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Justice Smith Almost Lost Himself in The Get Down
"There were days I would just go home and bawl because the lines get blurred and you're like, <i>What is me and what is the character?</i>"
"I had a rat in my apartment last night," Justice Smith tells me as he orders an iced green tea. "I watched it on top of the microwave jump and crawl down the broomstick like a Tom and Jerry cartoon." The cashier and I are horrified. I ask him if he's sure that it was a rat, and not a mouse. "No, it was a rat," he says firmly. "It was a baby rat, but it wasn't a mouse. It had a rat tail." Smith, who just turned 21 years old, lives alone in an apartment in Crown Heights, Brooklyn, where he moved after he learned that he had gotten the part as Ezekiel Figueroa, the lead in Netflix's hip-hop epic The Get Down.
Smith is a bright and energetic presence — a tall tangle of limbs and curls. He's a quintessential Leo, he tells me, which makes him "self-oriented" but "not necessarily selfish." He comes from a big family of eight brothers and sisters (he's smack dab in the middle), and both his parents nurtured his desire to become an actor at an early age. To play Zeke, Justice says he was interested in method acting, and would stay in character so much so that at times he was scared he was losing himself. "There were days I would just go home and bawl," Justice says, "because the lines get blurred and you're like, What is me and what is the character? Am I really like this or is that just him?" We talked for a while, discussing his process on The Get Down as well as the difficulties of going out for auditions as a biracial actor, and the time Nickelodeon ghosted on him.
Both of your parents are singers. Did you get into musical history before you started The Get Down?
Growing up, because my parents were singers, I never felt the opportunity to just sing in the car to a song I liked without my mom being like, "Breathe through your diaphragm. Where's your tone?" That pushed me off singing. Both my parents did it. Especially because my parents were competitive singers, that competition dragged over into our family life, with my dad in the car, with all my siblings. Whoever could hit the highest note or whoever could sing the best, my dad would congratulate them. It got really competitive, maybe because I'm a competitive person. Maybe it wasn't necessarily an external thing; it was something that was coming from inside but that pushed me off of music and singing. I always loved it and I always experienced it indirectly because I went to their shows and absorbed their vocal warm-ups and their lessons. Any musical talent I exhibit in the show is indirect.
What attracted you to Ezekiel Figueroa in The Get Down?
I had just come from Paper Towns, where I played this nerdy, upper middle class character, and I was like, "I want to do something different." That's what drew me to it. I did [the audition] and I got a callback and I met [show creator] Baz Luhrmann. He had a really clear vision. I booked it and I screamed. I was really happy I booked it, but I was happier because it meant I was good. It meant I was doing it right.
What was it like working with Baz?
When I met him, he's just this force of nature. This artistic being. It comes across immediately. I can connect to this guy on an artistic level. This is not a superficial discussion we're having. There's something deeper happening here. Then he explained to us his vision, he showed us his storyboard and we got into the minds and the emotions of the characters. He egged us on to debate with him about our own characters' journey. He gave us the opportunity to find some autonomy in the character, which is a godsend for an actor because you want to have that say. You want to be able to voice when you don't think something fits in the arc of your story. That was at the callback. We hadn't even booked the gigs yet and he was already saying, Argue with me.
Did you feel it was like school in some ways? It seems like you had to absorb a lot.
Yeah, that's how I approached it because my number-one concern was that I wasn't going to be cool enough. I was like, Oh God, I'm not cool at all. How am I going to rap on screen? Then I was thought, Oh, I know. I'm good at research. I'm good at studying things and then applying it. I just watched all these documentaries and I listened to all this music and tried to copy it to a tee, and that's how I found my in. With rap, because Zeke has to do a lot of poetry, the way I connected with that was because I had done Shakespeare and Greek plays. That was my nerdy way to get into hip-hop.
What were you reading?
They provided us with books about the time period and about the culture, and I said, "No." Zeke is not going to read history books about his own time period. He's going to read these books that he likes. So I was like, "Give me books that he would read." I would read them on set as well because, well, if this is his favorite book then I'm going to read it when I'm playing him. I read Invisible Man, Ralph Ellison, and then Soul on Ice, Eldridge Cleaver. I read The Screwtape Letters by C.S. Lewis, which is one of my favorite books now. I read this one book that I made Zeke's favorite book, which is Down These Mean Streets by Piri Thomas. In that book, it's about this kid from the 1940s I believe. He's a dark-skinned Puerto Rican who gets racially profiled as black constantly. He's growing up in Harlem during that time period and he talks about growing up in the ghetto. In the book he talks about when you're walking in the streets you have to adopt this concept called "cara palo," which means stone face. That was one of the main things I played with Zeke, is having this deep well of emotion but trying to mask it with his subtleties and with trying to be expressionless, which was a challenge because I grew up in a very expressive family. Zeke still has that passion, but I was never taught that it was not okay to cry. I was never taught that it was not okay to say what you feel and how you feel and just address things immediately instead of holding them in. With Zeke I had to try to be as cara palo as possible.
That sounds like an intense process. Were there particularly difficult scenes to shoot?
The whole process was difficult because it was the first time I felt as an actor I was escaping myself rather than expressing myself. This is maybe too much information, but we had period underwear, so I would strip completely down and start with the underwear. I would already have my hair done, and then as I'm getting dressed as Zeke, I become Zeke. As soon as I got into costume I would be in dialect and in voice the entire 16 hours we were on set and I did that every single day because I felt it wouldn't be genuine otherwise. I didn't know that that actually is a burden on your soul because when you're acting like someone else, you push yourself to the side. It's basically a form of repression and it builds up. You're just like, "I want to come out but I can't." It's awful and then there were days I would just go home and bawl because — I'm flustered even talking about it — the lines get blurred and you're like, What is me and what is the character? Am I really like this or is that just him? Once you get some separation from it you realize who you are again. You always come back to yourself because you can't change who you are. You can only do it temporarily. In the moment it's scary. To the point where there were some days I felt I wasn't fully in it because I was afraid to go all the way. My biggest fear was, What if I don't come back? What if I don't return to who I am?
How would you bring yourself back?
Listen to music that I like that was not hip-hop, or watch movies that I liked or wear clothes that I would wear. But because we had such long days and because I would get there at six in the morning, leave at like two in the morning, go to bed, wake up, and then go back to set, I didn't really have time to really return to myself. It takes a while. There were even moments where I would hang out with my friends on the weekends and I couldn't help but talk like Zeke. I would hear certain vowel changes coming through, or I would use certain grammar that he would use, and I'm like, That's not me, why am I doing that right now? It's a really hard job, but I'm so grateful for it. I feel like I'm coming into my own. This is what has saved my life on multiple occasions, acting — what's gotten me through very hard times was, well, at least I get to act. It's the one thing I hold dearest to my heart, so if it hurts and if it's a struggle, I'm willing to do it because I owe my life to it.
You stay in character?
