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Well its true! Couldn’t be more excited to be a part of the @fordperformance family. Gonna be racing a full season of ARCA for @DGR_Crosley and some @IMSA racing in 2020 as of now 😁 https://t.co/wGgbmugRzo

Last one today. I built it myself. An AMT 1959 Chrysler Imperial hardtop https://t.co/fx2XgI1QOS

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'76 Dart by #mpc Ford delivery truck Dodge pickup https://t.co/4atCkDynFQ

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IMSA!!! Baller. Can’t wait to see how she does in MPC. Ford has done an awesome job of using drivers from multiple disciplines.

Check out 1982 MPC Dust Devil Ford 4 x 4 Bronco Model kit - open box 1/25 scale #MPC via @eBay

ford mpc Q&A Review

How do you play video files from your computer on a Chromecast?

that's kind of that's kind of vague, what kind of video are you trying to play what kind of computer do you have what operating system are you running. All that would have been very useful information but just in the short and simple of it all tried installing VLC or MPC-HC. I've also used the free and paid version of BS Player as well in the past with positive results. The General Lee considering I have 4 HDMI ports I have my Ford Port just has an HDMI cord sticking out of it that I plugged whichever laptop I feel like using at the time by plugging in the other end of the HDMI port and then changing the input of the TV to HDMI port in my case for in your case whatever HDMI port do you have open that you put your cord in if the situation is beyond the reach of a standard HDMI cable or your TV doesn't have a PC input either then I would suggest those three free products I mentioned above as an alternative choice but that will depend on what you're trying to view is there will be codex and transcoding involved between the PC and the TV

How does one join into Atheism (aka Atheistic Fellowship), if he/she has MPC (Multiple Personality Condition) or DID (Dissociative Identity Disorder)?

Gathering together with atheists is something you find the same way you’d find any other gathering of people who share interests. Google it. Go to Meetup.com. See if there are any gatherings online or in your area that you are interested in. Attend a few meetings to see if you like the people. Keep going as often as you like, as long as you are welcome. It doesn’t matter whether you are a multiplicity or not. Mutiplicities are atheists, too, although some might have different points of view in their different selves. In my system, we are all atheists and while we describe our experiences in narrative and imaginative terms; we don’t think our metaphorical stories are the same as objective reality. They are just a way of describing our experience. There’s no reason why you would have any more or less difficulty with any gathering of other people. If you all are shy, it’ll be difficult. If you have outgoing parts, they will be useful in getting along with your new acquaintances and turning them into friends. Meeting with atheists presents no more or less difficulty than meeting with any other group of people presents for a multiplicity.

Which one would you buy, a Mercedes Benz GLC or a Tesla Model Y?

this is a bit of a stupid question as it's not comparing apples with apples.. The tesla no doubt will offer a very cheap looking car with a level of luxury shared with a basic Ford but with a super fast electric car performance. the Merc will offer a level of luxury Elon could only dream of as it would “cost to much in terms of $ and mpc(harge)"…. Having owned a Tesla S Im happy to confirm., is a £100k car which has the presence of a crappy €15k Ford but it can take on a £200k ferrari in a drag race… So would I rather a merc or a Tesla? The thrill of driving a 100k car is in part the “show off” factor, you get this with a GLS AMG, SQ7, M5, RS7, a tesla? haha no, people assume it's a crappy chinese brand car until the see the badge at which point they over compensate their ignorance with rants how great the car it…. so which one? I'd go for the merc, well in truth, If i was in this price bracket id go for a Q5 over both! The other factor is the model y isnt due to ship until 2021 which we all know in Elon ray mean if you put the deposit down today means you will maybe get the car 2025 unless you go for the bottom spec in which case 2030…

Why has opera been in decline from the mid-20th century?

