text:
NISSAN MURANO 2014 2.G
NISSAN MURANO 2014 2.G 08IT Navigation Manual
Manufacturer: NISSAN, Model Year: 2014, Model line: MURANO, Model: NISSAN MURANO 2014 2.G
NISSAN MURANO 2014 2.G 08IT Navigation Manual MURANO 2014 2.G NISSAN NISSAN https://www.carmanualsonline.info/img/5/348/w960_348-0.png NISSAN MURANO 2014 2.G 08IT Navigation Manual
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Example 3: Setting a destination by a
1. Pushlocated on the steering
wheel switch.
2. The system announces, "Please say a command".
3. Speak "Address".
4. Speak the name of the state, "California".
5. Speak the name of the city, "Gardena".
6. Speak the name of the street, "SouthFigueroa street".
Speak the street name precisely including
boulevard, way, north, south, etc. In Alter-
nate Command Mode, the system does not
recognize abbreviated names when they are
spoken. In this case, the system does not
accept "Figueroa street" or "Figueroa".
7. Voice feedback will be provided when the command is accepted, and the list of street
names appears.
8. After the tone sounds and the icon on the screen changes again, speak "One".
Voice recognition9-25
9-26Voice recognition
9. Speak the house number."How to speak numbers" (page 9-20)
If the house number is unknown, speak "No
house number".
10. To confirm the destination location on the map, speak "Show map". To calculate a
route, speak "Calculate route".
10 General system information
Features of this navigation system .................................... 10-2Route guidance ................................................................ 10-2
Places of interest (PLACES) directory ....................... 10-2
Address book .................................................................... 10-2
Avoid area ........................................................................\
.. 10-2
NavTraffic information ...................................................... 10-2
Automatic reroute ............................................................. 10-2
Detour ........................................................................\
......... 10-2
Birdview
TM........................................................................\
Voice guidance ................................................................. 10-3
Current vehicle location ........................................................ 10-3
Display of current vehicle location ............................... 10-3
What is GPS (Global Positioning System)? ............. 10-3
Incorrect display of vehicle position ............................ 10-5
Detailed Map Coverage Areas (MCA) for
navigation system ............................................................. 10-7
When gray road is displayed on map ........................ 10-7 Route calculation ................................................................... 10-8
Route guidance ...................................................................... 10-9
Basics of voice guidance ............................................. 10-9
Directions provided and distances to
guide points .................................................................. 10-10
Repeating voice guidance ........................................ 10-11
Notes on voice guidance .......................................... 10-12
Notes on NavTraffic information ..................................... 10-13
Notes on NavWeatherXM information .......................... 10-14
Map data ........................................................................\
...... 10-15 How to order map data updates ............................ 10-15
About map icons ......................................................... 10-15
About map data ........................................................... 10-15
End-user terms ............................................................ 10-16
How to handle display ...................................................... 10-19
Characteristics of liquid crystal display ................. 10-19
Maintenance of display .............................................. 10-19
10-2General system information
ROUTE GUIDANCE
The main features of the NISSAN Navigation
System are visual guidance and voice guidance
in selected map coverage areas. Utilizing a
network of GPS (Global Positioning System)
satellites, the NISSAN Navigation System tracks
the location on the map and navigates to a
preferred location.
Once the destination is set in a map coverage
area, the NISSAN Navigation System will
calculate a route from the current location to
the destination. The real-time map display and
turn-by-turn voice guidance leads the driver
along the route. These features can be espe-
cially helpful when driving to unfamiliar locations.
The system may be unable to set a destination
and/or calculate a route when the destination is
outside the map coverage area. Additionally,
voice guidance may not be available if the
destination is outside the map coverage area.
For more information on how to set a destina-
tion, refer to section 4.
PLACES OF INTEREST (PLACES) DI-
RECTORY
The NISSAN Navigation System offers an
extensive places of interest (Places) directory
in map coverage areas. This directory includes a
wide variety of destinations ranging from gas
stations, ATMs, and restaurants to casinos, skiresorts, shopping centers and businesses. A
point of interest can be searched by category,
name or phone number. After selecting a
destination, the NISSAN Navigation System will
calculate a route to that destination.
The Places directory has many uses. For
example, the directory can be sorted by the
various types of restaurants near the current
location. If an ATM or gas station is needed, the
NISSAN Navigation System can navigate to the
closest preferred location.
For more information on how to use the Places
directory, refer to section 4.
The Address Book can store up to 300 locations
from map coverage areas into a personal
directory. This is especially useful for frequently
visited locations, such as clients, relatives and
friends. The Address Book function allows easy
access to frequently visited locations when
setting them as your destination.
For more information on how to use the Address
Book, refer to section 6.
AVOID AREA
The Avoid Area function sets areas or freeways
that the NISSAN Navigation System does not
include in the suggested route when calculating
routes. For example, if a freeway or area that is
always congested with traffic.
For more information on the Avoid Area function,
refer to section 6.
NavTraffic INFORMATION
When available, the NavTraffic Information
broadcast may help to avoid delays due to
traffic incidents. Traffic jams, roadwork, closed
roads around the current location, etc. are
represented graphically on the map by icons
depicting the nature of the event. Incidents on
the route are automatically brought to the
attention when they are approached.
The NavTraffic Information feature, via the
guidance mode, may help to detour around
traffic problems. For more information on the
NavTraffic Information feature, refer to section 5.
AUTOMATIC REROUTE
When detecting a deviation from the suggested
route, the NISSAN Navigation System will
automatically recalculate a new route to the
destination.
For more information on the Automatic reroute
function, refer to section 5.
To make a detour due to traffic conditions, the
Detour function calculates an alternative route.
The NISSAN Navigation System can calculate a
FEATURES OF THIS NAVIGATION
route using secondary roads that will return to
primary roads after a specified number of miles.
For more information on the Detour function,
BirdviewTM
Two map types, the 2D (Plan View) map and
BirdviewTM(3D) map, are available in the
NISSAN Navigation System. BirdviewTMmap
displays the map from an elevated perspective.
In Birdview
TMmap, it is easy to recognize an
image of the route because it provides a
panoramic view over a long distance.
For more information on Birdview
TMmap, refer
to section 3.
VOICE GUIDANCE
Route guidance is provided through voice and
visual instructions. Voice guidance announces
the appropriate directions when approaching an
intersection to turn.
For more information on voice guidance, refer to
DISPLAY OF CURRENT VEHICLE LO-
This navigation system combines the data
obtained from the vehicle (by gyro sensor) and
from GPS (Global Positioning System) satellites
to calculate the current location of the vehicle.
This position is then displayed throughout route
guidance to a destination.
WHAT IS GPS (Global Positioning
System)?
GPS is a position detecting system that uses
satellites deployed by the U.S. government. This
navigation system receives radio signals from
three or more different satellites that orbit
13,049 miles (21,000 km) above the earth in
space, and detects the position of the vehicle by
utilizing the principle of triangulation.
Positioning adjustment
When the system judges that the vehicle
position information is not accurate based on
vehicle speed and gyro sensor data calculations,
the system will automatically adjust the position
of the vehicle icon using GPS signals.
General system information10-3
CURRENT VEHICLE LOCATION
Receiving signals from GPS satellites
The reception of GPS signals can be weak,
depending on the environment. Vehicles in the
following areas/environments may not receive
GPS signals (indicator color: gray) .
*Inside tunnels or parking garages
*Areas with numerous tall buildings
*Under multi-layered highways
*Under many large trees
*In a canyon
The GPS antenna is located on the instrument
panel inside the vehicle. Do not place any
objects, especially mobile phones or transcei-
vers, on the instrument panel. Because the
strength of the GPS signal is approximately one
billionth of that of TV waves, phones and
transceivers will affect or may totally disrupt
the signal.
Display of GPS information
GPS information can be displayed."Viewing GPS current location informa-
tion" (page 7-19)
Route guidance provided by the navigation
system does not take carpool lane driving
into consideration, especially when car-
pool lanes are separated from other road
lanes.
INCORRECT DISPLAY OF VEHICLE
The following cases may affect the display
accuracy of the vehicle's position or traveling
direction. The accuracy will return to normal if
the driving conditions return to normal.
*When there is a similar road nearby.
*When the vehicle is traveling in an area with
a grid pattern road system.
*When the vehicle is passing through a large
Y-shaped intersection/junction.
*When the vehicle is traveling on a contin-
uous, slowly curving road.
*When the vehicle is traveling on a road with
repeating S-shaped curves.
*When the vehicle is on a loop bridge.
*When the vehicle is on a snow-covered or
unpaved road.
*When repeatedly turning left or right, or
driving in zigzags.
*When the vehicle is rotated on a parking lot
turntable while the ignition switch is off.
*When driving on a road not displayed on
the map screen or a road that has been
changed due to additional construction or
other reasons.
*When the GPS positioning accuracy is low.
. The vehicle icon may be misaligned when
starting the vehicle just after starting the
engine or the hybrid system.
. The vehicle icon may also be misaligned if
different sized tires or tire chains are
. The system has a function that automatically
corrects the vehicle icon position when it is
misaligned from the actual position.
. Vehicle position correction by GPS may not
function when the vehicle is stopped.
. If the vehicle icon position does not return to
normal even after driving for a while, correct
the vehicle icon position manually.
"Adjusting current vehicle location"
(page 8-9)
DETAILED MAP COVERAGE AREAS
(MCA) FOR NAVIGATION SYSTEM
This system is designed to help guiding to the
destination, and it also performs other functions
as outlined in this manual. However, the system
must be used safely and properly. Information
concerning road conditions, traffic signs and the
availability of services may not always be up-to-
date. The system is not a substitute for safe,
proper and legal driving. Map data covers select metropolitan areas in the United States and
Map data includes two types of areas: "Detailed
coverage areas" providing all detailed road data
and other areas showing "Main roads only".
Detailed map data is not available in many
areas and is generally limited to select
major metropolitan areas.
WHEN GRAY ROAD IS DISPLAYED
. When you are driving on a road displayed in
gray after the vehicle has deviated from the
suggested route during route guidance,
automatic rerouting may not start immedi-
ately.
. The navigation system does not provide
route guidance for roads displayed in dark
green. Therefore, if the destination is set on
a road displayed in dark green, the enlarged
map display will return to the ordinary map
screen at some point on a suggested route
that is near the destination. Also, voice
guidance will stop at some point on a
suggested route that is near the destination.
. Places information and street names near
roads displayed in gray may not be con- tained in the map data.
.There may be cases that carpool lanes are
included on a suggested route when the
automatic rerouting function is activated,
even if the "Use Time Restricted Roads" is
turned off.
"Setting conditions for route calcula-
. If the destination is set on a dark green road,
the enlarged map display will switch to the
ordinary map screen at some point and
suggest a route that is near the destination.
The distance and direction to the endpoint
of the suggested route will be displayed in
the lower right corner of the screen. Also, at
this time, voice guidance will announce,
"The route to the destination includes roads
through incomplete map areas. Voice gui-
dance will not be provided in these areas".
When approaching the endpoint of the
suggested route, voice guidance will an-
nounce, "Entering the road with incomplete
map data. Use the direction arrow and
distance information to proceed to your
To reach the destination, refer to the map
screen. Always follow actual roads and regulations and drive safely.
. The suggested route may not be the short-
est, nor are other circumstances such as
traffic jams considered.
. Because of the inevitable difference in road
conditions and circumstances between the
time you use this system and the time the
information was produced for the map data,
there may be discrepancies in roads and
regulations. In such cases, follow the actual
information available.
. During route calculation, the map will not
scroll, however the vehicle icon will move
with the actual vehicle's movement.
. During route calculation, buttons such as
, , and
(if so equipped) and the multi-
function controller will be disabled.
. In some cases, after the calculation is
complete, the calculated route may not be
immediately displayed.
. Waypoints that have been passed will be
disregarded by rerouting calculation.
. If you scroll the map while the suggested
route is being drawn, it may take more time
to finish drawing. .
If waypoints are set, the system calculates
multiple routes between waypoints simulta-
neously, and the following may result.
— If one section between waypoints cannot
be calculated, none of the route will be
— The route may not connect completely at some waypoints.
— The route may require a U-turn close to some waypoints.
. Route calculation may not be completed in
the following cases.
— If there is no main road within a range of
1.5 miles (2.5 km) from the vehicle, a
message saying so will appear on the
screen. Try recalculating when the vehi-
cle is closer to a main road.
— If there is no main road within a range of 1.5 miles (2.5 km) from the destination or
waypoint, a message saying so will
appear on the screen. Try setting the
location closer to a main road.
— If the vehicle is too close to the destina- tion or if there are no roads to the
destination, a message saying so will
appear on the screen.
ROUTE CALCULATION
Search: (fuses, brake fluid, fuse box location, battery replacement, refuelling)
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View, print and download for free: NISSAN MURANO 2014 2.G 08IT Navigation Manual, 252 Pages, PDF Size: 2.86 MB. Search in NISSAN MURANO 2014 2.G 08IT Navigation Manual online. CarManualsOnline.info is the largest online database of car user manuals. NISSAN MURANO 2014 2.G 08IT Navigation Manual PDF Download. Example 3: Setting a destination by a street address 1. Pushlocated on the steering wheel switch. 2. The system announces, "Please say a command". 3. Speak