Yeah. I'm really interested in the method — I would like to grow into one of those actors who are able to live fully in a character. I do that with this part, but I would like to take it further. I'm just trying to do that in this age where method acting is used as a marketing tool rather than an actual method. So I'm just trying to find the authenticity and the genuineness in the method rather than doing it for some lavish, superficial benefit. I almost didn't talk about how I stayed in voice on set because I didn't want people to know.
I have problems with method, because sometimes it's just an excuse to be an asshole. Like Jared Leto. And Daniel Day-Lewis is one of my favorite actors, but I've heard stories about him being not so nice to the crew because he wants to really be immersed in the character. I try to find a good balance where I can be nice, professional, but I can also do my job, which is live this person's life and live this moment authentically. In between takes, usually people know when I'm being silent that means I don't really want to talk. Sometimes I will have to just be short with people and they understand that. Other times I'm like, "Hey, hey! What's up man? How's it going?" so it kind of counter balances it and I don't just come across as a dick.
There was a moment between takes for one scene where I was bawling and I was talking to myself. The director came over and said, "You want to stay there for a little bit?" I just didn't hear it, but then you remove yourself and you're like, Oh, shit. I was being a crazy person.
Well, you're just in it.
Yeah. But it's weird because film and TV is really business-oriented and very technical. Acting has evolved into this stand there and say your line kind of thing, so when actors who have been trained, who have their own processes, come in and start doing these really absurd things that if you were to do in public would be crazy, it's kind of jarring. The cameramen are like, What the freak is he doing? Then it usually pays off in the product. But our cameramen were great. They knew when it's a somber scene, they would keep their voice down. If they needed me to move over a little, they would say, Justice, can you move over, very solemn. When it's a fun scene, they're fun. Our cameramen were just as much artists as we were, which we were very grateful to have. It's this cycle of people supporting each other's craft and trying to do their best work. If I'm over here really trying to craft this moment then that inspires this cameraman to think, What can I do? I can do something creative with the camera right now. It's a never-ending cycle of collaboration which is ideal.
When did you first know that you wanted to be an actor?
At a very young age I was writing stories and scripts. I was always artistic and I was always encouraged to be artistic, because my parents are artists. I loved making people laugh. I remember watching this thing on HBO Kids — kids shooting short films and then acting in them. I was like, I want to do that. Then I learned how to lie and I was like, The art of deception is also an art. At a young age I thought, This is how I can convince people to do things.
What was a lie that you told?
I never told my mom this one story junior year of high school, where I was in history class and I was bored and I was like, I'm just going to leave. So I packed up my stuff 30 minutes before class ended and I left. I went to the auditorium and I played piano because I wanted to relax and be by myself, because I loved being by myself. The lunch bell rings and some students from my class run up to me and are like, "Mrs. Combs is so mad at you. She knows you left. We checked all the bathrooms, you weren't in any of the bathrooms." I was like, "I got a text from my mom during class that we got evicted." Not true. Then I went to Mrs. Combs and I put myself in full tears, crying on command. "My mom sent me this text during this class that we're being evicted." She's like, "I don't know what mother would do that. Why would she text you during class?" She gave me a big hug. She said, "Just tell me next time, I'm here for you." I got out of it and I didn't get in trouble but I made myself believe for that moment that we were getting evicted enough to make myself cry. It was always this weird ability to self-deceive that I had a natural talent for.
I saw that one of your first big breaks was a Nickelodeon show called The Thundermans. What was that like?
Whenever I auditioned for Nickelodeon or Disney, I was always against it because I was like, I don't know how to do that. I booked it and on set I felt super-insecure because all of these kids. Nickelodeon acting and Disney acting, especially on those teen shows, it's its own medium. I didn't know how to fit into that medium. All these kids were regulars and they had been doing it for two or three seasons. I'm coming in like, How do I connect to this character? That wasn't what it was about. It was more, how do you hit this beat to get the laugh with a studio audience?
I played the drummer in the kid's band who was kind of dumb. I did two episodes and then they replaced me with this foreign guy from Sweden who's the drummer now on the show. They didn't tell me or anything. I saw on Instagram and I texted my friend who was also in the band with me in the show and he was like, Yeah, there's a new drummer here. Where are you? I didn't get any call. They didn't tell my agents or anything. It was crazy.
They just ghosted on you.
Yeah, they did. They really did. But then I booked Paper Towns like a week after. I was like, Fuck you. Great. Cool. I cried because I'm a crier. I was really happy because, shit, this is a big fucking movie, and I have a pretty significant part in it.
Have you ever felt that your race was an inhibiting factor in getting roles?
Oh, absolutely. Most of the time. Especially because I'm mixed it's a lot more difficult because I'm not black enough for the black roles, and I'm not white enough for the white roles. Which is why this was a great role because it's a mixed character. In part two we address that. I thought that was great because that's something that's hard to explain to people in my own life. As a mixed kid, people want to categorize you as one thing or the other, and I'm proud to be black and I'm proud to be white, because I'm both of those things. I'm a biracial human being. I'm not one or the other. People will try to compartmentalize your characteristics, like you dance well because you're black, but then you talk like that because you're white. It's like No. I talk and act and dance and do this stuff because that's me. That's Justice. That's how I was raised. That's how my environment was. There are no biological characteristics that comes with race. We're not a monolith.
A lot of roles would come my way that were written for black actors and it would always say things like "addressing his dark skin" and I'm like, well, I don't have dark skin. That's why I wanted to do this project so much because I got a lot of roles like that in the beginning where all the roles for black actors take place in the ghetto and they all talk in African-American Vernacular English. They're all talking about race relations and the struggle, or there are a lot of roles that are thugs and gangsters, which is fine because that's part of the black experience, but if that's all that we're making and that's all that we're creating, then that's all the mass of people are going to see us as, which is why we need to create diverse roles for diverse people and not just have "Oh, well I have diversity in my show because I have this black guy."
And The Get Down felt different.
I like this show because it's set in an urban context and it's about urban life and it's about the ghetto, but the characters are not monolithic. We have an array of people of color and they're all different types of people. Ra Ra is not the same as Boo Boo is not the same as Shaolin Fantastic. Books is a very sensitive; he cries and you don't really see that often in narratives about urban life. I would get sent out for a lot of black roles that I don't connect to. I actually connect to this white role, and they'd be like, "We can't send you in for that." When I walk in the room for these black roles they laugh at me because I'm this light-skinned biracial dude walking in the room, talking the way that I talk, and they're like, "Why is he here?" I've walked in the room and the casters have said, You're so cute. I'm like, I didn't get this role. Or I'll be right for the role, but I'm not dark enough. If that's happening then why can't I also be sent out for these white roles? My agent would always say, we know you're not the right skin color for this, but there's no hurt in going out for this role because casting directors can see your abilities. That makes a lot of sense to me, but why can't you send me out for the white roles as well? If they're not going to cast me regardless, at least they can see that I can act and I can portray this character.
