![]() It works as both an "OK to wake clock" as well as a traditional alarm clock, it has a built-in night light and white noise machine, and it was simple to set and easy to hit the snooze button. This is the clock that can take you from the toddler years through the big kid years and will likely only be retired once your teenager deems it no longer cool.Īside from its cuteness quotient, the Mella has a lot going for it. You can even program it to come on to subtly cue that it’s time to start your nighttime routine.įor the coolest alarm clock that really can do it all, you can't beat the LittleHippo Mella. The company periodically adds new tracks, and you’ll be prompted to update the device through Wi-Fi when it does.įinally, there’s a subtle built-in light that can gently illuminate your nightstand if you find yourself waking up to go to the bathroom. The alarm has a bunch of extra features, too, that make it more worth the money, including a selection of white noise tracks, meditations, and bedtime stories. (Don’t get me wrong at the highest setting, it’s still loud.) The Loftie alarm has a tremendous volume range, and because the alarm tones aren’t blaring beeps, even at the loudest alarm setting it isn’t a painful experience. There’s several options for both of these alarms, and you can choose them directly on the device or through a mobile app that’s connected through a Bluetooth speaker. It’s also a calming and soothing experience, with a repetitive note that’s designed to get your attention. Then, just shy of 10 minutes later, the “get-up tone” goes off. It starts with soft music to gently rouse you. The alarm wakes you up with two components. The clock stands out for its attention to detail, smooth and intuitive interface, great design, and, of course, the phenomenal experience of waking up with it. (We don’t keep products we test, and I didn’t want to even think about a morning without the device.) It wasn't more than a minute or two before my phone was in hand, and I was researching how to procure my own Loftie. The very first morning, I opened my eyes and thought to myself that this is what waking up should be. Plus, I couldn’t imagine spending more than $100 on an alarm clock-it seemed outlandish. I was expecting it would be too good to be true. I tested the Loftie last, as it was the most expensive option and has a bit of hype from fans online. Less fortunately, it didn’t wake me up the first morning I used it. For two days, it chimed at 8:40 PM-fortunately I was home, so I was able to turn it off. My only gripe was that I initially set the alarm to PM, unknowingly. A selection of volumes will be ample for most people, though it’s equipped with just one alarm tone, a fairly standard beeping that wasn’t as unpleasant as others we tested. ![]() While waking up with the Sharp wasn’t a particularly life-changing experience, it does its job-and then some. There are six tracks, ranging from various tones of white noise to rain noises and the sounds of the ocean. It was a unique feature that many other clocks we tried lacked entirely. There’s plenty of settings to use in the evening and throughout the night to help drown out noises that could otherwise disturb your slumber. The display can also be dimmed, making it sleep-friendly.Īn impressive array of white noise features also set the Sharp apart. If you plan to regularly change the alarm time or other settings, this pick could make your life a little easier. Though the dial may not be the most attractive design choice, it drastically improves the device’s functionality. It makes changing time and setting alarms a breeze. Rather than mashing buttons for several minutes, the clock relies on a dial atop the body. It’s intuitive from start to finish, from changing the time to setting the alarm. During testing, the Sharp DreamCaster was the first alarm clock that felt more substantive and, to be frank, easier to set up and navigate than any of the others.
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![]() ![]() The first two singles they worked on with Bob, “Belly Full” and “Knotty Dread,” were credited to The I-Threes as much as The Wailers and Bob didn’t expect any of them to abandon their solo work. Plus, The I-Threes were not anonymous backing talents. Even if you had a massive hit in Jamaica, you were not guaranteed to earn a penny in royalties Marley’s tours, however, offered a steady, decent income – something almost unheard of in 70s reggae. Reggae remained a club phenomenon outside of Jamaica, but it was clear that Marley, with Island Records’ considerable promotional muscle and a rising reputation with the rock audience, was about to play huge shows worldwide. When it came to international success for a Jamaican artist, his was almost the only show in town in 1974. So all three singers had strong connections with Marley before joining The I-Threes, but joining the Marley enterprise conferred certain advantages. At the time she joined The I-Threes, Marcia was enjoying a reggae hit with “Sweet Bitter Love” and about to embark on a fruitful association with the producer Sonia Pottinger, which yielded “Dreamland.” In the kind of strange coincidence reggae throws up, Rita Marley’s “Come To Me” was released in the UK on the Coxsone label, credited to Marcia.