When it comes to a pair of shades, nothing beats the old-school cool of Ray-Bans. Whether you're aiming for the classic Wayfarer look, the Dirty Harry sheen of a pair of aviators, or the refined elegance of a pair of Clubmasters, there is no settling for anything but the best. Don't let yourself get robbed — be a smart consumer. Know how to tell the difference between the real deal and cheap imitations so you can wear your Ray-Bans with confidence.
Look and feel for seams on the plastic. All genuine Ray-Ban products are crafted from high-quality materials using the finest manufacturing processes. Notably, the plastic body of Ray-Ban sunglasses are cut from a single piece of acetate and are hand-polished. Because of this, you shouldn't be able to detect any nicks, rough spots, or especially seams on your glasses. These are after-products from cheap manufacturing processes and are dead giveaways that a pair of "Ray-Bans" aren't what they are being billed as.
Seams can be anywhere on a fake pair of Ray-Bans, but they're especially likely to be on the places where the mold used to create the plastic closed — namely, the upper edges of the glasses above the lenses and the tops of the "arms" that rest on your ears.
Feel for an inappropriately light weight. Take your Ray-Bans in your hands. Turn them over a few times. Gently toss them an inch or two up and catch them.They should have some weight to them and feel solid and substantial. They shouldn't feel unusually light, thin, or fragile. If your glasses seem like they may not be heavy enough to keep a few pieces of loose paper from blowing away, there's a good chance they're not real.
Real Ray-Bans have metal support struts inside the "arms" that sit on your ears that are responsible for much of their weight. If you have a model with transparent arms (like, for instance, the Clubmaster Squares), you should be able to see this metal. If you can't, you'll know you've been wearing fakes.
Check for non-glass lenses. Take your glasses off and look at them from the front. Give the lenses a few gentle flicks with your fingernail. If they have the look, feel, and "clinking" sound of genuine glass, this is a good sign — many Ray-Bans use real glass for their lenses. Non-glass lenses don't necessarily mean that your glasses are fake, however, unless they're obviously cheap-looking, cloudy, or poor-quality.
If your lenses don't feel like glass, don't panic — some models of Ray-Bans have non-glass lenses but are still made from the highest quality materials. To be clear, perfectly clear, glass lenses are a sign that your glasses are probably real, but non-glass lenses don't necessarily mean they aren't.
Look for low-quality metal hinges. Open the glasses and look at them from the back. The hinges in the corners of the glasses should be of good-quality metal construction. They should be cleanly bolted to the glasses, not glued on or held in place with cheap plastic — as noted above, these are signs of cheap, rushed manufacturing processes.
Many — but not all — Ray-Bans have a distinctive metal hinge that contains seven interlocking metal "teeth". Seeing this is a good sign, but its absence shouldn't be cause for concern, as other types of high-quality metal hinges are sometimes used (for instance, for Ray-Ban's Aviators and Clubmasters).
Look for low-quality engravings in the corners of the glasses. Look at your glasses from the front. If you're wearing most models of Wayfarers of Clubmasters, you should see small, silver, horizontal diamond or oval-shaped marks in the corners of the eyes. These should be sharp, shiny, and well-made. You shouldn't be able to scratch any of the shiny material off and they shouldn't seem like they can be easily removed. If the engravings don't look very well-made, there's a good chance that the glasses aren't, either.
Look for a poor "RB" etching on one of the lenses. Most models of Ray-Ban glasses will have a small, almost-imperceptible "RB" etched in the trademark Ray-Ban font on one of the lenses. This will be small and near the edge of the lens, but it may be easier to see if you shine a light at the glasses from an angle. If your glasses are fakes, you may not be able to see this at all or it may appear smudged or sloppily-etched.
Note, however, that some pre-2000 models may have a "BL" etching. This stands for "Bausch & Lomb," the company that originally owned Ray-Ban. In 1999, Bausch & Lomb sold Ray-Ban to the Italian company Luxottica. This new ownership is reflected on the labelling and packaging of modern Ray-Bans (see below).
Check the quality of the nose pads. Every part of a genuine pair of Ray-Ban sunglasses is made from high-quality materials — even the little pads that sit on your nose when you wear the glasses. These should be made of a firm, comfortable rubbery material. They shouldn't feel fragile, slick, slimy, or easy-to-remove.
You may also want to look for small "RB" logos embossed on the metal centers of the nose pads. These are included on many (but not all) Ray-Bans as a sign of quality.
Check for flushness of the temple logo. Take off your glasses and look at them from the side. There should be a cursive "Ray-Ban" logo on the temple portion of the glasses. Look at this closely — it should be cleanly, professionally attached, sitting more or less flush against the "arm" of the glasses. If the logo itself seems poorly-made or stuck onto the side of the glasses with glue or pins, your glasses are probably not genuine.
Obviously, for Ray-Ban models with very thin temple "arms", like Aviators, no logo is present.
Look for the model number inside the "arms" of the glasses. Look at the inside of the "arms" of the glasses that rest on your ears. If you have Wayfarers or Clubmasters, you should see white text inside the arms. On the left arm, you'll see your glasses' serial and manufacturing numbers. On the right arm, you should see the Ray-Ban logo, "Made in Italy", and a stylized "CE" (which signifies that the glasses are certified to be sold in Europe). If this text is missing, smudged, or poorly-printed, your glasses are almost certainly fakes.
If you still have your Ray-Bans' original packaging, check to make sure the serial numbers on the glasses match the ones on the box's label. If they don't, this is a sure sign of foul play.
Again, because the "arms" of Aviators are so thin, no text is present inside the arms of these models.
Model number: Starts with "RB" or "0RB", followed by four numbers.
Submodel number: Starts with a letter, followed by four numbers.
Lens type code: One letter/one number combination (e.g. "2N").
Lens width (in millimeters): Two-digit number.
A sharp, shiny gold logo on the front left side. The logo should read "100% UV Protection - Ray-Ban - Sunglasses By Luxottica".
A Ray-Ban logo on the snap.
Material that is textured (and feels like) real leather.
A hard, protective front portion.