Do you feel like that's changing?
Yeah, absolutely. I would not be booking anything in the '70s. Even the '80s, '90s. I would be booking one type of role over and over and over again. I'm able to play the upper middle class nerd in Paper Towns and then I'm able to play the half Puerto Rican, half black poet-turned-rapper growing up in the South Bronx in the 1970s. Any other decade of cinema I don't think I would be able to be a young person of color taking on diverse roles. Even the scripts that I'm reading now are really good. You still get a lot of the stereotypical ones, which are fine because there are people like that. It's not that we need to eradicate those stories. I am starting to see more narratives that address the individuality of people of color and not necessarily these preestablished stereotypes.
A lot of that has to do with giving people of color creative control to make the shows they want to make.
Like what Matt Damon said, when you're talking about diversity you do it in the casting of the script, not the casting of the show. The only black female on the panel was like, "Okay." And now he's doing that movie about the Great Wall of China. I read what Constance Wu wrote about it, and it was great. It was true. She's also a great actress. It sucks because when you're a person of color in the industry, you have to be an activist. You can't just be known for your abilities. White actors have the privilege of never addressing race, of never addressing what's going on in the world and just focusing on what it means to be an actor. When you're a person of color most of the roles you're going to play address race, address social constructs, and even if you don't play those roles, people are going to ask, "Did you hear about Ferguson? Did you hear about this? What is your opinion on that?" Because you're a person of color. They will never ask a white actor that. I just think it's important to acknowledge their abilities as an artist and not just acknowledge their abilities as an activist.
Were your parents politically minded? Did you grow up with that sort of influence, and would you consider yourself politically minded?
No, my mom is Canadian. She knows nothing about American politics. She was in an interracial relationship with my dad. She experienced barely any discrimination based off that. She saw some that my dad experienced, but it wasn't really a thing. My dad is a proud black man. He always talks about civil rights and his own experiences with racism, which are fucked-up stories, but it's mostly from his own experiences. It kind of gets into conspiracy theories, and I'm like, Dad, no. Not everything was created by black people.
When I was younger I was very light-skinned, even more light-skinned than I am now. I was racially ambiguous so I wasn't really treated one way or the other. As I started coming into my features more, I remember kids treating me different. The schools I went to were very diverse: black, Latinos, and Asians, and whites. White kids, if anything, were the minority. Then I got accepted into a very rich high school. It was a performing-arts school, an independent charter. You had to audition to get in, and it's donation heavily suggested. A lot of these kids would just pay their way even if they weren't talented. My mom was like, "Nope, no donation. I don't have to pay." I was like, fuck yeah. I got in.
There were about 15 black kids out of, I don't know, 1,500 kids. I remember my first year I was interacting with these kids fine. I have white relatives. I never really saw myself as different from them. I have curly hair, they have straight hair. That's just how it is. Not one is better. I thought, I'm black, and that doesn't really mean anything. I remember the first time this one kid who I was friends with made this joke — I forget what the context was. He had food and I was like, "I want it I'm going to steal it from you or something," and he was like Oh, 'cause you're black. I was like, Haha, what? You hear stereotypes on TV. All of those stereotypes are funny so I laughed, but it was the first time that I was like, I'm black? And then it kept happening and at first, I would say, well, I'm biracial. I was trying to appeal, and that's where internalized racism comes in because everyone comes at you with these jokes. I want to be friends with these people, so I'm going to make jokes about myself and make jokes about my own race. That's how I'm going to move forward in this school. That led to deep depression and deep self-loathing. Not only was I experiencing normal teenage hormones and what it means to be in high school, I was also experiencing this racial backlash that was masked in this well-intentioned humor. Every joke would tear a little bit away from me. It was a struggle to navigate because no matter what you do, you couldn't win. If I made jokes about myself that would just say that it's okay for them to continue to do that, and if I were to say, "Please, stop, that's not funny," they would be like it's just a joke, and I would be too sensitive. I didn't learn the language of what I experienced until after high school.
How did you learn that?
All four years of high school I was in a feminist club. I'm a very devout feminist because feminism isn't feminism without intersectionality. I learned about race and gender and sexuality. I learned some of the language, but I really didn't know that that's what I was experiencing.
It's crazy because when we learn about black history, which is a month, you learn about black history and then you'll learn something that kids didn't know and all the kids will turn to you and ask you about it. It's that phenomenon that a lot of people of color experience, where you're really the only person of color in the room and you have to speak for your entire race and it makes you feel even more monolithic and less like an individual. You're like, "I am nothing but a black person. I am not an individual. I'm not Justice, I'm a black person." They all treat you like you're the expert. I get to make these jokes, but you're the expert so teach me about everything that it means to be black and also give me permission to say the N-word and also give me permission to make these jokes. It's like you are simultaneously this small little marginalized thing and this divine holy omnipotent voice for your race. It fucks with your psyche and it fucks with your self-esteem. It was this added struggle in terms of navigating it because of my white half. Because of the privilege that I have of being light-skinned, and them saying, well, "You don't experience racism, you're light-skinned." It was a hard period of my life. The school was great. It was just the social dynamics that were a struggle. I get out of high school, I'm like, great, I don't have to deal with it anymore, and nope. As you get older it's even worse.
In what ways has it gotten worse?
The other day this guy wouldn't take me to my destination because I was black. He pulled over, I got in his cab, he said show me your money, I showed him my money. I said I was going to pay with credit card. He said my credit card machine doesn't work — which is illegal, but I didn't know at the time — get out. I said, "Well, I have cash." He said, "Show me." I showed him my cash. He told me to fan it out. I fan out my cash and he says, "Okay, where do you want to go?" I said Brooklyn and I gave him the address. He said, "It's just that someone who looked like you ran out on an $80 fare." I said, "Okay," and I just sat in silence, thinking I should say something. I didn't and I paid with credit card because his machine worked. I went in and I cried because I'm a fucking pussy. I called my mom and she said, "I just wanted to have beautiful mixed babies, I didn't know this was going to happen." I called my dad and he was like, "You're a real black man now." I was like, Thanks, dad. It was hard. When you're younger it's very subtle. It's more jokes and lighthearted kids not knowing and being oblivious. When you get older it's people with malicious intentions. It's not subtle, and it's not well-intentioned. It's really a foggy thing to navigate. Anytime it comes up even in a subtle context, as a person of color you're always trying to decide whether things are racist or not. Why are they doing this right now? Why is this person treating me this way? And they could just be treating you this way because they're having a bad day. But because we're inflicted with this burden that is race, that is not innately burdensome but that our history and our society has made a burden upon our people of color, it's difficult to even live. It's a difficult thing to navigate from day to day.
This interview has been edited and condensed.


