text:
Home The DGCA Guidelines - A Step Forward
The DGCA Guidelines - A Step Forward
Lt Gen (Dr) V K Saxena (Retd), PVSM, AVSM, VSM, Distinguished Fellow, VIF
Lt Gen (Dr) V K Saxena (Retd), PVSM, AVSM, VSM, Distinguished Fellow, VIF November 29 , 2018 View: 750 Comments: 0
On 02 Nov 2018, the Directorate General of Civil Aviation (DGCA) has issued the Civil Aviation Requirements (CARs) governing the use of Remotely Piloted Aircraft Systems (RPAS) by civilians in the National Air Space. A time period of one month has been given for general public to respond with respect to any modifications or amendments that is desired, post which, the CARs will become effective from 01 Dec 20181.
This article examines the said CARs and highlights how its promulgation is a significant step forward from a stage not long ago (Oct 2014) when the DGCA had put a total ban on the flying of unmanned systems by the civilians for any purpose whatsoever.
Finite Resource, Multiple Users
Fundamentally, the national air space is a finite resource by volume. If multiple users want to use the same volume of the air space at the same time, their usage needs to be controlled and coordinated if mid-air collision is to avoided.
In the combat domain of the defence Services, the multiple users of air space include the aircrafts, attack helicopters, all kinds of missiles (surface-to-surface, surface-to-air, air-to-air, air-to-surface, cruise, anti-radiation, ship or submarine launched etc.), fire of artillery and air defence guns and rockets, counter rocket and motor fire, and above all, the unmanned aerial systems both for the reconnaissance, as well as, strike purposes.
In the defence forces, the battle function of ensuring optimal use of air space by its multiple users ensuring maximum freedom of action and minimum restriction is called the Air Space Control function. To execute this function in the battlefield, dedicated organisations exist at various levels of command hierarchy connected seamlessly to one central agency in which is vested the overall authority for control of air space. While this arrangement exists for the battlefield, it is the DGCA which regulates and controls the civil aviation traffic in national air space. Institutional linkages exist between the air space control authority of the Services and the DGCA.
One of the emerging challenges in the field of air space control is the need to regulate the movement of unmanned vehicles in the national air space. At the bottom-line of this challenge lies the likely possibility of the collision of such vehicles with the manned civil aviation traffic which can have catastrophic effect of putting in danger thousands of human lives. When even a small bird hit can mean a disaster to a civil airliner, a head-on collision with a loose-kite type of an unmanned platform can be a real disaster. It is for no small reason therefore, that even a slightest doubt about the presence of a possible drone or unmanned platform puts the entire schedule of civil aviation traffic out of gear to the extent of total runway shutdown.
Such incidents are regular at various civil airfields in the country. Just the other day, on 10 Aug 2018, the Indira Gandhi International Airport ( IGIA) had to shut down one of its three runways for over an hour when a Chennai bound Indigo flight spotted a flying object at about 2000 ft, three nautical miles from an active runway. The drone could not be shot down2. Similar thing happened on 21 August 2017 when a drone sighting by Air Asia Goa-Delhi flight forced a total runway shutdown for nearly an hour. 20 flights got delayed and 20 police and CISF teams geared into action3. It is a recurring phenomenon.
Besides the safety of the civilian traffic, another dangerous dimension of unaccounted drone flights is the chance of snooping, reconnaissance and aerial photography of sensitive political, military, industrial and other prohibited and restricted areas, or even a danger of weapon launch at these. It is no wonder therefore, that orders are in place to shoot down any unidentified and non-responding drone spotted in such areas.
Over a period of time, this problem of control has assumed critical importance owing to the mounting public pressure demanding the use of drones for the possibilities which are actually bursting at the seams both for the commercial as well as recreational purposes. From innovative business applications for publicity and delivery, to keep-watch roles, many agricultural applications, filming, photography, live coverage, to multiple possibilities in the industrial applications, the list can go on. Besides the organisational use, the demands from sport enthusiasts, hobbyists and trainers for opening the air space for drone flying has also been growing.
As mentioned earlier, the DGCA initially took a position of total ban on flights of unmanned vehicles for civilian use. In its Notification dated 07 Oct 2014, DGCA stated, " DGCA is in the process of formulating the regulations (and globally harmonise these) for certification and operation for use of unmanned aerial systems in the Indian Civil Airspace. Till such regulations are issued, no non-Government agency, organisation, or individual will launch any unmanned aerial system in the Indian Civil Airspace for any purpose whatsoever"4. Insertion of the unmanned platforms in national air space has been a challenge the world over. The national aviation regulator in the US, i.e. the Federal Aviation Administration (FAA) commenced the task of creating a roadmap for the integration civil unmanned aircraft systems in the national air space sometime in 2012-135.
Suffice to say that after having put out several drafts over the years and after having missed the task deadline of 2015, FAA could only put out an interim guideline in 2015 titled, "Overview of Small Unmanned Aerial System, Notice of Proposed Rulemaking". This guideline sets out the operational limitations, operator certification and responsibilities and aircraft requirements for the persons aspiring to fly the unmanned aerial system in the US national air space6. The comprehensive guidelines in their final form is still a work in progress. Interestingly, it was only on 05 Oct 2018 that President Trump signed the FAA Re-authorisation Act of 2018 which establishes new conditions for recreational use of drones in the US national air space7.
The European Union (EU) faced a different set of challenges of trying to put out a common set of regulations for the entire EU region by trying to harmonise the heterogeneous national rules of member nations, each at varying level of implementation. The adopted process flow at the EU was to access and examine the national regulatory frameworks of member nations with international principles and guidelines in the light of literature on law, innovation and technology in arriving at a common regulations for the EU region. Here also, it is a work in progress looking at a future of 2025-2030 8,9.
What are the variables that make the task of finalising the regulations for the insertion of unmanned systems in the national air space so very complex? There are quite a few.
Very many different types of machines have to be classified and catered for. Besides this, permissibility or otherwise for a huge variety of possibilities of uses have to be examined serial-by-serial. There are many other issues like the need to establish user identity, certification requirements, catering for and ensuring training requirements of the fliers, putting in place a foolproof regime of restrictions and prohibitions expressed in terms of machines, personnel, flying activities etc., anti-privacy laws, provisions against voyeurism, legal provisions, safety and security issues, equipment maintenance and operating requirements, enforcement regime, penal provisions for violators, and more. All these have to be factored in.
Apart from all the above, the biggest challenge is to ensure safe usage of the airspace both by manned and unmanned platforms at the same time without fratricide. A whole lot of auto-conflict resolution mechanisms, establishing two-way communication protocols, putting in place the technologies for search-and- avoid capabilities, modifications of Air Traffic Control (ATC) rules and procedures to accommodate the unmanned flying etc. have to be put into place. The bottom-line remains safety and security of manned civil aviation traffic.
Keeping in mind the enormity of the challenges involved, DGCA has not done badly. In a run time of nearly three years from the total ban stage, it promulgated the first Draft Guidelines on operation of unmanned aircrafts in Sep 2016. After one round of iteration based on the comments by people, the revised document titled, "Requirements for Operation of Civil Remotely Piloted Aircraft Systems (RPAS)", was put out in 2017 10. The current CARs is the latest draft in the public domain which will become effective on 01 Dec 2018, as stated earlier.
Salient Points of CARs
Salient points of the above document have been summarised in the following part.
For the purposes of CAR, the RPAS have been grouped into five categories namely, Nano (250 gm or less), Micro (250 gm-2 kg), Mini (2 kg-25 kg), Small (25-150 kg) and Large (greater than 150 kg).
Any of the above RPAS can be imported (with due import clearance) or locally purchased. In either case, there will be a requirement to obtain Equipment Type Approval from the Wireless Planning and Coordination Wing of the Department of Telecommunication for operation in the de-licensed frequency band(s). This approval is not required for the Nano category of RPAS.
Except for three categories of RPAS which are exempted, namely, Nano RPAS operating below 50 ft in uncontrolled airspace or enclosed premises, Micro RPAS operating below 200 ft in enclosed premises, or RPAS operated by National Technical Research Organisation, Aviation Research Centre and Central intelligence agencies, all others will require a Unique Identification Number (UIN) which will be issued by the DGCA upon processing of their applications online for which a 'Digital Sky Platform' has been created.
UIN can only be granted to a citizens of India, Central and State Governments, an Indian company (registered/Indian Chairman/two-third stakes etc.) or a foreign company having leased RPAS to an Indian registered company. In addition to the UIN, RPAS, leaving out the exempted categories as stated above, will also require to obtain an Unmanned Aircraft Operator Permit (UAOP) from DGCA with a validity for five years for flying in the Indian civil airspace.
CARs lay down adequate instructions for safety and security as per a detailed programme prepared by Bureau of Civil Aviation Security. Aspects like reporting losses, damage to machines, accidents, preventing sabotage of ground station etc., have been covered. An important provisions is that once a UIN has been issued, the RPAS cannot be destroyed or disposed off in any manner or transferred to a third party without informing the DGCA.
CARs also stipulate the requirement of training of the operators (except for the category exempted above) through the DGCA approved Flying Training Organisation. Minimum age stipulation of 18 years and minimum education standard of 10th class pass (with English) is stipulated for a RPAS pilot.
The main portion of the CARS are the Operating Requirements which are laid down as a Standard Operating Procedure. Some of these include only day light flying within visual line of sight, minimum visibility of 5 km, cloud ceiling not less than 450 m, surface winds not more than 10 knots and no precipitation conditions (rain, hail, snow) etc.
All RPAS except for Nano operating below 50 ft in uncontrolled airspace or enclosed premises and Micro RPAS operating below 200 ft, have to file the flight plan 24 hours in advance and obtain ATC briefing, Air Defence Clearance and Flight Information Centre number. In addition, local Police Headquarters needs also to be informed.
CARs also lay down detailed operating restrictions by specifying the areas where the RPAS cannot be flown. These include an area of 5 km from an airport or within permanent or temporary prohibited, restricted or danger areas as notified by the Aviation Authority of India (AAI), or without prior approval over densely populated areas, or over or near an area affecting public safety, or where emergency operations are underway, within 50 km of the international borders and beyond 500 metre (horizontal) into the sea along the coastline, within a 5 km radius from Vijay Chowk in New Delhi and from a mobile platform such as a moving vehicle, ship or aircraft. RPAS are restricted from carrying out aerial photography or remote sensing surveys over restricted areas unless specific permission is granted on case-to-case basis.
In addition, the CARs also lays down minimum standards for manufacturing of RPAS, legal obligations on the operators for any damage or prejudice caused to property or persons, requirement of third party insurance and enforcement actions against violators by way of cancellation of UIN and UAOP, besides penal actions of penalties under various sections of Indian Penal Code, and the Aircraft Rules 1934 and 1937.
At the face of it, the CARs have covered a very comprehensive ground erring on the side of laying down a restriction rather than giving it a pass. It will take quite some time for the general public to comprehend all the provisions and comply with it in order to avoid enforcement action.
As of now, the exempted category from UIN and UAOP is only Nano RPAS up to 50 ft height or Micro RPAS up to 200 ft, this is unlikely to meet the requirements of unrestricted use by a large number of civil operators who want to carry out survey and aerial photography for a multitude of operations in the businesses and industry. For that, RPAS are required to operate at higher altitudes than 200 ft and carry survey/photographic/other payloads which may not be possible with Nano and Micro RPAS (250 gm to 2 kg). The only option will be to go through the elaborate procedure of obtaining UIN and UAOP which will hinder speed and freedom.
As of now, no deliveries are permitted even if an RPAS is operating below 50 ft. This is a big restriction since the major use of RPAS worldwide is commercial and business deliveries. It is hoped that as the regulations mature over time, the provision of commercial deliveries will be allowed.
While the Digital Sky Platform provides an online platform, the multiple requirements of scanning and uploading a large number of documents, proving identity on line, applying for air defence clearances, receiving ATC briefing and obtaining flight information centre number etc. will require a level of IT literacy which may or may not be there in the general public.
Looking at it positively, it will generate employment for a clan of IT facilitators who will provide their services for on-line documentation process where called for.
Over a period of time, the CARs will have to seek an institutional linkage with the body of air space control instructions laid down by the Services. In this, while the domain of operations (civil and military) may not clash, the link will be required for commonality of provisions and operating restrictions for sensitive areas.
In sum, the DGCA must be complemented for formulating comprehensive instructions through a series of iterations of successive public interface. It is hoped that the CARS will be welcomed both by the enthusiasts and the businesses alike to start with, and the same will continue to accommodate user aspirations over time, keeping the bottom-line of the safety of manned civil aviation traffic always uppermost in their minds.
"Rules Governing Flying of Drones/ Remotely Piloted Aircrafts in India," at www.mondaq.com. Accessed 17 Nov 2018.
"Drone sighting Forces runway shutdown at Delhi Air port," at www.hindustantimes.com. Accessed 18 Nov 18.
"Delhi airport operations halted for nearly an hour over drone scare," at www. hindustantimes.com. Accessed 18 Nov 18.
"Public Notice -use of unmanned aerial vehicles/unmanned aerial systems-DGCA," at dgca.nic.in. Accessed 18 Nov 2018.
"Insertion of Unmanned in National Air Space - A Formidable Challenge", at www.defstrat.com. Accessed 18 Nov 2018.
"Overview of Small UAS Notice of Proposed Rulemaking- FAA," at www. regulations.gov. Accessed 18 Nov 18.
"Unmanned Aircraft Systems," at www.faa.gov. Accessed on 18 Nov 18.
"Unmanned aircrafts- European Commission, "at www.ec.europe.eu>aernautics>rpas_en. Accessed 18 Nov 18.
"Review of the Current Status of UAV Regulations- MDPI," at www.dpi.com. accessed 18 Nov 18.
"Government of India office of the Director General of Civil Aviation Technical Centre," at www.dgca.nic.in. Accessed on 19 Nov 2018.
(The paper is the author's individual scholastic articulation. The author certifies that the article/paper is original in content, unpublished and it has not been submitted for publication/web upload elsewhere, and that the facts and figures quoted are duly referenced, as needed, and are believed to be correct). (The paper does not necessarily represent the organisational stance... More >>
Image Source: https://iaawebsite.azurewebsites.net/images/default-source/Tiles/innerpages/1x1/1x1-ga-drones.png?sfvrsn=2
DGCA civil aviation requirements
Civilian remotely piloted aircraft
What Can India Learn from China's 'Indigenous Innovation
In recent years, 'indigenous innovation' has become the buzzw
27 मार्च 2019 का ए-सैट परीक्
भारत ने आखिरकार उपग्रह र�
Chinese Companies Marching to Lead in Digital Economy
Freedom of Expression Invoked by a Chinese Company Tik-Tok – St
5G - Deliberating the Pros and Cons
Data Pipe-Line of the Future Major telecom companies of the wo
The Inevitable Security Dilemma of the Space
The space age began with the launch of Sputnik in 1957 by the ers
Bull's Eye - Chak De India
27 March, 2019 will go down as the most memorable day of this dec
The ASAT Test of 27 March 2019
India has finally done an Anti-Satellite Technology (ASAT) test.
Breakthrough towards Resolving Century Old Riddle of Deadly
Thunderstorms are frightening and a spectacular demonstration of