Check the booklet for errors. Real Ray-Bans are usually packaged with a small booklet that discusses the product you've purchased, contains promotional images, and more. This booklet should be flawlessly printed from good-quality matte paper. In addition, real Ray-Ban booklets are thoroughly reviewed and edited before their publication. If the booklet contains any sort of error — whether it's a spelling, grammar, or factual error — this is a sign of trouble.
Buy only from licensed retailers. When it comes to buying Ray-Bans, not all sellers are created equal. Some, unfortunately, make a practice of selling fakes, or, in the case of pawnbrokers, may be indifferent to fakes in their inventory. To ensure that you only buy fine, high-quality Ray-Bans, only make purchases from sellers that are officially-licensed by the Ray-Ban corporation.
If you live in the U.S., note that you can use the store locator on the official Ray-Ban site to find licensed sellers near you.
Beware "too good to be true" deals. As with many luxury goods, if your Ray-Bans seem to be a steal, they probably are. While Ray-Bans vary greatly in price depending on their make and model, they're never cheap. Being hand-made from the finest materials available, Ray-Bans are a premium good sold at a premium price. Be very skeptical of supposed Ray-Bans being sold under their market price, even if the vendor has some sort of convenient excuse for the discount.
As an example of the sort of costs you can expect for new Ray-Bans, know that, within the Wayfarer group of models, new glasses can retail from about $60 to as high as $300.
When in doubt, purchase directly from Ray-Ban. If you're ever unsure of a seller's veracity, why take a risk? To make sure you get real Ray-Bans, simply buy from Ray-Ban's official website, ray-ban.com. The Ray-Ban site allows you to easily browse the entire Ray-Ban catalog, making it obviously preferable to any sort of "shady" seller you might otherwise use.
Fakes may not provide adequate protection from the sun's UV rays. In fact, wearing sunglasses without UV protection can actually be worse for your eyes than wearing no sunglasses at all.
Fakes almost never come with warranties, so if they break (which is almost always more likely than with real Ray-Bans), you're completely out of luck.
Fakes may be made in factories or sweatshops that exploit their workers. Making a habit of buying fakes can be unwittingly supporting unfair labor practices in other parts of the world.
The writings on the temple arm (Made In Italy and the model number of my Ray Bans) get easily scratched. Is this normal?
It is normal, especially if you have pretty oily hair or skin; however, the printing on the glass shouldn't wear off because it's baked on.
My pair of Ray-Bans doesn't have "RB" or "BL" etched into the left lens. Does this mean they are fake?
Yes, they are fake. The genuine Ray-Ban sunglasses should have one or the other of these logos.
What kind of markings were used on Wayfarers before 2000?
A small BL should be etched on the glass -- it stands for Bausch and Lomb, the company that used to own Ray Bans. Also, your pre-2000 Wayfarers should say 'Made in the USA' as Bausch and Lomb is an American-based company.
My Ray Ban eyeglasses have "Made in China" on the arms. Are they real?
Just because they are marked "Made in China" does not mean that they are fake. Since Luxottica's acquisition, Ray Bans are always marked with either "Made in Italy," "Handmade in Italy," or "Made in China," depending on what model they are. Jr. Ray Ban models, for example, are made in China.
Are they fake if they don't have a bar code?
Ray Bans don't have a bar code on the frame. I work for Luxottica and see Ray Bans on a regular basis.
How long will the Ray Ban name on the glasses stay?
This depends on the quality of the glasses, better quality fakes can last for a long time, whereas the branding on glasses with lower quality may only last for days or even hours.
My glasses were purchased from Sunglasses2U, which is located in the UK. My glasses pass each of the tests you mention except that there was no sticker on the lenses. Should I be concerned?
No matter which store you buy from, if it doesn't have the sticker, then I'm afraid that your sunglasses may have been tampered with.
If the words "Ray Ban" aren't on the side of the frame itself, are they fake?
I have genuine Ray Bans and they are club masters and they don't have the name on the fame, so not all models have it.
My old Ray Bans have "France" stamped on the inside of the right stem, and "Bausch & Lomb" on the inside of the other stem. Are they genuine Ray Bans or fakes?
There's no way to tell for sure, but this can happen with Ray Bans. The company uses materials from other companies to manufacture their glasses, since the Ray Ban name itself is one of the most valuable elements of the glasses.
I own a pair of Ray Bans that are almost 15 years old. How can I find the current value?
Look up the pair on Ebay or another sales website to find what other people are selling theirs for. At the very least, look at similar models.
How much do the Ray Ban Erika glasses weigh (including lenses)?
How can I get the correct arms for a 10 year old pair of Raybans?
Can I fake Ray Ban's from Nordstrom.com?
What do I do if my Ray Ban sunglasses don't have numbers on the bridge?
How to protect the logos on sunglasses from fading?
Check the Ray Ban print on the left and right of the glasses.
The warranty should also be neat, cut well, and without errors in the text or layout.
Usually only the Wayfarers come with an additional booklet detailing Ray ban icons.
To tell if Ray-Ban sunglasses are fake, start by feeling for seams on the plastic. Since Ray-Ban sunglasses are cut from a single piece of acetate and hand-polished, you shouldn't be able to feel any seams. Next, make sure the lenses are made of real glass. Then, look for low-quality metal hinges and poor engravings, which are red flags that the glasses are fake. Check the box for the serial numbers and inspect the booklet for errors. Always buy your Ray-Bans from licensed retailers and be wary of any deals that seem too good to be true! If you want to learn how to check the packaging on your Ray Ban glasses, keep reading the article!
Thanks to all authors for creating a page that has been read 2,044,000 times.
"I had been left 2 Ray Ban glasses and wanted to know if they were real. It seems that they are. Thank you!"
"I've bought some, thinking they were genuine Ray Bans, but discovered they are not. Not happy."
"Very good information, and I hope this will definitely help me in the future."
"This post let me know the difference between original and fake. "
"Really good features to expose the fake ones from genuine."
"Spot on. I have some Caravans, but much of this applies. "
"It helped me make sure I had legit Ray Bans."
"I learned how to recognize fake Ray Bans."
"Each step was very clear to understand."
"Now I can see the difference."