The Top Ten reasons (in no particular order): Hip-hop, [“The MPC 3000” ,Vox,]. Netflix and Youtube. Amazon Prime and Hulu. Spotify, Pandora, Apple Music and Tidal. Blockbuster films, part 1., Stephen Spielberg, Francis Ford Coppola and George Lucas basically reinvented the movie business with JAWS, GODFATHER I & II, and STAR WARS. It’s hard to imagine what going to the movies was like before the term “blockbuster” was coined to describe the cultural events that movies of unexpectedly influential genres became in the 70s. Movies themselves began to be as operatic as opera, just in a different way; creating all kinds of unprecedented and scary competition for the art form. Neoliberalism., Nixon, Carter and Reagan facilitated the creation of a new economic system as the golden age of capitalism (1946 - 1976) came to an end [,Profit Over People: Neoliberalism & Global Order: Noam Chomsky, Brian Jones: 9781511308564: Amazon.com: Books,]. That new economic system, which was essentially a 19th century view of liberalism imposed on the 20th (hence the “neo”), was a parasitical Robin Hood-in-reverse production by design [,Why Society’s Biggest Freeloaders Are at the Top - Evonomics,]. It was, and is (much like it was under the “Robber Barons”), expressly designed to protect the wealth of corporations and the financial aristocracy in America from the existential threats of equality, as posed by a) the Civil Rights movement and its corresponding new legislation; b) anti-Vietnam war sentiments ready to coalesce into an anti-Military Industrial Complex economy, adversely affecting government subsidies for defense contractors; c) the last vestiges of the Gold Standard for the American dollar and global economy, vis a vis American debts payable to (and demanded from) the rebuilt postwar Europe, and d) the Egyptian response to Anglo-American and French colonialist arrogance, which sparked Saudi Arabian/OPEC intransigence re the global oil supply [,"Trapped in a cage they had all built": one of Greece’s most notorious leaders on the EU,]. This new economic system was essentially built on violence and fraud, and thanks to the decimation of working class jobs by virtue of the evisceration of our industrial sector (in order to financialize instead of industrialize the system), it was bound to fall apart like the giant Ponzi scheme it is sooner or later [,Most ‘Wealth’ Isn’t the Result of Hard Work. It Has Been Accumulated by Being Idle and Unproductive. - Evonomics,]. When it first came into being, however, the windfall of cash that neoliberalism produced for Wall St., etc. with globalization meant there was tons of money left over for the rich to invest in the arts—which they did in the 80s. The signs of an economic downturn, however, were there even before Microsoft and Apple became the new IBM and US Steel while the internet bubble surrounding them burst in the late 90s/early 2000s. That was about when the checkbooks funding opera companies in America through tax deductible donations began slowly closing, leading to the horrific slamming sound of those closing checkbooks during the crash of 2008 [,Departing Fed chairwoman seeks to reassure markets while warning of debt crisis and social inequality,].(Note: all opera companies in America are 501(c)3 nonprofit institutions and are therefore dependent on donations and sponsorship more than ticket & commercial product sales to function.) As a result, a good number of (mismanaged) opera companies, already struggling before the 2008 implosion, never recovered from it. The giant ATM that opera companies all over America were given in the Reagan era made many of them too systemically weak and financially ignorant, ironically, to learn how to govern and sustain themselves like businesses when the allowances from all the Sugar Daddies mostly (albeit temporarily) disappeared. [,Recession lowers curtain on U.S. opera,] Civil Rights, racism, and the upward mobility of the African-American population within opera. ,[,Realism vs. Racism: Opera's Casting Call,] Within sports, a precedent had been established: the growth from Jackie Robinson to Reggie Jackson (baseball) took about thirty years. From Jim Brown to Lawrence Taylor (football), thirty years. From Althea Gibson and Arthur Ashe to the Williams sisters (tennis), ca. thirty years. From Wilt Chamberlain to Michael Jordan (basketball), thirty years. In each of these sports and others, it took not much longer than three decades for African-Americans to go from a unique representative of the community being the single, sometimes violently opposed contributor to the undisputed dominance of the sport by the entire ethnic group; to the point where no one today has been able to imagine watching America’s most popular sports on TV without an African-American majority presence on the associated college or professional teams for many years. Combine that cultural fact with the dominant presence of Black people in American music going back to the late 19th century regardless of institutional racism, and a telltale psycho-social dynamic is revealed within American culture via opera that people are loath to comment on to this very day: the presence of every Marian Anderson, Roland Hayes, Paul Robeson, Leontyne Price, Robert McFerrin, Jessye Norman, Grace Bumbry, Martina Arroyo, Shirley Verrett, George Shirley, Simon Estes, Florence Quivar, Denyce Graves, Morris Robinson, Eric Owens, Lawrence Brownlee and so on is another ringing of the death knell for the mythic oxymoron that is white supremacy. The writing is on the wall: take away any and all of the barriers between opera and Americans of Color and, given the stellar precedents already documented in opera history, Americans of European descent could easily be the minority on all opera stages within a decade. Companies all over America rationalized (and continue to rationalize, despite progress occurring all around us) a conspicuous absence of Black talent on opera stages during Jim Crow segregation, based on the legal support of two beliefs that have been systematically debunked in America (by virtue of them being proven false over just the past few decades alone). The first, that African-Americans lack the talent, sophistication and intellect to perform opera on the requisite levels. The second, that most of the stories and plots in opera are of exclusively white people and aspects of white cultures, making a Black presence on stage ultimately unrealistic for American audiences. Segregation is now both illegal and (as it has always been) illogical, making the desire to reestablish it immoral, not aesthetic; the foundation of the racial myths was therefore legally and economically weakened enough to allow African-American artists to destroy the first of them. That second racial myth re Europeans and their history, however, has also been laid to rest by the rise of brilliant Black and leftist historians and archaeologists [,The Missing Tudors: black people in 16th-century England, / ,https://www.amazon.com/Monsieur-Saint-George-Swordsman-Revolutionary-Rediscovered/dp/0312309279/ref=redir_mobile_desktop?