it's OK to step into the pool, the plot current isn't going to leave you flummoxed or bored. The late viewer may even benefit from supplementary reading or viewing on the series. Theories about the meaning and symbolism nestled within each episode abound; if you're looking for an explainer of what you just saw (or, if you don't care about spoilers, what you're about to see), it's not hard to find a few.
It's a thing, this "Russian Doll." And that's surprising. "Russian Doll" doesn't tease us with nostalgia like "Stranger Things" did when it seemed to drop out of the sky a few seasons back. Lyonne's face on its poster doesn't necessarily make it stand out in the streaming service's jukebox of offerings.
Nor does it necessarily help that "Russian Doll" is one of those shows that's best enjoyed the less you know about it, a factor increasingly met with wariness in this era of empty hype. Maybe there's a reason to maintaining an enigmatic veil around a story, or maybe it's all for nothing. Let other people do the recon and report back, I say. Nothing wrong with that.
Still, we love a "Groundhog Day" premise like we love a good rager: done well and imaginatively, it's one worth talking about. This one traps Lyonne's character Nadia in a time loop of revel-die-repeat. Just as importantly, it's never-ending party is an efficiently paced loop. The eight-episode first season of "Russian Doll" is made for binging; no installment tops 30 minutes, making it an easy four-hour watch you can plow through in a single go.
But "Russian Doll" also defeats a few nagging annoyances common to modern TV series.
(Warning: Mild spoilers ahead. Continue reading at your own peril.)
One, the narrative tempts fate by waiting several episodes to justify its existence, an irritating indulgence among streaming series that run on a platform whose quality control is notoriously questionable, if it exists at all.
Mind you, those who already have affection for Lyonne or the scruffy character she plays don't require convincing to hang in there. All others who don't immediately invest the time-repeat gambit, however, must be urged to keep watching until the end of episode three when the series explicitly introduces the story's second most important character, a guy named Alan (Charlie Barnett). Not many series would take almost half of a season to introduce a key co-star, but the moment this one does, the plot immediately tightens.
Secondly, it dares to be a puzzle mystery after many failed attempts crammed with Easter eggs and esoteric literary references, forgetting that even "Lost" tumbled into befuddlement somewhere midway down its own rabbit hole. As its title hints, disassembling "Russian Doll" is a cinch: Each shell opens to reveal a similarly-shaped package that also opens, repeating the same trick but yielding a different look with each go.
This idea also holds for the show's central trick, that Lyonne and her co-creators Amy Poehler and Leslye Headland anchor the story in Nadia's perspective (developed, it must be said, by an entirely-female writing staff and executed by women directors) and allow her to be the lovable messy rake, the guy who can't be tamed or pinned down, whose misdeeds and selfish actions are ultimately forgivable.
It's refreshing that Nadia is uninterested in finding lasting romance with John (Yul Vazquez), a classically "stable" love interest who wants her regardless of how emotionally locked down she is. Instead Alan gets to be the character stuck in a loop of romantic regret — a guy who, sadly, begins each of his highly structured impeccably-timed do-overs stuck with an engagement ring.
But even this thematic turn doesn't adequate get at the magnetism of a series whose storytelling framework and its very existence are testaments to the potency of time: granting the time we have value beyond efficiency or hedonism; taking life at a pace that makes sense; recognizing that we exist in finite chapters as part of an infinite web of connection.
And these would seem to be huge concepts for a show about a 36-year-old self-concerned woman to wrestle with, especially to a brain at 3 a.m., perhaps under the influence of a joint laced with a party drug, "like they do it in Israel." Winding down parties are full of philosophers, another detail this series plays out in the very end.
Because even in its gorgeous, heart-swelling final scene, "Russian Doll" still doesn't expressly reveal what it's about, but it does trade upon a very straightforward premise beneath all its mind-trips over timelines and quantum theory. Human connection is all that matters in the end. We may not need exclusive partnership as much as we require commitment to looking after one another. It's as simple as that.
Cynics are bound to find this summary message to be facile after all the fuss, I'd bet. Headier intellectual angles abound within these episodes pertaining to physics and alternate existence along with a side dish of mysticism. Its soundtrack features vintage radio delights and has turned Harry Nilsson's 1971 song "Gotta Get Up" — this show's equivalent of "I've Got You Babe," the song that tortured Bill Murray's "Groundhog" character — into a modern-day earworm. One side adventure revived interest in a lesser known work of "Anne of Green Gables" author Lucy Maud Montgomery, "Emily of New Moon."
But the Occam's Razor of all this hits just right, especially now when it feels like we're nearing some cosmic expiration date. The central message of "Russian Doll" may be beyond succinct summary, the same way that it's impossible to assign a universally-accepted meaning to the point of living. What matters is that by the time the finale episode's credits roll and we set this show back on the shelf, you'll probably feel better about people and the human condition. And it's never too late for that experience.
Melanie McFarland
Melanie McFarland is Salon's TV critic. Follow her on Twitter: @McTelevision
MORE FROM Melanie McFarland • FOLLOW McTelevision
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2 Free Desks and Chairs, Anyone?
