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Sat Mar 14 2020
Invisible Wind Factory
3 Regent Road Liverpool L3 7DS
Melon Yellow's first transmission will be broadcasted on March 14th at the Invisible Wind Factory in Liverpool.
The event is designed as a celebration of Shoegaze, Punk, Arts & Sustainability.
The Melon Yellow programme aim is to test the best sounds in a live environment accompanied by a full sensual experience, across food, drink and the visual arts.
The Regrettes
Gaffa Tape Sandy
St Martiins
Newmoon
Melon Yellow 2020
There is a closeness at the heart of Turnover's aptly titled new album, 'Altogether.' Though it's the first collection the trio has written while living on opposite coasts, the record actually represents the group's most collaborative and connected work to date, showcasing the intuitive, near-telepathic relationship frontman Austin Getz has developed over the years with his bandmates.
"Instead of making things more difficult, being far apart helped us learn to appreciate each other even more," says Getz. "As a band, we're closer now than we've ever been before."
Recorded at Philadelphia's Studio 4 with longtime creative foil Will Yip at the helm, 'Altogether' finds the group breaking new ground on a number of fronts. Pop sensibilities inform the writing for the first time, with elements of funk, jazz, lounge, and disco mingling alongside the band's trademark indie grit and punk energy. Lush melodies and infectious hooks reflect the newfound freedom and confidence that have inspired Getz since his cross-country move to northern California, while adventurous recording techniques and instrumentation lend a fresh perspective without sacrificing the kind of precise detail and rich intricacies that have come to define the band's recent studio output. The result is an album that boasts both sonic sophistication and emotional accessibility in equal measure, a major leap forward in sound and vision that reveals time apart as the true key to togetherness.
The title is fitting in another way as well, according to Getz. "On this record, more than in the past, we wanted to keep in mind the beauty of writing 'popular music,'" he explains. "By that I mean music for people who don't have the time to delve into the niches and find fringe artists, music for those of us who are busy with work or our families or whatever problems might be around. Music is real magic that can change people's days and lives, and the more people listening and loving, the better."
Turnover first emerged roughly a decade ago in Virginia Beach, VA, but the group's critical and commercial breakthrough didn't arrive until six years later, when they cracked the Top 5 on the Billboard Heatseekers Chart with their acclaimed sophomore album, 'Peripheral Vision.' The band—which consists of Getz, his brother Casey on drums, and their childhood friend Danny Dempsey on bass—followed it up in 2017 with 'Good Nature,' a streaming smash that racked up roughly 40 million plays on Spotify alone and which Vice proclaimed to be "their best album yet." Reviews were similarly glowing around the world (Pitchfork praised the record's "rhythmic propulsion and harmonized guitar sparkles," while Exclaim! hailed its "shimmering instrumentation and luscious harmonies," and The Line of Best Fit swooned for its "plush production" and "subtle maturity"), and the album earned the band headline dates everywhere from Brooklyn Steel to The Fonda Theatre along with their first appearance at Coachella.
"With 'Peripheral Vision,' I was starting to experiment with psychedelics, and I was feeling alienated from a lot of the things I'd been raised to believe and accept," Getz reflects. "That album asked a lot of questions, and I felt like 'Good Nature' was my attempt to find the answers to those questions. This time around, though, I found myself in a very different place, both literally and metaphorically."
Starting over from scratch somewhere new, particularly somewhere as rural and isolated as Getz's new home in northern California, proved more challenging than he had anticipated.
"The move was great in a lot of ways," he explains, "but the experience also de-romanticized a lot of the notions I had about leaving everything behind and relocating to the woods. I realized I'd been undervaluing a lot of things that were actually really important to me, like having friends and family close by. I had to come to terms with being a stranger and learn how to trust new people and make new connections all over again."
For the first time, Getz found himself looking inwards instead of outwards for inspiration, writing as an act of self-exploration rather than in response to any external stimuli.
"There was a deepening of my relationship with music that came out of the whole experience," he explains. "Instead of waiting for some revelation to arrive, I would make myself sit down with a guitar or at the piano and just play until something interesting happened. Often what came out surprised me."
Sometimes an entire song would reveal itself in ten minutes; other times, Getz would land on a guitar riff or a chord progression that he'd revise for months. The band spent time writing together in-person on tour and during time off in New York and Portland, with Yip flying out to join the band for the latter.
"Will's much more than just a producer for us at this point," says Getz. "He's a close friend and a reliable piece of what our sound has become."
That sound is the product of a remarkably wide range of influences and tastes, which Turnover synthesizes on the album into a whole far greater than the sum of its parts.
"Working remotely for the most part, everybody was able to send ideas around on their own schedules, and nobody felt too protective of anything, so the new songs started to reflect each of our personalities more than ever before," says Getz. "Collectively we like everything from jazz to folk, disco to rock and roll, and a lot in between, and it's where we all intersect that things start to feel special. With the three of us and Will all contributing to the writing together, the songs turned out better than anything any of us could have done on our own. That's what makes the experience of being a band really unique as opposed to just one artistic mind."
'Altogether' demonstrates the band's eclectic mix of personalities from the very start, opening with a lo-fi, jazzy intro that quickly gives way to the driving drums and delay-drenched guitar of "Still In Motion." Like much of the album to come, the song is a meditation on change and perspective, on learning to quiet your mind and appreciate the moment before it's gone. The bittersweet "No Reply" reckons with guilt over failing to be present with a loved one, while the effervescent "Much After Feeling" recognizes the sacrifices we make to stay connected across geographical distance, and the breezy "Parties" grapples with the kind of self-consciousness that can leave us prisoners of our own design.
"There's a part in that song where the tone completely changes," says Getz, "and that represents the moment when your walls finally come down and you start to just appreciate where you are. The lyrics go from describing the nervousness you feel in a particular moment to just describing the moment itself because you're finally out of your head and able to recognize the beauty that's all around you."
Getz taps into that beauty throughout the record, stopping to smell the roses and ground himself in ways that might have seemed impossible even just a few years ago. "Starting to feel at home in the country," he sings on the hazy "Valley of the Moon," while the sultry sax of "Ceramic Sky" hints at the simple and sensual pleasures of falling in love, and the playful "Plant Sugar" channels 80's Britpop as it makes a case for mindfulness.
"I was stressed out when I first started writing that song, but then I looked up at the sky and saw the constellations and felt ridiculous for being worried about anything," he laughs. "It reminded me that sometimes you just need a little change in perspective to appreciate how lucky you really are."
Turns out, that's all Turnover needed, too.
How Do You Love?, the sophomore LP from L.A. power-pop outfit The Regrettes, is a an album about the most universal of emotions: love. Throughout the record, 18-year-old frontwoman Lydia Night details the rise and fall of a relationship—from that first rush of butterflies, through a destructive break-up, to ultimately finding peace and closure.
The album arrives on the heels of a few explosive years for The Regrettes. In 2018, the band— currently rounded out by members Genessa Gariano (22, guitar), Brooke Dickson (24, bass) and Drew Thomsen (22, drums)—released their critically acclaimed Attention Seeker EP, as well the passionate standalone anti-Kavanaugh anthem "Poor Boy," which ELLE deemed "a feminist call to arms." The group also dominated the year's top summer festivals, from Coachella to Reading + Leeds, landing on the covers of LA Times and LA Weekly and earning praise from the likes of Rolling Stone, Billboard, USA Today, Variety, and The Guardian. Together, the group has graced the stages of CONAN and Jimmy Kimmel Live!, toured extensively across North America and Europe, and garnered widespread acclaim from NPR, Vogue, Entertainment Weekly, Consequence of Sound, and many more since the 2017 release of their breakthrough debut album, Feel Your Feelings, Fool!
Taking that momentum in stride, The Regrettes are excited to move into their next era. Night, who wrote the vast majority of lyrics on How Do You Love?, came up with the idea after writing a group of songs about her experiences in various real-life relationships. From there, she says, she "realized that they all they fit together and tell a story."
This story begins with a spoken-word poem, as Night diagnoses the listener as being "infected" with a "love disease." From there, the album is off to the races: the first song is the recently released standout "California Friends," a danceable track about the excitement—and the nerves—that come with meeting someone new. "[It's about] not knowing your feelings towards that person, really," Night says, "but your gut is telling you that you like them, or love them, but you just know that it's not what's easiest [for you]."
A little less than halfway through the record, with the sauntering "Stop and Go," Night pumps the breaks a bit: "Stop before we lose control," she sings, "Let's take a breath before we go, go, go." She explains that the song is about realizing that her new relationship isn't perfect: "A lot of times," she says, "at the beginning of a relationship, there's just nothing wrong. But then the problems start popping up. [You discover] there's a lot you don't like about the person—a lot of [qualities] you don't think you can be with."
By "Dead Wrong," these problems have become insurmountable for Night. And in the last quarter of the record ("Go Love You," "Hasn't Hit You," and "Here You Go"), she makes the decision to leave—and she's not looking back. "I feel strong in this decision and I am right," she says of the emotion that inspired those latter songs. "I'm doing what's best for myself—have you learned that yet for yourself?"
Although Night ends up alone in her story, the tone of the album's closer (and title track), "How Do You Love?" is hardly bitter. Instead, it's a self-reflection on the journey of falling in and out of love—with hope for the future: "It's about finding bravery through [love]," Night says. "It's about learning and accepting that, yes, you went through a shitty breakup, but that's amazing—because all that means is next time you're in a relationship, you know so much more about yourself and about what you want."
Returning to Night's original diagnoses of the listener being "infected" with love, the record makes it very clear that The Regrettes are infected, too—but that's not a bad thing. The band hopes that the album will provide "the cure," by showing listeners that no matter how they've experienced love—whether it's romantic, platonic, or self-love—they're never alone.
Humorous, infectious and charismatic in equal measure, Isle Of Wight's rising sensation Lauran Hibberd thrives once more with anthemic single Hoochie, firmly solidifying her growing status within the UK's emerging indie elite.
Buzzing across the airwaves with BBC Radio 1's Annie Mac, Huw Stephens and Jack Saunders all throwing their support behind the young musician, Lauran's witty, off-kilter approach continues to attract glowing praise from the online community (The Line Of Best Fit, Clash, The 405) and welcome comparisons to contemporaries including Courtney Barnett and Phoebe Bridgers.
Formed in 2015 by three friends with a desire to do something loud and exciting, GAFFA TAPE SANDY's popularity quickly escalated thanks to a series of incendiary live shows and a seemingly endless succession of instantly memorable garage-punk/rock tunes. Influenced by a diverse range of music, from The White Stripes, The Pixies, Violent Femmes, to Pulled Apart By Horses, Slaves, Thee Oh Sees; GAFFA TAPE SANDY seem to have carved their own niche in the garage punk/rock genre, often winning over crowds of all ages and musical tastes.
Melon Yellow Festival
limit 8 per person
£0.50 RECOMMENDED. Print your tickets out now!
Sat Mar 14 2020 1:00 PM
Invisible Wind Factory Liverpool