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Woot, woot! I just left the educational outreach offices here at HudsonAlpha and witnessed some spontaneous dancing in response to the news that Apple in Education (yes, that Apple) is offering a subtle salute to HudsonAlpha iCell. How? By featuring a profile of a school in England that has undergone transformation through new technologies– and guess what the students are doing in the online video?! Have a peek for yourself! If you spot what I'm talking about, maybe send a thumbs up to congratulate our hardworking educators :) http://www.apple.com/education/profiles/essa/#video-essa
Apple – Essa Academy
Hands on learning with iPad

subset: commoncrawl


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Creative Testing
See where to edit your videos and select the ones with the best performance potential.
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Select Winners
Our EmotionAll® Score ranks your assets at a glance so you know which videos to push - or pull.
Using emotional intelligence enables you to put your best foot forward by identifying your best content, and picking between executions.


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As of November 2015, farmhouses and country properties for sale in North Carolina are listed on CarolinaFarms.com, TheRichCompany.com, OldHouses.com and UnitedCountry.com. The houses listed range from small, rural homes to historic colonial homes and estates from the North Carolina coast to the Appalachian mountains in the west.Continue Reading
OldHouses.com specializes in historic houses and properties, both urban and rural, but has listings for classic, colonial farm houses throughout the state. CarolinaFarms.com lists rural homes and acreage for sale, especially around the Winston-Salem area, and lists properties in a wide range of price points. UnitedCountry.com offers farm and rural properties across North Carolina.Learn more about Real Estate


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Wednesday, May 11, 2011
Gluten Free Picnic in Tilles Park
The Bi-State Celiac Support group is having a Gluten Free picnic this month at Tilles Park. Here is some information from their website.
"The Bi-State Celiac Support Group invites you to an Old Fashioned Gluten-Free Pot Luck Picnic on Saturday May 21, 2011 at the Gloria Rodgers Pavillion in Tilles Park (corner of Litzinger and McKnight, 9551 Litzinger)in St. Louis. The time is 10:30 - 1:30 rain or shine. There will be - fun - games, crafts, music, Fred Bird, food, samples, and a raffle. Bring a gluten-free potluck item to share, along with copies of the recipe. Outlets are available for crockpots and a grill is located next to the picnic shelter.
This sounds like a lot of fun, we are going...Food, Music and Fred Bird!!!! Who is coming with us???
Posted by Mighty 2 Save at 8:33 AM
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NHTV offers professional and academic programmes in the field of Facilities, Games & Media, Hotel, Logistics, Tourism & Leisure and Built Environment.
Why NHTV?
NHTV caters for more than 7,000 students from over 100 countries.
Higher education in the Netherlands has a worldwide reputation for its high quality. Programmes of NHTV have been awarded several distinctive features, such as 'Internationalisation'.
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Housing, insurances, work, municipality matters and maybe visa.
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It would be great if you could come to visit an open day to get a feel for campus life. However, you can also meet NHTV abroad at an education fair, talk to one of our representatives abroad or even 'meet' current students from behind your computer.
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NHTV prepares students for management-level positions in an international setting.
To get an impression of your career possibilities, you can take a look at Career Plaza, the meeting place for NHTV alumni who are looking for a job.


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Workshop on "Tax Base Protection for Developing Countries"
4 June 2014, UN Headquarters, New York
The Financing for Development Office (FfDO) of UN-DESA organized, in cooperation with the OECD Center for Tax Policy and Administration (CTPA) a workshop on "Tax Base Protection for Developing Countries" with the participation of representatives of developing countries.
This meeting was part of a project, undertaken by FfDO, focused on strengthening the capacity of developing countries to increase their potential for domestic revenue mobilization through enhancing their ability to effectively protect and broaden their tax base. The work of the project covers a number of topics of particular interest and relevance to developing countries, at their stage of capacity development, with a view to supporting them in assessing, from their own perspective, a range of practical and workable options which could be implemented by these countries, resulting in increased tax revenues. The project draws upon and contributes to the work of the UN Committee of Experts on International Cooperation in Tax Matters and its relevant Subcommittees, including the Subcommittee on Base Erosion and Profit Shifting (BEPS), as well as the work of the OECD project on BEPS, as appropriate, with a view to complementing that work from a capacity development angle. The final outcome of the project will be a UN handbook, comprising a collection of papers developed in a novel demand-driven manner taking into account inputs from developing countries.
This workshop provided a broad overview and update on the UN and OECD work in this area and then focused on the following topics: (1) Preventing tax treaty abuse; (2) Taxation of services (including taxation of fees for technical services); (3) Protecting the tax base in the digital economy; and (4) Tax incentives and tax base protection issues.
Participants in this meeting were also invited to participate in the Special meeting of ECOSOC on international cooperation in tax matters (5 June 2014, New York).
Background on substantive matters
- Note by UN Subcommittee on BEPS
- Questionnaire on countries experience on BEPS
- Replies to questionnaire
- UN Papers on Selected Topics in Protecting the Tax Base of Developing Countries
- OECD Action Plan on BEPS
- OECD Discussion Draft on Action 6 (Prevent Treaty Abuse)
- OECD Discussion Draft on Action 1 (Tax Challenges of the Digital Economy)
- Newsletter on United Nations Capacity Development
Background on organizational matters
- Tentative Programme (with links to presentations)
- Provisional list of participants
- Information note
- List of hotels
- Biographies of chairs and presenters
For more information, please contact: Dominika Halka
Chief, Capacity Development Unit, FfDO
Email: email@example.com


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Oct 03 – Site Update - Posted By Adam
Discuss: Would You Watch an Anime in 3D?
Congratulations to last week's contest winner: Keba Si Rota!
When 3D effects work, they're amazing (Super Mario 3D Land, Life of Pi). When they're an afterthought, yikes, you're paying more and sometimes donning extra gear for absolutely nothing.
The last film by Hayao Miyazaki comes out soon. Imagine if there was an option to watch it in 3D? Blasphemy or...styling!
This week's discussion question: Would you rather watch a big new anime release in 3D or normal format?


