我想用sql server做一个数据库的作业，主要是想用一下asp做个网页。首先需要安装sql server，刚开始以为是件很简单的事，在我的visual studio 2008的安装包里就有sql server 2005 express edition 的安装软件，直接安装就行了，哪知道后来的过程那叫一个艰辛啊&& 先安装sql server 2005（是英文版的），安装过程非常顺利。然后我想进入Server Configuration Manager（配置管理器），点击之后就出现了下面这个警告框：
上网搜了搜，在一个老外的博客上找到一个解决方案：（/echarran/archive//509061.aspx）&Cannot connect to WMI provider. You do not have permission or the server is unreachable. Note that you can only manage SQL Server 2005 servers with SQL Server Configuration Manager. Invalid class [0x]
The solution is to go to a command prompt and then run mofcomp.
C:\Program Files\Microsoft SQL Server\Shared&mofcomp "C:\Program Files\Microsoft SQL Server\Shared\sqlmgmproviderxpsp2up.mof"
The output will look like below
Microsoft (R) 32-bit MOF Compiler Version 5.1.Copyright (c) Microsoft Corp. . All rights reserved.Parsing MOF file: C:\Program Files\Microsoft SQL Server\Shared\sqlmgmproviderxpsp2up.mofMOF file has been successfully parsedStoring data in the repository...Done!
&&&&&&注意一下：上述的mofcomp命令在C:\WINDOWS\system32\wbem目录下。 通过这个博客的留言，貌似有些人用这个方法解决了问题。我进入了windows的命令处理器，按照这个方法试了一下，得到了和他一样输出的结果，很兴奋，以为问题解决了。再次进入Server Configuration Manager，不幸的是还是弹出了同样的警告框。继续在网上搜，由于关键字大部分是英文的，搜到的英文网页中除了上述的方法转载就是抱怨&& &&&&& 接下来只好自己想办法了，我先想到这是不是sql server 2005自身的问题，现在sql server 2008 express 已经出了，就安装个sql server 200吧。于是卸载sql server 2005，安装sql server 2008（安装sql server 2008 之前还得安装.net framework sp2 和windows installer 从微软官网下载即可，安装好后重启电脑），这次安装的是个中文版。 &&&&& sql server 2008安装过程比sql server 2005的过程麻烦了一些，主要是需要配置数据库管理员，使用本机的管理员账户就行。安装成功后，怀着忐忑的心情进入配置管理器，点击之后该死的警告框又弹了出来，还是不行。&
&&&&& 在网上继续搜，这时看到有人说是管理员（administrator）没有 network service的权限，所以 WMI无法打开。 设置的方法很简单，网络上都有： 1 右击&我的电脑&--&&管理& 2 在&本地用户和组&内的Administrators组上双击，出现添加属性对话框。 3 单击&添加&按钮，出现添加用户对话框 4 单击&高级&按钮，再单击&搜索&（或是&立即查找&）按钮。注：此'NT AUTHORITY\NETWORK SERVICE'用户为系统内置帐户，无法直接添加。 5 在&搜索结果&内选择&Network Service&用户后，单击&确定& &&&&& 按照以上的步骤设置之后，进入配置管理器，问题依旧出现&&到了这里实在让人郁闷的不行。 &&&&& 这时又看到一个新方法：检查一下 windows下的system32 中是否有framedyn.dll这个系统文件，如果没有到system32 下的wbem文件中拷贝framedyn.dll到system32 目录下。 我进到system32目录找framedyn.dll文件，果然没有找到，再进入system32\wbem目录，找framedyn.dll，拷贝到system32目下。再次进入配置管理器，这次终于成功了！！！问题终于解决了！！！这主要是通过Java 或者vc连接数据库遇到的问题。 &&&&& 以上所述三种方法，总是一个在有些人的电脑上可以起作用。我很不幸尝试到第三种方法才解决了问题，也有可能这三个操作在我的电脑上都是需要的。
阅读(...) 评论() &当前位置：
＞＞＞阅读理解。 People often say that money talks.They mean that..