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Federal Grant Will Fund Critical Repairs at Bus Maintenance Facility U.S. Senator Jack Reed recently announced that RIPTA has been awarded a new 3.2
RIPTA does all of its own vehicle work in the cavernous Chafee building on Elmwood Avenue in Providence.
Federal Grant Will Fund Critical Repairs at Bus Maintenance Facility
U.S. Senator Jack Reed recently announced that RIPTA has been awarded a new 3.2 million grant for major repair work to its vehicle maintenance facility. The federal funding is being provided through the Federal Transit Administration's (FTA) Bus and Bus Facilities Infrastructure Program.
The grant will enable RIPTA to make much-needed repairs to its 107,000-square foot Chafee Operations, Transportation and Maintenance Facility located on Elmwood Avenue in Providence. The grant will help repair the building's roof, HVAC system and vehicle lifts. RIPTA handles all of its own vehicles and it also works on some heavy equipment owned by the state. RIPTA's vehicle maintenance team performs everything from oil changes to engine overhauls and body work.
"Every day we need a specific number of buses to be ready to roll so we can meet our schedule and serve the public, and we rely on our maintenance facility and our maintenance crews to make sure that happens," said Scott Avedisian, CEO of RIPTA. "This building is in need of some critical work, and without this grant we weren't sure how we were going to be able to make these capital improvements. We are grateful to Senator Reed for supporting this important funding request and making sure that a vital maintenance facility remains operational and in a state of good repair."
GREATER KENNEDY PLAZA PROJECT UPDATE
Please join the City of Providence Department of Planning and Development and RIPTA to review the latest plans for improvements to Greater Kennedy Plaza. These improvements are the result of a community-led vision that began in 2017.
Joseph A. Doorley Jr. Municipal Building
444 Westminster Street, Providence
Two photos of one of the new public art installations at T.F. Green Airport. --Photo by Randall Rosenbaum, RISCA
PUBLIC ART AND AIRPORTS
Making the journey -- not just the destination -- more interesting, the Rhode Island State Council on the Arts (RISCA) recently announced two new art exhibitions at T.F. Green Airport and Block Island Airport.
The GREEN SPACE gallery at T.F. Green is featuring abstract works by artists Robin Crocker, Mike Hansel and Jacqueline Ott, with circular shapes taking center stage. At the Block Island Airport, artist Becci Davis combines words and collages to tell local stories.
Congratulations to the Arts Council on enhancing transportation spaces with these new installations of public art!
RIPTA CELEBRATES COLUMBUS DAY
RIPTA will operate all regular fixed-route buses and trolleys on a Sunday/Holiday schedule on Monday, October 8, 2018 in observance of Columbus Day. RIPTA offices, including the Photo Identification and Ticket Sellers Offices in Kennedy Plaza, will not be staffed on the holiday.
COLUMBUS DAY FESTIVAL ON FEDERAL HILL – SATURDAY, OCTOBER 6 – MONDAY, OCTOBER 8
RIPTA will detour Route 92 (RI College/Federal Hill/East Side) to accommodate the Columbus Day Festival. The detour will be in effect from the first trip of the day on Saturday until the last trip of the night on Monday.
PRONK! – MONDAY, OCTOBER 8
RIPTA will detour Routes 35, 60 and 78.
WAMA – SATURDAY, OCTOBER 13
RIPTA will detour Route 92 to accommodate the Wickenden Area Merchants Association (WAMA) Makers & Merchants Sidewalk Sale.
MAKING STRIDES AGAINST BREAST CANCER WALK – SUNDAY, OCTOBER 14
RIPA will detour Routes 1, 3, 6, 17, 19, 20, 21, 22, 27, 28, 30, 31, 33, 34, 35, 50, 51, 54, 55, 56, 57, 60 66, 72, 78, 92 and the R-Line. RIPTA Bus Stops V, W and Y will be temporarily relocated during this time.
MONSTER DASH 5K – SUNDAY, OCTOBER 28
RIPTA will detour Routes 1, 33, 34, 35, 60, 78 and 92
©2022 RIPTA | 705 Elmwood Ave.| Providence, RI | 02907

redpajama_set_name: RedPajamaCommonCrawl


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Q: If I install the "ubuntu-desktop" package on a vanilla Debian OS, will I get the same OS as installing Ubuntu directly? I don't know a lot about the meta OS-level workings of Unix/Linux and various distros.
My understanding so far is that you take the Linux kernel and install a specific combination of packages to it to end up with different distros. I'm sure there's more nuance to it than that, but I don't know what that nuance is.
So my question is - since Ubuntu is a debian-based OS, if I:

*

*Install Debian without a desktop environment on a VM straight from their download page

*Install the "ubuntu-desktop" package using aptitude

Will I end up with the same OS as if say I clean install Ubuntu directly to the VM?
Does it just depend on what services/packages are different between the two OSes? Or is there more to the story than that?
Happy to have a discussion in the comments. Feel free to school me. I don't know what I don't know here.

A: No; definitely not easily anyway.
Ubuntu releases are easily dated because of the year.month format used, and if you look you'll note debian release don't match up (eg. there was no debian release in 2018 near 18.04; debian releases are usually in odd years and when ready so the software never actually aligns. Many debian-stable packages are behind Ubuntu ones (as Ubuntu usually takes from debian-testing/sid so is ahead of debian-stable), but not always as many ubuntu packages push code upstream to debian to save work... The two don't align perfectly at all - so not it's not really possible.
If you do what you're asking, you'll soon find yourself in dep-hell (compare key packages in packages.debian.org to packages.ubuntu.com and you'll find it's rare for debian to match ubuntu)  See https://wiki.debian.org/DontBreakDebian provided by @DK Bose
Debian packagers make different choices to Ubuntu packagers; those decisions cause issues you'll discover if you tried what you're thinking. I'm involved with Lubuntu (LXQt) which actually is pretty close to Debian (comparing my Lubuntu 20.04 to debian bullseye/sid [albeit superficially inaccurate]), but we use openbox, debian use xfwm4, we use ..... - ie. differences are made & these show in packages (esp. deps) because of our choices in other packages etc.... they are different, to assume they aren't leads to problems..)
There are instances were the Debian packager is the same person as the Ubuntu packager (I see Debian packaging discussions occasionally mentioned in Ubuntu flavor (note: I'm found in more than just Lubuntu) [irc] rooms; pushing it upstream to debian-sid so it'll flow (or can be pulled) into Ubuntu as well), but even if the it's same person, different rules may be used due to the different environments & decisions made by teams (eg. my prior example of dm/wm used by LXQt Debian vs Ubuntu)
Another problem - even if you do get a Debian/Ubuntu system to install (rather possible depending on what you build I believe) your upgrade path should be taken as being none-possible & start again. ie. I very much doubt do-release-upgrade will work with Ubuntu in performing the upgrade; and debian's upgrade tools will likely fail too.
This question was asked first on Ask Ubuntu, my comments made there I've copied here.  Sorry this isn't really an answer; more thoughts expressed with some skipped, and very minor editing only