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The Problem With Repositories5 June, 2018
What follows is an edited down version of a chat conversation in the Operation Code slack. The context is that of someone studying up on .Net but, patterns being what they are, this applies elsewhere as well.
The question was over explaining the repository pattern. I have strong opinions here and differentiate between how repository is defined, how it might be implemented in a manner true to it's intent, and how it is often (mis)implemented with unfortunate consequences.
The best opinions are changed opinions and this is one that I admit to having been wrong about. I used to be a defender of the repository pattern. It was likely the first pattern that I felt I understood. Back in 2009 it was also the subject of debate largely - as I remember it - between .Net giant Oren Eini and the folks over at Codebetter (blog unfortunately no longer particularly active). Oren argued that with the advent of robust Object Relational Mapping (ORM) libraries, the need for the pattern was largely gone and that it was certainly over and misused. Despite arguing to the contrary in more than one comment thread, over time I've become convinced of Oren's point.
But I think that I can explain it better.
Take Home Programming Interviews Suck3 November, 2017
I don't like take-home programming interviews. You know the type:
Hey, here's a spreadsheet of data. Create a simple web application that will display the data, allow searching and filtering of it using an api, and oh, I don't know, how about it geolocates the address column to pop up a map when clicked on? Send us a stripped git repo! You've got 8 hours. Ready, set, go!
At Surge we hire a lot. Since I've taken over designing and implementing the interviewing process, we've hired over 250 senior-level developers, interviewed well over 1000, and I personally have conducted no less than 150 full-length interviews. The suggestion to add exactly such a process has come up multiple times and I've been against it over and over. To be fair, I don't think this applies to every company, but it does to us, and I think it applies to many who use such a process without thinking through its applications.
I recently wrote up my objections and - after sharing them on a few Slacks - have been asked to post a slightly edited version here.
So here goes.Comments
The Absurdly Underestimated Dangers of CSV Injection7 October, 2017
I've been doing the local usergroup circuit with this lately and have been asked to write it up.
In some ways this is old news, but in other ways…well, I think few realize how absolutely devastating and omnipresent this vulnerability can be. It is an attack vector available in every application I've ever seen that takes user input and allows administrators to bulk export to CSV.
That is just about every application.
Edit: Credit where due, I've been pointed to this article from 2014 by an actual security pro which discusses some of these vectors. And another one.Comments
On `this` in Javascript3 August, 2017
Nobody listens to me.
I've been saying for years that the constructor pattern, any use of the
newkeyword or function constructors in Javascript should be considered extremely advanced and not generally worth the rise in complexity in your code. I've been telling people about simple objects, and avoiding the
thiskeyword. I've been trying to spread that gospel far and wide. But Javascript went ahead anyways and introduced the
classkeyword, ReactJs compounds their jsx mistake by recommending inheritance-based component syntax, and I keep helping dozens upon dozens of beginners fix their broken code by explaining patiently the correct incantation of symbols that is needed to get their functions to bind properly when really they just needed functions, objects, and variables.
Nobody listens to me.
So lets just go ahead and reset. I'll write this up once and for all, people can read it, and if there's any questions…well hell, I'm in 10 different Slacks and a bunch of IRCs, I'm not exactly hard to track down.
Let's understand the
This is actually a more narrow subject than the whole discussion on constructors and
new, but the latter is predicated on it, so lets start here.
Burn this into your brain: In javascript,
thisis just a function parameter that you don't get to name.
Its a mind-warp so let me try and guide you through it.Comments
On Javascript vs C# and the importance of community17 April, 2017
I just got into a Javascript slapfight.
It started with a Quora question. Which is the better Language, C# or Javascript?
Because I'm sometimes a glutton for punishment, I chose to reply in depth
Which is the better language? C#, I have no qualms about saying this. It's not even a contest. Just examine their origins.
C# was designed at Microsoft, a huge and very successful company with a ton of resources, as a part of one of their flagship engineering efforts; the introduction of the .Net Framework. Its chief architect is Anders Hejlsberg - one of the top language designers in the world - who had previously worked on two successful languages: Turbo Pascale and Delphi. The C# team has lead the language with a steady hand, developing an ecosystem and fully integrated tooling, including the ubiquitous-in-the-space Visual Studio IDE. In addition they've had two incredibly powerful programming models to draw on: Java, which C# was patterned on and which had serious deficiencies which C# has arguably fixed; and F#, a fantastic academic language based on OCaml that serves as a sort of "minor league" for C# features, trying these out before rolling many into C#.
Oh and also LINQ. LINQ is amazing and far too few people understand how insanely powerful it can be. If you're learning C#, it is not strictly necessary at first, but at some point take the time to learn how LINQ providers work and how to write your own. You will up your game several times over.
Ok then, what about Javascript?
Well, Javascript was a language created by Netscape as they tried desperately to take ownership of the web space before Microsoft sat up and took too much notice. It was created pretty much entirely by Brenden Eich who, for all his brilliance, wasn't super experienced at language design. It was written in literally 10 days because Netscape wanted it in the next version of Navigator. It was based on Scheme and Self - two fantastic languages, and the salvation of many of Javascript's weird inconsistencies - but then made to "look" like Java as an afterthought because Netscape was in talks with Sun and wanted a little-brother connection for marketing reasons.
It then sat on the shelf, barely used for anything beyond calendar widgets for nine years until Gmail introduced the world to the possibility of Ajax (they did not invent the term nor the concept, but credit where due for popularizing the technique and showing what was possible). It then tried to change way too much stuff at once, failed, and has only recently settled into a reasonable pace of gradual evolution. Just in time for WebAssembly to slowly start killing it off. Its freaking shocking that any of this worked at all!
C# is the better language.
But the language is not the whole story. There is also the community.Comments
- 25 Nov Understanding the State of Javascript Modules
- 29 Oct Why You Don't Get React
- 07 Aug Predictions: XHTML
- 15 Jul CSS Only Tabs
- 14 Jul You don't need to learn map/reduce
- 14 Feb This can easily be the most important OSS thing I've done
- 18 Oct Why width 50% inline-blocks don't display side-by-side
- 12 Sep Talk Roundup - Be the Es6iest
- 27 Aug Automated Testing Venn Diagram
- 03 Jul Learn reduce
- 08 Jun Color Mixing Demo App
- 06 May Some self-indulgence from the nolatech chat
- 01 May Why Not MsTest
- 20 Apr Stop teaching h tags
- 19 Feb node-gyp won't install on Windows
- 10 Nov Don't Teach Object Oriented Javascript
- 31 Oct Use Simple Modules To Fix Up Your Ugly Brownfield App 1
- 02 Aug Talk Roundup - Be the Javascriptiest
- 29 Apr On this and new
- 09 Oct Open IIS Express to the Network
- 26 Sep Setting Up RequireJs
- 29 Apr Stop that = this'ing
- 16 Jan Error Handling and the Message Repackaging Anti-Pattern
- 12 May QuickTime and a TIFF (Uncompressed) decompressor are needed to see this picture