So you've decided that the best move for your career is to buy a degree online. You're not alone, as this is a choice that most employees make nowadays, in order to improve their resumes and continue to accumulate valuable work experience at the same time. Still, the issue is subject to debate and not a lot of information about it is made available over the Internet because of its controversial nature. Here are a few tips to guide you through purchasing a degree from an accredited college.
If you've done a bit of research into online degree purchases, you've probably already noticed that accreditation is a frequent topic of interest. This is because accreditation holds great value in today's job market, while a degree from an unaccredited college will most likely be discredited by any employer and might even get you into trouble. To put it shortly, if a college is accredited then it means that it has underwent a long and thorough process of evaluation under the supervision of an authorized organization, during which the respective educational institution demonstrated standards up to the professions it prepares students for. In other words, accreditation shows your employer that you have received tuition from a reliable institution and that you are prepared and qualified to excel at your new job.
How can you buy a degree from such a college?
It might come as an initial surprise that well-established, reputable colleges offer degrees in exchange for a fee. However, this is a common practice today, which means that all you have to do in order to attain a degree yourself is to find a reliable intermediary online. Unlike a diploma mill, which would attempt to forge your diploma in the name of a famous institution, an intermediary would simply find a college that is willing to issue, sign and document your degree.
Simply put, your degree would not be a fake because it would come from a real, physically existing and accredited college. Furthermore, in order to safeguard your resume in the event of a background check, you can also purchase accompanying documents, such as an admission letter, reference letters, student records or transcripts, which will testify beyond doubt that you have actually attended classes at the respective college. All of these documents will be signed and authorized by college administrators so that you will never encounter difficulties or risks when using your new degree on your resume.
If you choose to purchase from a reliable intermediary and not a notorious diploma mill, your degree will be perfectly safe. This way, whenever your employers decide to run a background check on your education, they will only find the legal records of a graduate student and therefore, they will never have any reason to be suspicious of you. All in all, you will create the effect of a traditional degree at your workplace and you will do it safely, for a fraction of the cost and minimal effort.