A: Short answer: no.
You might get something similar (if the dependencies are satisfied, not a small 'if'), but you will not the exact list of packages and/or versions, or the sames patches to upstream.
And I'm not even asking which version Debian and which version of Ubuntu are you using as base and ubuntu-desktop provider.
Making Ubuntu, or Mint, or Devuan, is a lot more work than just pulling packages from Debian.

redpajama_set_name: RedPajamaStackExchange


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« Music Review: Indie Round-Up – Harris, Foster, Sea Dragons, The States
Theater Review (NYC): A New Television Arrives, Finally by Kevin Mandel »
Theater Review (NYC): You May Go Now by Bekah Brunstetter
Bekah Brunstetter's play To Nineveh was honored with a New York Innovative Theater award last year, and she is one of the many talented brains responsible for the recent f*ckplays extravaganza. Her new full-length drama, You May Go Now, is getting a bang-up staging this month at the 45th Street Theatre.
A work of psychological suspense fed by humor and fantasy, darkly and fluidly directed by Geordie Broadwater, the new play fascinates but sometimes confuses. Dottie is raising her teenage daughter Betty to be an avatar of the perfect 1950s housewife. Yet right away something's clearly cockeyed: the time, apparently, is actually the Great Depression. And there's a peculiar lesbian/child abuse thing going on (which never quite gels). Then, suddenly, Dottie is kicking Betty out of the house on her eighteenth birthday. All Betty has are a couple of suitcases, an accumulation of Stepford-worthy housewife training ("Speak in a low, soothing voice. Don't ask him questions about his actions, or question his judgment or integrity"), and a final brittle word of advice:
"You will get off the bus and go to some sort of dining establishment and make eyes. Someone will find you."
It's like a horror movie: violent shoving, a snowstorm, desperate, monstrous banging on the door, and finally, silence – peace and quiet for Dottie, who has transformed before our eyes from tyrannically passive-aggressive mom to psychotic monster à la Stephen King's Annie Wilkes.
In a beautifully crafted transition, suddenly it's the present day – or is it the 70s? (Again, the time cues confuse.) In any case, the agile Ginger Eckert, who plays Dottie, is suddenly a modern woman who sits around the house trying to write a novel and can't find her way around the kitchen. So, she's now playing the grown-up Betty, a generation later – right? Or not. And why does her depressed husband Robert (Ben Vershbow) keep making funny, absurd entrances? And why does Betty come back the very next day, and why isn't Dottie upset about it?
Melinda Helfrich and Ginger Eckert. Photo by Rachel Roberts.
Act II resolves some, though not all, of the mysteries. The play's fault is that while it tells a deliciously meaty story, the bones of the plot could use some propping up or some further organization. In spite of that, it is effectively suspenseful. The sound design subtly sets the moods, and the lighting is brilliantly designed, especially during a late scene where Betty stays up all night reading a revelatory PowerPoint presentation on a ghostly-glowing Mac laptop, brought by Philip, a mysterious stranger Betty meets at the bus stop (Justin Blanchard, in a whisperingly intense performance). The changing colors on the screen light Betty's face, and finally the sunrise shows redly through the kitchen window, lighting up long-hidden truths.
The production has many positives, but Melinda Helfrich's funny, touching, and superbly focussed portrayal of Betty is its single greatest asset. The rest of the cast does have fine moments, and Eckert has much more: her adroit handling of what is, in all but actual fact, a dual role, is worthy of note. When Robert, devastated by bad medical news, proposes adopting a child, Dottie's passive-aggressive refusal – mostly silent – is a marvel to behold. But Helfrich lights up the stage every moment she's on it. Flitting about, hiding in the shadows like a small child, lighting up at Philip's appearance, defending her mother from a perceived threat (who is Philip, anyway?), she's a small revelation.
Upstairs at the 45th Street Theatre, through Sept. 29. Tickets at Theatermania or call (212) 352-3101 or, outside NYC, call toll-free (866) 811-4111.
This entry was posted on Monday, September 10th, 2007 at 11:54 pm	and is filed under Theater. You can follow any responses to this entry through the RSS 2.0 feed. You can skip to the end and leave a response. Pinging is currently not allowed.


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A diffractive solar sail, or diffractive lightsail, is a type of solar sail which relies on diffraction instead of reflection for its propulsion. Currrent diffractive sail designs use thin metamaterial films, containing micrometer-size gratings based on polarization or subwavelength refractive structures, causing light to spread out (i.e. diffract) and thereby exert radiation pressure when it passes through them.

History
The idea of using diffraction for a solar sail was first proposed in 2017 by researchers at the Rochester Institute of Technology. This was enabled in part by advances in material design and fabrication (particularly of gratings), and optoelectronic control. In 2019 a diffractive solar sail project from the Rochester Institute of Technlology suggested a solar polar orbit mission with diffractive sails that could reach a higher solar inclination angle and smaller orbital radius than one with reflective sails, reaching NASA's NIAC phase II. In 2022 the NIAC project reached phase III and gained US$2 million of support from NASA, with involvement of researchers from both Johns Hopkins University and the Rochester Institute of Technology.

Advantages over reflective sails
Reflective solar sail designs tend to consist of large, thin reflective sheets. By the law of reflection, the forces acting on them will always be normal to the sheet surface; the sheets must therefore be tilted during navigation, which poses structure and control challenges, and reduces the power reaching the sail. These in turn can lower reliability, increase mass, and reduce acceleration. Furthermore, reflective sails tend to absorb a reasonable proportion of the light hitting them, causing them to heat up; this can cause structural problems, particularly when the sail is repeatedly heated and then allowed to cool. Also, each photon hitting the sail is used once, i.e. it's either reflected or absorbed.

On the other hand, in a diffractive sail the grating can redirect light even when the sheet directly faces the sun, allowing much more efficient control with maximum power hitting the sail. The diffractive film can be designed to allow for optoelectronic control of the gratings, thereby reducing mass and increasing reliability relative to mechanical control. Since the film is translucent, most of the light just passes through the sail, reducing overall heating. Photons can be reused: either by passing through a second diffraction grating for more thrust, or by going to a solar cell to provide electricity.

References

Spacecraft attitude control
Spacecraft propulsion
Spacecraft components
Interstellar travel
Optoelectronics
Photonics
Emerging technologies

redpajama_set_name: RedPajamaWikipedia


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The Lawson might be known as perfect United states sofa design. It is comfortable and straightforward: The boxy shape is large and characteristically has 3 back again soft cushions in addition to three chair cushions. The traditional Lawson also has A taller back again and container-formed cushions that have welts at the sides, just like the back pillows. Well suited for snuggling and sleeping, this sofa design was designed for Jones Lawson, a united states copper tycoon at the change of the century. He wanted a sofa which was quite different from the fussy Victorian designs that were common in those days. Current versions from the Lawson can also include wood or metal contained in the arms. Most significantly, this couch style is the one that will morph its feel with the textile you choose for the upholstery. The form is really versatile that it can be glamorous, luxurious, commercial, informal or official based on your material option.
8."15.25"" x 19.75"" Recessed Frameless Medicine Cabinet" By American Hideaway Inc.
Read more about "15.25"" x 19.75"" Recessed Frameless Medicine Cabinet" By American Hideaway Inc.
You cant talk about this couch with out talking about its impressive design, sturdiness, and comfort. If you ever required a comfortable chair, then transfer quick and obtain your self Rollercoaster Samuel Collection Cream Leather Sofa. You will love it. This 3 seater sofa has clean lines and great cushions. The cushions are affixed to the seat and behind. It is made of leather-based which is a certain bet that its long lasting. Additionally, it features tufted back and seats that certainly adds to its remarkable appear. More importantly, it has a springtime base that provides the required durability and comfort. Its wooden frame makes it very sturdy. The lengthy and also the lacking it is this fact sofa is extraordinary in every element. You might or might not agree with this. But the only way you can appreciate this is to buy and try it.
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This group of RTA couches is available in various upholstery textures. Some of them include bonded leather, linen, corduroy, bed linen texture, polyester. All you need is to choose the right tapestry in importance for the well balanced needs. Obtainable materials provide an easy-to-thoroughly clean element. A attribute that implies its adaptability to face up to food and drinks. The luxurious seat and back soft cushions election in support of a cutting-edge appear. The square shaped equip that starts just over them enhances the magnificence. You will find the comforts and gentle designs that hit your entry.
Copyright © Ara Widespread Bathroom Faucet and Diamond Seal Technology By Delta in Medicine Cabinets All right reserved.