One of the most important components of any computer is the BIOS, that is in charge of giving the motherboard the appropriate orders so as to load the operating system on the RAM memory. To be able to know if a computer's BIOS is up-to-date, the best idea is to have a program like BIOS Agent installed.
This program scans the computer to recognize the BIOS that is currently installed, and after that it searches the Internet to find out if there is any update available. As well as the BIOS, this program also detects all the operating system drivers and checks if there is any update.
Once it has found out if there are any updates available, the program will show the results by means of the operating system's default Internet browser, because it lacks an interface. On the results page the program offers the possibility to download both the BIOS as well as the drivers (this download service is only available prior payment of a monthly instalment to the developers of this software).
Therefore, if you want to know if both your BIOS as well as your drivers are up to date, download and install BIOS Agent, it is free and very easy to use.
This download requires an Internet connection to check if there are new versions of the BIOS and the drivers.


There's war and there is peace and right now in Oklahoma peace is reigning. The time to recognize those who still are in the service of our country is coming up on Oct. 3. The women and men of the U.S. Navy will have their annual Navy Birthday Ball to celebrate the 240th birthday of the Navy.
The black-tie event will be at the National Cowboy & Western Heritage Museum and public attendance would be welcome.
The ball will be marked by special Navy traditions, including the annual cake-cutting ceremony. A reception at 6 p.m. will be followed by the dinner at 7 p.m.
Guest speaker will be retired U.S. Navy Capt. Charlie Plumb, an American hero. He was a Navy F-4 pilot who was shot down over North Vietnam and spent 2,103 days as a prisoner of war. His message will resonate with guests of all ages.
The Navy Birthday Ball is sponsored by the Navy's Strategic Communications Wing One at Tinker Air Force Base, the Greater Oklahoma City Chamber and the Oklahoma City Navy League.
Tables for eight guests are available for $1,500 and individual tickets are $80 each. To attend, email register@okcchamber or call (405) 297-8921.


For 1967, the Mustang was widened by 2.7 inch to accommodate the big blocks. Although the 390 @ 325 hp engine was a step-up from the small block 289, they still didn't have the "get-up and go" to out run the big block competition on the drag strip. That changed in April of 1968. After countless efforts by car dealer and major "gear head" Bob Tasca of Tasca Ford in Providence Rhode Island, Ford Motor Company finally introduced the 393$ Cobra Jet option in the Mustang, which included a signature black strip on the hood. The first eight were white, lightweight fastbacks, built to meet the NHRA's (National Hot Rod Association) production minimum. The new 428 Cobra Jet featured competition-brewed 427 heads, a 735 cfm Holley 4 barrel carburetor and ram-air induction. April 1968, Hot Rod Magazine tested a stock 428 CJ Mustang GT, they ran a 13.56 second E/T at 107 mph, quoting: "the fastest regular production sedan ever built". Factory backed 428 CJ 'Stangs dominated their class at the '68 NHRA Winternationals. CJ vs CJ final round went Al Joniec hitting the traps in 11.49 seconds at 120.6 mph.
Mercury's answer to the Ford Torino Cobra was the Cyclone Spoiler. Priced at 3530$ US, the Spoiler came standard with the 429 Cobra Jet Ram-Air motor and a long list of no-extra cost options. Included was a front air dam and rear wing, your choice of six Grabber colors, loud stripping, full gauges package, bucket seats, 140 mph speedo, 8000 RPM tach, 4 spd manual Top Loader transmission with Hurst shifter, 3.50-1 Track-lock 9'' rear-end, competition handling set-up and G70x14 tires.
At extra cost, you could get the Super Cobra Jet option, also know has the Drag Pack package. This included a few more performance goodies under the hood and mandatory 3.91 track lock or 4.30 Detroit locker rear-end. Only 1631 Spoilers were actually built.
Road test magazine tested a 429 Super Cobra Jet equipped Cyclone Spoiler in 1970, running a 13.98 @102 mph....really respectable considering the car weigh-in at 4100 pounds!
"Sedate isn't it" was Oldsmobile tag line for the 1967 442. Priced at $184, the performance package now included functional hood louvers and made available such options as transistorized ignition and front disc brakes. By its third year, the 442 had become the benchmark for balanced muscle-car performance. No rival handled or stopped better, and with up to 360hp and factory available forced air induction, tachometer and Hurst shifter, few could ignore its true muscle status. Even with its tamer power plant, the 442 was a fine runner. The base 400 cubic inches, rated at 350hp, stood its ground on the street. Car and driver hit the traps in 15.8 seconds @ 91 mph with the regular 350hp version.
Une autre version du model Coronet fut la Super-Bee (réplique de Dodge envers la très populaire Plymouth Road Runner). Tout comme la Road Runner, la Super Bee offrait au public de la performance à prix abordable. De base, la Super Bee était équipée avec un moteur 383 à 335 chevaux et 425 livres de couple. Le moteur 426 Hemi était aussi offert en option.
était une voiture axée sur le plaisir de la performance.
The A12 was an all out, no frills drag racing package, at no extra cost an A12 equipped Bee came std with the 440 6 pack engine, rated at 390 hp and 490 fp of torque, 4 speed manual transmission, 4.10 Dana sure grip rear-end, pined down fiberglass flat black hood, tough looking black H/D steel rims c/w chrome lug bolts, Super bee striping and loud "Six pack" hood insignia. The 6 pack's 1375 cfm triple carburetion was fed by a monstrous hood scoop. Car life tested a 4 speed equipped A12 Bee and turned a "tire spinning" 13.8 at 104 mph.
Perhaps the best looking Pontiac GTO ever made, the 1966 GTO still was Tempest based, but became a series all its own for 1966. Redesigned bodies had handsome ''Coke bottle'' look. Also, 1966 was an industry first for a plastic front grill at Pontiac. The four barrel 389 continued @ 335 hp. The 389 with the triple-two barrel set-up known has tri-power, had 360 hp with or without Ram Air induction. The hood scoop looked hot, but was functional only when the optional Ram-Air was ordered. 1966 was the last year for the Tri-Power set up. At mid year, GM outlawed multi-carb set-ups on all models except the Corvette.
Car Life was quoted saying ''The new GTO is to nose-heavy, giving drivers serious traction problems off the line, the shifting is sweet, the motor willing and assembly quality is high''. Car and driver tested the tri-power 389 powered GTO equipped with a 3.55 rear axle ratio, turning a quick 14.05 @ 105 mph 1/4 mile ET.
The 1970 Buick GS packing the Stage 1 455 was very conservatively rated by the factory at 360 hp, but its torque output –a stump-pulling 510 lb/ft at a mere 2800 rpm showed its true strength. This prodigious low-end grunt made a Stage 1 Buick a feared competitor on the street and strip. A properly equipped Stage 1 455 was more than capable of running with the famous Hemi. Motor trend tested the 70 Stage 1, turning a 13.38 @ 105.5 mph, prompting the editors to crown it "THE QUICKEST AMERICAN PRODUCTION CAR WE HAD EVER TESTED".
The GSX package added an upgraded suspension, hood tach, loud stripes, spoilers, and a whopping 1195$ US to a 1970 GS 455. Saturn yellow or Apollo white were the only available colors. That year, only 678 were built. The 1971 GSX came in a choice of six colors, but power was down to 345 hp in top-line Stage 1 form.
1971 was the final year for the mighty Hemi power plant. Among the last Dodges to get them was the redesigned Charger. The legendary engine was offered in the Charger R/T and Charger Super Bee models. That included an extra 884 dollars to the invoice. Just 85 Hemi powered Chargers were ordered for the 1971 model year. The new Charger wore an all new radical ``Coke bottle`` look on a 115`` wheelbase, down 2`` from the previous year. R/T model got a blacked out louvered hood (air grabber hood was also available at extra cost), special door skins, with simulated air extractors and rally wheels.
Spoilers on rear deck and chin were optional. Standard engine for the R/T Chargers was the 440 4 bbl Magnum V8 ratted at 370 horse power, the six pack set-up was available at extra cost and added an extra 15 horses . The optional street Hemi still packed neck snapping punch….Motor trend turn a 13.7 quarter at 104 mph with the 426 Hemi and 4.10 sure grip rearend !