Īn artistic partnership with Bob Andy, as Bob & Marcia, delivered global fame for Marcia in 1970 with an entrancing orchestrated version of “Young, Gifted And Black,” and, in another coincidence, their follow-up hit was an interpretation of “Pied Piper.” She also cut versions of “Band Of Gold” and “Put A Little Love In Your Heart,” which are fondly remembered by reggae fans. Both tunes still play in reggae dances today as if they are contemporary records. In the mid-60s she issued a handful of singles for Studio One, including the ballad “Funny,” but really found her feet in 1967 with a Bob Andy song, “Melody Life,” and hit again in Jamaica with “Feel Like Jumping” the following year. Marcia was a rather more forceful solo voice. Marcia Griffiths’ career path was similar, except a different Bob wrote songs for her, and she had enjoyed more global fame than Rita before joining The I-Threes. ![]() From the start, they gave Marley’s music a totally different tone, such as on “Talkin’ Blues,” from Natty Dread, the first album Bob made alongside The I-Threes. Their role was to sweeten and emphasize the message in the songs. So Bob recruited his wife, Rita, who had been singing with The Wailers for the best part of a decade, along with Judy Mowatt and Marcia Griffiths, to form The I-Threes. Tosh and Wailer had quit the group, feeling that they were being sidelined while Bob was being groomed for rock stardom at their expense. Their inclusion came in the wake of the break-up of The Wailers – a vocal group comprising Marley, Peter Tosh, and Bunny Wailer. The I-Threes became an official part of Bob Marley’s organization in 1974. But few backing vocal groups had as strong a pedigree as Bob Marley’s trio of confirmation vocalists, The I-Threes. From the yé-yé girls in French pop to The Ladybirds eternally doing sessions in the UK – unseen but gaining credits on Top Of The Pops – to Ray Charles’ Raelettes and the terrifyingly talented female singers that made up part of Stevie Wonder’s Wonderlove band, they have been part of the DNA of 50s, 60s and 70s music, and linger still. The female backing singing group is not uncommon. ![]() Once your order has shipped, you’ll receive an email from tracking information. ![]() Orders are typically fulfilled and shipped within 3-4 business days. Orders are processed Monday - Friday, with the exception of US holidays. Instead, try this lightweight gel-lotion. 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Jones Road currently ships to the US (excluding Guam and US Virgin Islands), Canada, Ireland, and the UK (including England, Wales, Scotland, and Northern Ireland, excluding Crown Dependencies). The company itself is one of the most important factors in the microenvironment as it has a significant impact on the other actors. These factors are often internal to the company or closely related to the company's operations and include customers, suppliers, competitors, intermediaries, and the public. The microenvironment in marketing includes factors directly related to a company's ability to serve its customers and achieve its marketing objectives. By paying attention to both the microenvironment and macroenvironment, companies can build effective marketing strategies tailored to their specific market and targeted toward their ideal customers. ![]() ![]() For instance, technological advancements, changes in consumer behavior, and shifting cultural attitudes can all significantly impact a company's marketing environment.īy understanding and adapting to changes in the marketing environment, companies can make strategic decisions that will help them stay competitive in their respective markets. While companies may not have control over these factors, it is crucial to monitor and adapt to changes in the macroenvironment to remain successful. These factors are generally beyond the company's control and can include demographic, economic, technological, political, legal, and cultural forces. On the other hand, the macroenvironment refers to the broader societal forces that impact a company's ability to operate and succeed in the market. For example, customers, suppliers, competitors, intermediaries, and the public all play a critical role in shaping a company's marketing environment. These factors are often internal to the company or closely related to the company's operations. The microenvironment includes factors that are directly related to a company's ability to serve its customers and achieve its marketing objectives. The marketing environment comprises two main components: the microenvironment and the macroenvironment. All of these factors would shape the company's marketing strategies and tactics in order to reach and persuade potential customers effectively. The marketing environment for this company could include factors such as the growing concern for the environment and sustainable energy (social forces), government policies and incentives for electric vehicles (political forces), advancements in battery technology (technological forces), competition from traditional gasoline-powered cars and other electric car companies (competitive forces), regulations regarding emissions and safety (legal and regulatory forces), company culture and values that prioritize innovation and sustainability (internal factors), and the overall economic climate and consumer spending habits (economic forces). In essence, the marketing environment provides a holistic view of the factors that influence how a company interacts with customers and operates within a larger context.Ĭonsider a company that sells electric cars. ![]() External factors can include social, economic, technological, political, and cultural forces, as well as competitive, legal, and regulatory factors, while internal factors refer to the company's own internal resources, capabilities, and strategies that can impact its marketing efforts. Marketing environment refers to the internal and external factors that affect a company's ability to market and sell its products or services. This article will explore the features and components of the marketing environment and how they affect marketing strategies. From the microenvironment to the macroenvironment, the marketing environment's different components can significantly impact a business's success. Marketing is not just about creating ads and promotions it also includes understanding and adapting to the ever-changing marketing environment. Market Segmentation Targeting and Positioning. ![]() Output is metadata, which makes this output hard to read.)Īlthough this example of regexpr() is very simple, a word of warning.