text:
One of the big complaints leveled against films like Transformers and Cowboys & Aliens is that so much intelligence and artistry goes into programming the computers that spit out the CG images, none appears to be left for the script. The result, many critics say, is that we're left with compelling special effects sequences attached to a lot of bad dialogue and clunky plots. Not like in the good old days when Hollywood cared about plot, character and dialogue, right? Uh, no.
In the pre-Star Wars days the word studios and filmmakers used instead of CGI or special effects was "spectacle." And spectacle meant you were going to get hordes of extras, exotic locales, and big, long, complicated action sequences. Lawrence of Arabia is probably the definitive spectacle film in the same way that Avatar is the ultimate (for now) special effects film. Grand Prix was one of the big spectacle films of its time.
I have only previously seen Grand Prix on TV, and that was in b&w and over twenty years ago. After just seeing it on DVD on a big screen I'd have to say it counts as the Transformers of its day. The spectacle part is truly spectacular. The story follows four different drivers over the course of one Formula One season, and along the way John Frankenheimer, the director, stages four races that are definitive in their excellence. If you set out today to film a Formula One race, even using all the latest technology, it's impossible to imagine doing a better job than Frankenheimer did. The pacing, the camerawork, the editing, it's all perfect.
But now we come to the other half of the equation: that part of the script that's not devoted to vroom-vroom. It's godawful. Away from the track our drivers, played by James Garner, Yves Montand, Brian Bedford, and Antonio Sabato, find themselves in romantic entanglements with three women, played by Jessica Walter, Eva Marie Saint and Francoise Hardy. Note the disparity in numbers. This is because Garner and Bedford find themselves fighting for the affections of Jessica Walter. Each romantic sub-plot is worse than the next, and they go on and on and on. Montand and Eva Marie Saint have the dullest extramarital affair in history, and Sabato and Hardy, neither of whom appear to speak English, have a romance that feels like a role-playing exercise in an ESL class.
Not only is the romantic stuff rancid, it's not even filmed with any technical competence. Some of the interior sequences are harshly lit, and camera shadows are plainly visible in more than a few shots. I strongly suspect that Frankenheimer, exhausted or otherwise occupied by planning the race sequences, handed off these scenes to a second unit director. At least I'd like to believe that, because Frankenheimer was normally just as good at directing non-action sequences. So next time you hear someone say that CGI is killing storytelling, bear in mind that Hollywood has always sacrificed story for spectacle. Most of the toga epics of the 1950s and early '60s (think Cleopatra, Ben-Hur) were just as empty-headed and spectacular as The Green Lantern or Battle Los Angeles.
Labels: Ben-Hur, Brian Bedford, Cleopatra, Cowboys and Aliens, Eva Marie Saint, Formula One, Grand Prix, James Garner, Jessica Walter, John Frankenheimer, Star Wars, Transformers, Yves Montand


Lisette Oropesa was a ravishing Gilda, her silvery tones and beautiful high range perfectly suited for the role of the young innocent girl. "Gualtier Malté", that one and only traditionally-constructed aria of the opera, had unfortunately to be interrupted at first, so as to whisk away a member of the audience who was apparently unwell. When the performance resumed, Ms Oropesa sang the aria with elegant phrasing, top notes ringing to the rafters and exquisitely executed trills with which she has deservedly brought down the house.


• Creation of internal offices and full refurbishment.
A reception area and interview rooms were created, CCTV and Alarms were installed.
Just to say how delighted I was with the work the team at PFG carried out in my house. Adam, Martin and David were great, really professionals and pleasant to have around.
Absolutely delighted with his work, he has done a superb job.
I visited the property on Friday to get it ready for the new tenants and to inspect the works carried out by PFG. I would like to let you and your team know how pleased I am with the whole job. (I'm a plumber myself and know what's involved with these kind of works) The Asbestos removal guys left the place spotless considering the nature of the work they were doing. Max the plasterer got on well with a tricky job and was out in good time, leaving a top finish in awkward circumstances. Both painters did a great job with no fuss, and again left the place spotless. All the trades involved were professional and experienced and a pleasure to deal with. I am thoroughly impressed with PFG and particularly with your employees - the most important part of any organisation. May I also say Jackie, that this job had given me a lot of headaches over the past few months, but the minute you took charge of it, everything went like clockwork.
Thank you for getting the work on our kitchen ceiling completed promptly. We are very pleased with the result and particularly impressed with both the plasterers and the painter who were considerate, hard working and did an excellent job.
I would like to commend the plasterer who recently worked on our property. He was prompt, personable and very hard working. He took mouldings from our original Edwardian cornicing, removed the water damaged ceiling and put up replacements. The finished ceiling looks fantastic. Please extend our thanks.
Thank you so much for all you and your company have done to make this experience a pleasant one. I was feeling so shaken up and was dreading having builders in my house after past experiences. You guys have made what could have been really stressful situation into a pleasant experience. Everyone has been truly professional and the workmanship is impressive. Everyone has been really helpful and pleasant and I'm so so happy to be in before Christmas so could you please pass that on to the entire team.
I can scarcely believe it, but it rather does look like this long and gruelling saga is now over. After nearly 3 years the flat is finally dry, sweet smelling and looking good. Thank you and all the team for all your efforts. PFG has been consistently accessible, communicative, engaged and reasonable throughout. Simple as they are, in today's de-skilled "call-centre" culture, such basic service qualities cannot be taken for granted, and the work planning, management and execution has always been carried out to a high professional standard. Many thanks again to all at PFG and all good wishes.
PFG's workmanship was of a very high quality, and we were extremely pleased with the end result: our Board agreed that the work had transformed the building. PFG's personnel were very proactive, courteous to deal with and obliging to our requirements during the course of the work. I am most happy to recommend them.
We have an insurance policy with Aviva covering buildings and contents and recently we had an accident when our next door neighbours had a leak and managed to flood three floors of our house. Property Facilities Group Ltd were appointed as the agents to undertake the drying out, hacking back the plaster to get back to the brick walls, re-plastering and re-decorating. We have had previous similar accidents with other insurance companies where our experiences have been far from pleasant, and so we approached this whole endeavour with some trepidation. However, its been brilliant from the very first phone call to the finished job. Property Facilities Group have been amazing: - We dealt with Kelly Sheppard who has been on top of the job from day one, setting schedules and keeping to them and generally working round us to cause the minimum of fuss. We have exchanged emails regularly entering into a very friendly relationship often containing a great sense of humour and that has made the entire exercise such a pleasure. The standard of work has been exemplary and all the people who have come to do the various jobs have been highly proficient and also charming and helpful; often going that extra mile that makes companies stand out above the normal. Basically that's what I am saying this is a very special company indeed and I can't recommend them more highly.
Well done to all on this complex job pulled back from the depths of despair, very impressive. I knew Mr Morgan and team could pull it off. Thank You All and pass onto the guys please.
Thank you to all your team for the works they did at the Hall, everything was great. We had a fabulous day at the hall on Saturday.
Download our Company Brochure. Within our brochure you'll find helpful information about PFG, case studies, how we can help your business and much more!.
Below are a small selection of clients we work with and industries we specialise in. However we work within a wide-range of sectors.


With Valentine's Day coming up this Tuesday, we would like to tell you about some Valentine traditions that you may not be aware of. In Wales, wooden love spoons were carved and given as gifts on February 14th. Hearts, keys and keyholes were favorite decorations on the spoons. The decoration meant, "You unlock my heart". In the Middle Ages, young men and women drew names from a bowl to see who their valentines would be. They would wear these names on their sleeves for one week. To wear your heart on your sleeve now means that it is easy for other people to know how you are feeling. A love seat is a wide chair. It was first made to seat one woman and her wide dress. Later, the love seat or courting seat had two sections, often in an S-shape. That way a couple could sit together- but not too closely! Whatever your traditions may be- we hope that you are with the ones you love!
One Response to Happy Valentine's Day on Tuesday!
I do not even know how I ended up here, but I thought this post was good. 😉 Cheers!


text:
package com.blocktopus.schema;

import static com.blocktopus.common.CollectionUtils.*;

import java.util.LinkedHashMap;

import com.blocktopus.schema.data.RowData;
import com.blocktopus.schema.data.PrimaryKeyId;

public class DataCache {

	public static DataCache getInstance(){
		return new DataCache();
	}

	private DataCache(){

	}
	private int cacheSize = 1000;

	public int getCacheSize() {
		return cacheSize;
	}

	public void setCacheSize(int cacheSize) {
		this.cacheSize = cacheSize;
	}

	private LinkedHashMap<PrimaryKeyId, RowData> cache = newLinkedMap();

	public RowData getDataFromCache(PrimaryKeyId pkid) {
		if (cache.containsKey(pkid)) {
			return cache.get(pkid);
		}
		return null;
	}

	public void addToCache(PrimaryKeyId pkid, RowData dr) {
		cache.put(pkid, dr);
		if (cache.size() > cacheSize) {
			PrimaryKeyId key = cache.keySet().iterator().next();
			RowData d = cache.get(key);
			cache.remove(key);
		}
	}