text: |You want the best for your home. At Renneberg we strive to be the best! We make it... We kiln dry our woods. Strictly controlled kiln-drying is essential to product stability in your home. After drying we grade and inspect it, then we mill it with absolute precision, to achieve the consistency you should expect. Then we add the finishing touches... We end-match and even sand our wood to make installation a pleasure.


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A perfect balance of salty and sweet: sugar fire-toasted in our kitchen and blended with sea salt, cream, and grass-grazed Ohio milk.
As a teen, Jeni was always hanging around pastry apprentices at the Columbus bakery where she worked. One regaled her with stories of the "salty caramel" from his hometown in France. Jeni mistakenly thought it was salty like Scandinavian licorice. So when she began to make ice cream a few years later, in 1996, she created a flavor based on what she imagined this salty French caramel tastes like (beginning with toasted sugar, not flavoring). It was an instant success. We still make it the same way today, by toasting sugar in a kettle over fire. And then we blend it with cream and grass-grazed milk that enhance the butteriness of the caramel.
Home delivery to all 50 states, right to your doorstep.
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Behati Prinsloo Bowls for Charity with Erin Heatherton!
Behati Prinsloo leaves a Victoria's Secret celebration on Tuesday afternoon (July 30) in the Soho district of New York City.
The 24-year-old model attended the Victoria's Secret Celebrates Body By Victoria event with Erin Heatherton and Karlie Kloss.
PHOTOS: Check out the latest pics of Behati Prinsloo
"Bowling for @pelotonia @victoriassecret #strikeoutcancer @erinheatherton" Behati tweeted later in the day about the bowling event for Pelatonia, which is a grassroots bike tour to end cancer. Check out the pic that Behati snapped at the event with her pal Erin.


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TIH vs. Ang Lee's Hulk
View Single Post
Old-School Comic Cool
Join Date: Jan 2010
Location: Florida
Posts: 1,623
Re: TIH vs. Ang Lee's Hulk
Originally Posted by
I agree TIH is still canon to the "FILM" Universe.
But regular audience
will NOT get lost in the Avengers 2012 if they did NOT see TIH.
The films of Ironman, Thor, and Captain America has so much of an impact that
everyone has to watch them before they watch the Avengers film to truly experience the whole scope.
TIH, however does not. The movie is NOT BAD but it does not compare to the other 3.
Those 3 were ORIGIN STORIES. TIH is NOT. Unless you count the opening credits.
Hulk's Origin can simply be explain in one line in the Avengers film as a brilliant scientist who is an expert in Gamma Radiation who became the powerful Hulk.
I'm NOT SAYING IT'S NOT CANON.
I'm saying that general audience will not miss anything in Aveners if TIH was never made.
TIH is an AVERAGE Superhero Movie at best
I see your point however my in-laws only saw the previous Iron Man films and still loved avengers. They missed Cap and Thor and still seemed to get the movie. I see your point though, to get the full scope of the film, Thor and Cap are essential setups. I think that's more of a function of writing the films around the same time period. All within a year of each other or so. While Incredible Hulk was made way back in 2008. And its funny but if you watch the Thor Blu-Ray the bonus film "The Consultant" which features agent Colson, nicely frames the scene with Stark at the end of Incredible Hulk and ties it in with Avengers rather brilliantly.
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text:
"Please tell me just which century the Mayor of London is living in? I have just seen him on New Zealand Television talking about the upcoming rugby match between New Zealand and England. In that interview he stated that he hoped the "mother country" would win.
"I take it he does realise that for the majority of New Zealanders the "mother country" is New Zealand, an independent Pacific Nation. Because quite frankly, few people in New Zealand, apart from a small number of elderly Pākehā and expats would ever consider England as being the "mother country".
"For the rest of us, the Mayor's comments are actually insulting. I would certainly hate to think that the Mayor was glorifying England's colonial past, because I am sure he knows as much as any person, that England has a lot to be ashamed of in her treatment of her former colonies, and in particular here in New Zealand, the Maori People.
"I know I am certainly not the first to say this, (and I somehow doubt I'll be the last), but perhaps he could choose his words more wisely?"
AlisonNew Zealand
Oh Boris. Is there a nation you haven't offended yet?


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Check out the Bengali Box Office Collection to know how much a Bengali film earns. We are going to give detailed box office collection report of the Bengali films.
Bengali Cinema is a Kolkata based film producing industry that produces films in Bengali language. The Bengali films are generally art and drama. These kinds of films are said to be classy in nature. The reach of Bengali films is much lesser than Bollywood, Tamil and Telugu. Currently, approximately 800 cinemas run Bengali films.
Over the years, we have seen some very good and successful Bengali films. There are some directors, who have received wide global reorganization fro their work in Bengali film industry. Bengali people like to watch art and parallel cinema that blockbuster maslaa films.
|Movie Name
|Release Year
|Collection (Nett)
Chander Pahar is the highest grossing Bengali films, which has made more than 16 crores. The amount looks nothing as compared to the box office result of other Indian Films, but if we consider the limited result it has its own position. Paglu is another super hit Bengali films that earned around 10 crores. The budget of a Bengali film is also very less.
Some of the most commercially successful Bengali movies are Paran Jai Jaliya Re, Khoka 420, Saathi and Awara to name a few. You can also check out which Bengali film is hit or flop or super hit.
If you are a fan of art movies, you are going to love Bengali films. If you want to know the verdict of Bengali films, go through the post to find out.