阅读理解。
&&&& People often say that money talks.They mean that a person with a lot of money can say how he or she wants things done.But it is not easy to earn enough money to gain this kind of power.Anyone in a business will tell you that it is a jungle (丛林) out there.This expression is probably used because the jungle is filled with wild animals and unknown dangers.Sometimes people in business feel competing businesses are as dangerous as wild animals.&&&& People in business have to be careful if they are to survive the jungle out there.They must not be led into making bogus investments (投资)．The word bogus began to appear in American newspapers in the 1800s.A newspaper in Boston,Massachusetts said the word came from a criminal (罪犯) whose name was Borghese.Borghese wrote checks to people although he did not have enough money in the bank.After writing the checks,he would flee from the town.So,people who were paid with his checks received nothing.The newspaper said Americans shortenedand changed his&&name Borghese to bogus.&&&& People trying to earn money also must be aware of being ripped off.A person who is ripped off has had something stolen,or at least has been treated very unfairly.A writer for the magazineAmerican Speech said he first saw the expression used on a sign that a student carried in a university.The message on the sign was that the student felt ripped off,or cheated.Perhaps thebest way to prevent getting ripped off in business is not to try to get rich quickly.
1.This passage is mainly written to________.
A．explain several expressions related to moneyB．tell us some skills of learning English wordsC．tell us the secret of how to do businessD．tell us the power of money
2.People compare doing business to being in a jungle because________.
A．doing business is as exciting as living in a jungleB．businessmen are as dangerous as animals in a jungleC．doing business is as difficult as living in a jungleD．businessmen are as careful as people living in a jungle
3．If we say something is bogus,we probably mean it is not________.
A．real&&B．beautiful&&C．good&&&&D．new
4．According to Paragraph 2,where did the word "bogus" come from?
A．The name of a very successful businessman.B．The name of a criminal who cheated others.C．The name of a famous newspaper in Boston.D．The name of a check written by a criminal.
5．If you have been ripped off,it probably means________.
A．you have been treated wellB．you have earned much moneyC．you have had something stolenD．you have left something somewhere&&
题型：阅读理解难度：中档来源：同步题
马上分享给同学
据魔方格专家权威分析，试题“阅读理解。 People often say that money talks.They mean that..”主要考查你对&&日常生活类阅读&&等考点的理解。关于这些考点的“档案”如下：
现在没空？点击收藏，以后再看。
因为篇幅有限，只列出部分考点，详细请访问。
日常生活类阅读
日常生活类阅读的概念：
日常生活这一话题主要涉及人们衣食住行等方面的活动。这一话题的选材主要针对人们日常的工作，生活以及学习情况。做这一类题时，最主要的是要把握好人物的活动内容，时间和地点。 日常生活类阅读题答题技巧：
【题型说明】该类文章内容涉及到人们的言谈举止、生活习惯、饮食起居、服饰仪表、恋爱婚姻、消遣娱乐、节日起源、家庭生活等。文章篇幅短小，追根溯源，探索各项风俗的历史渊源，内容有趣。命题也以送分题为主，如事实细节题、语义转换题、词义猜测题和简单推理判断题等。虽然这类文章读起来感觉轻松，试题做起来比较顺手，但绝不能掉以轻心。因为稍不留神，就会丢分。 　　【备考提醒】为了保证较高准确率，建议同学们做好以下几点： 　　1、保持正常的考试心态。笔者在教学中发现，越是容易的试题，同学们越是容易失分。为什么呢？因为在这种情况下，同学们极易产生麻痹思想，认为题目好做，就不引起高度重视，于是思维不发散、不周密。而命题人就是利用同学们的这一弱点，设计陷阱题。所以，无论试题难易与否，我们都要保持正常的考试心态。试题容易，不欣喜；试题难，不悲观。 　　2、根据前面讲到的方法，认认真真、细细心心做好事实细节题。 　　3、做好语义转换题。这类题是根据英语中一词多义和某些词语在文中能表达一定的修辞意义的原则而设计的。要求同学们解释某生词的含义，确定多义词或短语在文中的意思，确认文中的某个代词所指代的对象，或者对英语中特有的表达、格言、谚语进行解释。这种题要求同学们一定要根据上下文猜测词义或理解句子，切不可望文生义。 　　4、做好简单推理判断题。简单推理判断题要以表面文字为前提，以具体事实为依据进行推理，做出判断。这种推理方式比较直接，只要弄清事实，即可结合常识推断出合理的结论。
发现相似题
与“阅读理解。 People often say that money talks.They mean that..”考查相似的试题有：
390037176175216273373402385518373221"Eno is a postman's son," sums up friend and frequent collaborator Daniel Lanois. "He grew up essentially in a peasant environment, but he had a brilliant mind and was able to get to his mountaintop."