text:
The butterflies are beginning to need counting up the Mendips!
Caroline Tetley and I and various others try to cover each week in the summer moths on a two hour walk up the Mendips counting and identifying these butterflies using a chart with pictures to help recognise each species
We started a fortnight ago and only saw three on each trip and these were peacocks and small tortoiseshell. However there will be many more very soon. It is a lovely thing to do to take this idyllic walk ;a little bit tough perhaps but very beautiful.
If you would like to join us please answer to my email address This email address is being protected from spambots. You need JavaScript enabled to view it.
Lucy White
Category: Things to Do and See
WWI Commemorative Concert
Wells Cathedral Oratorio Society will commemorate the end of the First World War with the cantata For an Unknown Soldier by Jonathan Dove and Gabriel Fauré's Requiem on Saturday 10th November.
The choir will be accompanied by the London Mozart Players, who are playing at the Cathedral for the first time. Also performing in this special concert are the Choristers of Wells Cathedral Choir, Tenor Thomas Elwin and Bass Henry Waddington. The Conductor is Matthew Owens.
For an Unknown Soldier was commissioned by the Portsmouth Grammar School to mark the anniversary of the beginning of the war and the school gave the first performance in 2014 with the London Mozart Players.
Dove said: "Facing the enormity of the First World War, I thought it wise not to attempt to say too much. I wanted to tell the story of just one man, an unknown soldier, as vividly as possible."
The London Mozart Players comment: "'For an Unknown Soldier' was totally gripping and moving and the music extraordinary. The chosen texts came at us from all angles: the soldiers and those left behind, young and old."
The composer, who will attend the performance, studied first-hand accounts of warfare then turned to the poetry of the time as concentrated text for his piece.
He explains: "From my reading, a sequence of poems gradually emerged which suggested to me one man's journey through the war: beginning with enthusiasm and the decision to enlist; going on to discover the reality of war."
A reviewer of the London Premiere in 2014 gave this description: "Dove's music was by turns viscerally dramatic, shocking, and gently poignant."
The musical experience of this powerful, emotional work in Wells Cathedral's beautiful setting is one not to be missed at this special time of remembrance.
Centenary Concert for Remembrance 1918 - 2018
Wells Cathedral, Saturday 10 November, 7pm
Jonathan Dove: For an Unknown Soldier
Fauré: Requiem
Online at: www.wcos.org.uk
In person from the Box Office at Cedars House, The Liberty, Wells.
By phone: 01749 834483 (9.30am - 12.30pm Monday-Friday).
Some tickets available from Wells Cathedral Shop: Monday to Saturday 10.00am - 5.00pm; Sunday 11.00am - 5.00pm: 01749 672773; This email address is being protected from spambots. You need JavaScript enabled to view it..net
Happy Birthday Bernstein!
Happy Birthday, Bernstein!
The centenary of the birth of Leonard Bernstein, composer and conductor, will be celebrated on Saturday 24th March with an exciting concert at Wells Cathedral. The Cathedral's Oratorio Society will mark the occasion by performing the full orchestral version of Bernstein's Chichester Psalms, with orchestra, solo quartet, boy treble, trumpets, trombone, timpani, percussion and strings. The conductor is Matthew Owens.
Two works by Aaron Copland, who Bernstein called his "only real composition teacher", are also in the evening's programme: Fanfare for the Common Man and Appalachian Spring, performed by Southern Sinfonia orchestra. Completing the American theme is Samuel Barber's Adagio for Strings.
The choir will also sing the Gloria by Sir John Rutter, Patron of the Oratorio Society. This work is often heard alongside the Chichester Psalms, and Bernstein lovers will find the final syncopated rhythm of this piece brings his music to mind.
Read more: Happy Birthday Bernstein!
Avalonian Free State Choir
Community Garden Help
Thank you to everyone who took part in the recent consultation either filling in questionnaires or attending the workshop earlier this month. It was evident that a lot of thought had been put into your ideas and suggestions. A finalized overall plan is being worked on to incorporate the ideas that will be workable for future use by all. There was a lot of consensus about certain things to be included eg woodland paths, places to sit and relax and meet people.
Read more: Community Garden Help
Repair Café.
Glorious November music in Wells Cathedral
Wookey Hole Fete

redpajama_set_name: RedPajamaCommonCrawl


Enjoy the charming style of this slim-fit, all-cotton T-shirt from Armani Exchange, featuring a..
This casual dress with v collarline features delicate crochet panel details, three-quarter flare sle..
Product Details T-shirt by Solid A wardrobe staple Crew neck Chest pocket Regular..
Give your casual look a fresh feel with the eye-opening graphics at the front and back of this Three Blind Pigs cotton T-shirt from Lucky Brand.
Start your day on the perfect casual note with the cool graphic printed at the front of Lucky B..