text:
1x11 - Formality
Monica Macer
Allison drives away from the dungeon, remembering Kate turning on the electricity to the torture device she has connected to Derek's stomach. She recalls Derek's screams. Allison had asked if the electrocution would kill him, and Kate told her not to get all ethical. Allison asks what he is, and Kate laughs, "Shape-shifter, lycaon, Werewolf. To me he's just another dumb animal." Kate pried open Derek's mouth to show Allison his teeth and told her that gentle herbivores don't have such things. Allison had questioned Kate's attitude. And now she's near tears thinking about it.
Allison asked Kate if it was Derek at all the animal attacks, and Kate told her there were 3 werewolves, another beta like Derek and an alpha, which is bigger, stronger, and nastier. Kate led her out of the dungeon, and Allison asked her when her parents were going to tell her. Kate replies that her parents hadn't even decided if they were going to tell her.
Allison gets pulled over for speeding.
Kate told her that where her parents saw a frightened girl, she sees natural hunter talent. She told Allison to keep going with her life and try to be a normal teenager. The winter formal is Friday night. Kate told Allison that she's going to help her catch the second beta.
An officer approaches Allison's car. It's Sheriff Stilinski. He can see that she's crying and asks if she's okay. Tearfully, she apologizes for going so fast. 75 in a 25 in a construction zone. She realizes that it must look like she's trying to get out of a ticket and asks him to write her one to show that she's not trying to manipulate him. She says multiple times that this is not her, she doesn't cry and get upset like this. He can tell something deeper is going on, but doesn't know what. She calms herself down, and he asks if he still has to write her a ticket.
Allison heads to somewhere in the warehouse district for some target practice.
Scott wakes up on Deaton's exam table and hops to his feet. Deaton pats him on the chest and suggests he sit down. Someone comes into the clinic, and Scott tries to warn Deaton that it's Peter, but Deaton goes out to tell Peter that they're closed. Peter tells him he's there to pick up. "I'm not sure I remember you dropping off," Deaton replies. They speak to each other as though they're really talking about a pet, but Deaton doesn't give any ground. Peter tries to walk into the back room, but the gate between him and Deaton is made of mountain ash, and he is unable to cross the barrier. He throws a chair in anger, but Deaton doesn't flinch. "Let me be as clear as possible. We. Are. Closed." Peter takes his leave, but he tells Scott that there are other, more vulnerable people who can help him get what he wants.
Scott thinks he means Allison.
Scott tears apart his room looking for his phone. Stiles sighs in frustration and asks why he can't get another new phone. Scott tells him he can't afford one and says that he can't do this alone and needs to find Derek. Stiles points out that he exists, therefore Scott isn't alone, and that Derek is likely dead because he walked into gunfire. Scott tells him that the Argents are going to use Derek to get Peter, and Stiles thinks that that sounds like a great plan that they should just allow to happen. "Not if Peter is going after Allison to find Derek!" Since Scott can't protect Allison on his own, he needs to find Derek first.
Stiles suggests that Scott lost his phone while fighting with Derek, when Derek was going to kill Jackson.† Scott insists that Derek wasn't going to kill anyone. "And I'm not going to let him die." Stiles makes a face. "Could you at least think about letting him die? For me?" Scott stops when he hears his mom's car pull up outside. She calls Peter and leaves him a cute and embarrassing voicemail. Scott listens to her leave the message, and based on his expression, Stiles asks if she's okay. Scott shakes his head. He tells him that she's crying.
Scott drops onto his bed, and Stiles tells him that he can't protect everyone, but Scott insists that he has to.
Back in Kate's dungeon, she rifles through Derek's clothes and steals the money from his wallet. She tries to get him to turn over Peter, but he just hangs mutely from his chains. She pulls out his NY driver's license, and holds it up next to him. "Look at that sour face." His DOB on his license reads 11-07-88, which would make him 22, turning 23 later this year. He would have been 16 or 17 at the time of the fire.
Kate taunts him. "Bet you always used to have people coming up to you saying, 'Smile, Derek. Why don't you smile more?' Don't you wanna just kick those peope in the face?" He opens his eyes then and glares at her, like that's exactly what he's thinking. "I can think of one." She asks him if he promises to fight, because if he's going to be that much fun she'll let him go. She grabs his phone (really Scott's phone) and starts looking through it for clues, telling him how much she hates the detective work. Derek asks if she's going to torture him or just keep talking.
She tells him that she doesn't want to torture him, she just wants to catch up. "Remember all the fun we had together?" "Like the time you burned my family alive?" She comes up to him and says that she was thinking more about the hot, crazy sex they had, which given his age is an admission to statutory rape. She licks a line up his midsection, and his bites at her. His reaction has the hallmarks of a PTSD episode to it, in the way he pants and shakes in fear, trying to control himself even after she's stopped touching him. Another hunter enters, who does plan to torture him.
It is night time again, and Scott is keeping watch outside Allison's window. He's having trouble staying awake and eventually falls asleep and falls off the roof.
In the locker room, Coach Bobby Finstock tells Scott that he can't go to the formal because he's failing 3 classes. He should have been cut from the team, but Finstock told them he'd sooner cut off his last remaining testicle than cut his best player. Scott asks if not being allowed to go to the formal is a compromise, and Finstock tells him it is. Scott annouces that he quits, but the Coach just laughs.
Scott then asks Jackson to take Allison to the dance. Jackson tells him to go screw himself. Scott points out that he got shot saving Jackson's life, but when Jackson asks for proof, Scott can't give him any because the wound healed. Scott begs, but Jackson suggests having Allison's dad watch over her if the danger is so great. Scott obviously can't, though, without giving himself away. Jackson says it isn't his problem, but Scott doesn't believe that Jackson could have spent so much time getting to know her without coming to like her. "You can't tell me that you don't care if she gets hurt." But, in fact, that's basically what Jackson says. After he leaves, Stiles tells Scott that "I told you so" isn't nearly strong enough for this situation.
Scott tries a different tactic. He wolfs out and scares the crap out of Jackson. Next we see, Jackson is sweating and plastering on a fake smile and asking Allison when he should pick her up for the dance tomorrow. She asks him if he's okay, and he insists that not only is he great, he's just excited for the dance! As friends! Scott and Stiles watch him from around the corner. Stiles assures Scott that he's still going, so he can keep an eye on things. Scott tells him that he still plans to go, too.
Lydia and Allison go to the Macy's to go dress shopping. Lydia tells Allison to smile because she's buying her her dress as an apology for kissing Scott. Allison tells her that her apology is not complete. She wants Lydia to cancel on whatever jock she invited and go with someone else. Allison looks straight at Stiles, who is sniffing perfumes at the perfume counter. Lydia scowls, but they pick up Stiles and take him shopping. Lydia loads him up with dresses as he follows her around.
Peter appears behind Allison while she's shopping. He tells her that the dress she's holding doesn't suit her skin tone. "Because I'm pale," she says. He corrects her to, "Fair. You can't call skin like yours pale. Not skin that perfect." She laughs and tries to act like it's not totally weird, but then he grabs her hand and compares it to one of the dresses on the rack. She's clearly uncomfortable, but he keeps talking to her, and she doesn't try to stop him. Then an announcement comes over the loudspeaker that Allison's car is being towed and she runs off. Scott was in the Macy's keeping an eye on her. Peter doesn't know where he's hiding, but he tells him that he continues to be impressed with Scott's ingenuity.
Kate listens to a voicemail from her brother asking where she is. She tells Derek that if he isn't going to talk, she's going to have to kill him. She asks him if he told Laura the truth about the fire. She asks him if he told anyone, and he looks like he's going to cry. "Oh, sweetie, that's just a lot of guilt to keep buried. It's not all your fault you got tricked by a pretty face. It happens!" She taunts him more, but before she turns on the electricity, she makes the connection between her and Derek and Scott and Allison. Derek doesn't say anything as she figures it out. He just tries to hold all his emotions in.
Friday night, Scott hurries to get dressed in his borrowed, duct-taped suit. Melissa assures him that no one will notice the tape. When he turns around to check if everything is okay, they notice that the pants are split. Scott freaks, and Melissa order him to take the pants off. As she sews, she asks Scott if his date is coming there, because she needs the car. Scott tells her that he's going stag because there are no other girls besides Allison. She asks him if he really feels that way, and Scott describes how seeing her makes him feel like someone dug a hole in his chest. Melissa assures him that the feeling will go away, but he says he doesn't want it to. She says he has to tell Allison how he feels. "Women love words." She lists the ways he could tell her and advises that he tell her the truth and anything else he wants. Melissa finishes sewing and sends him on his way.
Jackson pulls into a parking lot at the school and takes a shot of vodka before getting out of the car. He offers Allison some, but she doesn't take it. She asks Jackson if he knows if Scott's coming, and he tells her that he knows he's not allowed to because of academic probation. Allison fixes her makeup and tries to steel herself for the evening. Stiles and Lydia pull up in Stiles's Jeep. Just before getting out of the car, Allison spots Scott sneaking along the top of the school looking for a way in. She smiles.
Lydia tells Jackson that he looks handsome, and he replies, "Obviously. It's Hugo Boss." And then saunters off, leaving Lydia with Stiles. "I don't care. I don't want compliments. I will not fall prey to society's desire to turn girls into emotionally insecure neurotics who pull up their dress at the first flattering remark." Stiles just looks at her and says, "Well I think you look beautiful." She smiles, and he offers her his arm.
Inside the dance, Scott watches from the edges of the room. He sees Jackson sharing the vodka with Danny and another guy and spots Finstock on the other side of the room. Scott also briefly spots Peter in the crowd, but he quickly vanishes. Lydia and Stiles are sitting at a table, not really talking. Finally, he sees Allison standing next to Jackson. She asks Jackson if he wants to dance, and he answers by asking if he has to. He gives in and offers her his arm. Jackson brings Allison over to where Stiles and Lydia are and makes a point to start dancing in front of them.
Stiles asks Lydia if she wants to dance, but she says, "Pass." So he tries again. "Lydia, get off your cute little ass and dance with me. Now." She compliments on him tactic but still goes with no. "Lydia. Get up! You're going to dance with me. I don't care that you made out with my best friend over some weird poewr thing. I don't-- Lydia, I've had a crush on you since the third grade. And I know that somewhere inside that cold, lifeless exterior, there's an actual human soul. And I'm also pretty sure that I'm the only one who knows how smart you really are. And that once you're done pretending to be a nitwit, you'll eventually go off and write some insane mathematical theorem that wins you the Nobel Prize." She gives him a stunned and touched look. "Fields Medal," she says, getting up. "Nobel doesn't have a prize for mathematics. The Fields Medal's the one I'll be winning." And then she takes him onto the dance floor.
Scott smiles at Stiles's success, but then Finstock sees him and shouts across the room. Finstock chases him down. Scott hides in the crowd and then rushes up to Danny. "Danny! Danny, dance with me." Danny says no, but Scott hauls him to his feet and pulls him onto the dance floor. Finstock finds Scott holding Danny, and it suddenly looks like he's yelling at them for being gay. The music stops, and everyone stares. Scott hugs Danny a little closer. "Yes, Coach?" Finstock starts to laugh because he knows what this looks like. Allison laughs because she knows what Scott's just done. Finstock tells everyone to start dancing again, and Scott tells Danny he owes him. Danny's date looks confused, and Danny just takes a drink without saying anything.
In the background, Finstock asks Greenberg what he's looking at.
Scott hurries over to Allison. "Yes, I would love to dance with you," she tells him.
Drunk, Jackson wanders outside alone. As he approaches some trees, sees a red glow in the darkness that looks like eyes.
As Lydia slow-dances with Stiles, she looks around the room, worried. She tells him she needs to take a little break, but he knows she wants to go find Jackson. He's hurt, but he follows her off the dance floor.
Outside, Jackson is looking for Peter. He falls to the ground and tells him that he wants to be like him, be one of them. But it turns out that there are hunters in the woods instead and the red dots were from their laser scopes. "Unfortunately, Jackson, I don't think I can give you what you want," Chris says, "but I have a feeling you might be able to help me."
Allison looks up at Scott and asks him what he's smiling about. "It's just hard not to look at you." She smiles. "I like when you look at me." He tells her about a funny memory and then says he has to tell her something. She thinks it's about the car accident that Stiles had†, but he tells her it's about Derek and everything she was trying to tell him. She says that he can forget about that, but he tells her that he believes her. She says that she learned some new things now and that everything is different.
Jackson leads Chris back toward the formal and asks him to promise that he won't hurt Scott. "Of course not, he's just a kid." Jackson heads inside as Lydia heads out a different door looking for him.
Scott tells Allison that she wasn't wrong, but she insists that she was saying crazy things. He asks her to let him talk. The slow dance ends and the music shifts. Scott looks apologetic for having raised his voice, so he kisses her instead. "Why did you do that?" she saks. "Because I love you," he replies.
Jackson runs into Stiles, and Stiles asks him if Lydia found him. Jackson can barely speak as he tries to tell Stiles what he did.
Lydia goes out onto the lacrosse field looking for Jackson. The field lights start turning on, and she turns around, confused. She can't tell who the person is walking toward her, but it turns out to be Peter. Stiles comes running for her at top speed, telling her to run, but Peter is already too close. Lydia drops to the ground, bloody, and Stiles slides to a stop next to her. He begs Peter not to kill her, and Peter grants him his wish. "Just tell me how to find Derek." "I don't know that. How would I know that?" Stiles asks, terrified. "Because you're the clever one, aren't you? And because deception has a particularly acrid scent, Stiles." Stiles tells him that he thinks Derek knew he was going to be caught and stole Scott's phone while they were fighting, so he could be found via GPS.
Allison leads Scott out of the school and into the parking lot between some buses. They kiss more, but Scott won't let her lead him onto a bus. She goes in without him, smiling at him through the windows. He decides to go join her when Chris pulls up in his SUV. Antoher SUV blocks him in from the other side. The trucks race at each other, aiming to crush Scott, and he leaps into the air, landing on their hoods. When he looks up at Allison, he's shifted.
Our Broken Garden - "Nightsong" Scene: Scott and Stiles in Scott's room
Hotstreets - "Aim to Lose" Scene: Scott in the locker room with Coach Finstock. He tells Scott he can't come to the dance.
Parade Of Lights - "Starstruck" Scene: Allison and Lydia Shopping
Faded Paper Figures - "North by North" Scene: Scott's mom fixes his pants for the dance and gives him some advice
Art vs. Science - "Sledgehammer" Scene: Allison and Jackson arrive at the dance.
The Chain Gang of 1974 - "Taste of Heaven" Scene: Allison sees Scott on the roof from the parking lot outside the dance
Kids of 88 - "Just a Little Bit" Scene: When Scott first enters the school formal.
Kids of 88 - "Universe" (Free Download) Scene: Coach gets everyone to start dancing again. Allison and Scott dance. Where Scott gets yelled at him for being at the dance.
She Wants Revenge - "Not Just a Girl" Scene: Stiles and Lydia dancing
Taxicab Racers - "Show Us Love" Scene: When Scott can't stop looking at Allison while they dance
Taxicab Racers - "Angel Eyes" Scene: When Scott & Allison Kiss; Also When Stiles Asks Jackson 'Where The Hell Have You Been?'
Deadmau5 - "Raise Your Weapon" Scene: Allison and Scott Are Alone By The Buses.