_encoding=UTF8&dpID=51iXWciXy9L&dpPl=1&psc=1&refRID=B7B0WSYC9PYC5B3H69Z5&ref_=pd_aw_sim_14_2,]. They proved, unquestionably, that the presumed racial make-up of Europe has never been exclusively Caucasian at any time in its history on any class level [,Britain’s black history has been shamefully whitewashed | The Spectator,]—to say nothing of the Biblical ancient Near East [,http://www.lisapoyakama.org/en/the-first-inhabitants-of-asia-were-black/,]. The facts revealed in their analysis makes “color-blind casting” in most operas today an often far more realistic interpretation of the cultural period in which the stories are based than we were lead to believe [,Queen Charlotte | FRONTLINE | PBS,]. The combination of a) Black talent, b) Black ambition, c) the repealing of backward laws (despite any and all political efforts to reestablish them [,US one of only three countries to vote against UN resolution condemning Nazism, / ,Jeff Sessions' Record on Civil Rights, Race Revisited After Trump's Attorney General Tap,], and d) the need for more historically accurate portrayals of various eras in European culture (as referenced by European composers and dramatists) to compete with Hollywood actually demanding MORE people of color on stage, not less, means not only that the presence of diversity in opera is here to stay; it is steadily growing and will continue to do so. The entire history of the USA, however, shows that there is always a psychological cost for the indefatigable nature of its African-American citizenry and their upward mobility [,White Women Keep Fucking Us Over,]. Understanding a) the insidious nature of kleptocracy & infantilism, b) their dependence on white supremacist ideology, and c) their relationship to a satanic trinity of institutionalized fraud, relentless violence and delusional mediocrity in America [,"The Disaster Artist": Why does America insist on celebrating the hard work of the talentless?,], is key to understanding the decline of many things in the neoliberal and post-neoliberal eras, not just the popularity of opera [,Trump Isn’t Hitler, He’s Andrew Johnson – CV Vitolo-Haddad – Medium,]. This irrational and, ironically, barbarous dynamic that is racism hiding in the sophisticated American high arts scene comes fully out of the shadows (again) after WW II as a result of Black stances against oppression, with demonstrably negative effects on innumerable sections of the arts and entertainment business during neoliberalism’s rise [,In 1983, David Bowie confronted MTV for refusing to play black artists’ videos,]. Starting in the 80s, the closet racist elitists amongst opera patrons began looking for reasons to stop buying season tickets or pledge financial support, given that the real reason many of them were actually going in the first place (i.e. to see all-white casts representing all white-AMERICAN myths about Europe’s history set to music) was slowly disappearing in front of their eyes. Indeed, depending on the area of the country vis a vis the progressive artistic integrity of the local opera company, this not so secret cultural dependency on making opera into a high-class delivery system for the drug of white supremacy (growing stronger just as the opera business began catering to the demand less and less) could, like a hungry wild animal, damage if not strangle entire local cultures & regional economies for opera when it was not appeased. Many white people, in fact, gradually stopped coming to productions with multi-ethnic casts (regardless of the high quality of the singers), their sensibilities being so deeply offended [,The Nationalist's Delusion,]. And in some cases, in the North AND South, the racism in the greater culture eventually did the easily predictable: wound and wholly deteriorate opera culture—and financially strangle some opera companies entirely—partly in reactionary response to African-American advancement and the advancement of other Americans of Color. While Western Europe and the top ten American opera companies have actively pursued or welcomed superior African-American (and Latino, and Asian) talent in opera for generations (arguably), a Black tenor at one of the hundred-odd small or mid-size opera houses in America seducing a white soprano in just one opera production, regardless of how magnificent his voice and/or acting, was once enough to negatively impact the next few seasons of the company in many parts of the country, re ticket sales, all by itself. And that’s in the 90s, not just the 50s & 60s [,Unspeakable Realities Block Universal Health Coverage In America,]. A dynamic this ravenous and endemic to our culture also, inevitably, produces its own blowback in other ways. Opera companies, in fear of financial calamity in the short term, began pandering to their racist albeit influential clientele; in ways that only further served to alienate new and diverse generations of audiences [,Opera's Old-Fashioned Race Problem,]—creating a double-whammy in the long term. And when these psycho-social dynamics occur during economic downturns (i.e. when a measurable percentage of white audiences stop coming to the opera because of multi-ethnic casting, motivating opera companies to pander to them with bleached mediocrity or racist caricature at a time when audiences are already shrinking for other reasons), small opera companies everywhere are hobbled, along with regional appreciation of opera in its entirety. Indeed, the prostitution of the art form for the benefit of white supremacist mythology and libertarian economics (to get older racists back in the theaters) can only lead, as it has, to the development of a faux, caricature aesthetic for opera as a whole, used in order to justify otherwise unjustifiable hiring practices and pseudo-artistic interpretations of great works. The art form in practice is therefore gelded and gilded by those in favor of a safe, comforting, anachronistic, pedophiliac, racially homogeneous and comically melodramatic mediocrity, inherently hostile to the diverse excellence of people of color, mature adult modernity, and the raison d’etre of the art form itself. A Frankenstein of ,fake opera, was created during Civil Rights Movement 20th cen. America; partly as a result of the faux aesthetic produced by these reactionary cultural dynamics. All created, like fake versions of almost everything in America, to placate the savage white supremacists in the American mist [,NowThis Politics, / ,The Breakdown,]. When ,fake opera, is surreptitiously conflated with ,real opera ,(which, coming out of an older, imperialist Europe, has its own issues [,Turandot: Time to call it quits on Orientalist Opera? - Turandot: Time to call it quits on Orientalist Opera?,]), new generations—raised on cultural diversity, the Internet, Musical Theatre, Hip-hop and blockbuster film—smell something rotten in the state of Denmark. They then do what comes naturally: the opposite of what the often dishonest and condescending marketing for regional opera was designed to facilitate. In other words, both