It might seem odd for a Linux and open source pundit to try to convince you it's possible to operate your Windows environment frugally, but I have a reason for doing it. If you're going to use Windows, you should learn to do so for as little out-of-pocket expense as possible. There's nothing wrong with paying only for what you really need, which is especially true for computer support.
Cover Your Assets: It's possible to decrease your Windows total ownership costs. Really.
I've always had the attitude that a well-trained, in-house end-user support person is your first line of defense against expensive third-party support calls. By using the troubleshooting techniques described in this article, you'll be able to inform your contracted support that you've done all the easy stuff, and now it's time to call in the experts. You should always hand the external support person a list of things you've done to remedy the situation before he arrives — then leave him alone.
Many well-meaning in-house support folks love to "talk tech" with these per-hour experts who are only, in most cases, too happy to oblige. Once the external support person resolves the matter, ask for a written report of the problem and its resolution. Retain this information for future reference. It might be something you can fix yourself next time, and it's also a line of defense against additional charges should the same problem crop up again too soon.
If you've ever followed a computer support person around, you might have noticed a standard set of "fixes" they try almost regardless of the problem description. The first technique is to reboot the computer. I know it's a Windows cliché but it exists for a reason: It fixes many common problems. Rebooting a computer refreshes its memory, reinitializes all peripherals, restarts all standard processes and programs, and presents you with a fresh start in your operating system. The first type of reboot to try is what's known as a "warm" boot. This is a simple restart of the computer without powering it off.
The second method is a "cold" boot, where you power off the computer and power it on again. This technique troubleshoots any power-related problems allowing all electronic and mechanical components to be refreshed from a "cold" state. Watch the computer reboot. Watch it shut down and watch it all the way back up until you're presented with a desktop with no hourglass. Don't go for the proverbial cup of coffee; it's very important that you watch everything as it happens-noting any errors, notifications or warnings and write them down. You'll be pleasantly surprised at how many problems are fixed by a simple reboot, and it costs you nothing more than a few minutes of your time.
Keep your disks free of clutter (Temporary files) and periodically optimize (Defragment) them for better performance. How often? Twice per month should suffice. Don't forget to do this same maintenance on your server systems to enhance their performance as well.
Encourage all employees to save their work to the server since backups run every night. Most applications have a default directory where data is stored — alter that default directory to point to your server or some central system. You are making those nightly backups, aren't you? Verify backups once a month by restoring a single file or folder. Saving data to a remote system keeps your desktop systems free of clutter, lowers the risk of data loss and is another method of covering your assets.
There's nothing like preventative maintenance to act as an ounce of prevention to avoid spending a pound or three on a cure. Purchase an antivirus program and use it. Do not disable the antivirus services in any way. Virus cleanup costs more time and money than any other support function in computing environments today. Being proactive also means you'll need to make sure each desktop computer has the antivirus software setup to scan the entire local disk(s) once a day. The best antivirus software programs have e-mail, web, network and instant messaging protection capabilities.
You'll need a good spyware program, too. Unfortunately, most spyware programs have to be run manually, but at least you can do this instead of paying someone to do it. Do it on "off hours," and start the scan on all your computers at the same time to save time. You know you're infected with spyware when your computer runs inexplicably slow, you have strange pop-up ads showing up even when you don't have an Internet browser open, or you attempt to connect to a site but are redirected to a site that you didn't want. Often spyware programs deliver payloads that require manual intervention to remove; in those cases, call in a third-party professional.
When I was a Desktop Support Technician, I noticed a few things about how people use computers. In general, men loved to "tweak" their computers and customize every aspect of their computing environment. Unfortunately, 99 percent of these "tweakers" work themselves into trouble from their antics, costing productivity and money to repair their enhancements. Tweakers, it seems, also love to talk and tell you how much they know about computers while you're fixing what they broke — a further waste of time.
Women, on the other hand, treated the computer like a tool. When something broke and a ticket came to me from a woman, I knew that the computer was broken. I also knew it probably wasn't going to be simple to fix.
Advise your employees, especially the men, that tweaking is not a requirement of their jobs and the expense to repair their improvements will be borne by them personally. When individuals know they'll have to pay for their dalliances, it's surprising how much more productive they become.
Viruses, spyware, pirated programs, software from home and random downloaded software from the Internet plague every company, large or small, that I have ever heard about. The best way to avert potentially expensive problems associated with unauthorized software is to have some rules governing software installation. And, this just isn't idle rhetoric, the fines for pirated software are steep. If you think that you can't afford to pay for software, you really can't afford to pay the fines for illegal software.
You also must establish some "rules of engagement" for contacting technical support. There should be a very limited number of people authorized to engage third-party technical support. Otherwise, you'll find that you have a very large support bill that you'd really like to dispute but can't.
There's no reason to pay someone $75 to $150 per hour to scan a desktop computer for viruses or to reboot a system — do it yourself. Sure, there are times when you need a professional. Know your limitations, but don't throw away money. Save the hard stuff for the geeks and get on with your business. Running a company equipped with Windows computers doesn't have to be a black hole where you dump a significant amount of your profit every month. Roll up your sleeves, click a few buttons and maintain those systems yourself.