redpajama_set_name: RedPajamaCommonCrawl


text:
package org.apache.sling.servlets.post;

import java.util.ArrayList;
import java.util.Enumeration;
import java.util.Iterator;
import java.util.LinkedHashSet;
import java.util.List;
import java.util.NoSuchElementException;
import java.util.Set;

import javax.jcr.Item;
import javax.jcr.ItemNotFoundException;
import javax.jcr.Node;
import javax.jcr.NodeIterator;
import javax.jcr.RepositoryException;
import javax.jcr.Session;

import org.apache.sling.api.SlingHttpServletRequest;
import org.apache.sling.api.resource.Resource;
import org.apache.sling.api.resource.ResourceResolver;
import org.apache.sling.api.resource.ResourceUtil;
import org.apache.sling.api.wrappers.SlingRequestPaths;
import org.slf4j.Logger;
import org.slf4j.LoggerFactory;

/**
 * The AbstractPostOperation class is a base implementation of the
 * {@link PostOperation} service interface providing actual implementations with
 * useful tooling and common functionality like preparing the change logs or
 * saving or refreshing the JCR Session.
 */
public abstract class AbstractPostOperation implements PostOperation {

    /**
     * default log
     */
    protected final Logger log = LoggerFactory.getLogger(getClass());

    /**
     * Prepares and finalizes the actual operation. Preparation encompasses
     * getting the absolute path of the item to operate on by calling the
     * {@link #getItemPath(SlingHttpServletRequest)} method and setting the
     * location and parent location on the response. After the operation has
     * been done in the {@link #doRun(SlingHttpServletRequest, PostResponse, List)}
     * method the session is saved if there are unsaved modifications. In case
     * of errorrs, the unsaved changes in the session are rolled back.
     *
     * @param request the request to operate on
     * @param response The PostResponse to record execution
     *            progress.
     * @param processors The array of processors
     */
    public void run(final SlingHttpServletRequest request,
                    final PostResponse response,
                    final SlingPostProcessor[] processors) {
        final Session session = request.getResourceResolver().adaptTo(Session.class);

        final VersioningConfiguration versionableConfiguration = getVersioningConfiguration(request);

        try {
            // calculate the paths
            String path = getItemPath(request);
            path = removeAndValidateWorkspace(path, session);
            response.setPath(path);

            // location
            response.setLocation(externalizePath(request, path));

            // parent location
            path = ResourceUtil.getParent(path);
            if (path != null) {
                response.setParentLocation(externalizePath(request, path));
            }

            final List<Modification> changes = new ArrayList<Modification>();

            doRun(request, response, changes);