good AND bad people stopped coming to performances with a vote of NO CONFIDENCE in the art form, and the inevitable downward spiral in many companies during the neoliberal era (ca. 1976 - 2008) made slow decline in the business the new normal. Blockbuster movies, part 2: Marvel & DC., ,The CGI that went into STAR WARS and even ET: THE EXTRA-TERRESTRIAL pales in comparison to that which went into THE MATRIX—which now pales in comparison to that which went into THE DARK KNIGHT, or CAPTAIN AMERICA: THE WINTER SOLDIER, or SUICIDE SQUAD, or the IRON MAN trilogy and THE AVENGERS. More money is spent on Craft Services for the staff and cast of a $150 million dollar blockbuster superhero film than what is spent for an entire production of a mid-level opera company [,How Hollywood Gets Fed: A Lesson In Craft Service,], including marketing. For smaller opera companies, it’s more than the cost of an entire season of shows. The movies will never replace live theatre. The often prohibitive ticket cost for good seats at a quality opera production, however, compared to the $20 or less for even the most expensive movies in history—at even downtown New York or LA movie theaters—makes Hollywood an ever-increasingly relentless competitor for the entertainment dollar of opera goers, routine and potential [,The Met's Grand Gamble,]. America’s failing and steadily declining education system. [,American Schools vs. the World: Expensive, Unequal, Bad at Math,] ,Beyond the fact that music & arts education is always the first thing to be cut in America’s school budgets, the great singers and directors in today’s opera business make it clear, almost daily, that marketing to the public must come through celebrity/cult of personality PR models built around the singers. Because no one knows the opera rep or the stories that most of the productions are based on anymore. You cannot get the general public to come see _________ Opera’s production of MACBETH based on an interest in seeing Verdi’s magnificent take on the Shakespearean classic, because the general public either doesn’t know or have a meaningful relationship with Verdi, Shakespeare in general, or “The Scottish Play” in particular; not like their better educated parents and grandparents. The precipitous decline of education in America is also another product of neoliberalism that has led to a significant deterioration of American culture overall; the kind that is often (and falsely) blamed on things like rap music (aka “the Black guy did it”). A deterioration that, along with television (with its commercials every seven minutes)… …social media, and video games, shrinks the natural attention span, debilitates critical thinking skills and seriously inhibits the aesthetic appreciation of the public re the genre. This alone has lead to many walking away from opera and not even knowing what it is anymore, if and when they’d ever choose to come back to it [,Is Classical Music Dead?,]. 10. ,Mismanagement, incompetence, mediocrity, lack of vision and anachronistic delusion within the Board of Directors, Administrative bodies and leadership teams of many opera companies around the country. ,Examples 1 through 9 that I wrote above would be enough for anyone to say we are simply living in apocalyptic times IN GENERAL, let alone re the world of opera, and no one in the business, therefore, can be blamed for its current condition. That’s always, however, an excuse too neat & perfect to be accepted on face value [,The Same Four Operas Are Performed Over And Over,]. It doesn’t explain how a Black man named Barack Hussein Obama became POTUS by virtue of skillfully managing all the same cultural dynamics; how an overweight, Black woman talk show host from Chicago with a misspelled version of an Old Testament name (i.e. Orpah, sister-in-law of the Biblical Ruth of Moab) became a cultural icon and a billionaire by doing the same; why many opera companies today of various sizes all over the country are currently thriving under the radar regardless of them, nor how the golden age of American opera—born from the ashes of the Depression, WW II and the Holocaust—came to be in the first place [,What's Ailing Opera in America?,]. In fact, the racism that is often behind the lily-white nature of many opera boards of directors, administrative teams, and management structures is itself often just one of the more bizarre cosmetics for multiple levels of vision-less mediocrity and anachronistic incompetence [,When People are the Product: Why Reliance on Young Artist Programs May Lead to Financial Ruin for…,]; further tarnishing the image of opera for today’s culture, and threatening the future of various companies around the country [,The Met May Not Survive the James Levine Disgrace, / ,The human cost of the James Levine climate,]. The fact is, there has NEVER been an easy time nor an easy place to write an opera, get it performed, build a company that does it routinely, keep the company solvent—or at least alive—and establish an aesthetic and economic culture to support it in the past 400 years; not in Germany, Austria, Italy, France, the UK, Argentina, Chile, Australia, South Africa, or the USA [,San Diego Opera Downsizes to Survive,]. The Reagan 80s, which had rich people throwing money into the metaphorical garbage disposals and blast furnaces of mismanaged opera companies in America joyfully, is as easy as it gets. Which means there are any number of leadership teams in opera making it difficult for the rest of us by pretending that a) it is infinitely more difficult to run a company now than ever before, and b) they couldn’t possibly be making individually fatal financial, artistic, PR and management mistakes while in charge. Thereby making the majority of people’s excuses for not going to the opera when these leaders screw up seem legitimate [,A Ransacked Endowment at New York City Opera,]. The many opera companies in America that are thriving today, however, ,despite all of the above, are pulling off miracles every season [,How New York City Opera Came Back From Death,]. There is passion, honesty, integrity and genius out there, still [Pittsburgh Festival Opera: ,Home, / ,Utah Festival - HOME, ]—and not just in the singers or the music scores from the 19th century [,In Dallas, they're fighting for a new generation of female opera conductors,]. Opera as a global art form today, while being more of a “niche market” than it was in the mid 20th century [,Metropolitan Lives,], is still very much alive and far from declining [,Top 10 Opera Houses in the World | Places To See In Your Lifetime,]. The 21st century, in fact, has become the American century for opera [,Lyric Opera’s controversial ‘Dead Man Walking’ raises conflicts of justice and forgiveness, / ,Ten black composers whose works deserve to be heard more often,], as the best new works are being continuously written by brilliant and sensitive, living American composers [,Cast finds gold in “Girls of the Golden West”,]. Opera is alive and well, despite the list I wrote above in answer to your question. Go see one.