"Brian Eno is someone that you don't want to sound stupid in front of, and everything he said, I was just like, 'Wow'," noted (um) Natalie Imbruglia, who recently collaborated with Eno (and Coldplay's Chris Martin) for parts of her comeback album, on the BBC.
Any way you look at it, Brian Eno is one of the preeminent producers and thinkers of our time. Hell, an extemporaneous conversation between him and scholar Richard Dawkins recently packed the house in Oxford, and Eno's as well known these days for his politics, theories, and criticism as he is for his music. Indeed, the once prolific Eno's own output has slowed considerably since the 1970s and 80s, in part due to these extracurriculars and of course thanks to his ongoing work with U2 and Coldplay, something Eno addressed-- in addition to ABBA and Phil Collins-- when he opened some of his packed schedule for a brief conversation.
Pitchfork: Before U2, you were best known for working with more eccentric acts like Talking Heads as well as your own experimental output. Is that why you initially thought Daniel Lanois would be a better fit for the band when they approached you to produce The Unforgettable Fire?
Brian Eno: I had never worked with that kind of music before, and I was not completely convinced that I would be the right person for it. I thought, well, I can handle the ideas side of it all right, but can I handle the actual traditional production side all right? I knew Dan was very good at that side of things, and very good at working with bands, getting the best out of the players and so on, so I said why not have both of us? We'll sort of overlap in some parts, but we actually sort of serve different functions as well. That was how that working relationship started. We had never actually produced anything of anybody else's before, though we had worked together quite a lot. We knew each other well, and we had some respect for each other's different talents. That seemed to me like the ideal situation. We could just do the bits we were sort of comfortable doing.
Pitchfork: The music you were known for at that time was about as far from U2's as possible. What do you think attracted the band to you?
Brian Eno: I think they were very keen on the Talking Heads stuff that I had done. I think they also, dare I say it, liked some of my music! [laughs] The main thing, actually, was that they wanted to go somewhere else. I had this phone call with Bono-- Bono is the greatest salesman of all time, you have to bear that in mind-- where I said to him, "Look, what I'm worried about is that I might change things rather unrecognizably. People might not particularly like the new you that comes out of this."
And he said, "Well, actually we want to be changed unrecognizably. We don't want to just keep repeating what we've done before." He said if we wanted to, we're on track for being a band that just does the kind of records we've done so far. He said we want to do something different from that. He said we wanted to be more-- I forget the word he used, but "cutting edge" was the meaning. I thought, okay, as long as you appreciate that there's a risk involved in that.
After that conversation was when I came up with a plan. I thought, well, I knew that Danny was a great producer, and even if nothing about the working relationship between me and the band worked out, they would still have a really good producer in him. In fact, it worked out very well.
Pitchfork: It's a much easier task to make something recognizable than it is to make something unrecognizable.
Brian Eno: Yes, well, I think very often producers are really trying to repeat things. When they hear something in the new songs that they recognize as being a bit like something that was a success on a previous record, they're inclined to encourage that. Whereas I'm always inclined to encourage things when I haven't heard anything like them before. So when I hear something-- even if it sounds quite clumsy or a little bit unformed-- that makes my ears prick up, and I go "Oh, that's new, I don't know if there's anything like that around," that's what I put my weight behind. I figure the whole of the rest of the world is putting its weight behind the other stuff, the repetition side, the recognizable side. So I sort of want to speak up for the newer stuff.
Pitchfork: Even now, U2 do not always get a lot of credit for recognizing when they need to change tack.
Brian Eno: They have made some significant turnings at various points in their career. They're actually a very experimental band, but because of the form of their music people don't recognize it. If they were some rather obscure indie band, people would probably think, "God, they're amazing, they keep coming out with completely new things!" But because they sell millions of albums, that's how it gets overlooked!
Pitchfork: There's always a catch.
Brian Eno: [laughs] Yes.
Pitchfork: In some ways, making something that's both interesting and popular is the ultimate experiment.
Brian Eno: It's surprisingly unrecognized. I find the same thing in all forms of art, things that are very popular. I think everyone's inherently snobbish. Things that are very popular are not taken seriously, because the snobbish side of one says, "Well, if everyone likes it it can't be that good." Whereas if only I and a couple of other people like it, then it must be really something special.