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Here I document the stages of baby girl and I's journey together. I have so enjoyed watching the miracle of my baby bump grow. It has been such a joy and honor to provide a safe home for our little girl to start her life.
Saturday, July 26th my sweet husband and I had a maternity shoot with my favorite photographer, him.


text:
- About
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The Frederick Parker Collection is a unique and outstanding educational resource spanning over 300 years of British furniture making and design, from 1660 to the present day.
The collection comprises over 200 chairs, together with an archive of related historical documents and artefacts. The collection was established by Frederick Parker (1845-1927) who together with four of his sons, had set up a furniture and upholstery business in 1871.
Following the introduction of the recently invented tension spring suspension system in 1931, the Parker family business was renamed and rebranded as Parker Knoll. The Parker Knoll Company continues to the present day as one of the leading British manufacturers of furniture, and the company is a key supporter of the Frederick Parker Collection.
The collection was established and developed by Frederick Parker to enable his craftsmen to reproduce and learn from styles from earlier historical periods. For example, in the early years of the 20th century, styles from the 17th and 18th centuries were in vogue and chairs from this period form a large proportion of the collection.
The collection was used as a working tool, and many of the chairs within the collection are in "original" condition, having had alterations or additions – a few are even deliberate fakes. All of this gives those using the collection today an invaluable opportunity for study and research into every aspect of the development of chair making in Britain since 1660.
The collection became part of The Furniture Makers' Company in 2013, with Past Master Cliff Rust as chairman. The curator of the collection is Dr John Cross of the Cass Faculty of Art, Architecture and Design at London Metropolitan University. Read an article here from The Sunday Telegraph about John and the collection.
The collection is internationally recognised as an important educational resource, and the Frederick Parker Collection Committee seek to promote and encourage the study of furniture, furniture history and the design and development of the British chair, through building, maintaining and promoting the collection.
The Frederick Parker Collection is a "living" collection and continues to evolve, with the regular purchase of new chairs to illustrate the most current developments in design and manufacture.
The collection and archive have been on long-term loan to London Metropolitan University since 2002, and both are now housed in the University's Archives and Special Collections Gallery at Old Castle Street, London E1. The installation of chairs from the collection into a number of display areas is now complete. The contents of the Archive are now appropriately and accessibly stored and the archive inventory is being developed into an accessible catalogue which, when completed, will be available online, enabling items from the Archive to be retrieved for study and research purposes.
Renowned British furniture designer and Furniture Makers' liveryman Tim Gosling included four chairs from the collection in a special feature at Decorex International (18-21 Sept) 2016.
Embracing the 2016 show's theme, the roots of design, Tim constructed a spectacular exhibition of 12 chairs, including four from The Frederick Parker Collection, called 'The Heritage of Chair Making' that documents the links between interior design, architecture and the exceptional heritage of British craftsmanship through the ages.
Working with the historic collections from the Victoria & Albert Museum and The Frederick Parker Collection, Tim asked 12 leading British visual creators, including Paul Smith, Jasper Conran and James Dyson, to choose their favourite piece and why it speaks to them.
The gallery can be viewed by following the link below or you can access the archive via London Met's website.


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Unit Assessment
Unit 4: Proportional Relationships
Lesson 9 of 10
Lesson 9 of 10
Objective: SWBAT show the deeper understanding gained within the unit of proportional reasoning.
Big Idea: A great assessment example to use to assess the understanding students gained in the unit of proportional reasoning.
Math, Number Sense and Operations, proportional relationships, tables and graphs, proportionality, Unit Rates, proportional reasoning, MP1, Unit Assessement, MP4, MP2, MP5, MP6, Mp8, Mp7, ordered pairs, graphing ordered pairs, coordinate grid, Linear
40 minutes
Unit Assessment
40 min
This assessment will take an entire class period, students may take a bit of the next day's time to complete. Students will use all mathematical practices to complete the assessment. This assessment is completely common core aligned and will challenge students through multiple choice questions, short answers and extended response problems.
Resources (1)
Resources (1)
proportional reasoning assessment.pdf
expand content
Similar Lessons
Proportional Relationships With Decimals
Big Idea: Students expand and solve ratio problems involving decimals using unit rates and a double number line.
Earth Layers to Scale
Big Idea: Hmmm.... you said that the Earth's crust is only 2% of the total of the Earth' s layers, but it doesn't look that way in the drawings I've seen.
End of Grade Review: Tables, Graphs, and Equations of Proportional Relationships
Big Idea: The origin makes all the difference in this relationship.


text:
House on Haunted Hill
Put these riffs on your favorite movie shelf with this region-free DVD.
About the DVD: Every care has been taken to ensure that this DVD is of the highest quality. It comes with a rich, machine-tooled plastic case, top-grade polycarbonate coating, and reflective layer, rafted from only the choicest Sri Lankan aluminum. In order to provide you with the finest viewing experience, each of the more than 27 million pits in the reflective layer of your DVD has been hand-carved by craftsmen, one pit at a time, using old world methods.
Before packing, the disks were sent to Roger in Product Management who viewed each and every DVD in its entirety to assure quality. (Nearly 8,700 viewings into the process, Roger went mad and attempted to claw his own eyes out with the plastic fork that came with his Baja Beef Gordito. Luckily, Roger was wearing glasses, the tines of his cheap fork broke, as they so often do, and his eyesight was saved. He has been reassigned to the Custodial Department.)
All digital products you purchase from RiffTrax.com are DRM-free, can be played across a large variety of devices, and are yours to keep ... forever! Even if you have a hard drive meltdown, you can always log back into the site and re-download all of your previous purchases.
For our Download and Stream products, you can stream the product to your computer or to your TV via Chromecast, or download to a device that can play the MP4 file format. For more information on our video formats, please see this KB article.
Just the Jokes are simply MP3 files which are DRM free and can be enjoyed on any device that can play this common audio format.


text:
Student Voice
What is Student Voice?
Student Voice is the individual and collective perspective and actions of young people within the context of learning and education. This can include, but isn't limited to, active or passive participation, knowledge, voting, wisdom, activism, beliefs, service, opinions, leadership, and ideas. Student Voice reflects identity, and comes from a person's experiences, ideals, and knowledge.
What can Student Voice Positively Affect?
- School improvement goals
- Academic achievement
- The "engagement gap"
- Students' feelings of agency
- Drop out rates
- Curricular effectiveness
- Teaching quality
Student Voice is About Action
Student Voice allows students to share who they are, what they believe, and why they believe what they do with their peers, parents, teachers, and their entire school.
Student Voice at NIS
During the 2014-15 academic school year, NIS will develop a Student Learning Council. Students on this council will explore teaching and learning at NIS and be a representative voice for the student body on how they learn best. The Student Learning Council will reflect, advise and research excellent teaching working with staff and pupils to ensure NIS continues to offer this highest standards of Teaching and learning through out the school.


