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Instead it simply crooned seductively, in the way of most ads, promising something that was . ![]() Kinda new, kinda wow. But the commercial was terrific. Wonder Woman 1975![]()
The Bad Seed makes excellent use of. And, you continually wonder who her next victim. Listen to songs and albums by Jackie Wilson. So was another of the same vintage for Enjoli, a similarly unremarkable fragrance. This one's heroine was even bolder, strutting home in a tight skirt after an apparently successful day and proceeding directly to the kitchen. As she cheerfully whipped up some kind of dinner delight, she sang a provocative little anthem, which most women of my age, I've discovered, still recall. And never let you forget you're a man. The lifestyle was enchanting. Both of these commercials aired in the early 1. Watergate and the free love of Woodstock. They aired only briefly, selling products that slipped eventually from the public eye. But they stuck somehow in the public consciousness, or at least in the minds of schoolgirls like me, who simply presumed that life in the grown- up world would be just like the ad for Charlie. We'd have careers to skip to, kids to adore us, and men waiting to douse us with perfume the moment we waltzed through the door. Money and great shoes only sweetened the package. This wasn't, of course, the life that our mothers were living. In 1. 97. 0, only 4. In upper- middle- class white families like my own, the number was slightly higher, hovering by 1. Most of these women worked in . Yet somehow, girls growing up in that era believed—thought, presumed, knew—that they would be different. That instead of replicating their mothers' suburban idylls of parent- teacher conferences and three- tiered Jell- O molds, they—we—would go the way of Charlie, enjoying children and jobs, our husbands' money and our own. And through it all, we would be smiling and singing, gracefully enjoying the combined pleasures of life. In 1. 96. 8, 6. 2 percent of young women had expected to become housewives by the time they were thirty- five. By 1. 97. 9, just eleven short years later, that percentage had plummeted to 2. The rest of us presumed that we'd leave the world of housewifing far, far behind. In 1. 97. 9, fully 4. American girls predicted that they would hold professional positions by the time they were thirty- five. Where did we possibly get such ideas? I offer three suspects: our mothers, the media, and the feminists. Let's start with the mothers, since they are always the easiest to attack. Women born between 1. This was a period, in retrospect, of unprecedented prosperity and stability in the United States. Real incomes were growing steadily, and millions of Americans decamped for the suburban towns cropping up across the country. Freed from the rigors of economic depression and war, women of this generation rarely worked outside the home unless it was absolutely necessary. As late as 1. 95. American women had paying jobs. The remainder basked in the comforts that their generation could now afford and raised their own daughters—my generation's mothers—to strive for the Good Housekeeping version of the American dream: a house, a husband, 2. Or as the poor shopgirl, Audrey, fantasizes in the musical Little Shop of Horrors, . And an ironing machine. In the tract house that we share. Somewhere that's green. Something more than the washer and the dryer and the ironing machine. They wanted them, in short, to have careers, and to participate more actively in the social progress that was starting to seep through the seams of American life. So the good girls of the Eisenhower era became the pushy mothers of the Nixon era, dragging their offspring to pottery classes and poetry readings, convincing them that girls really could do whatever they wanted. My own mother was adamant on this point. After marrying at twenty and having me at twenty- two, she was fully convinced that girls of my generation would face a fundamentally different set of options—even though she had grown up in very comfortable circumstances, graduated from college, and returned to teaching kindergarten when I turned ten. In 1. 96. 1, when she graduated from Hunter College, only 3 percent of law students in the United States were women. When I graduated from college twenty- three years later, that number had risen to 3. The same thing happened in medical schools, where the percentage of female students rose from 5 to 2. So the women of my generation did indeed have all kinds of opportunities stretching beyond the green lawns of suburbia. And our mothers were chanting from the sidelines, urging us to grab them all. Meanwhile, of course, the media were driving this fairly radical change as well, luxuriating in and promoting a new brand of American dreaminess. When I started watching television in the late 1. Bewitched, I Dream of Jeannie, and my all- time favorite, The Brady Bunch. While these shows were socially