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If you're looking for a cheap 5x5 unit in Greencastle, you'll get the best value by renting a $32.00 unit at Valley Storage - Valley Mall.
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Tricia Janine Helfer (born April 11, 1974) is a Canadian actress and former model. She is best known for playing the humanoid Cylon model Number Six in Ronald D. Moore's re-imagined Battlestar Galactica series (2004–2009) and voicing Sarah Kerrigan in the StarCraft video games (2010–2015). She currently plays Charlotte Richards / Mom in the FOX series Lucifer (2016–present).
There are 2 videos of Tricia Helfer.


Just a week after re-electing you, you had to show your real nature. So, why now the Canal Lachine, the natural historic site of Canada is closed for the winter? Life does not end in winter. Neither do walks, winter sports and biking. There is not even snow yet, it's only November.


Over fifteen houses have been destroyed due to a strong wind that blew across the Medirigiriya area in Polonnaruwa.
According to the Deputy Director of the DMC, Pradeep Kodippili, the destruction occurred between 5 and 5:30 on Sunday evening.
He noted the full extent of the damage is still being assessed.


Slightly late, but here's the final run down on the EuroBAMS fantasy league.
There was late drama once again.
Despite it looking like Stephen from Birdhead had the tournament in his pocket from pretty much day one, his gamble on Italian defenders instead of Spanish ones, along with a bad choice of changing his captain, saw him slip up at the last minute.
Claire from Catthouse, whose name I always manage to spell wrong even when it is written down in front of me, picked her team well and eliminated the eleven point gap going into the last match to take the trophy.
Just like we did at the World Cup two years ago, Aye Tunes battled hard to claim a respectable third place in the league.
There was heartbreak for AFYCW, as Campfires In Winter notched up a remarkable score in the final game to rocket into third position, knocking Sander's side out of the top five.
Further down kudos once again goes to Last year's Girlymen for their climb up the league, but Lisa-Marie's final standing was to prove no consolation for the actual football result.
Throughout the whole Knockout stages the real victors were the womenfolk. Claire and Lisa-Marie were the top scorers once we passed the group stages, with me in third. I've been called a big girl plenty of times too.


One of my all-time favourite guitars is the Epiphone Casino. It is the ultimate Beatle-guitar – all three guitar-playing Beatles have owned and played this model. Paul McCartney still rates the Casino as his personal favourite.
Originally called the Epiphone Casino ES-230TD it was the sister model to Gibson's ES-330. Gibson had bought (the then US-firm) in the mid 1950s and produced Epiphone models alongside their own line in Kalamazoo (Michigan). Nowadays the Epi brand serves as Gibson's cost-conscious line and the production has long been moved to the Far East (mostly China).
My Casino is an early Noughties Korean-manufactured guitar. Originally a natural (gloss) finished model, it has been Lennon-ised by my friend Sebastian Bunge of Soundhaus Lübeck (Germany). He dulled down the finish (at which point the serial number went missing) and installed higher quality P-90 pickups made by Göldo.
Although the Casino shares the double-cutaway thinline body of Gibson's ES-335/-345/-355, it is nonetheless a completely hollow bodied model (like the ES-330). There is no maple centre block running the length of the plywood maple body, which is why the neck joint is at the 16th fret.
While the originals had one-piece mahogany necks, my guitar comes with a three-piece neck. Basically, the neck is one piece, save for an added bit to make up the height of the neck heel, as well as the headstock, which is joined to the rest north of the saddle/wrist area (not scarf-joined beneath the 2nd fret!).
While the first Casinos from the late 1950s/early 60s feature (rather ugly) wide Gibson-type headstocks, all post-65 models come with the much more distinctive Epi-hourglass design.
This guitar plays like a dream and sounds like it should. Sebastian pulled it out of its case and said "I think you might be interested in this!" – damn right I was. He plugged the guitar into a Fender '65 Deluxe reissue, and it sounded exactly like John on the Apple-building roof in January 1969 (OK, so John had played a Twin…).
I love this guitar. One example of myself playing the Epiphone Casino can be found here.
This post has been originally posted on my other blog in 2008.
My review of these two beauties – the Gibson ES-330L and the Epiphone Inspired By Revolution Casino – can be found in Riffi Magazine's issue 4/2010.
Reblogged this on Epiphone Casino.