How was your today's lateral entry exam for the IIITH (LEEE)?

Today i wrote the exam. But i don't think i have written well. 1.what happens after n iterations in bell man ford algorithm of having negative edge weights 2.,#include,<stdio.h> void f(int *p ); int main(){ int *p; f(p); printf("%d",*p); return 0; } void f(int *p){ int a=5; p=&a; printf("%d",*p); } Output? 3. Stack pointer , instruction pointer 4.a question on direct mapping in cache and main memory. 5No of blocks in main memory given line size/block size 6. Post increment and pre increment precedence problem 7. A previous year gate question in finding m+p+c and mpc where m,p,c probabilities on matphy chem ,https://www.google.co.in/amp/s/www.geeksforgeeks.org/gate-gate-cs-2015-set-1-question-10/amp/,. 8A set of rational numbers whose absolute value>=1 does not hold Commutative associative closure identity (They didn't give the operation like mult and addition. Infact same question was asked twice with minor change abs.value<0) 9.relation between instruction size and processor 10. Which is non Voltaile ram,sram,cache,flash(i kept wrong option) 11.o(nlogn ) finding min,insert ,delete operations Binary Heap,sorted array ,sorted linked lost,avl tree 12. Properties of avl and rbt tree 13 finding strong connectivity algorithm 14 bayers theorem 15 m Coloring problem on a graph 16 proposition definition 17 p->(q->r) Options matching 18 question sram and sr flip flops 19 best representation for dfs 20 finding printing pattern in a c program No. Of equivalence Relations in x belongs {1,...29} Such that (x,x mod 2) and (x,x mod3) These questions i remembered. Aptitude,math was time taking. No digital questions are asked. In syllabus they didn't mention algos but questions were from algos also Mainly questions from c,dm. Many may feel paper is easy. But i didn't do well.