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Game of Thrones Actor Instagrams Coffee — Oh, Wait, Is That a Page From a Script?!
Elie Haddad is playing a Dothraki warrior on Game of Thrones next year.
French actor Elie Haddad is playing a Dothraki warrior on Game of Thrones next season, and last week he decided to get some quality script time in at a coffee shop. To mark the occasion, he posted a photo to his Instagram page (which, unrelated, is full of some really beautiful shots; nice work, dude) — without realizing that obsessive GOT fans would of course blow the whole image up and try to decipher it for any clues about the upcoming season.
Haddad's since deleted the shot, but the eagle-eyed commenters at Watchers on the Wall were able to spot a few of the lines, which make it seem like Daenerys will be at the mercy of the Dothraki at some point next year:
"I like her."
"She's paler than milk."
"I bet she gets nice and pink when you pinch her."
"I'd like to know what a Khaleesi tastes like."
Yep, that's Game of Thrones dialogue, all right!


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|16 Dec 2012
Can someone test INSTALLWATCH
Hi everyone,
I have been using INSTALLWATCH from Epsilon squared to summarisize installation changes right from Win 98 days. It interfaced beautifully/seamlessly with XP , and also WIN 7 x64 till last week. From last week onwards I have been stuck at a certain key HKLM>SOFTWARE>wow6432node.... While in the ANALYSE mode InstallWatch detects all the entries in the node as ADDED fresh nearly ( 4 lakh) which is not true. Can some expert test this. In fact I have not been able to find a Superlative application like this in its category.
The application is available here.. InstallWatch Download - SoftSea
1.Install the program.
2. In the configure you can disable the disk scan
3. Check whether all the Registry is included.
4. (if it automatically does not start creating one after config)Press Snapshot to create one.
5.Press Analyse immediately. Logic demands that added, deleted, modified registries should be ZERO save one or two.
1. I created two test keys , values , datas in the particular section of the Registry mentioned above before creating a snapshot. After creating it I checked the .iws Snapshot file (using Scintilla Reader) and confirmed that they are indeed present. But annoyingly after analysis the same entries are shown as added fresh.
2.This problem I am seeing only since last week, otherwise it operated seamlessly. I am sure the software will adapt to WIN 8 as well
|My System Specs
|19 Dec 2012
Sorry to Bump. Can anyone confirm that he is using the software without issues
|My System Specs
|20 Dec 2012
@ Doubtingthomas,
It seems "InstallWatch" is not 64-bits Registry compatible.
Like ZSoft Uninstaller: "As a 32-bit program itself, it cannot (as standard) 'see', for instance, the 64-bit part of the registry".
So a loop issue could come out in 'Wow6432Node' key [ 4 lakh thing...].
Please see aditional info:
Test 64-bit compatibility:
1- Create a new file with Windows Explorer between snapshots in \windows\system32 (to test file system snapshot);
2- creating a new registry key with Regedit between snapshots directly under KEY_LOCAL_MACHINE\SOFTWARE (to test registry snapshot).
3- If a given snapshot program doesn't list these newly created items in a snapshot comparison, then it can't see the whole 64-bit system.
When using the registry API in a 32-bit application, Wow6432Node acts like a symbolic link that loops back to the same 32-bit hive. It does not map into the 64-bit hive as you might think.
For example, walking the registry tree down to HKLM\Software\Wow6432Node in a 32-bit application loops back to HKLM\Software. The result is infinite recursion: HKLM\Software\Wow6432Node\Wow6432Node\Wow6432Node\..., etc.
If you want to view the 64-bit registry hive in 32-bit code you must open HKLM\Software using KEY_WOW64_64KEY. Do not try to open Wow6432Node; it will not work.
BTW: You can uncheck the keys: HKEY_CLASSES_ROOT, HKEY_CURRENT_USER and HKEY_CURRENT_CONFIG. In fact they are subkeys from HKEY_LOCAL_MACHINE and HKEY_USERS ...
|My System Specs
|20 Dec 2012
Thanks for the reply. I would like to clarify on the following:-
1.The program worked perfectly until 2 weeks ago with all the registry included.
2.I created a particular entry before the snap shot , and it does show after the snapshot is created. Please look at my post under PS.
3.Why two sets of behavior, while taking snapshots and while doing analysis. If it did not register the node while taking the snapshot let it not register while doing te analysis, which is not true here.
4.The program is hardly 3.5mb and is vouched safe. CAn you run it personally and confirm...
|My System Specs
|21 Dec 2012
@ Doubtingthomas,
I tried in Win 7, 64bits, under 'Toolwiz Time Freeze' virtualization.
- Done like your 2. point and 'PS' info;
- Can't reproduce your problem; none 'node' annoyance; and "entries are shown as added fresh" wasn't reproduced here also.
So can't help to understand your problem.
For your information I can now confirm that "InstallWatch" can do the work if you are installing/analyze 32bits based applications. If an application is 64bits native, it is unable to do an accurate work.
|My System Specs
|21 Dec 2012
Hi majomo , Can you please test in real environment.If it is working for you , it should also for me. It was doing well till 2 weeks ago..
|My System Specs
|21 Dec 2012
I don't believe that is needed to work in real environment to change their behaviour, but I'll do that and I'll say something about if reproduced your annoyance.
|My System Specs
|25 Dec 2012
Not tested yet?? Is it with the latest Windows updates??
|My System Specs
|03 Jan 2013
C'mon someone. Would you not give it a try. Atleast give a solution. Thanks.
|My System Specs
|03 Jan 2013
Windows 7 Ultimate X64 SP1
It appears your machine has some issues causing another issue. Anyone else's testing unknown software would be no help I don't think. For myself I don't understand this InstallWatch not what you are trying to do.
|My System Specs
|Thread Tools
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Hi, I am using new Computer with Intel Desktop Baord Dh61ww and 8 Gb memory. My Windows 7 system was having quite a lot of memory refernce errors. In memtest86+, there were a million errors. But in Windows Memory diagnostics-Extended - no errors were reported. Which report shall I go by? Should...
|Hardware & Devices
Anyone with a HD 5850 run a test on Passmark performance test?
Hi Guys, Just recently got a Powercolor HD 5850 gpu , and have ran a test on the latest Passmark performance test benchmarking software. It seems about right on the 3d score with around 2200 But the 2d score is very low at around 320 Is this normal?
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Best way to test FPS
I currently do this by using FRAPS but i heard this can be inaccurate and decrease them what is the most common or best way to test out the FPS?
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