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More young drivers involved in crashes in Cornwall than in most areas of the UK
Between 2010 and 2016 a total of 15,699 cars, lorries, motorbikes and other vehicles have been involved in accidents in Cornwall
Rob Grant
Almost one in four drivers involved in crashes in Cornwall are aged between 16 and 25 - one of the highest shares in Britain.
Cornwall Live analysed data on more than one million road accidents between 2010 and 2016.
We found that between 2010 and 2016 a total of 15,699 cars, lorries, motorbikes and other vehicles have been involved in accidents in Cornwall. Some 3,562 of these vehicles were driven by young drivers, or 23 per cent of the total.
Fifty of these accidents proved fatal for at least one person.
It is official - the A39 is one of the most dangerous roads in the UK
In general, the parts of Britain that had the highest shares of young drivers involved in accidents tended to be more rural areas of Britain. Even so, only 23 places out of 380 in total had a higher rate than Cornwall.
The scene of the crash on the A39 which killed teenagers Danny Thomas and Michael Berry (Image: sal adams)
Young men were more likely to get into accidents in the county than young women, something that was typical across Britain.
Across the UK some 19% of drivers involved in accidents were young people.
The highest proportion was in the Shetland Islands followed by Blaenau Gwent, south Wales.
The highest share in any major city was Swansea, with young people behind the wheel of 23% of vehicles involved in accidents.
Ten of the most common things said about speed cameras and whether they are fact or fiction
On December 18 of last year, one teenager died at the scene of a crash on the A39 at Perranarworthal, between Truro and Falmouth, and another died later is hospital. The driver of the Vauxhall Corsa, Danny Thomas, 18, from Roche, died at the scene just before midnight and his 19-year-old passenger, Michael Berry from St Austell, has died since.
Danny Thomas, pictured with Bodmin Boxing Club in 2013, died behind the wheel in December, aged 18 (Image: Phil Monckton)
Sophie Taylor was just 16 when she was killed in a crash at Falmouth just over two years ago. Coree Lee Amonn, 19, from Longfield in Falmouth, was the driver in the horror crash at Castle Drive.
Sophie Taylor was 16 when she killed in a car driven by Coree Lee Amonn, aged 18 at the time
The former Falmouth School student, who admitted causing death by careless driving, denied the more serious charge of causing death by dangerous driving but was found guilty of the more serious crime after a trial at Truro Crown Court in August of last year.
Coree Lee Amonn was jailed for 15 months and banned from driving for two years after Sophie Taylor's family pleaded for leniency
The court heard how Amonn, who was 18 at the time, has picked up Sophie and her twin sister Aimee and let them drive his Volkswagen Golf around the Ships and Castles Leisure Centre Car Park. He then took the wheel and, despite pleas from Aimee to slow down, reached speeds of up to 48mph in a 30mph limit zone before losing the control of the vehicle.
Young motorists could be banned from driving at night under new Graduated Licence
After the figures about young drivers were uncovered, a spokesman for Brake, the road safety charity, said: "These figures are very worrying. As a charity that supports road crash victims and bereaved families, we know only too well the heartache and suffering caused by needless crashes involving young and inexperienced drivers.
"Young drivers are at high risk due to many reasons, including overconfidence, lack of experience, and a tendency to take risks.
"Brake has long campaigned for Graduated Driver Licensing (GDL), a life-saving policy that tackles young driver crashes by providing a minimum-length supervised learning period and allowing new drivers to build up their skills and experience gradually, while limiting exposure to some of the highest risk situations, such as night-time driving.
"GDL is already in place in many countries worldwide, where it is proven to reduce young driver casualties."

redpajama_set_name: RedPajamaCommonCrawl


Global CNC Tool & Cutter Grinding Machine Market Research Report By Type (Tool & Cutter Grinding Machine, Universal Grinding Machine and Blank and Cylindrical Grinding Machines) By Application(Automotive, Aerospace and Defense and Electrical and Electronics Manufacturing), By Region – Forecast to 2023.
Haas Automation, Inc., ANCA Pty Ltd., DANOBAT Group, Makino Milling Machine Co., Ltd., J Schneeberger Maschinen AG, and Vollmer collectively accounted for more than 30% of the market share of the global CNC tool & cutter grinding machine market in 2017. These companies continue to retain their strong global presence through product development and expansion.
The global CNC tool and cutter grinding machine market is anticipated to reach USD 4,067.7 million by 2023, as per a new report by Market Research Future (MRFR). It is expected to exhibit a CAGR of 4.52% during the assessment period (2018-2023). The growth is supplemented by expansion of automotive and aerospace sectors inducing the demand for CNC machines to produce components in various sizes and shapes.
Computer numerical control (CNC) tool and cutter grinding machines are used for sharpening tool bits and other machines. These machines expedite the production rate by automating the entire process. These tools use computer-aided design (CAD) and computer-aided manufacturing (CAM) software to produce various components. Technological advances in CNC equipment can augur market growth over the forecast period.
Emergence of Internet of Things (IoT) and continuous evolution of machine learning are factors estimated to drive market demand. Subsequent use of CNC tools to produce components on a large scale is expected to play a major role in the market. In addition, adoption of automation to streamline assembly lines coupled with establishment of various industrial hubs are anticipated to bolster market demand in the coming years.
On the basis of regions, the global CNC tool and cutter grinding machine market has been segmented into North America, Europe, Asia Pacific (APAC), and Rest-of-the-World (RoW).
The APAC market accounted for 37.7% share in 2017. Presence of various industrial hubs coupled with a robust manufacturing sector across South Korea, China, and India can augur market growth in the coming years. The APAC market is estimated to showcase a 5.12% CAGR during the forecast period. China can contribute to market revenue owing to abundance of raw materials and low labor costs. Demand for consumer electronics and cars is predicted to facilitate market demand.
The Europe region is projected to expand at a phenomenal growth rate over the forecast period owing to rise in export and import trade activities. Presence of major automobile manufacturers such as Audi and BMW can influence market demand. Countries such as France, Germany, and Spain can augment market demand owing to presence of various manufacturers.
DANOBAT Group, ANCA Pty Ltd., Vollmer, Haas Automation, Inc., J Schneeberger Maschinen AG, and Makino Milling Machine Co., Ltd are prominent names in the CNC tool and cutter grinding machine market. Other noteworthy names include WIDMA Machine Tools, ISOG Technology GmbH, JTEKT Corp, Korber AG, Amada Machine Tools Co., Ltd., Rollomatic SA, Alfred H. Schütte GmbH & Co. KG, Gleason Corporation, Gebr. SAACKE GmbH & Co. KG, and JUNKER Group. Mergers and acquisitions, partnerships with vendors, and new products are strategies employed by players to gain a larger share of the market.