more progressive than the older Leave It to Beaver fare that I caught on rare days home from school, they still portrayed a feminine ideal centered largely on the happy suburban mom. The leading women were typically full- time mothers, devoted to their school- age children and their affable if bumbling husbands. They were pretty in a well- coiffed and sensible way, and invariably cheerful. When Carol Brady and her three daughters go on a camping trip with her new husband and his three sons, for instance, Mrs. Brady smilingly prods her grumpy girls into action. She was followed by Rhoda (1. Then came Alice (1. Charlie's Angels, in which gorgeous, scantily clad women pull firearms from their bikini tops to rid the world of evil. Not surprisingly, the Charlie commercial that captured my imagination debuted around this same time (1. Enjoli ad. In fact, Shelley Hack, the beautiful woman from the Charlie ad (referred to, of course, as . It was a good time for Charlie. Even more dramatic changes were underway in the world of print media. Up until this point, women's magazines had been a staid and comforting lot, led by long- standing publications such as Ladies' Home Journal and Good Housekeeping. These were, to be sure, fairly serious magazines. They provided a rare outlet for female authors and dealt, at least in passing, with topics like divorce, infertility, and contraception. Their daily fodder, however, was simpler fare, consisting largely of advice on how to clean a perfect kitchen, make a perfect pot roast, or deal with a toddler's sore throat: THE DINING ROOM IS LIKE AN INDOOR GARDEN announced one 1. Ladies' Home Journal. And then Helen Gurley Brown and Gloria Steinem smashed onto the stage, refurbishing Cosmo (in 1. Ms. Because now, instead of reading about pot roast and runny noses, women could read about sexual prowess and adultery. They could learn about homosexuality (LESBIAN LOVE AND SEXUALITY), masturbation (GETTING TO KNOW ME: A PRIMER ON MASTURBATION), and more sex (THE LIBERATED ORGASM). Suddenly, playing with yarn didn't sound like much fun. By the time we girls of the 1. In no uncertain terms, women of my generation were being told, for the first time in history, really, that girls were just as good and as capable as boys, and that women could be, should be, whatever they wanted to be. And what lay behind this sudden bout of boosterism? Precisely the same thing that had catapulted Helen Gurley Brown and Gloria Steinem to power, the thing that had tossed Carol Brady off the screen and replaced her with Charlie's angels. It was the feminist revolution, hatched in the late 1. To be sure, feminism itself was hardly a new phenomenon. Freedman describes in No Turning Back, a history of feminism, the global movement for women's rights had a long and complicated past, including the liberal struggle for women's suffrage launched in the mid- nineteenth century, socialist- inspired campaigns to protect working girls and women in the early twentieth century, and the decades- long battle, led by crusaders such as Margaret Sanger and Emma Goldman, to provide women with access to contraception. But the feminism of the 1. This was a feminism that promoted not the political rights of women, or the legal status of women, but rather the very identity of women. It was a feminism that tore at the very roots of an American ideal and prescribed a whole new model in its place. As presented (and distorted) by the mainstream media, it was a feminism that was greedy to its core, proclaiming that women could have money and children and sex and power, along with fabulous shoes. Like men, in other words, women could have it all. And boy, did I want it. Copyright (c) 2. 01. I Want You - Marvin Gaye . First, it marked a sharp change in direction, leaving his trademark Motown soul for lush, funky, breezy disco. Secondly, its subject matter is as close to explicit as pop records got in 1. Third, Gaye hadn't recorded in nearly three years and critics were onto something else - - exactly what, in retrospect is anybody's guess. From the amazing Ernie Barnes cover painting . The feel of the album was one of late- night parties in basements and small clubs, and the intimacy of the music evokes the image of people getting closer as every hour of a steamy night wears on. But the most astonishing things about I Want You are its intimacy (it was dedicated to and recorded in front of Gaye's future second wife, Jan), silky elegance, and seamless textures. Gaye worked with producer Leon Ware, who wrote all of the original songs on the album and worked with Gaye to revise them, thus lending Gaye a co- writing credit. The title track is a monster two- step groover with hand percussion playing counterpoint to the strings and horns layered in against a spare electric guitar solo, all before Gaye begins to sing on top of the funky backbeat. It's a party anthem to be sure, and one that evokes the vulnerability that a man in love displays when the object of