text:
LifestyleMusicOpinion
NO MY FRIEND, THIS AIN'T ALL THAT JAZZ
THE face of relief I had, standing in front of the urinal turned into bewilderment while in the lavatory of a pub this past weekend.
Thanks to aggressive marketing, which has advertisements in our faces even when we're having a moment with our bodies. What had me confused was the flyer of the Tembisa Jazz festival.
From the artists on the line-up, it would've been better to name it an Afro-soul festival. Sjava, Zahara and Selaelo Selota are the main acts on the bill. Only the latter is a jazz artist. Sjava and Zahara are as far from being jazz artists as Joburg is to Abuja, by foot.
Understand this, this isn't about the artists but event organisers who come up with these shows which disguise themselves as festivals. This isn't a unique problem to the Ekurhuleni Township; there was a similar and more cringing case in Soweto during the youth month at the splendid Soweto Theatre.
Dubbed the Soweto Jazz International Festival, their line-up included the likes of rapper Nasty C, Sho Madjozi, Deborah Cox, Lady Zamar and Mi Casa.
Let that sink in.
Is this a case of the suits calling all the shots, instead of having knowledgeable individuals in these crucial positions? What puzzles me is why there's this incessant obsession with jazz, when what you're presenting to attendees ain't jazz. It's blatant misleading of patrons who actually appreciate jazz, but more than that it's an unfathomable mind fuck on black people in the township who walk out of those events really believing that Loliwe is a jazz joint. Like how many people still think Kenny G is a jazz artist.
But in the defence of these kasi events, I also blame the inevitable growth of the Cape Town International Jazz Festival. What started out strictly as a jazz festival in 2000 under the name North Sea Jazz Festival- for five years, the festival was known by that name as part of the contract between the Netherlands festival and local events management company espAfrika.
From 2005 onwards, not only did the name change to what we know today as Cape Town International Jazz Festival, so too have the artists we saw on the bill. Artists who aren't jazz kats, but whose music has elements of jazz that satisfy the genre's aficionados like a 340ml, crept into the line-up.
As the festival grew, it was clear that it was morphing into a music festival for pure songs lovers- the BLK JKS, HHP, Zola, Louie Vega and many more other random artists have performed at the Cape Town event, even Lauryn Hill. But with their growth, the festival somehow manages to keep ardent jazz listeners satisfied each year, with a line-up that prioritizes jazz.
The Joy of Jazz still maintains its status as purely jazz festival, but over the years they have bent the rules, in a slick manner. Vocalist Bilal is one of their headline acts for this weekend's instalment of the festival- but Bilal's vocal dexterity just doesn't permit you to box him anywhere, which allows the festival to get away with having him on the line-up. I was in the audience with former President Thabo Mbeki, enjoying music by Gregory Porter in 2014- he too, Porter not Mbeki, is one you can't box. But in the same year, they had Billie Ocean on the line-up, which is the equivalent of having R. Kelly at a jazz festival.
As a millennial I know very well that the world is no longer as black and white as many people thought. There isn't a person who is interested in the same thing, all the time. Human beings' personalities have become more nuanced with time, largely due to the advancement of technology which exposes people to more than what is in their little village.
So the same person from Seshego in Polokwane who enjoys listening to Phuzekhemisi, also happens to be a fan of Mcoy Mrubata and knows Pharoahe Monch's lyrics back-to-back. Having said that, organisers shouldn't be thoughtless when naming festivals, in the name of pulling in a certain LSM- this is derived from the stigma around jazz which suggests that, the only people who enjoy the genre are the wealthy and sophisticated. There are many people in the swankiest places in our country who are ardent listeners of Zahara and Lady Zamar.
If your event doesn't have a slew of jazz artists, don't name it a jazz festival because it's not, otherwise you'll have us peeing on ourselves thanks to the shocking line-ups you have at these gigs.
ArtEntertainmentMusic
YOUTH OF ALL AGES HAVE A JUMP AT BASHA UHURU
Being the last day of the historic youth month, throngs of young people gathered at the Constitutional Hill to enjoy some of the country's finest artists, express themselves at the three day festival which kicked-off on Thurday.
Saturday was the much anticipated music concert that featured what you could say are different eras of South African youth. From the likes of Skwatta Kamp, Samthing Soweto,BCUC, Sho Madjozi the BLK JKS, Moonchild and Muzi.
The latter was playing his last gig in the country, before heading out to Europe for his month long tour. While he was playing Basha for the first time, Muzi gave the buoyant crowd reason to dance on Saturday night with a set that included a remix of Margret Singana's We Are Growing (Shaka Zulu theme song) to Ye's All Mine and some.
"It's dope…getting people that really vibe with the music. But that's the thing about umculo dawg, the shit is universal. You can connect with everyone if you do it proper," said Muzi. The producer from Empangeni was irritated though, by someone who he says interfered with his set. "There's a guy that kept tapping my shoulder, telling me about time and that I have to finish up. Which I really didn't like," said the producer.
"I like enjoying my music. So I'm not the stay behind decks, and look cool typa guy. Sometimes I leave it, I just press play because I've mixed it proper, and vibe with the crowd." He did that by grabbing the mic in the first half of his act, to perform one of his songs.
His European tour will see him play at Northstar in Scotland, Beatherder Festival in England and Base in Milan, Italy among others throughout July and returns just in time for Oppikoppi in August.
He doesn't prepare different for an overseas audience, juxtaposed to the audience here at home. "…Even us as black people, we're still kinda indoctrinated so we still have to relearn our culture. When I play a song uZenzile for instance, which I couldn't play here, I get the same reaction from everyone. Nathi as abantu abamnyama, we've sort of assimilated to whiteness and that's what we think success is. It has to be honest music…it can't be sugar coated to suit a certain crowd."
Madjozi's performance which was just before Muzi's was enjoyable, whilst Skwatta Kamp's energy on stage was impressive for men who no longer perform week in week out. Bar the fact that singer Relo, looked a tad uncomfortable throughout their performance. A young looking Pro (Kid) performed some of his new songs, but the crowd were eating off the palm of his and when he played classics such as Wozobona.
The BLK JKS' performance was also a big crowd puller. They had the crowd singing 'aweyawo' when they performed Molalatladi while everyone was charged up by Mzabalazo. The festival lived up to its theme, Join the Movement, which each performer did in their respective style. A scantily dressed Moonchild gave a great performance, as though channelling her inner Brenda Fassie. Black Motion's stage presence and showmanship is right up there with some of the country's best.
It was embarrassing though, when the night's MC butchered DJ Akio's name before his set began- the crowd kept screaming the DJ's actual name to correct the blunder. It's always a good sight seeing an artist who isn't on the line-up, attending an event just to have fun. I spotted Kelly Khumalo, Petite Noir and Lunga Shabalala among others in the crowd, having jump at the festival.
I was impressed by the security presence at the event, not only that but how they never imposed themselves on the patrons. I never saw one being manhandled for rolling a joint unless, they were staring trouble. I was a victim of pick-pocketing on the night, after my cell phone was mysteriously stolen, but was fortunately able to recover it with the help of a security guard and crowd members who were ironically victims of the dude with a number of phones in his pocket. He was taken-in by the security.