Ĭharacter matching functions is R rely on regular expressions, a Position in the first value, and not at all (-1) in the Here the character string sought is found at the fourth Regexpr() function matches characters and returns starting positions ![]() The substr() and substring() functions use Try paste0(c("a", "b", "c"), 1:2, "z") and notice how 1:2 is recycled to c(1, 2, 1) to have a length of three. Note that paste() will recycle an argument a non-whole number of times without a warning. Then, they are concatenated element-by-element (the first element of each vector, the second element of each, and so on). In the paste0() statement, the longest argument ( c("a", "b", "c")) has three elements, so the others ( "Q" and 3) are recycled until they are three elements long ( c("Q", "Q", "Q") and c(3, 3, 3)). ![]() In the paste() statement above, the longest argument ( 1:4) is four elements long, so all others (here, just "Q") are recycled to length four ( c("Q", "Q", "Q", "Q")). Paste() and paste0() recycles each argument so that it matches the length of the longest argument, and then it concatenates element-wise. You might also use this if you were constructing a set of To have nothing added between the elements being combined, we canĮither specify a null string, sep="" (quotes with NO spaceīetween), or we can use the paste0() function. The sep argument specifies a character value to place between Notice that the results are character values. The paste() operation is vectorized in much the same way that These into a single vector, use the paste() function You might have data about calendar dates given as To represent a value identified by multiple other Useful whenever you need to construct a single variable One basic task when working with character data is toĬombine elements from two or more vectors. Important part of working with character data. People’s views of acceptable capitalization, spelling,Īnd punctuation vary enormously. Have ever used social media you will appreciate that May represent the raw input from multiple people. ![]() Value, and to separate a single value into parts.Īnother aspect of working with character data is that they You will want to be able to combine character values into a single And theĭate “” is a combination of a year, a month, and a Of state (“55” for Wisconsin) and county (“025” for Dane) codes. affiliations <- c("Dem", "Dem", "Rep", "Rep", "Ind", "Lib")Ī single character value might also represent “Republican” (American political affiliations). “Democrat”, “Green”, “Independent”, “Libertarian”, or In R, it is all “data”.)Īs data for analysis, character values can signify categoriesĮxample might be a variable that classifies people as To manipulate language elements as we use to manipulate data Is its own macro language, and we use the same functions In R, character vectors may be used as data forĪnalysis, and also as names of data objects or elements. 20.3.8 Limiting higher order interactionsĪ third fundamental type of data is character data (also called.18.2 Adding Group-Level Information without Removing Rows.12.2.3 Name prefix, other name wildcards.8.4 Incrementing and Decrementing Dates. ![]() These three switches enable the power controllers (e.g. The key settings to be aware of, should you need to change a locomotive from trailing back to lead are as shown below. The start-up instructions will set the locomotive up to be suitable for leading a consist or being the sole locomotive in a consist. Once the locomotives are operational then you can set them up for Multiple Unit working. Now the locomotive has been started, you can now drive the locomotive.Įnsure the locomotives have been fully set up as per the locomotive start-up instructions if required. Move the throttle back to notch 0 and release the handbrake. Then release the automatic brake and wait for the equalising reservoir pressure andn the main reservoir to reach 90psi. Then check the independent brake is set to the maximum setting. Keeping the reverser in the neutral position, set the throttle to notch 1 and wait for the main reservoir to reach 140psi. Then set the MU-2A valve to the Lead or Dead position. Then turn the Cut-off valve to the Freight position. Then set the headlights, which is located in the bottom right of the console, to the bright position. Turn the ditch lights and gauge lights which are located to the left of the dynamic brake to the on position. These switches are located in the top right of the control console shown in the image to the left. Sit in the engineer's seat and set the Engine Run, Field Generator and Control & Fuel Pump to the on position. Then return to the cab and set the start-run switch to the Run position. After the engine has started, close the engine room doors. Then move it to the right to start the engine. This switch is located in the centre right of the engine room. Hold the Prime/Start switch to the left position for 5 seconds. The engine room will appear as shown in the image to the right. Then open the engine room doors on the long hood. ![]() Then set the start-run switch located above the fuse box on the panel shown in the left image. Then check that the main breaker and all of the fuses are set to the on position. Secondly, open the fuse box, which is located behind the driver's seat and is shown in the second image. In the GP40-2 and GP38-2 it is a handle like in the image whereas in the SD40-2 it is a wheel. Firstly, apply the hanbrake which is shown in the image to the right. ![]() This section of the tutorial covers a cold start of the locomotives. The dynamic brake may also be used to slow the locomotive down. Be careful not to apply the automatic brake beyond the 'full service' position. To stop the locomotive, move the throttle into the idle position and then apply the automatic brake. Then move the throttle, which is located above the reverser into the notch 1 position. The reverser is the small handle in the bottom right of the image, move this into either the forward or reverse position. Secondly move the automatic brake, the red handle above the independent brake into the release position. This is how the locomotive starts in services and some scenarios.įirstly, move the independent brake to the release position, the independent brake is the black handle in the bottom left of the image. This section of the tutorial covers driving the locomotive when it has already been started. 4.4 Controller from Another Unit Coupled at Either End. ![]() 4.3 Controlling with Unit Coupled at Short Hood End.4.2 Controlling with Unit Coupled at Long Hood End.3.2.1 No Power, No brakes or “Dead in Tow”. |
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