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Dan Rosenbaum
Center Ring Media
You are here: Home / Bio
A technology journalist for more than 30 years and an award-winning writer, Dan Rosenbaum writes about wearable technology for his website, Wearable Tech Insider, which covers new products, corporate news, and technology developments in the world of in wearable technology.
Dan has a long history of successfully launching and relaunching major editorial brands in print and online. In the Web's early days, he ran 3Ships Communications, which may have been the first editorial agency devoted to new media. A pioneering blogger, Dan was one of the first editors to create a permanent online presence for a monthly print magazine.
A camera-ready, accomplished speaker, Dan has presented at numerous trade shows and appeared on many television shows, including Good Morning America, CNBC, Extra, and FX's morning show Breakfast Time. He was a frequent guest on CNN programs around the world had a weekly spot on CNNfn's Biz Buzz.
Dan began his career at United Press International, where he covered stories including the divestiture of AT&T, experiments in fusion power, and the return of American hostages from Iran. His experience includes working for some of the largest news organizations in the U.S., including CMP Media, Cowles Business Media, Mecklermedia, NBC Universal, PennWell Corp., Time Inc., and Ziff Davis. He is married with two kids, and lives in Brooklyn, NY.
The short version (50 words)
A camera-ready, accomplished speaker, Dan Rosenbaum tracks new products, corporate news, and technology developments in wearable technology at Wearable Tech Insider. A veteran journalist, Dan wrote for and edited for numerous magazines. He also was one of the first to create a permanent online presence for a monthly print magazine.
Tweet Me! (140 characters)
@brooklyndan: Journalist, content developer and wearables guy. Tracking new products, corporate news, and developments in the world of wearable technology.
© Copyright 2014 Dan Rosenbaum · All Rights Reserved


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Pharrell Williams is coming out with his own skin-care line, 'Humanrace' Available online November 25
Pharrell Williams Curates 'Time' Magazine's Issue on Social Justice, Collabs With JAY-Z on New Song New track brings attention to the struggle of African American entrepreneurs
Pharrell's Creative Collective Launches Cutlery Kits Made From Upcycled CDs
Pharrell Williams Helps Make Juneteenth a State Holiday in Virginia 'This is what listening looks like'
Kanye West on Michael Jackson and How the Media Tries to 'Wacko Jacko' Him Too West talks with Pharrell
R.E.M., Journey, Pharrell, Vince Gill Among Nominees for Songwriters Hall of Fame See the complete list


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Александр Семёнович Васильев (1868 — 4 марта 1947) — российский советский астроном и геодезист.

Биография
Родился  в Николаеве Херсонской губернии (ныне Николаевская область на Украине) в семье морского инженера-механика.

В 1895 году с дипломом первой степени окончил физико-математический факультет Новороссийского университета в Одессе. Уже в университете начал свою научную деятельность: занимался исследованием вращения Венеры. В 1896 году был направлен в Пулково — в Главную астрономическую обсерваторию, где и проработал всю свою жизнь.

В 1899—1900 гг. в качестве заместителя начальника принял участие в русско-шведской экспедиции градусного измерения на острове Шпицберген. Под руководством Васильева и с его непосредственным участием были установлены сигналы и произведены астрономо-геодезические наблюдения на нескольких пунктах основной сети. Васильевым была составлена карта острова Западный Шпицберген масштаба 1:21000.

По окончании экспедиции А. С. Васильев занимался обработкой полученных материалов и в 1915 году в Одессе издал книгу о работе экспедиции «На Шпицберген и по Шпицбергену во время градусного измерения» (С картой и 20 фот. на мел. бумаге. — Одесса: «Коммерч. тип.» Б. И. Сапожникова, 1915. — X, 141 с., [15] л. ил.).

С 1903 года он беспрерывно работал на Пулковской обсерватории. Исследовал на пассажном инструменте колебания широты по наблюдениям прохождений звёзд через плоскость первого вертикала.

Также он много внимания уделял педагогической деятельности. В 1919 году Новороссийский университет избрал его почётным доктором астрономии и геодезии.

В 1920—1924 гг. А. С. Васильев занимал должность старшего руководителя геодезистов Военно-инженерной академии и гидрографов Морского ведомства.