text:
Continue to IndieWire SKIP AD
Back to IndieWire
Indie Box Office
Emmy Predictions
Awards Spotlight Winter 2022
Influencers: Profiles of a Partnership 2021-22
Craft Considerations
Top of the Line
Consider This Conversations
Sundance Studio
Movies and TV to Buy and Stream
How to Pitch Stories and Articles to IndieWire
Advertise with IndieWire
The 75th Annual Peabody Awards Announce Latest Group of Winners: 'Mr. Robot,' 'UnREAL,' and More
The 75th Annual Peabody Awards Announce Latest Group of Winners: 'Mr. Robot,' 'UnREAL,' and More
Vikram Murthi
@@fauxbeatpoet
The 75th annual Peabody Awards are doing something a little different this year. For its 75th anniversary, the Peabody awards selected 60 finalists from which they will choose 30 winners, dubbed the "Peabody 30," that will be revealed in a series of announcements. Last week, the Peabody's announced the news and public service winners, which included "Real Sports with Bryant Gumbel" and "This American Life." Today, the Peabody's announce the eleven winners in the entertainment and children's category, which include many audience and critic favorites along with some left-field choices.
READ MORE: Spotlighting the 74th Annual Peabody Awards: 9 Noteworthy Articles to Read Before Broadcast
Some of these winners include USA's "Mr. Robot," about a cybersecurity engineer and hacker who suffers from depression and social anxiety disorder that joins a group of insurrectionary anarchists who wish to bring down a large corporation; Lifetime's "UnREAL," about a young reality television show producer who is pushed by her boss to swallow her integrity in order to drum up good ratings; "Beasts of No Nation," a Netflix film about an African warlord who trains an orphan child to join his guerrilla army; and "Master of None," a comedy that chronicles a 30-something Indian American in New York City.
Named for the American businessman and philanthropist George Peabody, the awards recognize distinguished public service from radio and television stations, along with online media and other producing organizations. The full list of winners in the entertainment and children's category is below.
"Beasts of No Nation" (Netflix): A superbly acted, strikingly photographed film about an African warlord training an orphan child to join his guerrilla army, it never loses sight of their humanity, brutal acts notwithstanding.
"black-ish" (ABC): A bright, boisterous, big-hearted comedy about an affluent African-American family working overtime to keep it real, black-ish doesn't let jokes get in the way of insights about race, class, guns and other hot-button topics that most popular entertainment shows scarcely mention.
"Deutschland 83" (SundanceTV): A suspenseful, well-acted spy drama that takes place a few years before the Soviet bloc cracked and told from the perspective of East Germans and West Germans, it reheats Cold War conflicts in surprising ways.
"Marvel's Jessica Jones" (Netflix): This one part superhero saga, one part neo-noir program asks unpopular questions about power and consent, while constructing vivid and compelling characters. Krysten Ritter helps us to discover the strengths and vulnerability of Jessica, a hard-boiled private detective who has rejected the role of superhero but must still figure out how to overcome the evil that threatens her, her friends and her community.
"Master of None" (Netflix): By turns profound and mundane, ridiculous and deadly serious, this imaginative, shape-shifting comedy chronicles the misadventures of Dev (series creator Aziz Ansari), a 30-year-old Indian-American who's still trying to figure out what to do with his life. To say it resonates with young-adult viewers is an understatement.
"Mr. Robot" (USA Network): A riddle wrapped in a mystery shrouded in a hoody, MR. ROBOT's hero, Elliot, is a tormented, anti-social cyber-security whiz caught up in techno-anarchy conspiracy. The series' twisting, turning, Rubik plot is almost as startling as its overtly anti-corporate stance. Occupy Prime Time?
"The Leftovers" (HBO): After an inexplicable global cataclysm – a massive random harvest – thins Earth's population by 140 million, the survivors in this challenging, deeply philosophical, boldly imagined drama are left to figure out how to get on with life in a world that's stopped making sense.
"Transparent" (Amazon Video): Jeffrey Tambor's transsexual Maura is not just the lead character of this bold, honest dramedy, she's the catalyst for her typically dysfunctional modern family's ongoing re-evaluation of itself. Its broadened scope and lively sense of self-awareness, along with irreverent wit and poignant moments, made Transparent's second season even stronger than the first.
"UnREAL" (Lifetime): A spot-on, behind-the-scenes send-up of ersatz "reality" shows like The Bachelor, UnREAL makes viewers care about venal producers and petty contestants even as it skewers them.
"Wolf Hall" (PBS): Based on Hilary Mantel's celebrated novels about the intrigues of Henry VIII's court, Wolf Hall is an intimate, humanized history, told from the viewpoint of the king's main man, Thomas Cromwell. Enhanced by literate scripting and superb acting with historic-location and natural-light filming, this exceptional series sets a new standard for the genre.
"Katie Morag" (CBeebies): Mairi Hedderwick's popular books about a feisty, wee, red-headed girl (the splendid Cherry Campbell) and the Scottish island community she's growing up in are exquisitely realized in this series. Timeless, perhaps old-fashioned, but never precious or blindly idyllic, Katie Morag deals honestly and gracefully with death, loss, rivalry and other serious themes.
READ MORE: Watch: 'Mr. Robot' Season 2 Trailer Promises to Change the World
Stay on top of the latest breaking film and TV news! Sign up for our Festivals newsletter here.
Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
This Article is related to: News and tagged Mr. Robot, Peabody Awards, Unreal
Get The Latest IndieWire Alerts And Newsletters Delivered Directly To Your Inbox
Listen to these IndieWire podcasts.
Sundance 2022: Burning Questions About Which Movies Will Soar as Virtual Festival Takes Off
Kristen Stewart and 'West Side Story' Snubs from SAG Reveal New Direction of the Oscar Race
Why Sundance Finally Canceled Its Physical Edition, and What Happens Next
IndieWire	Toolkit
Interviews with leading film and TV creators about their process and craft.
Oscar Cinematography Survey: The Cameras and Lenses Used to Shoot 29 Awards Contenders
'Licorice Pizza': Cutting Paul Thomas Anderson's '70s Nostalgia Trip in the Valley with Joyous Unpredictability
'The Tragedy of Macbeth': Creating a Stage from Shapes, Light, and Cinema
The 100 Best Movies of the Decade
The 15 Best Films of 2022 We've Already Seen
Every Studio Film Directed by Female Filmmakers Coming Out in 2022 and 2023
'Y: The Last Man' Still Had a World Left to Explore
Variety Media
IndieWire is a part of Penske Media Corporation. © 2022 IndieWire Media, LLC. All Rights Reserved.


text:
Q: sub appends Nil to the end in Raku my sub e($r) { printf("%d, ", $_) for 1..$r}
say e(5);

returns 1, 2, 3, 4, 5, Nil that is, the sub and/or say consistently adds a Nil to the end.
I first tried it using rakudo version 2020.02. I've tried now using the latest version 2020.12.1 and that Nil is still there. How to get rid of it?

A: Nil is the return value of the sub e.
You either want
my sub e($r) { printf("%d, ", $_) for 1..$r}
e(5);

or
my sub e($r) { map { sprintf("%d, ", $_) }, 1..$r }
.say for e(5);

redpajama_set_name: RedPajamaStackExchange


2017 New Fashion - Faherty Low-Down Price Tulum Breeze Sweaters for Women - eminiloans.co.uk: Your online clothes store !
The classic Baja poncho redefined. Features a custom designed jacquard pattern in our super-soft brushed flannel.- Chambray piping details- Custom horn buttons at sleeve cuffs- Kangaroo pocket- Relaxed, lofty fit- ImportedModel is 5'9" and wearing a size small. ChestSleeve LengthBody LengthXS37"31.75"23.75"S39"32.5"24.75"M41"33.25"25.75"L43"34"26.75"*Note: Sleeve length is measured from center back of neck. Fabric Content: 100% CottonMachine wash cold. Tumble dry low.This item may be returned with 30 days of purchase in it's original condition. If through any fault in construction or material this garment does not give you the greatest amount of comfort and satisfaction, please let us know and we'll be happy to process an exchange or refund.


text:
require 'test_helper'
require 'lib/generators/slim/testing_helper'

class Slim::Generators::ControllerGeneratorTest < Rails::Generators::TestCase
  destination File.join(Rails.root)
  tests Rails::Generators::ControllerGenerator
  arguments %w(Account foo bar --template-engine slim)

  setup :prepare_destination
  setup :copy_routes

  test "should invoke template engine" do
    run_generator
    assert_file File.join("app", "views", "account", "foo.html.slim"), %r(app/views/account/foo\.html\.slim)
    assert_file File.join("app", "views", "account", "bar.html.slim"), %r(app/views/account/bar\.html\.slim)
  end
end