}

redpajama_set_name: RedPajamaGithub


text:
filter your search All ContentAll JournalsThe Journal of Interdisciplinary History
JIH at JSTOR
Nathaniel Bowditch and the Power of Numbers: How a Nineteenth-Century Man of Business, Science, and the Sea Changed American Life. By Tamara Plakins Thornton (Chapel Hill, University of North Carolina Press, 2016) 416 pp. $35.00
Theodore M. Porter
© 2017 by the Massachusetts Institute of Technology and The Journal of Interdisciplinary History, Inc.
The Journal of Interdisciplinary History (2017) 47 (4): 562–564.
https://doi.org/10.1162/JINH_r_01069
Theodore M. Porter; Nathaniel Bowditch and the Power of Numbers: How a Nineteenth-Century Man of Business, Science, and the Sea Changed American Life. By Tamara Plakins Thornton (Chapel Hill, University of North Carolina Press, 2016) 416 pp. $35.00. The Journal of Interdisciplinary History 2017; 47 (4): 562–564. doi: https://doi.org/10.1162/JINH_r_01069
Nathaniel Bowditch's career does not conform well to the modern ideal of the mathematician. He was, rather, a skilled and exacting calculator, and this ability sufficed to establish his mathematical reputation in the early United States. The connoisseur of lengthy subtitles, wanting to know in what manner this man "changed American life," will discover that it has much to do with his devotion to numbers. His historic role had little to do with mathematical prowess, deriving instead from his commitment to strict, even pitiless, record keeping and, with it, to orderly budgets and regularized business practices.
This book comes in the guise of a biography. Indeed, it provides an excellent survey of Bowditch's life, including his family background, childhood, marriage, and children, as well as the opportunities and choices that defined his career. Thornton takes a great interest in his reputation, which was indeed bound up with mathematics and science....
A Beautiful Ending: The Apocalyptic Imagination and the Making of the Modern World by John Jeffries Martin
Displacement of Death from Home to Hospital in Historical Perspective: The Case of Italy, 1883–2013
Turn, Turn, Turn: A Digital History of German Historiography, 1950–2019
"The Best Country in the World": The Surprising Social Mobility of New York's Irish-Famine Immigrants
Nathaniel Bowditch and the Power of Numbers: How a Nineteenth-Century Man of Business, Science, and the Sea Changed American Life
The New England Quarterly (December,2016)
High-Performance Wide-Area Optical Tracking: The HiBall Tracking System
Presence: Teleoperators and Virtual Environments (February,2001)
Large Models for Virtual Environments: A Review of Work by the Architectural Walkthrough Project at UNC
The "Quietude of Conscience" and the Magnetism of Sound: Listening to Nathaniel Hawthorne's The House of the Seven Gables
The New England Quarterly (March,2017)
The Sea Changes
Writing on Water
Longevity in the Sea
Methuselah's Zoo: What Nature Can Teach Us about Living Longer, Healthier Lives
EVALUATION OF SEA PARAMETERS
Statistical Energy Analysis of Dynamical Systems: Theory and Applications
THE USE OF SEA IN PRELIMINARY DESIGN


text:
Q: Find count in aggregate lookup I am looking to find out the total documents count from aggregate join. if anybody have an idea please let me know. And this my code
        db.collection("camp", function (err, camp) {
        camp.aggregate([{$match: {status: {$ne: "Rejected"}}},
             {'$lookup': {

                    from: "organization",
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                    foreignField: "organizerId",
                    as: "ornrData"
                }},
            {$unwind: "$orgnData"},
            {$unwind: "$ornrData"},
            {$match: {'ornrData.city': 'Nagpur'}},

            {$skip: 0}, {$limit: 10},
            {$sort: {id: -1}}

        ], function (err, info) {
            res.json(info);
        });
    });

In the above code i am looking to get total rows count of result before limit to use pagination bar. if anybody have an idea please let me know?


text:
Open/Close Menu Our Lady of Czestochowa Church	Where all are welcome as Family
Commemorative Walkway
Elementary and High School Students
Scripture Reflections
Liturgical Life
On Line Giving
Adoration Room
Our adoration room is located inside the Ministry Center, 57 Center Avenue. It is open every Tuesday from 9AM to 8PM. Come and spend some quiet time with the Lord.
Altar servers assist the priest at the altar during all weekend liturgies and special holidays and holy days. Altar servers will also act as candle bearers leading the processions in and out of Mass. All boys and girls who have made their First Holy Communion are invited to train and serve in this important liturgical role. Contact Father Gary if you are interested in becoming an altar server.
Adult Altar Servers
Adult altar servers assist the priest at the altar during funeral liturgies. Duties include carrying the processional cross, incense, carrying the holy water container, as well as setting up the items needed for the funeral liturgy. This ministry focuses on the need to serve during a difficult time in the life of a family. Serving is open to all men and women of the parish. Contact Father Gary if you are interested in becoming an adult altar server.
The purpose of this ministry is to reverently proclaim the Living Word of God to His assembled people. By communicating the fullest meaning, emotion and message of the passage, and through the use of voice, attitude and physical posture, the lector conveys the dignity and sacredness of the Scriptures. Lectors seek to grow in love and knowledge of the Word of God in order to proclaim it with sincerity and conviction. Please contact Cozette Bayer at (716) 692-2934 for more information.
The people involved in this ministry assist the priest in the distribution of the Eucharist while showing the greatest reverence by demeanor, attire and manner in handling the sacred species of bread and wine. The Eucharist is truly and substantially the body, blood, soul and divinity of our Lord Jesus Christ. A mandatory training class is required. Contact Father Gary if you are interested in becoming a Eucharistic Minister.
At OLC, we are blessed with people who have a variety of musical gifts and talents. Bruce Woody, our music director, strives to bring a variety of music and talent to enhance our liturgies. The choir features both traditional and contemporary music generally accompanied by our Wurlitzer organ. From time to time the teenagers of our parish join Bruce at the piano during Sunday 10:30AM liturgy. The more the merrier, please come join us!
Music Ministry Allows You to:
Provide service to the parish and community
Enhance liturgy and special celebrations with music
Work with others who share your love of music
If you'd like to share your musical gifts with the parish please contact Bruce Woody (716) 830-4162 for more information. All are welcome, no matter what your talent.
Liturgical Environment
The purpose of this ministry is to provide for the physical decoration and beautification of the liturgical space throughout the year. Special care is taken to convey the season and solemnity through the use of flowers, fabric, lights, candles, displays and other elements that convey the depth and sacredness of time itself. Liturgical environment takes great care to enhance the seasons of Ordinary Time, Advent, Christmas, Lent, Holy Week, the Sacred Triduum, Easter, Pentecost as well as Marian feasts, holy days and special parish events.
If you have a special prayer request, you may write it in our book of prayers located in the church. Your request along with all others in the book will be specially prayed for during Mass.
Funeral Liturgy Preparation
This ministry serves as the point of contact between the families and individuals who have suffered the loss of a loved one and the parish community itself. This ministry meets with families to discuss funeral Mass protocol, select readings and music, call and coordinate adult altar servers and musicians and provide the necessary information to the priest and all those involved in the funeral liturgy.
The bereavement ministry seeks to be there for one of the most difficult times in the life of a family, the death of a loved one. Bereavement coordinates and meets with the funeral liturgy preparation ministry, organizes a bereavement luncheon for the families of all of our parishioners whether living at home, in a nursing home or living out of town with family members. We also offer this to non-parishioners. Minimum of 25 to a maximum of 125 people.
Volunteers to this ministry help in many ways. There are those that set up, serve the luncheon, clean up and those that make sides or desserts for the luncheon.
For more information contact Dolly Koszelak (716) 692-1857 or Carm Bourdage (716) 692-0359.
Our Lady of Czestochowa Church
"Where all are welcome as Family"
57 Center Avenue
North Tonawanda NY 14120
Saturday Vigil Mass: 4 pm
Sunday: 8:30 am and 10:30 am
Vigil of Holy Day:
Holy Day: 10 am
Office of Faith Formation
Coordinator: Katie Ruszala
Ministry of Care Office
Coordinator: Deacon John Steiner
Tel: (716) 693-3822 ext. 112
Fax: (7160 693-3882


text:
Q: How to find the source of outgoing SPAM emails on my Server Hello this is my first time here.
I do know a little about linux but I can't seem to find out the source of tons of SPAM emails being sent out on my server.
Here is a small portion of the QMAIL queue