One of the things I love about U2-- and it's one of the things that we're constantly arguing about, the balance of this-- is that they want to take everyone with them for the ride! [laughs] They don't want to let anyone go at any point! I'm always saying, "Look, if you're going to do something new, you're going to lose a few supporters along the way." And they really fight against that. They don't want to do that. I honestly don't think it's greed. It's not lust for money or lust for power. It's the feeling that everybody's got to be at the party: we're not going to make it unapproachable to anybody. I'm sure a big part of Bono's drive comes from the times he visits nightclubs-- he does, occasionally-- and sees 18-year-old girls dancing to records that aren't U2! [laughs] And I think that really bugs him! [laughs] I'm not quoting him here, but this what I imagine he's thinking: There's a whole audience here that we're not connecting with! Why aren't we connecting with these people?! So he's quite driven, in that sense, to conquer the world, actually. [laughs]
Pitchfork: And where does he get the reputation for ego and arrogance?
Brian Eno: Well, he has an enormous ego, but so do most of the people I like. [laughs] And also a big ego isn't necessarily a bad thing. A big ego means that you have some confidence in your abilities, really, and that you're prepared to take the risk of trying them out. I really don't think he's arrogant. That's a different thing. In fact, he's absolutely, to me, the opposite of arrogant. He's very, very able, more able than almost anybody I know, to take criticism and do something with it. He just doesn't get upset. He doesn't take it as an attack on him if you say, oh, this doesn't work at all, it's really pathetic, actually. So it's possible to be very frank with him and know there's not some cowering insecurity inside him that is going to mean his feelings get hurt. His ego allows him to be humble, if you see what I mean. People who are very confident in themselves aren't hurt by criticism. They make use of it. I think he's very good at that.
As you can tell, I admire him a lot. He's attacked as a result of another kind of snobbery. We have a particular type of snobbery in England I don't think you have so much in America. Our version: Who does he think he is? The biggest crime in England is to rise above your station. It's fine to be a pop star. Oh, it's great, lots of fun, aren't they sweet, these pop stars! But to think you have anything to say about how the world should work? What arrogance! There's such a resistance to that. Recently he spoke at the Labour Party conference
and at the Tory P I don't think he was there in person. To me, that's completely consistent with his mission. He's driven about his work in Africa, and wants both parties to know that there's an agenda that they should be paying attention to. It's completely consistent. It's not him being power hungry, it's him saying whoever's the next government should be taking this problem seriously.
He received so much criticism here in England, as if he is a political traitor, talking to both parties. And anyway, what right did he have, he's only a pop star! Well, I have no time for that, and I think it all comes out of some kind of awful British envy. Envy is one of the biggest motivators here. It's really heartbreaking to see it stop so much from happening.
Pitchfork: In some way you bore the brunt of similar suspicion and ire when you agreed to work with Coldplay. It even forced people to miss that you made a good record together.
Brian Eno: Well, again, there are ways of playing it safe, and for me playing it safe would be to-- since I don't really need the money-- to work with only sort of critically respectable, obscure, experimental indie bands. Everyone would say, oh, that's fine. I would be that kind of producer who does that kind of thing. But when I met Coldplay and got to know them, I so much liked those people and I so think that they really want to do something. Again, it's like U2 were. They are hungry to do something else. And they will. I'm sure they'll turn out to be a great band.
I'm old enough to remember exactly what happened to ABBA. When ABBA were around, to admit that you liked them would have condemned you to absolute coventry. No one would talk to you because you liked ABBA, because they were considered to be hopelessly pointless pop. Now, of course, everyone likes ABBA. Everyone realizes that they made some great music, and you're allowed to like them now. Kitsch is a way that posh people admit to themselves that they like things that ordinary people like. In my opinion.
Pitchfork: Curiously, ABBA was not nearly as popular in America as they were throughout Europe.
Brian Eno: That's funny. That's interesting. Well, in England and in Europe in general, they were completely popular with the people and totally unpopular with...artists. [laughs] People who were culturally aware. I can remember it very clearly, because I was part of the snobbery! I can remember really liking ABBA songs, and kind of resenting that I did! [laughs]
Pitchfork: It may just be a coincidence, but I noticed that right after you started to work with U2, your own recorded output-- at least what you released-- slowed considerably.