            // invoke processors
            if (processors != null) {
                for (SlingPostProcessor processor : processors) {
                    processor.process(request, changes);
                }
            }

            final Set<String> nodesToCheckin = new LinkedHashSet<String>();

            // set changes on html response
            for(Modification change : changes) {
                switch ( change.getType() ) {
                    case MODIFY : response.onModified(change.getSource()); break;
                    case DELETE : response.onDeleted(change.getSource()); break;
                    case MOVE   : response.onMoved(change.getSource(), change.getDestination()); break;
                    case COPY   : response.onCopied(change.getSource(), change.getDestination()); break;
                    case CREATE :
                        response.onCreated(change.getSource());
                        if (versionableConfiguration.isCheckinOnNewVersionableNode()) {
                            nodesToCheckin.add(change.getSource());
                        }
                        break;
                    case ORDER  : response.onChange("ordered", change.getSource(), change.getDestination()); break;
                    case CHECKOUT :
                        response.onChange("checkout", change.getSource());
                        nodesToCheckin.add(change.getSource());
                        break;
                    case CHECKIN :
                        response.onChange("checkin", change.getSource());
                        nodesToCheckin.remove(change.getSource());
                        break;
                }
            }

            if (isSessionSaveRequired(session, request)) {
                request.getResourceResolver().commit();
            }

            if (!isSkipCheckin(request)) {
                // now do the checkins
                for(String checkinPath : nodesToCheckin) {
                    if (checkin(request.getResourceResolver(), checkinPath)) {
                        response.onChange("checkin", checkinPath);
                    }
                }
            }

        } catch (Exception e) {

            log.error("Exception during response processing.", e);
            response.setError(e);

        } finally {
            try {
                if (isSessionSaveRequired(session, request)) {
                    request.getResourceResolver().revert();
                }
            } catch (RepositoryException e) {
                log.warn("RepositoryException in finally block: {}",
                    e.getMessage(), e);
            }
        }

    }

    /**
     * Actually performs the desired operation filling progress into the
     * changes list and preparing and further information in the
     * response.
     *

     * The response comes prepared with the path, location and
     * parent location set. Other properties are expected to be set by this
     * implementation.
     *
     * @param request The SlingHttpServletRequest providing the
     *            input, mostly in terms of request parameters, to the
     *            operation.
     * @param response The {@link PostResponse} to fill with response
     *            information
     * @param changes A container to add {@link Modification} instances
     *            representing the operations done.
     * @throws RepositoryException Maybe thrown if any error occurrs while
     *             accessing the repository.
     */
    protected abstract void doRun(SlingHttpServletRequest request,
            PostResponse response,
            List<Modification> changes) throws RepositoryException;

    /**
     * Get the versioning configuration.
     * @param request The http request
     * @return The versioning configuration
     */
    protected VersioningConfiguration getVersioningConfiguration(SlingHttpServletRequest request) {
        VersioningConfiguration versionableConfiguration =
            (VersioningConfiguration) request.getAttribute(VersioningConfiguration.class.getName());
        return versionableConfiguration != null ? versionableConfiguration : new VersioningConfiguration();
    }

    /**
     * Check if checkin should be skipped
     * @param request The http request
     * @return {@code true} if checkin should be skipped
     */
    protected boolean isSkipCheckin(SlingHttpServletRequest request) {
        return !getVersioningConfiguration(request).isAutoCheckin();
    }

    /**
     * Check whether changes should be written back
     * @param request The http request
     * @return {@code true} If session handling should be skipped
     */
    protected boolean isSkipSessionHandling(SlingHttpServletRequest request) {
        return Boolean.parseBoolean((String) request.getAttribute(SlingPostConstants.ATTR_SKIP_SESSION_HANDLING)) == true;
    }

    /**
     * Check whether commit to the resource resolver should be called.
     * @param session The JCR session
     * @param request The http request
     * @return {@code true} if a save is required.
     */
    protected boolean isSessionSaveRequired(Session session, SlingHttpServletRequest request)
            throws RepositoryException {
        return !isSkipSessionHandling(request) && request.getResourceResolver().hasChanges();
    }

    /**
     * Remove the workspace name, if any, from the start of the path and validate that the
     * session's workspace name matches the path workspace name.
     * @param path The path
     * @param session The JCR session
     * @return The path without the workspace
     */
    protected String removeAndValidateWorkspace(String path, Session session) throws RepositoryException {
        final int wsSepPos = path.indexOf(":/");
        if (wsSepPos != -1) {
            final String workspaceName = path.substring(0, wsSepPos);
            if (!workspaceName.equals(session.getWorkspace().getName())) {
                throw new RepositoryException("Incorrect workspace. Expecting " + workspaceName + ". Received "
                        + session.getWorkspace().getName());
            }
            return path.substring(wsSepPos + 1);
        }
        return path;
    }

    /**
     * Returns the path of the resource of the request as the item path.
     *

     * This method may be overwritten by extension if the operation has
     * different requirements on path processing.
     * @param request The http request
     * @return The item path
     */
    protected String getItemPath(SlingHttpServletRequest request) {
        return request.getResource().getPath();
    }

    /**
     * Returns an iterator on Resource instances addressed in the
     * {@link SlingPostConstants#RP_APPLY_TO} request parameter. If the request
     * parameter is not set, null is returned. If the parameter
     * is set with valid resources an empty iterator is returned. Any resources
     * addressed in the {@link SlingPostConstants#RP_APPLY_TO} parameter is
     * ignored.
     *
     * @param request The SlingHttpServletRequest object used to
     *            get the {@link SlingPostConstants#RP_APPLY_TO} parameter.
     * @return The iterator of resources listed in the parameter or
     *         null if the parameter is not set in the request.
     */
    protected Iterator<Resource> getApplyToResources(
            SlingHttpServletRequest request) {

        final String[] applyTo = request.getParameterValues(SlingPostConstants.RP_APPLY_TO);
        if (applyTo == null) {
            return null;
        }

        return new ApplyToIterator(request, applyTo);
    }

    /**
     * Returns an external form of the given path prepending the context path
     * and appending a display extension.
     *
     * @param request The http request
     * @param path the path to externalize
     * @return the url
     */
    protected final String externalizePath(SlingHttpServletRequest request,
            String path) {
        StringBuilder ret = new StringBuilder();
        ret.append(SlingRequestPaths.getContextPath(request));
        ret.append(request.getResourceResolver().map(path));

        // append optional extension
        String ext = request.getParameter(SlingPostConstants.RP_DISPLAY_EXTENSION);
        if (ext != null && ext.length() > 0) {
            if (ext.charAt(0) != '.') {
                ret.append('.');
            }
            ret.append(ext);
        }

        return ret.toString();
    }

    /**
     * Resolves the given path with respect to the current root path.
     *
     * @param absPath The absolute base path
     * @param relPath the path to resolve
     * @return the given path if it starts with a '/'; a resolved path
     *         otherwise.
     */
    protected final String resolvePath(String absPath, String relPath) {
        if (relPath.startsWith("/")) {
            return relPath;
        }
        return absPath + "/" + relPath;
    }

    /**
     * Returns true if any of the request parameters starts with
     * {@link SlingPostConstants#ITEM_PREFIX_RELATIVE_CURRENT ./}.
     * In this case only parameters starting with either of the prefixes
     * {@link SlingPostConstants#ITEM_PREFIX_RELATIVE_CURRENT ./},
     * {@link SlingPostConstants#ITEM_PREFIX_RELATIVE_PARENT ../}
     * and {@link SlingPostConstants#ITEM_PREFIX_ABSOLUTE /} are
     * considered as providing content to be stored. Otherwise all parameters
     * not starting with the command prefix : are considered as
     * parameters to be stored.
     *
     * @param request The http request
     * @return If a prefix is required.
     */
    protected final boolean requireItemPathPrefix(
            SlingHttpServletRequest request) {

        boolean requirePrefix = false;

        Enumeration<?> names = request.getParameterNames();
        while (names.hasMoreElements() && !requirePrefix) {
            String name = (String) names.nextElement();
            requirePrefix = name.startsWith(SlingPostConstants.ITEM_PREFIX_RELATIVE_CURRENT);
        }

        return requirePrefix;
    }

    /**
     * Returns true if the name starts with either
     * of the prefixes
     * {@link SlingPostConstants#ITEM_PREFIX_RELATIVE_CURRENT ./},
     * {@link SlingPostConstants#ITEM_PREFIX_RELATIVE_PARENT ../}
     * and {@link SlingPostConstants#ITEM_PREFIX_ABSOLUTE /}.
     *
     * @param name The name
     * @return {@code true} if the name has a prefix
     */
    protected boolean hasItemPathPrefix(String name) {
        return name.startsWith(SlingPostConstants.ITEM_PREFIX_ABSOLUTE)
            || name.startsWith(SlingPostConstants.ITEM_PREFIX_RELATIVE_CURRENT)
            || name.startsWith(SlingPostConstants.ITEM_PREFIX_RELATIVE_PARENT);
    }

    /**
     * Orders the given node according to the specified command. The following
     * syntax is supported: <xmp> | first | before all child nodes | before A |
     * before child node A | after A | after child node A | last | after all
     * nodes | N | at a specific position, N being an integer </xmp>
     *
     * @param request The http request
     * @param item node to order
     * @param changes The list of modifications
     * @throws RepositoryException if an error occurs
     */
    protected void orderNode(SlingHttpServletRequest request, Item item,
            List<Modification> changes) throws RepositoryException {

        String command = request.getParameter(SlingPostConstants.RP_ORDER);
        if (command == null || command.length() == 0) {
            // nothing to do
            return;
        }

        if (!item.isNode()) {
            return;
        }

        Node parent = item.getParent();

        String next = null;
        if (command.equals(SlingPostConstants.ORDER_FIRST)) {

            next = parent.getNodes().nextNode().getName();