29 May 2014 06:29:00 GMT  #13879694  601  <marina_velazquez@spam_domain1.org>
        remote  lykos@asia.com
29 May 2014 06:35:05 GMT  #13880108  636  <iva_holman@spam_domain1.org>
        remote  killerbeas@web.de
29 May 2014 06:38:26 GMT  #13880223  677  <kathryn_spence@spam_domain1.org>
        remote  rose91643@sssnet.com
29 May 2014 06:40:44 GMT  #13879786  620  <marisol_harper@spam_domain1.org>
        remote  sipaseud_738@hotmal.com
29 May 2014 07:20:08 GMT  #13880361  642  <candace_hammond@spam_domain2.com>
        remote  korsgaard@aol.dk
29 May 2014 07:21:44 GMT  #13880407  659  <esperanza_barnett@spam_domain2.com>
        remote  korupt.1@bigpond.com.au

Here is what I find when with less on the last mail

Tkorsgaard@aol.dk^@Received: (qmail 7343 invoked by uid 33); 29 May 2014 07:20:07 -0500
Date: 29 May 2014 07:20:07 -0500
Message-ID: <20140529122007.7341.qmail@ldc2040.aus.us.siteprotect.com>
To: korsgaard@aol.dk
Subject:  Ha ha
From: "Candace Hammond" <candace_hammond@spam_domain2.com>
Reply-To: "Candace Hammond" <candace_hammond@spam_domain2.com>
X-Priority: 3 (Normal)
MIME-Version: 1.0
Content-Type: text/html; charset="iso-8859-1"
Content-Transfer-Encoding: 8bit

<!-- Contents of spam message removed--> ^@

I see is says UID 33 but there is no mail log file that I can find this is Ubuntu server
How can I isolate the source of the spams?
Are they from a script on the server? if so how can I locate it?
Can they be from a remote machine? if so how do I know?
Thanks for any help I really need this fixed ASAP
Paul

A: On ubuntu, UID 33 is usually www-data, the httpd user. Most likely, someone found an exploitable web script on your server which you need to locate and terminate. Read the httpd logs. For now, stop letting uid 33 send mail or make outgoing connections:
iptables -I OUTPUT ! -o lo -m owner --uid-owner 33 -m conntrack --ctstate NEW -j REJECT

(you may need to use -m state --state NEW on older kernels instead of conntrack)
Then disable sendmail access for httpd.
setfacl -m u:www-data:000 `which sendmail`

to revert:
iptables -D OUTPUT ! -o lo -m owner --uid-owner 33 -m conntrack --ctstate NEW -j REJECT
setfacl -x u:www-data `which sendmail`

Now that it's disabled, you can investigate your scripts at leisure.


Safety distance in axis from the heater: 1,8m Equipped with a safety cord.
"SUPERMIRROR" aluminium reflector with a very high reflecting power. Halogen IR lamp custom-built with a fast mediumwave, Teflon cable, and silicone glass fibre – reinforced body.
Optimised symmetrical distribution. Made of metal coated with scratchproof epoxy powder. Height varies up to 300 cm Heavy base with a useful handle for the transport.


text:
CISO, CyberAttack, cybersecurity, endpoint security, Featured news, IT Security, News, predictions, Ransomware, Sophos, strategy, threats, trends	 19th November 2020 15th January 2021
A perspective on security threats and trends, from inception to impact
Sophos published a report which flags how ransomware and fast-changing attacker behaviors, from advanced to entry level, will shape the threat landscape and IT security in 2021.
Increased gap between ransomware operators
The gap between ransomware operators at different ends of the skills and resource spectrum will increase. At the high end, the big-game hunting ransomware families will continue to refine and change their tactics, techniques and procedures (TTPs) to become more evasive and nation-state-like in sophistication, targeting larger organizations with multimillion-dollar ransom demands.
In 2020, such families included Ryuk and RagnarLocker. At the other end of the spectrum, Sophos anticipates an increase in the number of entry level, apprentice-type attackers looking for menu-driven, ransomware-for-rent, such as Dharma, that allows them to target high volumes of smaller prey.
Another ransomware trend is "secondary extortion," where alongside the data encryption the attackers steal and threaten to publish sensitive or confidential information, if their demands are not met. In 2020, Sophos reported on Maze, RagnarLocker, Netwalker, REvil, and others using this approach.
"The ransomware business model is dynamic and complex. During 2020, Sophos saw a clear trend towards adversaries differentiating themselves in terms of their skills and targets. However, we've also seen ransomware families sharing best-of-breed tools and forming self-styled collaborative 'cartels,'" said Chester Wisniewski, principal research scientist, Sophos.
"Some, like Maze, appeared to pack their bags and head for a life of leisure, except that some of their tools and techniques have resurfaced under the guise of a newcomer, Egregor. The cyberthreat landscape abhors a vacuum. If one threat disappears another one will quickly take its place.
"In many ways, it is almost impossible to predict where ransomware will go next, but the attack trends discussed in Sophos' threat report this year are likely to continue into 2021."
Everyday threats demand serious security attention
Everyday threats such as commodity malware, including loaders and botnets, or human-operated Initial Access Brokers, will demand serious security attention. Such threats can seem like low level malware noise, but they are designed to secure a foothold in a target, gather essential data and share data back to a command-and-control network that will provide further instructions.
If human operators are behind these types of threats, they'll review every compromised machine for its geolocation and other signs of high value, and then sell access to the most lucrative targets to the highest bidder, such as a major ransomware operation. For instance, in 2020, Ryuk used Buer Loader to deliver its ransomware.
"Commodity malware can seem like a sandstorm of low-level noise clogging up the security alert system. From what Sophos analyzed, it is clear that defenders need to take these attacks seriously, because of where they might lead.
"Any infection can lead to every infection. Many security teams will feel that once malware has been blocked or removed and the compromised machine cleaned, the incident has been prevented," said Wisniewski.
"They may not realize that the attack was likely against more than one machine and that seemingly common malware like Emotet and Buer Loader can lead to Ryuk, Netwalker and other advanced attacks, which IT may not notice until the ransomware deploys, possibly in the middle of the night or on the weekend. Underestimating 'minor' infections could prove very costly."
Adversaries evading detection and security measures
All ranks of adversaries will increasingly abuse legitimate tools, well known utilities and common network destinations to evade detection and security measures and thwart analysis and attribution.
The abuse of legitimate tools enables adversaries to stay under the radar while they move around the network until they are ready to launch the main part of the attack, such as ransomware.
For nation-state-sponsored attackers, there is the additional benefit that using common tools makes attribution harder. In 2020, Sophos reported on the wide range of standard attack tools now being used by adversaries.
"The abuse of everyday tools and techniques to disguise an active attack featured prominently in Sophos' review of the threat landscape during 2020. This technique challenges traditional security approaches because the appearance of known tools doesn't automatically trigger a red flag. This is where the rapidly growing field of human-led threat hunting and managed threat response really comes into its own," said Wisniewski.
"Human experts know the subtle anomalies and traces to look for, such as a legitimate tool being used at the wrong time or in the wrong place. To trained threat hunters or IT managers using endpoint detection and response (EDR) features, these signs are valuable tripwires that can alert security teams to a potential intruder and an attack underway."
Additional trends
Attacks on servers: adversaries have targeted server platforms running both Windows and Linux, and leveraged these platforms to attack organizations from within
The impact of the COVID-19 pandemic on IT security, such as the security challenges of working from home using personal networks protected by widely varying levels of security
The security challenges facing cloud environments: cloud computing has successfully borne the brunt of a lot of the enterprise needs for secure computing environments, but faces challenges different to those of a traditional enterprise network
Common services like RDP and VPN concentrators, which remain a focus for attacks on the network perimeter. Attackers also use RDP to move laterally within breached networks
Software applications traditionally flagged as "potentially unwanted" because they delivered a plethora of advertisements, but engaged in tactics that are increasingly indistinguishable from overt malware
The surprising reappearance of an old bug, VelvetSweatshop – a default password feature for earlier versions of Microsoft Excel – used to conceal macros or other malicious content in documents and evade advanced threat detection
The need to apply approaches from epidemiology to quantify unseen, undetected and unknown cyberthreats in order to better bridge gaps in detection, assess risk and define priorities