Brian Eno: Certainly working with other people sponges up your time enormously. It's very, very time consuming, and it's kind of idea consuming as well. What often happens is that the ideas you're thinking about anyway end up going on their records. [laughs] Then they don't seem so surprising to you anymore, so you're not that interested in doing them again. So that did happen, I think.
Pitchfork: Do you find contributing to and working with others as rewarding creatively as working on your own music, or is it something different?
Brian Eno: It's different. I often say to people that producing is the best paid form of cowardice. When you produce things you almost always get credit, if it's a good record, but you hardly ever get the blame if it's not! You don't really take responsibility for your work. It's the band who takes responsibility for the work, and taking responsibility for what you do is a very important part of what you do. Living with what you've done, and living with the consequences, is a big part of the deal, I think. Otherwise, why release something? I think when you release something and you put your reputation behind it, you actually finish the work. That's when it's finished. It's finished when it no longer belongs to you. You see it out there with everything else, and you see how it stands, and how it lasts, how people make fun of it or how they adore it. And of course, if it isn't your record, at least if it isn't your name on it in the same way as it would be on your own work, you don't get the benefit of that end of the process.
Pitchfork: Obviously the music you've made has been very influential, but it's tough to name people who are clearly "Brian Eno influenced."
Brian Eno: I don't know. A lot of people tell me they are, but they might be making it up! [laughs] I think if there is an influence, it's not in terms of style so much but in terms of approach to working. For instance, some quite odd people have said, either in interviews or directly to me, that they were influenced by me. Prince, for example, said Another Green World was a very important record for him, apparently, in an interview. I've never met him, so I don't have this from his own mouth, but it was in an interview. Now, that's rather surprising! Hank Shocklee, from Public Enemy, said that their whole thing really started with My Life in the Bush of Ghosts. So that's a very surprising connection, I think. Another very surprising one is Phil Collins! He worked with me in the 70s, and he said it was then that he understood that he could make records himself. He'd always been in a band before, but I always went into a studio with nothing, really, and just kind of made something up there and then. He said he'd never seen anyone work that way, and it really started his solo career. He always thanks me for that.
Pitchfork: That's almost a backhanded compliment. "If he can do that, anyone can do that!"
Brian Eno: [laughs] I suppose what it is is that some people have paid attention to the way in which I've worked, or the approach to using the studio, if you like, or the approach to using musical materials that are around. I prefer that kind of influence, really. I don't particularly want loads of copies of me around.
Pitchfork: When you have a band like U2 or Coldplay, in theory they can do whatever they want. They're popular, they're wealthy, that should afford one complete freedom. But there are imposed limitations of stardom.
Brian Eno: Yes, though funnily enough that doesn't produce such a strong effect as you would think in the studio. What I think produces a strong effect is the feeling of not wanting to disappoint people. Because one thing you are aware of when you're very popular is how much stock people put in your work. You know that there are 11-year-olds who are saving up to buy your record. [laughs] Though that's probably not true anymore.
Pitchfork: They're probably saving up for a new computer.
Brian Eno: [laughs] But it means that if you want to do something indulgent, just to please yourself, you risk really disappointing someone. I think often that's a big part of how people think. They're thinking there are people to whom these decisions really matter. We shouldn't take them lightly.
Pitchfork: Over the years you've expressed your fondness for African music, and in particular northern African and Arabic music, yet those are elements that rarely explicitly manifest themselves in the music you work on, and especially not in bands like U2 or Coldplay.
Brian Eno: You know what? It's very funny, because on the last U2 album we spent time in North Africa, recording.
Pitchfork: In Morocco, right?
Brian Eno: In Morocco. And the reason none of that really appeared on the record, even though we did quite a lot of stuff there, was because it sounded kind of synthetic. It sounded kind of like "world music" add-on. I'm sure it would have got a few people saying, oh, how interesting, they've broken out into North African music, but actually it just didn't sound convincing. We were very impressed by the music while we were there, but there was no realistic or emotionally satisfying way of marrying it using the music that we were doing, so in the end not very much of it at all showed through. But influences aren't always in terms of sound. As I was saying earlier, they're in terms of how you approach music and what you use it for. I think that was picked up, and it was absorbed.
& Previous Feature
Next Feature &
Most Read Features