        } else if (command.equals(SlingPostConstants.ORDER_LAST)) {

            next = "";

        } else if (command.startsWith(SlingPostConstants.ORDER_BEFORE)) {

            next = command.substring(SlingPostConstants.ORDER_BEFORE.length());

        } else if (command.startsWith(SlingPostConstants.ORDER_AFTER)) {

            String name = command.substring(SlingPostConstants.ORDER_AFTER.length());
            NodeIterator iter = parent.getNodes();
            while (iter.hasNext()) {
                Node n = iter.nextNode();
                if (n.getName().equals(name)) {
                    if (iter.hasNext()) {
                        next = iter.nextNode().getName();
                    } else {
                        next = "";
                    }
                }
            }

        } else {
            // check for integer
            try {
                // 01234
                // abcde move a -> 2 (above 3)
                // bcade move a -> 1 (above 1)
                // bacde
                int newPos = Integer.parseInt(command);
                next = "";
                NodeIterator iter = parent.getNodes();
                while (iter.hasNext() && newPos >= 0) {
                    Node n = iter.nextNode();
                    if (n.getName().equals(item.getName())) {
                        // if old node is found before index, need to
                        // inc index
                        newPos++;
                    }
                    if (newPos == 0) {
                        next = n.getName();
                        break;
                    }
                    newPos--;
                }
            } catch (NumberFormatException e) {
                throw new IllegalArgumentException(
                    "provided node ordering command is invalid: " + command);
            }
        }

        if (next != null) {
            if (next.equals("")) {
                next = null;
            }
            parent.orderBefore(item.getName(), next);
            changes.add(Modification.onOrder(item.getPath(), next));
            if (log.isDebugEnabled()) {
                log.debug("Node {} moved '{}'", item.getPath(), command);
            }
        } else {
            throw new IllegalArgumentException(
                "provided node ordering command is invalid: " + command);
        }
    }

    protected Node findVersionableAncestor(Node node) throws RepositoryException {
        if (isVersionable(node)) {
            return node;
        }
        try {
            node = node.getParent();
            return findVersionableAncestor(node);
        } catch (ItemNotFoundException e) {
            // top-level
            return null;
        }
    }

    protected boolean isVersionable(Node node) throws RepositoryException {
        return node.isNodeType("mix:versionable");
    }

    protected void checkoutIfNecessary(Node node, List<Modification> changes,
            VersioningConfiguration versioningConfiguration) throws RepositoryException {
        if (versioningConfiguration.isAutoCheckout()) {
            Node versionableNode = findVersionableAncestor(node);
            if (versionableNode != null) {
                if (!versionableNode.isCheckedOut()) {
                    versionableNode.checkout();
                    changes.add(Modification.onCheckout(versionableNode.getPath()));
                }
            }
        }
    }

    private boolean checkin(final ResourceResolver resolver, final String path) throws RepositoryException {
        final Resource rsrc = resolver.getResource(path);
        final Node node = (rsrc == null ? null : rsrc.adaptTo(Node.class));
        if (node != null) {
            if (node.isCheckedOut() && isVersionable(node)) {
                node.checkin();
                return true;
            }
        }
        return false;
    }

    private static class ApplyToIterator implements Iterator<Resource> {

        private final ResourceResolver resolver;
        private final Resource baseResource;
        private final String[] paths;

        private int pathIndex;

        private Resource nextResource;

        private Iterator<Resource> resourceIterator = null;

        ApplyToIterator(SlingHttpServletRequest request, String[] paths) {
            this.resolver = request.getResourceResolver();
            this.baseResource = request.getResource();
            this.paths = paths;
            this.pathIndex = 0;

            nextResource = seek();
        }

        public boolean hasNext() {
            return nextResource != null;
        }

        public Resource next() {
            if (!hasNext()) {
                throw new NoSuchElementException();
            }

            Resource result = nextResource;
            nextResource = seek();

            return result;
        }

        public void remove() {
            throw new UnsupportedOperationException();
        }

        private Resource seek() {
        	if (resourceIterator != null) {
        		if (resourceIterator.hasNext()) {
            		//return the next resource in the iterator
        			Resource res = resourceIterator.next();
        			return res;
                }
    			resourceIterator = null;
        	}
            while (pathIndex < paths.length) {
                String path = paths[pathIndex];
                pathIndex++;

                //SLING-2415 - support wildcard as the last segment of the applyTo path
                if (path.endsWith("*")) {
                	if (path.length() == 1) {
                		resourceIterator = baseResource.listChildren();
                	} else if (path.endsWith("/*")) {
                    	path = path.substring(0, path.length() - 2);
                    	if (path.length() == 0) {
                    		resourceIterator = baseResource.listChildren();
                    	} else {
                        	Resource res = resolver.getResource(baseResource, path);
                            if (res != null) {
                            	resourceIterator = res.listChildren();
                            }
                    	}
                    }
                	if (resourceIterator != null) {
                		//return the first resource in the iterator
                		if (resourceIterator.hasNext()) {
                			Resource res = resourceIterator.next();
                			return res;
                		}
                        resourceIterator = null;
                	}
                } else {
                    Resource res = resolver.getResource(baseResource, path);
                    if (res != null) {
                        return res;
                    }
                }
            }