redpajama_set_name: RedPajamaGithub


text:
Egypt constitution will be bad news for women, activists say
Being a woman in Egypt is far from easy. The new constitution, drafted essentially by Islamists and to be voted on this Saturday, fell short of the expectations of women's rights activists.
Egypt constitution will be bad news for women, activists say Being a woman in Egypt is far from easy. The new constitution, drafted essentially by Islamists and to be voted on this Saturday, fell short of the expectations of women's rights activists. Check out this story on USATODAY.com: http://usat.ly/10mnJgX
Mona Alami, Special for USA TODAY Published 9:00 a.m. ET Jan. 13, 2013 | Updated 9:08 a.m. ET Jan. 13, 2013
Some charge that the document's wording, drafted by Islamists, leaves room for discriminatory interpretations.
Egyptian Coptic Christian women attend Christmas midnight Mass at the al-Abasseya Cathedral in Cairo on Jan. 6.(Photo: Khaled Desouki, AFP/Getty Images)
The constitution was drafted by members of the Islamist Muslim Brotherhood, a majority in parliament
Christians and liberals resigned in protest
Document refers several times to the role of women as "caregivers"
CAIRO -- Egyptian women worry that the new Islamist constitution will allow judges to enforce abusive practices against women, even approving marriages of girls as young as 9, and some are organizing to protect their rights.
"The constitutional process was flawed from the start since the committee overseeing it was mostly comprised of men who view women's role as either sex objects or servants," says Nehad Abul Komsan, director of the Egyptian Center for Women's Rights.
The constitution, drafted by members of the Islamist Muslim Brotherhood, which won a majority of seats in parliamentary elections, was approved by voters last month in a national vote.
Christians and liberals were given a minority number of seats on the committee that drafted the document, but they resigned in protest over the direction of the draft.
The constitution has a number of articles pertaining to women; activists say they are crafted not to protect freedoms but signal to judges that women are to be relegated to certain roles.
Abul Komsan says the constitution refers several times to the role of women as "caregivers." One article says that the state will provide all necessary services for mothers and children for free and will ensure a balance between the woman's family responsibilities and work in society.
"This means that women are only viewed as mothers. Does that mean that they can be professionals after they fulfill their home duties?" she asks.
Egyptian women shout anti-Mohammed Morsi slogans during a protest in Tahrir Square on Dec. 29. (Photo: Amr Nabil, AP)
Another example is Article 36, which says that the "state is committed to taking all constitutional and executive measures to ensure equality of women with men in all walks of political, cultural, economic and social life," though it stresses, "without violation of the rules of Islamic jurisprudence."
Activists believe that the writing intentionally leaves room for discriminatory interpretations.
"Rights held by women are to be compatible with the 'principles' or rules of Islamic jurisprudence. The question is who gets to define the principles?" Abul Komsan says. "The same (Islamic) principles allow for women to be heads of states in Pakistan while banning them from driving in Saudi Arabia."
Although the article was in the previous Egyptian constitution drafted in 1971, the predominance of Islamists in the government today, since the ouster of military dictator Hosni Mubarak, means the government may be less likely to favor women's rights, activists say.
Egyptian judge Ali Mokhtar, head of the Cairo court of appeal who has criticized several clauses in the constitution, says the new constitution allows the government to determine the balance between women's rights and their role within their families.
"This broaches on society's personal ethics," he says. "The biggest problem with this constitution is with women's rights."
Outdated attitudes toward women?
Women played a pivotal role in the Egyptian revolution that forced out Mubarak in February 2011. They took part in the mass demonstrations in Tahrir Square and helped keep the movement alive by sustaining protesters.
But elections that followed the ouster have largely benefited Islamists and radical Salafists who view women according to the teachings of the Quran and Islamic traditions that in some cases have relegated women to the status of property.
Quotas for women in parliamentary elections have been eliminated. Only 11 women won seats in the two chambers of parliament, which had 805 members before it was disbanded by the courts. In Tunisia, 28% of the parliamentary seats are held by women; in Algeria the number is 36%.
Some items pertaining to females that were in the previous constitution are not in the new one, like the clause that had set a minimum age for girls to be allowed to marry and criminalizing trafficking of female minors.
"With the new constitution, fathers are allowed to marry off their daughters at any age, even as young at 9. This often happens in rural areas where poor families sell their daughters to rich men," says human rights activist Noha Abdel Razek.
The new constitution has also failed to secure women's rights in education and equal work opportunities, referring to Article 64 that speaks of women's "capability rather than competences" in employment, Abdel Razek says.
"This means that the state would allow for men to be favored in the place of women with better competencies, because (women's) performance is likely to be constrained by family obligations," she says.
An Egyptian woman displays cut hair during a demonstration in Cairo's Tahrir Square on Dec. 25. Women cut their hair to protest the Islamist-oriented constitution. (Photo: Ahmed Abd El Latef, AP)
Disenfranchised, especially in rural areas
Activists agree that those who will bear the brunt of discrimination are women in poor and rural areas, where traditional societies are unforgiving to females. In the past few months, several unveiled women were victimized. In December, an Egyptian Coptic woman had her hair cut off and was thrown from a Cairo train by two women wearing the Islamic niqab, which covers the entire face with a slit for the eyes.
It was the third incident in one week as reported by the independent Al-Shorouk newspaper. In November, a teacher in the Upper Egyptian governorate of Luxor cut the hair of two female pupils as a punishment for not wearing hijabs, or head scarves. Disciplinary action was taken against her.
"The problem is not just with the constitution but with the society. Having a perfect constitution is not enough," says Nora Fath, associate instructor of social studies at a local international school. "We need social programs to create awareness about women's rights, especially among the more disenfranchised classes."
Read or Share this story: http://usat.ly/10mnJgX


text:
Earth Defense Force
Platform: SNES
Tags: Shooter, Scrolling, Horizontal
Developer: Jaleco Entertainment
AKA: Super E.D.F. (JP)
Jaleco Entertainment
01/??/1992
View all 5 available Earth Defense Force images
Earth Defense Force review
Reviewed January 13, 2004
Marc Golding says: "The only thing that we likely have forever branded on our crumpled shmupper's ego is the painful memory of that relentless, recalcitrant, snapping turtle head. Flashbacks of his refusal to let you win, to let the immemorially inevitable story of the hero beating back the wicked and saving earth take its course, will haunt you until the world ends. Did you used to cheer for Cobra during G.I. Joe reruns? Score one for the bad guys! "
Reviewed March 14, 2004
sinner says: "If you take a child to an expensive restaurant, he'll stare vacantly at the menu. He'll skip past the forty dollar steaks slathered in twenty dollar mushroom sauce. He wants nothing to do with anything called ''parmigiana'' or ''primavera.'' He'll search the menu with a look of desperation and defeat as he cannot find macaroni and cheese with cut-up hot dogs, a dollar-store bargain meal he loves for lack of exposure to better food. "
More SNES Games to Consider...
Darius Twin
Gradius III
Release Date: August, 1991 (North America)
Release Date: September, 1991 (North America)
At HonestGamers, we love reader reviews. If you're a great writer, we'd love to host your Earth Defense Force review on this page. Thanks for your support, and we hope you'll let your friends know about us!
None of the material contained within this site may be reproduced in any conceivable fashion without permission from the author(s) of said material. This site is not sponsored or endorsed by Nintendo, Sega, Sony, Microsoft, or any other such party. Earth Defense Force is a registered trademark of its copyright holder. This site makes no claim to Earth Defense Force, its characters, screenshots, artwork, music, or any intellectual property contained within. Opinions expressed on this site do not necessarily represent the opinion of site staff or sponsors. Staff and freelance reviews are typically written based on time spent with a retail review copy or review key for the game that is provided by its publisher.


text:
#pragma once

//////////////////////////////////////////////////////////////////////////////////////////////////
//
// file: model_3d_decal.h
//
//	Author Sergey Solokhin (Neill3d)
//
//	GitHub page - https://github.com/Neill3d/MoPlugs
//	Licensed under BSD 3-Clause - https://github.com/Neill3d/MoPlugs/blob/master/LICENSE
//
///////////////////////////////////////////////////////////////////////////////////////////////////

//--- SDK include
#include <fbsdk/fbsdk.h>

#include "compositeMaster_object.h"
#include "compositeMaster_shaders.h"

//--- Registration define

#define DECAL__CLASSNAME	ModelDecal
#define DECAL__CLASSSTR		"ModelDecal"
#define DECAL__DESCSTR	    "Model Decal"

//////////////////////////////////////////////////////////////////////////////////////////////////////
/**	ModelDecal.
*/
class ModelDecal : public ObjectCompositeMarker
{
	//--- FiLMBOX class declaration.
	FBStorableClassDeclare( ModelDecal, ObjectCompositeMarker );

public:
	ModelDecal(const char *pName, HIObject pObject= NULL);

	//--- FiLMBOX Construction/Destruction,
	virtual bool FBCreate() override;		//!< FiLMBOX Creation function.