Награды
 Орден Святой Анны II степени
 Орден Святого Владимира IV степени
 орден Трудового Красного Знамени (10.06.1945)

Память
Именем А. С. Васильева были названы:
 ледник на юго-востоке о. Западный Шпицберген.
 горы на восточном побережье о. Западный Шпицберген.
 перевал в северо-западной части Земли Серкапп на о. Западный Шпицберген (открыт и назван 3 апреля 1900 года)..

Экспедиции А. С. Васильева на Шпицберген посвящён художественный фильм «Архипелаг» (2021).

Избранная библиография
 Окончательное определение орбиты кометы 1895. III : [Доложено в заседании Физ.-мат. отд-ния 20 февраля 1897 г.] — : тип. Имп. Акад. наук, 1897. — 505—540 с.
 Влияние формы и приливов земной атмосферы на зенитные расстояния светил // «Известия Российской акад. наук». — 1919. Т. 13. Ч. 1. № 3.
 Выгоднейшие организации приведения горизонтальных направлений к центру. — [Ленинград], 1925. — [24] с.
 Надежнейший метод определения достоинства трубчатых уровней и достоинства их исследования: (Представлено акад. А. А. Белопольским в заседании Отд-ния физ.-мат. наук 26 апреля 1917 г.) / [Соч.] А. С. Васильева. — [Ленинград], [1925]. — 699—710 с.
 Оценка достоинства методов автора, В. Струве и Н. Цингера при исследовании трубчатых уровней: (Представлено акад. А. А. Белопольским в заседании Отд-ния физ.-мат. наук 27 мая 1917 г.) / [Соч.] А. С. Васильева. — [Ленинград], [1926]. — 85—112 с.: табл.
 Нереальная оценка точности нивелирований горизонтальной оси в пассажных инструментах. Ч. 1—3 // «Известия Акад. наук СССР. Отд. физ.-мат. наук». — 1928. — № 2. — С. 151—172; № 3. — С. 215—240; № 4—5. — С. 303—318.
 Условия надёжного нивелирования горизонтальной оси в пассажных инструментах // «Известия Акад. наук СССР. Отд. физ.-мат. наук». — 1928. — № 4—5.
 Значение величины, измеренной по нескольким эталонам несколькими наблюдателями. — [Ленинград], 1929. — [12] с.
 Математическое выражение технических особенностей русской триангуляции в Шпицбергенском градусном измерении. — 1929. — [18] с. вкл. ил.
 Уточнение результатов измерений посредством организации. — [Ленинград], 1929. — 17 с.
 Колебания широты Пулкова в 1896, 3—1902, 3 гг., по наблюдениям А. Д. Педашенко в первом вертикале на пассажном инструменте. — Л., 1936. — 91 с. — (Труды Главной астрономич. обсерватории в Пулкове. — Ser. 2. Vol. 48).

Примечания

Литература
 А. С. Васильев [Некролог], «Известия Главной астрономической обсерватории в Пулкове», 1948, т. 17, № 141.

Ссылки
 Васильев Александр Семёнович

Астрономы по алфавиту
Физики России
Физики СССР
Астрономы России
Астрономы СССР
Геодезисты России
Выпускники физико-математического факультета Императорского Новороссийского университета
Сотрудники Пулковской обсерватории
Похороненные на Пулковском кладбище

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I first attended The Cincinnati Actors Studio at the age of 18, and until I moved to LA, I never missed a class! I would say it's the best choice in the Tri-State for any and all actors. It has truly prepared me for my career in LA and life in general. The connections you make and growth that happens at the C.A.S. is truly priceless... I cannot wait till I'm back in town to stop by and take another class!