text:
BOOKS BY A. E. ABEDI
Tools To Understand Democracy & Despotism (Fascism) From Encyclopedia Britannica
FBI Consultant: 1 in 5 calls Are Recorded & Logged In A Central Computer!
This is an old documentary by Encyclopedia Britannica...
Despotism (1946) by neverknwo
... that provides a way for a person to measure the levels of democracy and despotism in a society. This documentary is made in 1946 in collaboration with Harold D. Lasswell PhD of Yale University a political scientist. Harold D. Laswell PhD begins with the statement, Avoid the comfortable idea that the mere form of government can of itself safeguard a nation against despotism. He then encourages a person to look beyond fine words and noble phrases and to use a couple of scales as yardsticks to measure the levels of democracy or despotism that may exist in a community.
Democracy & Despotism: 1940s Encyclopedia Britannica Films by Maria Popova
Vintage lessons in civic harmony, or how small-scale common courtesy paves the way for large-scale peace. In 1945 and 1946, immediately following the end of World War II, Encyclopedia Britannica's films division produced two educational short films, one on democracy and one on despotism, exploring how societies and nations rank on the spectrum from democracy to despotism by measuring the degree to which power is concentrated and respect for individuals restricted. More than half a century later, these analyses remain a compelling metric of social harmony and discord, in an era when we're still struggling to understand the psychology of riots in a global political climate where the tension between despotism and democracy is in sharper focus than ever. (read more) Despotism (1946 Encyclopedia Britannica educational film)
The essence of freedom is the proper limitation of Government
"There is a reason we refer to "the rule of law and not of men" when discussing the American political system. It is because a republican form of government seeks to restrain the unbridled and quixotic passions of pure democracy, rather than yield to them. It also rejects the desire of the majority in favor of individual rights. Democracy seeks to assert the right of the group, but so does a mob with a hangman's noose. There's also a reason why lady justice is blindfolded: She is not to see the individuals, interest groups, race, or any characteristic at all of those that plead before her--her proper concern is not directed towards them; her care is to decide the law. It's also why the question of justice as presented before judges is not one of mercy (that belongs in the will of the people as expressed through their representatives in law), but one of exacting only what the law requires be exacted. The rule of law is all about the removal of arbitrary will from its application. A judge who seeks to apply his own notions of justice and mercy (as opposed to those notions being defined by the people through law) is a judge who seeks to impose arbitrary will in opposition to the rule of law. And it is arbitrary will that is the very definition of tyranny.
Notes from the above documentary...
You can measure any community on this simple scale;
Be careful NOT to assume that the 'mere form of a government can guard you against despotism'.
Germany was a Republic and yet a despotic ruler was able to take root (i.e. Hitler).
A competent observer looks beyond fine words and noble phrases. [even Hitler used fine words and noble phrases - You look instead at history, actions, behaviour results of policies (and who was the controller behind the scene NOT just the face of an action)... Then follow the dots into the present using a holistic perspective]
Two yardsticks have been proven to help any community to discover how close it is to despotism;
The Respect Scale
As a community moves towards despotism, respect is restricted to fewer people (such as restricting respect to ONLY members of a small group or one political party).
A community is becoming despotic is respect is withheld from a large group of people on account
of thier political attitudes. (such as persecution because someone is wealthy, of a different race or religion etc.).
The ability of every citizen to better themselves (and educate themselves) is another important measurement of determining the level of respect in society.
The opportunity to develop useful skills is important but not enough as the opportunity to put such skills to use (make a living) is another important measurement on the respect scale.
The Power Scale
This scale is useful to determine the citizens share in making decisions for thier community.
When decision making is left in a few hands (or compiled into a huge bill so that there is at least one issue you feel so strongly for that you have to vote for it even if other aspects of the bill is bad for the community/country - then you have limited choice {and have been tricked!}) THEN the community is moving towards despotism.
Today, a community can move towards despotism by allowing power to become concentrated in the hands of a few.
The test of despotic power is that it can disregard the Will of The People.
Despotism can be official AND unofficial.
The spread of respect and power in a community can be measured using the following 2 scales;
Economic Distribution
If a communities economic distribution becomes slanted then it is moving towards despotism.
If middle income groups grow smaller, then despotism has a better chance to gain a foothold.
One sign of a move towards a despotic society is the concentration of land in the hands of a few people.
When farmers lose thier farms they lose thier independence.
In communities that depend on almost on a single industry (such as a factory or mine) will have find that maintaining economic balance is a challenging problem
Tax Burden
Another sign of a poorly balanced economy is a taxation system that presses heaviest on those least able to pay.
Larger amount of a poorer person's income is spent on food, so sales taxes press heaviest on the poor and middle class.
The Information Scale
A community rests low on the information scale when the press/media is controlled by a few people and when citizens HAVE TO accept what they are told.
If students are not taught critical thinking skills (with a well rounded education so they have basic knowledge of history, politics, sophism, economics etc.) THEN despotism has a good chance of establishing itself.
By keeping students unable to think critically, you get adults who can't think critically (or have any ability to evaluate facts from lies). These adults will accept whatever thier chosen authority source tells them.
Current "Legend" Series Position {Began here/here}...
Case Study: Sweden's "Evil" Socialism & It's Broken Economy 1
GOP & Libertarian "Hypnosis" - "Socialism" The Real Red Herring 1
The increase in the marginal tax rate by 3% is what leads Fox News to call Obama socialist. It's like calling someone who doesn't pick up after thier dog a Nazi.
The following country (Sweden) has a higher tax rate than America and provides actual services to it's Citizens... not to mention jobs and international growth into third world countries such as the US. Notice that the "entitlements" the Swedish get is better than what Megyn Kelly was fighting for... after saying it was wrong. Really. Fox News seems to have no honor. It certainlyisn't "news" in the remotest sense of the word. More like Gossip mongering using fear.
Swede Dreams - Sweden is everything America used to be -- dominant, arrogant and so much more beautiful -- while America has become Sweden's Mexico. (04:53):
Communist Central - Obama's Socialist Scheme You know a socialist policy like the auto industry bailout has worked when a staunch capitalist takes credit for it with a hostile takeover. (03:35):
Fox "Business" Doesn't Understand What Socialism Is!
ECON 101: Mitt Romney Explains How Subsidies Can Help An Industry Start-up
Answer (with Sarcasm):
GOP's Hypocrisy On Subsidies: They Support It For Big Oil Who Fund Them (Tax Breaks etc.) But Not For An Industry Using A Non-Polluting Source Of Energy, i.e. Fox News Is In The Business Of Picking Winners & Losers As Far As Energy IS Concerned! Will Thier Hypocrisy Ever Cease?
GOP's "Non-Socialist" View On Solar Energy VS Oil Summarized:
Fox News's Food Stamp "Hypnosis" - Following The Path Of Jesus?
Fox News's Class Warfare "Hypnosis" - Using %s & Numerical Figures Interchangeably To Fit Their Personal Agenda
Fox News's Class Warfare "Hypnosis" 2 - Taxing The Poor i.e. Those Least Able To Afford It
GOP's Main Problem With Ron Paul In The GOP Primary Was That He Wouldn't PRE-AGREE To Invade Iran
Ayn Rand's "Freedom" Was For The Ultimate Victor In A Might Is Right Battle, The Exceptional Man Was Also The Last Man Standing
Communist Central -Jon has at various times described himself as socialist, independent, Whig, Rockefeller Republican, Teddy Roosevelt Democrat, and contrarian a**hole. (03:12):
Here 'socialist' means a person who likes to help society. What's wrong with that? Jesus helped society. As it is even the economic definition of socialism means to have all of production run by the State. What America has is a Corporate Oligopoly or "Plutarchy". The State owns a car factory in Detroit which went bankrupt. How is this a socialist state in even the remotest sense of the word?
To say what I'm saying isn't playing semantics. To say being a socialist is the same as being a fascist and communist and has nothing in common whatsoever unjust wars common amongst the self styled 'capitalists' IS the semantics switcharoo. Related: Frank Luntz Explains Emotional Manipulation
In Jon Stewart's words...
The "Conservative" RomneyCare.. er I mean, ObamaCare Hypocrisy:
Or as Jon Stewart Put It...
Obamacare, brought to you by Johnson & Johnson: When push comes to shove, corporate interests will always have the upper hand in determining public policy (i.e. it was made by a corporation - A CAPITALIST! ) Obamacare architect heads to Big Pharma: Liz Fowler again exemplifies the blurred lines betweenthe healthcare industry and Washington
Big Pharma Allies: Cigna, Aetna, Blue Cross -- they're allies, not competitors, when it comes to stopping a public plan
Lobbyists: Their influence on Washington dates back to the days of Lincoln -- and it only seems to be growing
The "GOP Exposed" Blog
Take It Off
I Am Cannibal
None Shall Pass.
Barack Hussein Obama
Bill O Reilly
Frank Luntz
Fraud & Lies
Gop 2016
Koch Tea Party
Megyn Kelly
Neil Cavuto
Paul Ryan Plan
Political War
Southern Strategy
The Democrats
Todd Akin
Understand D Gop
Us Media
Zimmerman Trial