Where is the best place for me to invest $100K? I am 73 years old.

As you are well aware, the investment strategy one might use at 43 years of age and 73 years of age can be radically different. I am assuming that you want to protect your principle and earn a reasonable ROI on your investment. Here are a couple of strategies (1.) Put 60% of your money in a Bank CD or Treasury Inflation-Protected Securities, or TIPS, which provide protection against inflation. I personally believe that we will be saddled ahead with a high rate of inflation. TIPS will help you preserve your income. The rate of return with both these investments will be very conservative. Invest 40% in the stock market. I really like oil and gas stocks now. They are undervalued and you can get in at a favorable price. For instance, I like Schlumberger (SLB), Marathon (MPC) and Cabot (COG.) I also like Ford (F) and General Electric (GE). (2.) If your risk level is higher, you could invest all 100K in the stock market, but I’d encourage you to play it very safe. In addition to the above stock, I think IBM is going to turn around in 2021. Other stocks worth considering are Ocado (OCDGF), Palantir (PLTR), and Merck & Co (MRK). If you are new to investing, I would encourage you to identify a broker or financial planner to assist you. They will also have their own recommendations. In the finally analysis, your decision will come down to how much risk you are willing to accept. Hope that helps. Good luck!

What are the best movie cars in the history of cinema and television?