his affection is in plain sight. Art Stewart's engineering rounds off all the edges and makes Gaye's already sweet crooning instrument into the true grain in the voice of seductive need. In all, the original album is a suite to the bedroom, one in which a man tells his woman all of his sexual aspirations because of his love for her. The entire album has been referenced by everyone from Mary J. Blige to D'Angelo to Chico De. Barge and even Todd Rundgren, who performed the title track live regularly. By the time it is over, the listener should be a blissed- out, brimming container for amorous hunger. I Want You and its companion, Ware's Musical Massage, are the pre- eminent early disco concept albums. They are adult albums about intimacy, sensuality, and commitment, and decades later they still reverberate with class, sincerity, grace, intense focus, and astonishingly good taste. I Want You is as necessary as anything Gaye ever recorded. Parallel Simulations Using Parsim: Parameter Sweep in Normal Mode. This example shows how to run multiple simulations of a Monte Carlo study in parallel by using Parallel Computing Toolbox. Parallel Computing with MATLAB ® and Simulink. Parallel Computing with MATLAB. Examples: indexing, data type conversion. A serial-in/parallel-out shift register is similar to the serial-in/ serial-out shift register in that it. CD4094 serial-in/ parallel-out 8-bit shift register with. Simulink Model ExampleDecide When to Use parfor. This configuration allows conversion from serial to parallel format. One of the first known examples of a shift register was in the Mark 2 Colossus. Data Bits including the Universal Shift Register and the Serial and Parallel Shift Register. Examples Home; Simulink Family;. ATSC Digital Television. A complete conversion of parallel bytes to serial bits needs four Data Segments. Serial to Parallel Conversion. Learn more about serial to parallel data conversion, urgent. Parallel execution leverages the multiple cores of your host machine to run many simulations more quickly. These simulations could also be run in parallel on computer clusters using the MATLAB Distributed Computing Server. This example will work even if the Parallel Computing Toolbox. The model captures vehicle dynamics in three degrees of freedom: vertical displacement, roll, and pitch. The Signal Builder block stores measured road profile data for the left and right tires as different test groups. The Road- Suspension Interaction subsystem calculates the suspension forces on the vehicle at the four tire locations based on the road data and the current vehicle state. The Body Dynamics subsystem uses these forces and the resulting pitch and roll moments to calculate the vehicle motion in each of the three degrees of freedom. In this Monte Carlo study, you inspect the impact of the front suspension coefficients on the vehicle dynamics. You run multiple simulations, each with a different coefficient value. The mask dialog box opens. The mask parameter Front susp. This signal represents the vertical vehicle displacement over time, which the suspension damping coefficient influences. Right- click the signal and select Properties. In the Signal Properties dialog box, the Logging and accessibility tab has Log signal data checked on, indicating that the signal is configured for logging. After the simulation finishes, you can use the specified logging name, vertical. Store the values in a variable, Cf. Store the number in a variable, num. Sims. num. Sims = length(Cf. Create one object per simulation. Store the objects as an array in a variable, in. Specify the sweep value for each simulation. Identify the target mask parameter by its underlying name, Cf. Sims: -1: 1. in(i) = Simulink. Simulation. Input(mdl). Block. Parameter(in(i), . The specified value will be applied during the simulation and reverted back to its original value, if possible, after the simulation finishes. Run Simulations in Parallel Using Parsim. Use the parsim function to execute the simulations in parallel. The array of Simulation. Input objects, in, created in the last step is passed into the parsim function as the first argument. The output from the parsim command is an array of Simulink. Simulation. Output objects which is stored in the variable out. Set the 'Show. Progress' option to 'on' to print a progress of the simulations on the MATLAB command window. Show. Progress', 'on'). Starting parallel pool (parpool) using the 'local' profile .. When running multiple simulations using parsim, errors are captured so that subsequent simulations can continue to run. Any errors would show up in the Error. Message property of the Simulation. Output object. Plot Results. Plot the vertical vehicle displacement from the different simulations to see how varying the damping coefficient affects the vehicle dynamics. The signal is logged in the Simulation. Output object in the Dataset format. Use the get method to obtain the timeseries object containing the