A while ago I ordered a book of knitting patterns by a very prolific UK designer, Kim Hargreaves. There are 1,574 of her patterns on Ravelry! This is a knitting superstar who comes up with endless pretty, simple, feminine designs. An on-line bio says she was "responsible for creating the image and philosophy of Rowan" as its head in house designer and the person who oversaw design, photography and styling for the Rowan magazines and chose many of the designers. Now she heads her own company and she publishes these books, one of which (Indigo) I own.
I bought it because I was smitten with one of the patterns (Searing), which I have in mind for a hand-manipulated machine knitting project, but that is not what I am working on this weekend. No sirree - I'm making Burnt (Kim Hargreaves has this thing for one-word names).
Such a simple but classy little top. The slip-stitch rib is a cinch on the Passap (CX/N, a rib every 5 stitches).
Making it a bit more complex for machine knitting are the vertical darts (3 per side, front and back), and the back slit opening which is faced with garter stitch.
I figured out the technical issues and have knitted the front and the back. As usual I had to do some fixing up of the knitting with a needle and yarn, but I will not reveal where and my hunch is that no one will notice.
If they do I shall freeze them with an icy stare.
My top is black, which is hard to machine knit with (god help you if/when you drop a stitch and have to go fishing for it) and hard to photograph. The pieces are now blocking and I'm resting up for the next phase which will consist of machine knitting the neck and arm opening bands (reverse stockinette, which will roll nicely I hope).
Now I have a hankering for a sewing project.
Methinks a shirt dress for summer. Uncharacteristically, I just bought two McCalls patterns and one of them is 6885. I would never have considered it except when I saw Goodbye Valentino's gorgeous version I realized that abandoning the kiddy sunhat and exaggerated shirt tail hem left a pretty, classic dress.
I'll be back when I finish Burnt - in the meantime please excuse me while I go stash-diving.
It's a jacket. No, it's a cardigan. No, it's both, and it's totally off the beaten track for The Sewing Lawyer, because it is has glitter and sequins. And it's kind of blobby. It is like the most synthetic fake bouclé ever.
But somehow in this little hole in the wall store in Montreal last summer, shopping with the PR crowd, it yelled at me to buy it. So I did. And then it sat in a pile in my sewing room, telling me that it would make a really nice and versatile cardigan to wear with an understated and rather plain dress. Or with jeans and a dark T-shirt.
So I paired it up with some plain dark navy cotton and linen woven. And I made a dress too.
Both patterns are OOP. The jacket is Vogue 9548 which dates back to 1996. I made the sleeveless dress way back before blogging was a thing.
I thought it had definite potential as an unstructured jacket in a not terribly stretchy knit. The sleeves have a darted cap and attach to the cut-in arm holes without much if any easing. I thought I might have to adjust but no, they are quite perfect.
I used the cotton-linen to face and stabilize the front and neck openings. No interfacing. I had to make a facing pattern because the dress is designed to be fully lined to the neck edge. I didn't sew the darts but instead took in the princess seams somewhat at the waist. Easy.
The dress is Simplicity 2927, an OOP Project Runway pattern. I modified it so that the pockets are inside the curved princess seam rather than patch pockets. MUCH nicer.
The only fitting adjustment needed was to take in the side seams above the waist and let them out a tiny bit at the hip.
Oh yes, it has some glitter on it too, and a single matching gold button.
The trim is a curious product from the stash of a local sewing friend who told me she had just the thing to accent this plain dress that would be paired with the flashy jacket. It's a pre-made lamé bias trim, just 1/4" wide, and it's fusible. It stuck to my fabric like nobody's business, and I really hope it doesn't come off in the wash because piercing it with stitches (even in invisible thread) undermines the liquid metal effect.
This is why, if you are ever in Vancouver, you should get yourself to Dressew if you possibly can. Take cash and make sure you have plenty of time. Go directly to the basement. You're welcome.
Update: That Bionic Gear Bag. I made another one. I modified it so all the pockets are the same size and the same height. This simplified things, and thankfully I did not have to consult the pattern at all.
My original bag works for all my hand knitting supplies that formerly lived in a motley collection of plastic zip lock bags. My second one is dandy for my machine knitting tools. I hope never to have to make another, but won't rule it out. They are super useful.
Update: Speaking of machine knitting, I got a bulky (9mm) gauge machine with a ribber and now I am pretty sure I do not need any more knitting machines. This of course does not stop me from compulsively watching the local on-line ads, since that is where almost all of my machines came from after all.
Acquisition of this machine, a Singer 151, sent me diving into my stash in search of suitable yarn. Never mind that it is the beginning of warmer weather (we can hope) and thick, woolly sweaters are not necessarily seasonally appropriate. I rediscovered some mohair yarn and made myself a cardigan. It was fun! It involved hand manipulating stitches on the ribber and main beds to make the lattice stitch pattern.
The design is sort of my own. I actually bought a pattern (Ravelry download) but ended up mostly abandoning it because (a) my gauge was slightly different, (b) I needed to knit separate pieces with seams and (c) it had no helpful schematics so I couldn't easily figure out the shaping for the raglan seams. It worked. If I do this often enough, I'll learn to trust myself and stop spending $$ on patterns that don't help much, right?
Update: Sewing. I am doing some. I got a new sewing machine. It's a Pfaff quilt expression 4.0, the first generation of the gigantic Pfaffs from (I think) 2008. This machine has a 10" harp, lots of light, a 9mm stitch width and 222 built in stitches including 11 different buttonhole styles.
I thought it would take me a long time to get used to the fact that the foot pedal lowers the presser foot (it has a knee lever to lift it up) and that I wouldn't like the auto tie-off feature. However I have adapted really well to these modern features and am really enjoying sewing on this big beast.
Its first project was Bionic Gear Bag the second and I think it made the construction easier because I could use both hands to position the project.
Currently, I'm working on a dress. It's a pattern I purchased back in the days when I was a mad keen watcher of current patterns and had ready access to all the brands. The pattern is Simplicity 2927, a Project Runway dress/tunic pattern.
I think this looks like a nice and easy dress to wear for summer and I sure hope it fits. I threw caution to the winds and cut it right out of a length of navy blue cotton/linen blend from stash. I am going to make a cardigan jacket to go with it out of an interesting sweater knit I picked up in Montreal last year.
One of the dress variations has piping at the edges of the round yoke, the keyhole and princess seams. A friend of mine whose stash is even bigger than mine offered me the perfect trim - it's a narrow pre-made and fusible bias trim intended for quilting, and it's some kind of metallic gold fabric. Time will tell if I need to tack down the edges. I have some invisible thread and can use one of the 222 stitches on my new machine to just catch the edges, but I'm reluctant to interfere with the perfection of the apparently liquid gold trim if I don't absolutely have to.
At left is a peek of the dress in progress. I decided against trimming the princess seams. Less is more, dontcha know.


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text:
UAE welcomes ceasefire in Libya
This handout photo shows representative of Libya's two rival factions shaking hands after a signing ceremony. AFP
The UAE has welcomed the declaration of a permanent ceasefire and a cessation of military operations in all Libyan territories.
In a statement on Saturday, the Ministry of Foreign Affairs and International Cooperation reiterated its assertion that a political solution is the only way to end the conflict in Libya under the supervision of the United Nations.
Libyans voice hope, doubts over ceasefire deal
UAE strongly condemns bomb attack in Kabul
Italy protesters police clash over virus curbs
The statement noted that the UAE considers this decision an important step on the road to achieving a political settlement and the aspirations of the brotherly Libyan people to build a future that fulfils their aspirations for stability, peace and prosperity in line with the outcomes of the Berlin Conference and the Cairo Declaration.
UAE Libya Ceasefire Welcome
UAE Ministry denies ownership of weapons found in Libya
The statement added that UAE reaffirms its commitment to the United Nations' Security Council resolutions 1970 and 1973 on sanctions and arms embargo.
UN calls for Libya ceasefire as death toll climbs to 1,000
The UN Security Council called on Friday for a ceasefire in Libya as the death toll from a three-month offensive on Tripoli reached 1,000, including scores killed in an air strike that hit a detention centre
Trump speaks with Libya strongman Haftar, in sign of US support
In terms of international backing, Haftar enjoys the support of Egypt, Saudi Arabia, the United Arab Emirates, Russia and — now, clearly — the United States.
UAE helps release of four civilians held captive in Libya
Four detainees - three Filipinos and a South Korean - who were held captive by armed groups in Libya, have been released thanks to "intensive efforts" made by the UAE "in coordination and cooperation" with the Libyan National Army,
Security guard blocks warehouse cameras, helps accomplice to steal goods worth Dhs97,000 in Dubai
The Dubai Criminal Court sentenced a security guard of a company and his accomplice to three months in jail and fined them Dhs97,000 for abusing his power as a security guard.
VIDEO: Sultan appoints Sheikha Bodour President of the American University of Sharjah
Sheikh Sultanattended on Saturday the annual ceremony of the American University of Sharjah Alumni Association, which was held in conjunction with the university's silver jubilee celebrations.
Dubai Police embrace 3 children of widow inmate until her release
Brig. Julfar pointed out that the mother hid the fact that she had left her three children (aged 9, 12, and 15 ) alone at home, hoping she would be released within a few days to appeal her pending case.
British PM Rishi Sunak fires Conservative Party chairman Nadhim Zahawi after tax probe
Zahawi gave shifting explanations in the affair, and initially tried to silence journalists and a tax consultant with threats of libel lawsuits.