Gran Torino "Striped Tomato",, ,Starsky & Hutch,, 1976-1979 This car was the most awesome thing on wheels when I was growing up. Photo source: ,http://www.lilith-ezine.com/arti... Starsky & Hutch Wiki page: ,http://en.wikipedia.org/wiki/Sta... [Paul Michael] Glaser said that during the early stages of production of the pilot, Spelling took him outside to 'introduce' him to the Torino in all its red & white-striped, mag-wheeled glory. Glaser took an immediate and long-lasting dislike to the car, which has not changed to this day. According to Glaser in several early interviews, there were three main reasons why he instantly hated the car: First, in his opinion, it was big, ugly and childish-looking. Secondly, the idea that two 'undercover' cops would drive around in a car with such an outlandish appearance seemed ludicrous, and lastly, he doesn't like Ford products (although in a picture that was printed in an issue of the ,National Enquirer,, Glaser is shown on the side of a California freeway with a flat-tired Ford Explorer). At the first viewing of the car with David Soul (Hutch), Glaser remarked that the car looked like a 'striped tomato'. That nickname stuck, and very soon the show's writers had worked it into the show as Hutch's derogatory name for Starsky's beloved Torino. ,Monkeemobile,, ,The Monkees,, 1966-1968 The Monkeemobile is a heavily modified 1966 Pontiac GTO created by Dean Jeffries for the 1966-68 television comedy series ,The Monkees,, starring the eponymous pop band. From the Wiki page [,http://en.wikipedia.org/wiki/Mon..., ]: The Monkeemobile's origins began in 1966 when Dean Jeffries was asked to design and build a car for a new TV show called ,The Monkees,. Jeffries, under contract with Model Products Corporation (MPC) at the time, told CEO George Toteff about the project. A make of vehicle had not yet been chosen for the project. Mr. Toteff then told his friend Jim Wangers of these developments. Mr. Wangers was working with Pontiac promotion and advertising at the time and saw the show as a huge promotional opportunity for Pontiac. After making the deal, Jim Wangers supplied two base 389 4-barrel 1966 GTO convertibles with automatic transmissions to be converted into Monkeemobiles. MPC was in turn given exclusive rights to market a model kit of the Monkeemobile. They would end up selling over 7 million copies of these kits. Two cars were contracted to be built: One as a main TV car, to be used on the television program, and one as a promotional show car, to tour hot rod and car shows around the United States. Both cars would be built in the span of four weeks. The first version originally sported a 6-71 supercharged engine, a solid mounted rear axle (no springs) and extra rear end weight. This was to enable the car to "pop wheelies." Because the car had too much power and was difficult to drive, the original blower set up was removed and a dummy blower was fitted. The second car was used as a touring car for auto shows and promotional events. Both would be used on ,The Monkees, TV series, one during the first season and both throughout the second season. ,1967 Mustang Shelby GT500 "Eleanor",, ,Gone In 60 Seconds,, 2000 The 2000 Jerry Bruckheimer-produced film ,Gone In 60 Seconds, introduced movie audiences to Eleanor, a customized 1967 Mustang Shelby GT500 fastback. The car is the most prized target of the film's protagonist, a professional car thief, and the film includes a climactic chase scene through Long Beach, which very nearly destroyed eight of the eleven cars created for the film. From ,gonein60seconds.biz, [,http://www.gonein60seconds.biz/T..., ]: When the movie started production, Eleanor wasn't necessarily going to be a Mustang at all. "We really wanted to see a GT40 blowing through downtown L.A., flying down the L.A. River", says production designer Jeff Mann. But even for a movie that cost a reported $90 million in 2000 to make, a fleet of GT40s was prohibitively expensive! So it was back to Mustangs. "We were looking at a '67 GT500. It's a bitchin' car, no doubt," continues Mann, "but does it really stack up against these other vehicles?" This is a pertinent concern in a film that would be overstuffed with Ferraris. "In the context of all these other cars, it's not necessarily going to be the hottest thing going down the road, or? That's when Jerry kind of opened the doors for me to come up with a variation on it . . . " Building the variation that didn't suck started with famed Hot Rod illustrator Steve Stanford, who drew up an illustration of an over-the-top '67 GT500. This is how the Mustang Shelby GT500 Eleanor was born! Former Boyd Coddington designer Chip Foose was hired by the production company to turn Stanford's work into a reality. Foose fitted the car with PIAA lights in both the nose and rear backup areas. He also prototyped the hood, the front valance, the side skirts, the scoops, and all the other fiberglass parts that would be used for the car. That billet grille is based on pieces originally developed for Chevy Astro vans and Foose found the Schmidt 17x8-inch wheels that would be sheathed in P245/40ZR17 Goodyear Eagle F1 tires. For those interested in this topic, may I humbly suggest: ,Badass Vehicles in Film and Television,. You are invited to post!

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