            // no more elements in the array
            return null;
        }
    }
}

redpajama_set_name: RedPajamaGithub


text:
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The most immense power wielded in this play is the statement "I do forgive."
Mistress of a "full poor cell." Yeah, right.
Prospera (Kate Burton, left) gives instruction to Ariel (Philippe Bowgen, right) as Miranda (Nora Carroll) sleeps in The Old Globe's production of William Shakespeare's The Tempest, directed by Joe Dowling on a set depicting a ruined movie palace designed by Alexander Dodge. Photo by Jim Cox, The Old Globe.
Prospera's abode on the mysterious island of William Shakespeare's The Tempest is the cluttered remnants of a mid-20th century movie palace in Joe Dowling's production at San Diego's Old Globe. Curve-walled balcony box seats create a Mediterranean-style façade. The concrete is crumbling in places and the island's natural elements—ferns, vines, and pebbled sand—are reclaiming their territory. Gold-cased footlights line the front of the stage, one of them toppled, a couple others broken. Theater seats are scattered about. Books are stacked on one side. There's an old piano here, a wood dress form there, a podium holding a book, a telescope, two ladders, and a huge pile of junk, such as chairs, a typewriter, a candelabra, and a mop. Graffiti, "Sycorax" and "HBD," adorn the walls. A ship's wheel is at the center of the stage, a wind machine sits at the back.
This set designed by Alexander Dodge is the kind of stage scenery a well-endowed theater uses to wow! audiences and sometimes distracts from the art being plied by playwright and performers. In this production, the cast of accomplished actors keeps the focus on Shakespeare's masterful story. The scenery also proves practical for a play that explores family bonds, social bonds, and humankind's bond with nature. Native islander Caliban (Manoel Felciano) makes his home inside that pile of junk, and Prospera (Kate Burton) treats the room as her home office. A rotating platform in the middle of the two-level wood-planked stage has a slanted surface: as it turns, it becomes a ship's bow, a promontory for Prospera to cast her spells, and the moving earth of the first meeting between love-smitten Miranda (Nora Carroll) and Ferdinand (Sam Avishay).
The setting presents an allegorical foundation for Dowling's staging of Shakespeare's comedy about political power lost and natural powers gained, of revenge and forgiveness. The latter is made most poignant by the performances of Emmy-winning and Tony-nominated Burton in the lead role and longtime fave René Thornton Jr., appearing in his fifth production of The Tempest, as her brother Antonio.
Dowling employs a metatheatrical framework with the first scene when the ship, bearing Alonso, the King of Naples (Robert Foxworth) wrecks in a storm, all of which we discover in the play's second scene is just an illusion. This production opens with three early 20th century uniformed sailors, one carrying a metal sheet (for thunder), one with a tray of sand, and the third working the wind machine. Enter Arial (Philippe Bowgen), toe-to-neck in bluish body suit with a random pattern of glittering lines down to his gloved fingertips and his blue sparkling hair slicked back. He's carrying a torch that he hands to the ship's captain as more crewmembers arrive. Arial then leads the crew in a finger-snapping, body-slapping sequence that leads into the storm. The king and his courtiers gather on stage and, with little dialogue, fling themselves back and forth across the stage in the violent storm a la Star Trek's Enterprise under attack. As the nobles and crew scatter, Prospera appears behind them wearing a shimmering purple and metallic burgundy robe and carrying her staff.
We're not done with the opening scene yet—only delayed. We move into the play's second scene, in which Prospera recounts her back story to daughter Miranda: how 12 years before, Antonio usurped her as Duchess of Milan with Alonso's aid; how a charitable Neapolitan councillor, Gonzala (Lizan Mitchell) supplied books from Prospera's library before the conspirators cast mother and daughter to sea; how they landed on this island. As Prospera tells their story, each of the characters appears on different balconies, Thornton's Antonio listening with intense arrogance as his sister describes his deed. Prospera's books were sorcery textbooks, and Prospera used her studied skills to survive and thrive by commanding the elements (Ariel and his fellow spirits) and Caliban, the offspring of the witch Sycorax with grimy green skin and wearing a flimsy green shirt and pants plus a padlocked chastity belt (costumes designed by David Israel Reynoso, who dresses Prospera and the king's court in modern European fashions). Now, Prospera's usurpers have come within her reach, and she'll use her magical powers to regain her political powers and exact revenge on her brother.
After Prospera puts Miranda to sleep, she calls on Arial to report on the faux storm and shipwreck. Instead of describing it, per script, Bowgen's Arial invites his lady to sit and observe, and as Burton takes one of the theater seats on the stage, the entire first scene is played in its entirety with the dialogue restored. Prospera is watching the show with us. Now familiar with the characters, we can note their personalities confirming Prospera's report.
Casting a woman as Prospero and even regendering the part (as is Gonzalo as Gonzala and Alonso's attendant Francisco as Francisca) has only one significant consequence: it gives superior talents like Burton (and Helen Mirren in Julie Taymor's film) the opportunity to play this fascinating role. Except for switching pronouns and title, the only time regendering factors into the staging is when Gonzala is philosophizing on the island as a utopic society where there would be "no occupation: all men idle, all; and women, too," that last addition inspiring Francisca (Yadira Correa) to gesture an emphatic "Yes!"
Does a mother's perspective differ from a father's in the character's relationship with Miranda? I, a one-time stay-at-home father, consider any such generalizations as sexist. Shakespeare offers actors of both genders a golden opportunity to explore the parent-child relationship of a single, worldly wise parent raising a worldly naïve daughter from toddler through puberty to teen in the sparest of conditions. In the 18 Tempests I've seen (plus the film), what I can say unequivocally is that the Prospero-Miranda relationship has many different dynamics to explore, and Burton and Carroll, like so many before them, plant their own flag in this territory.
Burton establishes Prospera's parenting perspective in her very first lines. After Miranda, fearing for the "poor souls" in the shipwreck, begs Mom to cease the storm, Burton's Prospera cuts her off with a business-like "Be collected; no more amazement. Tell your piteous heart there's no harm done." Prospera is concentrating on her work and doesn't want to be annoyed by her daughter's baseless fear. "O woe the day," Miranda replies, and now Mom softens: How could Miranda know her fear was baseless? "No harm!" Burton's Prospera says again, this time in a comforting tone. "I have done nothing but in care of thee, of thee." And this is true; Prospera is dealing with a work-life balance here though her work is all to the purpose of providing her child security and opportunity.
Carroll plays the teen-age Miranda with natural intelligence, a girl who knows her mom all too well. As Prospera uses her magical powers to disarm Alonso's son, Ferdinand, and threaten the prince with further harm, Carroll speaks Miranda's interjection, "O dear mother," in an annoyed rather than frightened tone. "Make not too rash a trial of him, for he's gentle and not fearful," she says, like, it's obvious, right? "What?" Prospera replies; "I say, my foot my tutor?" a bit peeved by her kid's brashness but not raging. Of course, Prospera is engineering this scene to match her daughter with the Neapolitan prince. Later, with affectionate pride Prospera spies on the two trading vows of love and respectfully turns her gaze away when they kiss.
Prospera's parenting persona plays into her relationship with Caliban, too, not present but past. Caliban, recalling Prospera's affection toward him when she first arrived on the island, settles into a nostalgic tone. "And then I loved thee," he says plaintively. It was acting on his lust for her daughter that got him in trouble and wearing a chastity belt. Their relationship arc, through to his recognizing his redemption at the end, is that of the prodigal son. Yes, she treats Caliban as a slave and calls him so, but she forces Ferdinand to do the same task she gives Caliban, carrying wood, until the prince earns her trust. How often have I heard parents describe their kids as slave labor.
Arial, on the other hand, is not a slave. "Thou report'st thyself" as slave, the magician retorts when he complains of too much work. Nor is he a surrogate child. Their relationship is more, well, theatrical. When Ariel demands Prospera to keep her promise—their contract, as it were—she throws a hissy fit, calling him a "malignant thing." When he excitedly references where once "Thou call'dst me up at midnight to fetch dew from the still-vex'd Bermoothes," Burton looks at him with a vacant expression; she doesn't recall what he's talking about. What many directors approach as the play's great conundrum, Arial suddenly asking, "Do you love me, master? No?" is no heavy matter here. Bowgen plays this line as intentionally cute, as in, "Don't you just luv me, master?" "Dearly, my chick," she responds approvingly. When Ariel plays the harpy in a vision to vex Alonso and his lords—and what a harpy, with red feathers for fingers and a big beak—Burton incorporates a lecturing tone in her praise of him: "Bravely the figure of this harpy hast thou perform'd, my Ariel; a grace it had, devouring: Of my instruction hast thou nothing bated in what thou hadst to say." Sounds to me like a director's notes.
Prospera's own redemption, however, is not an act, though beautifully acted by Burton. For all the love and care and humor she expresses for Miranda and Ferdinand, and toward Arial when she's pleased with his work, she's unrelentingly mean to Caliban, and her behavior borders on sadistic toward Alonso and his court. Standing amid the stupefied lords after that harpy business, Burton's Prospera revels in how "My high charms work, and these mine enemies are all knit up in their distractions; they now are in my power." She's behaving like a Batman villain. "In these fits I leave them, while I visit young Ferdinand—whom they suppose is drown'd—and his and mine loved darling." The dashed italics are mine, or, rather Burton's, for she speaks this phrase directly to the entranced Alonso in the same hoity tone we've witnessed in her brother, Antonio: you think your son is drowned, but I know he's alive and hooking up with my daughter, a-hole.
She becomes crazed in her vexation at the end of the pageant she stages for Miranda and Ferdinand (a glam show with the goddesses in shimmering silver gowns and cube frames on their heads singing "Going to the Chapel of Love"). She asks Ariel the time of day, and he replies that it is the sixth hour, at which time, "You said our work should cease" (he tracks his hours, doesn't he?). "I did say so, when first I raised the tempest," Prospera replies, Burton revving up the sinews of her countenance as the moment of vengeance is at hand. Hatred has fully consumed her hitherto genial behavior in this scene to the point that she dismisses Ariel's pity in his description of the lord's state when he suggests that, if she saw them now, her "affections would become tender.""Dost thou think so, spirit?" she replies, challenging him to again question her authority. "Mine would, sir, were I human." Burton halts as she replies, "And mine—shall." She is not playing this with great psychological effort. It's more as if Arial just slapped the demon out of her, leading to the realization that forgiveness is the greater virtue and her truer self.
Top, Sebastian (Daniel Ian Joeck, left) and Antonio (René Thornton Jr.) plan a coup as King Alonso and his party sleep in Shakespeare's The Tempest at the Old Globe. Above, Stephano (Robert Dorfman, right) offers wine to Caliban (Manoel Felciano), who is sitting on top of the hiding Trinculo (Andrew Weems). Photos by Jim Cox, The Old Globe.
The proof of this realization plays out in the final scene of reconciliation, she with Alonso, Alonso with his supposed drowned son, Caliban with his mistress, and Miranda with the world. The elephant in the scene is Antonio. "For you, most wicked sir, whom to call brother would even infect my mouth, I do forgive thy rankest fault; all of them," Prospera tells him. Burton pauses a moment before pronouncing her forgiveness, perhaps checking in with herself for one more "are you sure?" perhaps for dramatic effect. She also plays the semicolon well, realizing in the moment that all his faults are "rankest" and all must be forgiven unconditionally. Well, one condition: "And require my dukedom of thee, which perforce, I know, thou must restore," she adds.
Shakespeare keeps Antonio silent through 260 lines of reconciliations and wondrous revelations: Ferdinand is alive! He's betrothed to Prospero's daughter! The ship is not wrecked after all! Only when Caliban arrives with the king's drunk butler, Stephano (Robert Dorfman) and jester Trinculo (Andrew Weems), self-abused in their intent to murder Prospero and take over the island, does Antonio speak his only line in the entire scene, and that is a reply to Alonso's brother, Sebastian (Daniel Ian Joeck) making fun of Caliban. What is Antonio doing all the while? Many productions depict him already scheming to overthrow Prospero again; some present him resigned to his state and maybe even grudgingly giving Prospero respect.
Thornton does something mightier with Antonio. Having been in four previous productions of The Tempest, including playing Prospero at the American Shakespeare Center in 2016, which topped my rankings of that year's Shakespeareances, Thornton sees that the most immense power wielded in this play is the statement "I do forgive." Thornton's Antonio is astonished—even if he doesn't fully comprehend his sister's magical powers or yet know that she's already knit a familial alliance with Alonso. How can somebody forgive what he did? He spends his lines of silence taking this in as he watches in wonder as Prospera's power of forgiveness creates a brave new world. The final reconciliation is brother to sister. And it is a true one.
The set has one more surprise for us. As Prospera sets Arial free, the walls at the back of the stage open up, revealing the wooded ravine running behind this outdoor theater in San Diego's Balboa Park. The baseless fabric of this vision, the gorgeous palace, dissolves into thin air, like Prospera's "insubstantial pageant." Except that there's nothing insubstantial about her pageant.


text:
Q: What does the MySQL error "No database selected" mean? I am running this command:
INSERT INTO `db_bibliotecaonline`,`utenti`
    (Nome,Cognome,Data_nascita,Citta,Indirizzo,Cap,Telefono,Email)
    VALUES('GINO','FRAE','2018-06-13','vaticano','VIA REMO2','01100','3285622478','FRE@TRE.IT');

I am getting this error:

No database selected

A: Try dot instead of comma between the database name and the table name:
INSERT INTO db_bibliotecaonline.utenti(Nome,Cognome,Data_nascita,Citta,Indirizzo,Cap,Telefono,Email)
    VALUES('GINO','FRAE','2018-06-13','vaticano','VIA REMO2','01100','3285622478','FRE@TRE.IT')

redpajama_set_name: RedPajamaStackExchange


This heavy duty mechanical time switch is designed for industrial, commercial and residential applications. This time switch has the highest horsepower ratings in the industry for loads up to 40 amps resistive from 120 to 480 volts providing direct 24 hour time switch control of most loads.This series provides 1 to 12 "ON/OFF" operations each day with minimum ON/OFF times of 1 hour. All models are equipped with one "ON" and one "OFF" tripper.
These heavy duty Mechanical Time Switches are designed for industrial, commercial and residential applications and have the highest motorload ratings in the industry. They provide up to 12 ON-OFF operations each day with minimum ON-OFF time of 1 hour. All models are equipped with "ON" and "OFF" trippers and they are available in either plastic or metal indoor-outdoor enclosure.
The T30000R Series Control Panels reduce installation costs and provide all of the electrical requirements for any pool and/or spa installation. They offer an all-in-one electrical control center which can be custom wired for a wide variety of requirements, and eliminate the need for additional junction boxes and service panels. The enclosure accepts any combinations of P1353ME or P4243ME or T100M or RC2000M or PF1000M Series mechanisms.