	/** Clone the model.
        *    This will duplicate the current model.
        *    \return Newly created model.
        */
    virtual FBModel* Clone() override;

    /** Override to reuse regular marker object type's property viewSet.
    */
    virtual bool UseCustomPropertyViewSet() const override { return true; }

	static void AddPropertiesToPropertyViewManager();
	static void AddPropertyView(const char* pPropertyName, const char* pHierarchy, bool pIsFolder=false);

	/** Function to overload to handle custom display
    *    \return True is this model class has custom display function ModelDisplay
    */
    virtual bool HasCustomDisplay() override
	{
		return true;
	}

    /** Custom display function, called when HasCustomDisplay returns true;
    *    \param    pCamera                  Current camera for display.
    *    \param    pShadingMode             Shading mode to render see FBModelShadingMode.
    *    \param    pRenderPass              Actual rendering pass, see FBModelRenderPass.
    *    \param    pPickingAreaWidth        Width of picking area.
    *    \param    pPickingAreaHeight       Height of picking area.
    */
    virtual void CustomModelDisplay( FBCamera* pCamera, FBModelShadingMode pShadingMode, FBModelRenderPass pRenderPass, float pPickingAreaWidth, float pPickingAreaHeight) override;

	virtual bool PlugDataNotify(FBConnectionAction pAction,FBPlug* pThis,void* pData=NULL,void* pDataOld=NULL,int pDataSize=0) override;
	virtual bool PlugNotify(FBConnectionAction pAction,FBPlug* pThis,int pIndex,FBPlug* pPlug,FBConnectionType pConnectionType,FBPlug* pNewPlug ) override;

	/**    Store and Retrieve function that can be overloaded.
        *    \param    pFbxObject    FBX Object that is used to communicate I/O operations.
        *    \param    pStoreWhat    Which attributes are currently stored/retrieved.
        */
	virtual bool FbxStore(FBFbxObject* pFbxObject, kFbxObjectStore pStoreWhat) override;
	virtual bool FbxRetrieve(FBFbxObject* pFbxObject, kFbxObjectStore pStoreWhat) override;

public:

	FBPropertyBool					Enabled;
	FBPropertyAnimatableDouble		Opacity;

	FBPropertyBaseEnum<ECompositeBlendType>	BlendMode;		//!< type of blending two images

	FBPropertyListObject				Texture;

	// resolution comes from connected texture

	FBPropertyAction					Refresh;

	// read-only informative properties
	FBPropertyDouble                    ResolutionWidth;        //!< Read Write Property: Resolution width.
    FBPropertyDouble                    ResolutionHeight;       //!< Read Write Property: Resolution height.
    FBPropertyDouble                    AspectRatio;			//!< Read Write Property: Pixel aspect ratio.
    FBPropertyBool						UsesStoryTrack;
	FBPropertyString					VideoClipPath;

	// store camera settings
	FBPropertyDouble                    NearPlaneDistance;      //!< Read Write Property: Near plane distance.
    FBPropertyDouble                    FarPlaneDistance;       //!< Read Write Property: Far plane distance.
    FBPropertyCameraType                ProjectionType;                   //!< Read Write Property: Type of camera
    FBPropertyAnimatableDouble          FOV;            //!< Read Write Property: Field of View (used when in horizontal or vertical aperture modes).
	FBPropertyAnimatableDouble			OrthoScale;

	// color correction per decal
	FBPropertyAnimatableDouble			Contrast;
	FBPropertyAnimatableDouble			Brightness;
	FBPropertyAnimatableDouble			Saturation;

	FBPropertyAnimatableDouble			Gamma;

	FBPropertyBool					Inverse;	// inverse colors

	FBPropertyAnimatableDouble		Hue;
	FBPropertyAnimatableDouble		HueSaturation;
	FBPropertyAnimatableDouble		Lightness;

	//

	FBPropertyAction					GrabValues;
	FBPropertyAction					ApplyToCurrent;
	FBPropertyAction					ApplyToPerspective;

	static void SetRefresh(HIObject object, bool value);
	static void SetGrabValues(HIObject object, bool value);
	static void SetApplyToCurrent(HIObject object, bool value);
	static void SetApplyToPerspective(HIObject object, bool value);

	void	UpdateProjectionMatrices();

	const double *GetModelViewMatrix() const {
		return mModelView;
	}
	const double *GetProjectionMatrix() const {
		return mProjection;
	}
	const double *GetFinalMatrix() const {
		return mFinalMatrix;
	}

	const GLuint64	GetTextureAddress();

	void MakeTextureResident();
	void MakeTextureNonResident();

	void BindTexture(const GLenum slot);
	void UnBindTexture(const GLenum slot);

	void RefreshConnectedTexture();

protected:

	GLuint				mLastTextureId;
	GLuint64			mLastTextureAddress;

	// constructed matrices for the projection decal object
	FBMatrix			mModelView;
	FBMatrix			mProjection;
	FBMatrix			mFinalMatrix;

	HdlFBPlugTemplate<FBComponent>	mSettings;

	void DoRefreshTextureInfo();
	void DoGrabValues();
	void DoApplyToCurrent();
	void DoApplyToPerspective();

	void DoApplyToCamera(FBCamera *pCamera);

	void ComputePerspectiveMatrices();
	void ComputeOrthoMatrices();

	void ComputeFinalProjectorMatrix();
};


text:
namespace CommandPattern::Variant1
{
}


Cleargenix Cream - Benefits, Side Effects, Price & Where to Buy?
What is this advanced product all about?
Do you want to do away with acne instantly? Do you want to attain a natural-looking skin within weeks? And do you want to improve your overall appearance? If yes, then try out the all-new and exciting skin care product that is launched newly on the market called as Cleargenix Cream. This one assures to eliminate acne immediately, leaving your skin absolutely fresh, balanced, and refreshed.
This product is created mainly to eliminate acne. But, it is also great for nourishing your skin and boosting its immunity to forbid breakouts. On top of this, the formula is also excellent for taking off the look of other signs of aging like wrinkles and more.
Considered as an advanced acne treatment, this one is a dermatologist-created formula that assists in reducing acne straight away deprived of any side-effect or scarring. Created with a combo of clinically and medically tested ingredients, this formula absorbs the epidermal layers to not only remedy already existing acne. In fact, it is also effective for neutralizing toxins and acne-causing bacteria at the source. So, try this exciting product if you truly want to get rid of acne and other skin-related issues. Continue reading to find more.
The makers have put only the best and effective ingredients in Cleargenix Cream so that the users don't meet any kind of adverse side-effects. Formulated with a stack of ANTIOXIDANT MOLECULES, active PEPTIDES, and the all-natural goodness of 100% safe herbal extracts, this formula is utterly effective in nature. This one is an affordable substitute for synthetic procedures and treatments that cause a hell lot of harm to your skin. You can check the product's label to find more about the ingredients. Hence, you can doubtlessly use this advanced treatment.
Well, Cleargenix Cream works in an all-natural way to eliminate acne and other skin-related problems. The following are the reasons which will help you to build your decision whether you should go along with this product or not.
This formula supplies an anti-bacterial dose to your dermal matrix, neutralizing and eliminating the acne-causing bacteria. In short, the formula is effective for reducing acne from your skin.
Cleargenix Cream helps in repairing and restoring your skin, making it look supple and firm. Also, it eliminates other age spots like fine lines and wrinkles.
Considered as an effective acne treatment, it assists in preventing the new acne breakouts. Also, it makes the skin surface free of bothering age spots.
You have to consult a dermatologist to find out the best use of Cleargenix Cream. Else, follow the guidelines which are mentioned on the product's label. Make sure you use this product as per the proper guidelines only. Use this product for at least a few weeks to attain complete results.
REMOVES ACNE– Cleargenix Cream kills the acne-causing bacteria, leaving your skin clearer after just one application.
PREVENTS BREAKOUT– The daily use of this formula will fortify and nourish your skin so as to forbid acne breakouts.
RELIEVES INFLAMMATION– This formula offers antioxidant support to fight free-radical damage and lessen inflammation.
REDUCES SCARS– This cream lightens the acne scars immediately, making your skin appear vibrant and clear.
CLEARS BLACKHEADS– The deep-action formula reduces the skin pores, remedying whiteheads and blackheads.
IMPROVES SKIN HEALTH– This cream enhances skin hydration and nourishment so as to improve your skin health and let you attain a beautiful appearance.
The treatment for the acne-free skin!
Cleargenix Cream advanced acne formula is a dermatologist formulated solution to take off acne immediately without any irritation or scarring. This formula lets you attain acne-free, younger-looking appearance that other products can't furnish. Mainly, it works to FORTIFY, NOURISH, and CLEAR your skin. So, try it today!
Indeed! As specified above, Cleargenix Cream is made up of 100% natural and pure ingredients only so it is utterly side-effect free in nature. The ones who will use this formula will surely attain natural results and that too within a few days only. You just have to use this product according to the guidelines. But yes, the individual results may vary. So, use it without any doubt.
Martha says, "Cleargenix Cream removed acne and nourished my skin, within a few days only. The daily application of this cream boosted the immunity of my skin, making it look youthful and beautiful as well.
Where to buy Cleargenix Cream?
To place the order of Cleargenix Cream you need to fill the shipment form that is accessible right at the end of this page. Fill the form cautiously and place your order today itself. Hurry up users, act now, and book your package today!
Are there any monthly packages available?
Yes, right now Cleargenix Cream is available in 3 mind-blowing offers which users can avail as per their requirement. The following are the details of the offers. Have a look at them before buying.
Previous Article Nutrition Hacks Memory Hack – Ignite Your Brain Power And Memory!
Next Article Size Vigra : Aproveite a vida sexual exótica que você merece!