"Please, don't take me from my daddy..."
And so it begins with Debra Granik's latest film, the masterful Leave No Trace, a film that I've been unable to shake since watching it and a film that beautifully and authentically captures what it takes for us to survive against everything that threatens to tear us apart.
Based upon a series of news articles that inspired the book My Abandonment by Peter Rock, Leave No Trace is most assuredly one of 2018's best motion pictures, a recipient of Indy-based Heartland Film's Truly Moving Picture Award and, indeed, one of the most truly moving pictures I've had the pleasure of seeing this year.
Debra Granik is one of this generation's most authentic, inspired filmmakers, whose Winter's Bone introduced Jennifer Lawrence to the world and whose only follow-up to that film has been the feature doc Stray Dog, a fact that has baffled those for whom a voluminous body of work has become more impressive than a masterful body of work.
You'd be hard-pressed to name more than a handful of filmmakers whose first two narrative features have been as impressive and as masterful, there's that word again, as Granik's marvelous creations.
I have seldom been witness to a film that so skillfully weaves together elements of desperate bleakness and uncommon humanity as is the case with Leave No Trace, a film that shows not just respect but actual love for its characters and for those who live off-the-grid because it is quite literally the only way they know how to survive emotionally and physically.
As was true for the story upon which it is based, Leave No Trace locates itself inside a Portland, Oregon's Forest Park, where we meet Will (Ben Foster) and his daughter, 13-year-old Tom (newcomer Thomasin Harcourt McKenzie), whom we know nothing about other than what we see and what we experience as they chop wood, play chess, hunt mushrooms, and even play games of hide-and-seek amongst their isolated village of makeshift tarps and functionally useful propane tanks.
They live here, we surmise. But why? How? What is this world?
The opening sequences of Leave No Trace are practically wordless, though I may have just been imagining this as I was so completely engrossed in the little casual intimacies and familial bonds being put on display as we learned nothing and everything about the life that has been created by Will and Tom.
Will and Tom live a hard life, but it is not an unhappy life. It is not a life without love. Indeed, it is easy to conclude that, just perhaps, this may be the perfect life for them. Protected by this wall of green that they've come to call home, Will is able to both fend of his undefined demons from the past while parenting Tom in a way that is uncommonly tender and devoid of distraction while Tom, despite what our logic may tell us, is growing up to be an emotionally and physically healthy young woman whose love for her father is practically a fairytale.
It is clear that Will has demons, though Leave No Trace never defines them, an undeniably conscious choice by Granik to allow Will to avoid the labels that society would so easily thrust upon him. Will and Tom occasionally leave the park, either to retrieve groceries or for Will to sell prescription drugs to a small village of people living in a tent city on the park's fringes. Other than these limited occasions, they have built a life for themselves within the park's vast confines.
Of course, in some ways, I suppose, we all know where this is going. Will and Tom will be discovered, their peaceful world disrupted by well-meaning yet ultimately misguided do-gooders who are not portrayed here as the usual institutional caricatures but as good people trying to do good things but who can't possibly do the right thing.
Ordinary folks can't imagine that the way things were for Tom and Will may very well have been the right thing, or at least the right thing for them.
That's the thing. You know? Love is universal, but love isn't common. It's different. It's different for everyone. We all need to experience it differently. We all feel it differently. We all need it, but we all need it differently.
Granik gets that. Oh my, how she gets that.
Refreshingly, though, Granik, along with co-screenwriter Anne Rosellini, doesn't demonize the do-gooders. The people who try to help Will genuinely want to help Will - the police who first discover him, the welfare workers who first investigate him, and the open-hearted community members who offer him work and shelter all want to see him succeed.
But, they want to define that success differently.
Will simply can't survive in their world.
The same is true for Tom, though she's younger and she's more impressionable. Introduced to a world she's never seen, she's timidly curious and maybe even a little bit frightened. Yet, those she encounters are for the most part kind from the social worker who realizes that against all odds she's remarkably well cared for to the other teens in a home for girls where she is temporarily placed while "the system" tries to figure out the hows and the whys and the whats to everything that it has learned about this mysterious yet seemingly perfectly fine father and daughter.
There isn't a false note in Leave No Trace.
You never look up at the big screen and think to yourself "Ha! The Hollywood ending!" or "The market friendly twist!" Instead, Granik and Rosellini have crafted an intelligently created, beautifully told story that is simultaneously aching to watch and one of the most mesmerizing familial love stories to come across the big screen in years.
Ben Foster, one of this generation's finest character actors, gives his best performance to date as Will. If an Independent Spirit Award nomination or an Academy Award nomination doesn't follow, then the awards should be banished forever. There's a social critique here, perhaps more a social observation, as it becomes obvious mostly in less dramatic ways that Foster's Will is a wounded, perhaps PTSD-impacted veteran whose usefulness to society has dissipated and whose presence has been allowed to fade from our awareness. Will can't possibly cope with the newfound world where others want him to live, yet Foster so insightfully captures his internal aches battling with his paternal instincts that I sit here sobbing even remembering it. Foster's is easily one of the year's absolute best performances.
There will be much made, as there should be, of the fact that Granik discovered and brought the world Jennifer Lawrence and now introduces us to yet another gifted beyond her years actress in Thomas Harcourt McKenzie, whose similar turmoil rests in the fact that she grows fond of a world she's never known while possesses what feels like, truly feels like, an immeasurable and unbreakable love for her father.
There is one line in the film, one freakin' line, that may be one of the most devastatingly beautiful lines I've ever heard in a film and Harcourt McKenzie delivers it with such quiet normalcy that it still reverberates through my psyche'.
Dickon Hinchcliffe's original score is completely and utterly immersive, while Michael McDonough's lensing is remarkable in the way he bathes each vastly different world in equal measures of love and uncertainty. Hinchcliffe has quietly built a name for himself in several indie projects, including Granik's Winter's Bone and such projects as Locke, Rampart, and the feature doc Project Nim, while McDonough has become a familiar presence in British television.
In what has proven to be a remarkable year for cinema and we're only halfway through it, Leave No Trace is, without question, one of the very best films of the year.


This is a nice little tractor that runs good, it would be great for any collection or use it in parades, I do not have a starting crank for it, I just pull it about 3 feet and it is running. The item "1939 John Deere L Antique Tractor NO RESERVE A B G H M D R Farmall Oliver" is in sale since Sunday, January 17, 2016. This item is in the category "Business & Industrial\Heavy Equipment\Tractors". The seller is "marty8348″ and is located in Waterloo, Wisconsin. This item can't be shipped, the buyer must pick up the item.
This entry was posted on Tuesday, January 19th, 2016 at 2:36 pm. You can follow any responses to this entry through the RSS 2.0 feed. Both comments and pings are currently closed.