time and signal data from each element of out. Shift Register - Parallel and Serial Shift Register. This sequential device loads the data present on its inputs and then moves or “shifts” it to its output once every clock cycle, hence the name Shift Register. A shift register basically consists of several single bit “D- Type Data Latches”, one for each data bit, either a logic “0” or a “1”, connected together in a serial type daisy- chain arrangement so that the output from one data latch becomes the input of the next latch and so on. Data bits may be fed in or out of a shift register serially, that is one after the other from either the left or the right direction, or all together at the same time in a parallel configuration. The number of individual data latches required to make up a single Shift Register device is usually determined by the number of bits to be stored with the most common being 8- bits (one byte) wide constructed from eight individual data latches. Shift Registers are used for data storage or for the movement of data and are therefore commonly used inside calculators or computers to store data such as two binary numbers before they are added together, or to convert the data from either a serial to parallel or parallel to serial format. The individual data latches that make up a single shift register are all driven by a common clock ( Clk ) signal making them synchronous devices. Shift register IC’s are generally provided with a clear or reset connection so that they can be “SET” or “RESET” as required. Generally, shift registers operate in one of four different modes with the basic movement of data through a shift register being: Serial- in to Parallel- out (SIPO) - the register is loaded with serial data, one bit at a time, with the stored data being available at the output in parallel form. Serial- in to Serial- out (SISO) - the data is shifted serially “IN” and “OUT” of the register, one bit at a time in either a left or right direction under clock control. Parallel- in to Serial- out (PISO) - the parallel data is loaded into the register simultaneously and is shifted out of the register serially one bit at a time under clock control. Parallel- in to Parallel- out (PIPO) - the parallel data is loaded simultaneously into the register, and transferred together to their respective outputs by the same clock pulse. The effect of data movement from left to right through a shift register can be presented graphically as: Also, the directional movement of the data through a shift register can be either to the left, (left shifting) to the right, (right shifting) left- in but right- out, (rotation) or both left and right shifting within the same register thereby making it bidirectional. In this tutorial it is assumed that all the data shifts to the right, (right shifting). Serial- in to Parallel- out (SIPO) Shift Register. Serial- in to Parallel- out Shift Register. The operation is as follows. Lets assume that all the flip- flops ( FFA to FFD ) have just been RESET ( CLEAR input ) and that all the outputs QA to QD are at logic level “0” ie, no parallel data output. If a logic “1” is connected to the DATA input pin of FFA then on the first clock pulse the output of FFA and therefore the resulting QA will be set HIGH to logic “1” with all the other outputs still remaining LOW at logic “0”. Assume now that the DATA input pin of FFA has returned LOW again to logic “0” giving us one data pulse or 0- 1- 0. The second clock pulse will change the output of FFA to logic “0” and the output of FFB and QB HIGH to logic “1” as its input D has the logic “1” level on it from QA. The logic “1” has now moved or been “shifted” one place along the register to the right as it is now at QA. When the third clock pulse arrives this logic “1” value moves to the output of FFC ( QC ) and so on until the arrival of the fifth clock pulse which sets all the outputs QA to QD back again to logic level “0” because the input to FFA has remained constant at logic level “0”. The effect of each clock pulse is to shift the data contents of each stage one place to the right, and this is shown in the following table until the complete data value of 0- 0- 0- 1 is stored in the register. This data value can now be read directly from the outputs of QA to QD. Then the data has been converted from a serial data input signal to a parallel data output. The truth table and following waveforms show the propagation of the logic “1” through the register from left to right as follows. Basic Data Movement Through A Shift Register. Clock Pulse No. QAQBQCQD0. Note that after the fourth clock pulse has ended the 4- bits of data ( 0- 0- 0- 1 ) are stored in the register and will remain there provided clocking of the register has stopped. In practice the input data to the register may consist of various combinations of logic “1” and “0”. Commonly available SIPO IC’s include the standard 8- bit 7. LS1. 64 or the 7. LS5. 