Very often one hears "Keep the fire burning" or see's Leviticus 6:9 used for House's of Prayer or Prayer Furnace. I don't disagree with this in any way, I just want to go a little further and talk about the fire (or the passion) that we have in our hearts for GOD and the things of GOD. I don't know about you, but I have to be honest, there have been times when life and normal circumstances have caused the fire to wane.
I have learned over the years the importance of feeding this fire! How do we feed this fire? Well we must do just as the the priest did, we must tend to the fire daily to keep it lit and blazing HOT! Attending conferences is great, spending time with other blazing hearts is great too, but these are outside influences. Regular personal time with the Father is paramount! Going to church every Sunday and Wednesday is great, serving in ministry is great as well, but if we do not have personal time with the Father, the fire will eventually at some point began to dull. See, if we are only depending on outside influences.. i.e. that specific ministry, that specific preacher, that specific worship leader, that specific song to keep the fire hot, we can began to experience dullness when these outside influences are removed. I mean… come on, lets face it, we can't stay in church or at conferences or in the Prayer Rooms 24 hours and 7 days a week. Well… maybe we could but then how productive would that be? And once again, please hear me, this is in no way a stab at 24/7 House's of Prayer or Prayer Furnaces, I not only love these types of ministries, I also participate in them as well. What I am saying is at some point we have to go home, or go to work, etc….. and what happens then? When we take time in prayer, in GOD's presence, and time reading His Word on a regular basis, we can avoid dullness. The other outside influences are great as well, but we MUST as blazing hearts develop and cultivate a personal relationship with the Father.
Keep the fire burning! Spend time with your heavenly Daddy! Don't let the fire just be about a feeling or an emotion you felt when you heard that anointed music or that anointed word. Let it be a result of blazing love that you have for our Awesome GOD! See, His heart is already blazing for us!!! I am totally awed by how much the Creator of the Universe loves us… loves me!!! Song of Solomon 4:9 says, "You have ravished my heart, My sister, my spouse; You have ravished my heart with one look of your eyes, with one link of your necklace." Whoa! AWESOME! He is talking about us! You and I!!! God is so amazing!
So start today! Develop a personal relationship with this Amazing GOD, That is what He wants from you. Keep the fire burning!
Posted on June 9, 2011, in Fan the Flame! and tagged devotions, Faith, God, Jesus, love, love GOD, relationship, Religion. Bookmark the permalink.	Leave a comment.


text:
Three More Chains Introduce Grocery E-commerce
richie2016-08-16T23:18:45+00:00August 16th, 2016|Tags: ecommerce, online groceries|
Online grocery shopping is still in its infancy in terms of market share, but it is growing at a rapid rate. Even though some customers are still warming up to the idea of grocery e-commerce, it has the potential to be a huge industry disrupter, and most brick-and-mortar supermarkets are beginning to see that. Every day we see more and more companies coming out with their own grocery delivery and curbside pickup programs, as each one realizes that without doing so, it may have a hard time keeping up with the competition.
In the past few days, three more chains have introduced their own online food shopping programs.
Martin's Super Markets launched Groceries to Go, its online grocery shopping and pickup service, at its store in Granger, IN, reported South Bend Tribune. Amy McClellan, vice president of sales and marking for Martin's, says customers have been asking for the service for a while, and it took the chain about two years to roll it out. The company hopes to start expanding the service to other stores in the next four to six weeks. The current end goal is to have Groceries to Go in half of Martin's 22 stores. Christine Enyeart, the company's online shopping coordinator, says there has been a lot of curiosity about the service because there are not a lot of programs like it in the area. She says young working moms seem to be the most excited, but they are not the only demographic interested.
Ralphs Grocery Company also introduced online grocery shopping and curbside pickup at its Carlsbad, CA, store. It debuted the service, called ClickList, on August 5. ClickList is exclusive to Ralphs' parent company, the Kroger Co, and the Ralphs Carlsbad location is the first of 12 Ralphs stores scheduled to offer the service by the end of 2016. Nationally, Kroger has been testing online shopping and collecting customers' feedback since November 2014. Kroger offers ClickList at more than 120 stores in its seven divisions across the country.
CV's Family Foods will also launch its first online shopping platform in partnership with Rosie, an e-commerce solutions company, at its Fort Smith, AR, store. CV's is a 31-store grocery chain serving Arkansas, Oklahoma and Kansas under the CV's Savers Club, Marvins Savers Club and Pawhuska Savers Club banners, reported The Shelby Report. CV's Family Foods, is a member of Associated Wholesale Grocers (AWG), and is the largest AWG retailer to team up with Rosie in 2016 and is the e-commerce company's first store partner in Arkansas.
John Talbott, a senior lecturer and associate director of the Center for Education and Research in Retailing at Indiana University's Kelley School of Business, sums up why online grocery shopping has become so popular: when it comes to shopping, consumers want to enjoy the experience. He notes most people don't love hauling a cart full of everyday necessities up and down the aisles of a grocery store, so if they don't like it and can avoid it, they will.
This need for convenience and time-saving is a definite driver of consumer purchasing decisions, and it will likely propel grocery e-commerce into controlling a major part of the food retailing market in the coming years.
Source: Food Institute


To celebrate their newly released hit, "Follow Me Home", Tritonal is partnering with V-Moda to give 2 lucky fans the chance of getting custom made Tritonal V-Moda headphones. Just so we're clear, these headphones are unique and cannot be acquired anywhere else. Also Tritonal is giving away a pair of VIP tickets to any show they're headlining in 2013. So all you have to do to get a chance to win is enter the contest below and with each additional step completed you get another entry. Good luck!


text:
Urie Locomotive Society Ltd
Dedicated to preserving Urie S15's 30499 & 30506
S15 499
Urie Loco Society
Preserving Urie S15's 30499 & 30506
The aim of the society is to preserve an example of Robert Urie's class S15 4-6-0 locomotives for operation. In fact, the society owns the only two surviving Urie S15's, numbers 30499 and 30506, built for the London & South Western Railway in 1920 at Eastleigh Works to haul heavy goods trains. To compliment our engines, the society also owns a range of ten typical goods vans and wagons to form a short goods train.
30499 is a long-term restoration project to bring her from Barry scrapyard condition to full working order. Much work has been done, on wheels and frames and a new appeal was launched in 2012 to raise the final funds to complete its restoration to run alongside 506.
30506 was restored from Barry scrapyard condition at Ropley between 1976 and 1987 and was launched into traffic in Southern green as 506 in October. 506 operated on the Mid-Hants Railway for fourteen years before being withdrawn in 2001 for another major overhaul. This Urie S15 steam locomotive returns to service on June 2nd 2019 after an 18–year absence.
Urie S15 No. 498 at Eastleigh in official photographic grey livery in 1920. (Mr A Major)
The LSWR S15 class was a British 2-cylinder 4-6-0 freight steam locomotive designed by Robert W. Urie, based on his H15 class and N15 class locomotives.
Learn about 30506 and 30499, two locomotives designed by Robert Urie in 1920 with this video by the Watercress Line where our engines are held…
Share our posts
The Watercress Line, One Family; One Story May 24, 2020
The open day that can't be May 2, 2020
A note from the chairman April 17, 2020
January Urie works update February 5, 2020
December Urie works update December 20, 2019
Works Update
Book your seat behind 499 now for as little as £8 per month and help us turn the dream of having both our Urie S15 locos running!
Download our 499 appeal form
Urie societyFollow
Urie society@UrieSociety·
It's good to start the year with a little publicity... Nice to see our restoration of Urie S15 499 has made it into the @SteamRailway Magazine's Roster list of Overhauls and Restorations.
Well, it's certainly been a challenging year for everyone but through the year the team have still made significant progress on S15 499! Thank you all who have supported the Urie Society.
urieloco.publicity@hotmail.com
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You Told Us - Which is Best: Christmas Eve or New Year's Eve?
A few weeks ago, for our Christmas competition, we asked you which you liked better: Christmas Eve or New Year's Eve? We loved your answers, so we featured them below – have a read and as you settle in for a cosy Christmas Eve, tell us what you think – Christmas Eve or New Year's Eve?
NYE – I love the fireworks!
I have to go with NYE. The chance to celebrate on the hour throughout the whole day has to be so much better than just the once on Xmas Eve. Lets all start with Wellington, New Zealand 11am — Melbourne, Australia 13.00 — Tokyo,Japan 15.00 — Hong Kong, China 16.00 — Kathandu, Nepal 18.00 — Dubai UAE 20.00 — Cairo, Egypt 22.00 — Paris, France 23.00 and London – Midnight!!! The challenge is making a local cocktail from each place you celebrate with !!!! – is there anyone who'd like to give this a go….. ?
I love Christmas Eve! Excited kids, carols, mince pies and sherry!! Amazing fun with all the family.
Xmas Eve, the night before Christmas. The excitement, the whole build up to see the excitement on the children's faces, the smell of Christmas dinners in the air, pulling a cracker and laying down on the sofa with the family, watching Christmas movie. Christmas is a time to get away with wearing funny onesies, a time to scoff your face with all the luxury goodness and most of all, the great company of family.
Christmas Eve because that is the family's favourite time. It's time for good food, midnight mass and opening presents with the whole family. What can be greater then sharing a night filled with family love and excitement?
I prefer #Christmas because of #familytime #fun!
Thanks to everyone who took part; and have a great Christmas!
Images from Alby Headrick, Oddtwang, Pug Girl and Chris Chabot via Flickr.