text:
package org.trafodion.dcs.master.listener;

public class ListenerMetrics {
	private long timestamp=0L; //start Listener timestamp
	private int requests=0; //total number of requests
	private int completedRequests=0; //total number of requests completed successfully
	private int readTimeouts=0; //total number of read timeouts
	private int writeTimeouts=0; //total number of write timeouts
	private int rejects=0; //total number of rejected requests (no AVAILABLE MXOSRVRs)
	private long totalRequestTime=0L; //total time in microseconds successfully completed requests since init timestamp
	private long avgRequests=0; //average number successfully completed requests per second
	private long avgRequestTime=0; //average request time in microsec successfully completed requests since init timestamp
	private long minRequestTime=0; //min request time in microsec successfully completed requests since init timestamp
	private long maxRequestTime=0; //max request time in microsec successfully completed requests since init timestamp

	private long curRequestTimestamp=0L;
	private long curRequestTime=0;
	private long lastRequestTime=0;

	private int noAvailableServers=0;

	public ListenerMetrics(long nanoTimestamp){
		this.timestamp = nanoTimestamp/1000;
	}
	public void listenerStartRequest(long nanoTimestamp){
		curRequestTimestamp = nanoTimestamp/1000;
		requests++;
	}
	public void listenerEndRequest(long nanoTimestamp){
		long timestamp = nanoTimestamp/1000;
		long microsec = 1000000;
		completedRequests++;
		if (curRequestTimestamp != 0){
			lastRequestTime = curRequestTime;
			curRequestTime = timestamp - curRequestTimestamp;
			if (lastRequestTime == 0)
				lastRequestTime = curRequestTime;
			totalRequestTime += curRequestTime;
			avgRequestTime = totalRequestTime / completedRequests;
			if (avgRequestTime == 0)
				avgRequests = 0;
			else
				avgRequests = microsec / avgRequestTime;
			if (minRequestTime == 0 || minRequestTime  > curRequestTime)
				minRequestTime = curRequestTime;
			if (maxRequestTime == 0 || maxRequestTime < curRequestTime)
				maxRequestTime = curRequestTime;
		}
	}
	public void listenerRequestRejected(){
		rejects++;
		curRequestTimestamp = 0; //do not include it into time statistics
	}
	public void listenerWriteTimeout(){
		writeTimeouts++;
		curRequestTimestamp = 0; //do not include it into time statistics
	}
	public void listenerReadTimeout(){
		readTimeouts++;
		curRequestTimestamp = 0; //do not include it into time statistics
	}
	public void listenerNoAvailableServers(){
		noAvailableServers++;
		curRequestTimestamp = 0; //do not include it into time statistics
	}
	public String toString() {
		String report = "listenerRequests=" + requests + ", listenerCompletedRequests=" + completedRequests + ", listenerReadTimeouts=" + readTimeouts +
				", listenerWriteTimeouts=" + writeTimeouts + ", listenerRejects=" + rejects + ", listenerAvgRequestsSecond=" + avgRequests +
				", listenerAvgRequestTimeMicrosec=" + avgRequestTime + ", listenerLastRequestTimeMicrosec=" + lastRequestTime +
				", listenerMinRequestTimeMicrosec=" + minRequestTime + ", listenerMaxRequestTimeMicrosec=" + maxRequestTime +
				", listenerNoAvailableServers=" + noAvailableServers;
		return report;
	}
};

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text:
require "helpers/integration_test_helper"
require "integration/factories/servers_factory"

class TestServers < FogIntegrationTest
  include TestCollection

  def setup
    @subject = Fog::Compute[:google].servers
    @factory = ServersFactory.new(namespaced_name)
  end

  def test_bootstrap_ssh_destroy
    resource_name = @factory.resource_name
    instance = @subject.bootstrap(:name => resource_name)
    assert instance.ready?
    instance.wait_for { sshable? }
    assert_match /Linux/, instance.ssh("uname").first.stdout
    assert_equal instance.destroy.operation_type, "delete"
    Fog.wait_for { !@subject.all.map(&:identity).include? instance.identity }
    # XXX clean up after bootstrap's automatic creation of disks
    # This should be removed when
    #     https://github.com/fog/fog-google/issues/17
    # is solved
    disk = Fog::Compute[:google].disks.get(resource_name)
    disk.destroy
    Fog.wait_for { !Fog::Compute[:google].disks.all.map(&:identity).include? disk.identity }
  end
end


Framing is the way individuals, groups, and societies organize, perceive, and communicate about their reality. It influences how we perceive information and act in any given situation. Framing creates a mental filter that alters how information is retained in our minds.
If Program B is adopted, there is a 1/3 probability that 600 people will be saved, and 2/3 probability that no people will be saved.
If Program C is adopted 400 people will die.
If Program D is adopted there is a 1/3 probability that nobody will die, and 2/3 probability that 600 people will die.
If you look closely, you'll notice that Programs A and C have the same outcome – that is 200 people are saved as 400 people die. Programs B and D also have the same result – a 1/3 chance that 600 people are saved and a 2/3 chance that 600 people die. So, the participants' results for Programs C and D were the same as Programs A and B, right? Wrong.
The results practically flip flopped. In the second sample, 22% of the participants chose Program C, while 78% chose Program D. Framing the question based on the number of lives saved, people preferred the guarantee. However, nobody liked the guarantee of 400 people dying. This study goes to show the drastic effect Framing can have in our everyday lives.
Dynamic Duos is an excursion we commonly use at Ideas To Go to combat the effects of seeing through only one Frame during ideation. It is an excursion aimed at getting out of your own mind's framework and into the perspective of someone else.
Once you have selected your Dynamic Duo, choose the opportunity area you wish to explore and come up with ideas from the point of view of the Dynamic Duo. Their perception of the world is different from your own, and the ideas generated can be used as fodder to develop even more ideas. Next time you want a unique take on a concept, use the Dynamic Duos excursion to overcome Framing.


text: Q: Drawbacks of opening many FileOutputStream What are the drawbacks of opening many FileOutputStream at any point of time? My aim is to write a big chunk of data, break them and write them into separate files.

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