94. Serial- in to Serial- out (SISO) Shift Register. This shift register is very similar to the SIPO above, except were before the data was read directly in a parallel form from the outputs QA to QD, this time the data is allowed to flow straight through the register and out of the other end. Since there is only one output, the DATA leaves the shift register one bit at a time in a serial pattern, hence the name Serial- in to Serial- Out Shift Register or SISO. The SISO shift register is one of the simplest of the four configurations as it has only three connections, the serial input (SI) which determines what enters the left hand flip- flop, the serial output (SO) which is taken from the output of the right hand flip- flop and the sequencing clock signal (Clk). The logic circuit diagram below shows a generalized serial- in serial- out shift register. Serial- in to Serial- out Shift Register. You may think what’s the point of a SISO shift register if the output data is exactly the same as the input data. Well this type of Shift Register also acts as a temporary storage device or it can act as a time delay device for the data, with the amount of time delay being controlled by the number of stages in the register, 4, 8, 1. Commonly available IC’s include the 7. HC5. 95 8- bit Serial- in to Serial- out Shift Register all with 3- state outputs. Parallel- in to Serial- out (PISO) Shift Register. The Parallel- in to Serial- out shift register acts in the opposite way to the serial- in to parallel- out one above. The data is loaded into the register in a parallel format in which all the data bits enter their inputs simultaneously, to the parallel input pins PA to PD of the register. The data is then read out sequentially in the normal shift- right mode from the register at Q representing the data present at PA to PD. This data is outputted one bit at a time on each clock cycle in a serial format. It is important to note that with this type of data register a clock pulse is not required to parallel load the register as it is already present, but four clock pulses are required to unload the data. Parallel- in to Serial- out Shift Register. As this type of shift register converts parallel data, such as an 8- bit data word into serial format, it can be used to multiplex many different input lines into a single serial DATA stream which can be sent directly to a computer or transmitted over a communications line. Commonly available IC’s include the 7. HC1. 66 8- bit Parallel- in/Serial- out Shift Registers. Parallel- in to Parallel- out (PIPO) Shift Register. The final mode of operation is the Parallel- in to Parallel- out Shift Register. This type of shift register also acts as a temporary storage device or as a time delay device similar to the SISO configuration above. The data is presented in a parallel format to the parallel input pins PA to PD and then transferred together directly to their respective output pins QA to QA by the same clock pulse. Then one clock pulse loads and unloads the register. This arrangement for parallel loading and unloading is shown below. Parallel- in to Parallel- out Shift Register. The PIPO shift register is the simplest of the four configurations as it has only three connections, the parallel input (PI) which determines what enters the flip- flop, the parallel output (PO) and the sequencing clock signal (Clk). Similar to the Serial- in to Serial- out shift register, this type of register also acts as a temporary storage device or as a time delay device, with the amount of time delay being varied by the frequency of the clock pulses. Also, in this type of register there are no interconnections between the individual flip- flops since no serial shifting of the data is required. Universal Shift Register. Today, there are many high speed bi- directional “universal” type Shift Registers available such as the TTL 7. LS1. 94, 7. 4LS1. CMOS 4. 03. 5 which are available as 4- bit multi- function devices that can be used in either serial- to- serial, left shifting, right shifting, serial- to- parallel, parallel- to- serial, or as a parallel- to- parallel multifunction data register, hence the name “Universal”. These universal shift registers can perform any combination of parallel and serial input to output operations but require additional inputs to specify desired function and to pre- load and reset the device. A commonly used universal shift register is the TTL 7. LS1. 94 as shown below. Universal Shift Register 7. LS1. 94. Universal shift registers are very useful digital devices. They can be configured to respond to operations that require some form of temporary memory storage or for the delay of information such as the SISO or PIPO configuration modes or transfer data from one point to another in either a serial or parallel format. Universal shift registers are frequently used in arithmetic operations to shift data to the left or right for multiplication or division. Shift Register Tutorial Summary. Then to summarise a little about Shift Registers. |