A few years ago, Dr. Robert Beard compiled a list of the 100 funniest words he had come across in nearly a decade of daily vocabulary emails he would send to hundreds of thousands of people.
Here's the list of his 100 funniest English words. I've always been a fan of brouhaha, canoodle, doozy, flibbertigibbet, hootenanny, kerfuffle, ornery, rambunctious, shenanigan, skedaddle, and troglodyte.
Which one is your favorite? Any funny words you think should be added to the list?
I'm usually in the camp that it's better to use a majority of simple, short, old words that are accessible to readers when writing fiction. I am not amused or impressed by authors who have a love affair with their thesaurus and shove every possible multisyllabic word into their text. Once again, I am looking at you, Christopher Paolini.
But if there's a fun word that fits naturally in the tone of the novel, throw one in every once in a while! One per scene, one per page, one per paragraph, more—you decide. Make it a word readers will circle in their books because they love it and want to use it in conversation during their lunch break. Just remember, you want to be readable, not detestable. Understandable, not put-down-able.
Clearly, if you measure word length to funny bone impact, there is but one "funniest word" (not counting onomatopoeic words) and that word is "OAF." Sounds funny, a hoot to say and it's definition clearly seals the deal!


There are two kinds of music: one that turns over its fat, pulpy belly and swallows you up like a mouthless wound, later brews you to death with its copious amount of shameful insides; and one that pulls an Amadeus wearing a Ludwig's wig, flamboyant in its very expression and, like a pied piper, lures you into the purgatory of eternal memory of its indigestible tune.
At least for me it is so, and for the good ten years of my young, burgeoning composing career I had been writing music that for the most part sounded like the second type, and only when in the middle of composing Melancholia (2011-12) earlier this year I was suddenly aspired to attempt making a piece that sounds like the first type.
I do not know why it took me so long to arrive at this point, to realize a way of thinking and of composing which may be by far the most agreeable manner to my being as a person. A pervert keen to self-exposition rather than self-exhibition, I have grown up through lusts for sinful acts of confessions and for declaration with a bleeding heart. Psychological self-mutilation has become the source of euphoria in which I seek my imaginary audience whom I allow to penetrate my dignity with tender thrusts. The lack of consistency in character made me who I am — the reflection of my dreams.
Perhaps I merely came around through a full-circle from where I started. As a late bloomer, I started taking composition lesson (and yes, started actually composing) when I was seventeenth, under the tutelary of Ya-Ming Hsu (許雅民) in Taiwan. My first three pieces were the totality of my portfolio for music school applications in 2002. When I composed my third piece for the portfolio I had a fever, and with a tea table set next to my bed, I spent three sleepless day-nights scribbling down a thirteen-minute piece for pipa, Nan-guan sheng, violin, cello, and percussion. Confused and congested, I disgorged Night Split (2002) which can barely be called a composition – it was a meaningless ramble written without being first heard yet stubbornly hardened through an operational structure within a strict gestural frame. The writing itself was a torturous journey. It felt like a lengthy, meticulous, and painful surgical cleansing of my whole sick body during which the viscid pus of my inflicted soul thickened inside my throbbing, burning head had excreted forth and smeared across a long stretch of sound that is inconsistently dissonant, blatantly out of control. Although I am no score-burning maniac perfectionist, the piece is obviously something I would not show to anyone nowadays who knows my existence as a composer. However, something in that piece and in my participation of the rehearsal and recording process of that and the other two pieces has recently come back to my meditation of creating music and of myself. I remember that the fever and cold still possessed me during the time I rehearsed, performed (my vocal piece), and recorded in studio those three pieces. I could barely hear anything through my congestion and heavy head, and with blood-shot eyes and swollen, sore face and limbs I half-danced, half-conducted the two instrumental works that I resembled an exorcised version of Bjork Gudmundstottir undergoing severe agony.
The complete absorbance of and immersion in the very core of my subconscious psyche as if experiencing a trance, and the honest, shameless outward expression coarsely displayed in music and in my experience of writing and hearing music now return in the shape of dream and form. The question of space, saturation, and both chronological and psychological time ensues. It is a sticky ground: how do I create a piece of music that immerses the audience in a supersized yet intimate personal space of mine (vertical, textural, minimalistic and spectrally respected music) while at the same time engaging and celebrating the intricate and sophisticated musical narrative development (linear, with minute changes in voice-leading, harmonically progressed music)? How do I turn over my belly, drowning my audience with the pulsating interior of my being (with the least self-conscious) while performing one or more consequential pied piper tunes powerful enough to confuse the listener's sense of direction? In short, how do I build a quaint sound architecture while housing a complex unfolding of the time?
I did not truly ponder upon this question until I came back from Paris in early January. By then I was working on Melancholia (2011-12) for Talujon Percussion Quartet's residency at Brandeis University in March. I was troubled by the fact that deep into the fifth minute of the piece the music still yet to reach the first grand attack arrival I sketched out a while ago; that attack would just be the conclusion of the first event of the piece and there were many more coming up afterward. I knew the piece would be at least fifteen minutes long, but the actual progress of the beginning development worried me.
– one large gesture that is the form of the whole 15-minute music, metaphorically speaking it is a monster waking up in a cave with a stretch, a grunt, and a yawn. This will be the envelope of the piece.
– countless tiny gestures that gather and produce the body of the sound. They are introduced by accident or by succession to other materials but are made logical and rhetorical locally through counterpoint or internal distortion. They, along with each other, create illusions of multi-layered linear narratives which may disperse or become "something" through affiliation. However, no matter how busy and developmental they are, these gestures barely contribute to the driving and changing of the large formal envelope that was predesigned.
– Many narratives are created – in details and in large formal development, yet nothing of these diverts (while being perceived nonetheless) the audience's perception of an overall acoustic space.
I used to think of composing in terms of sections, climaxes, change of structural dynamics, and most of all, transitions. With this revelation and new approach, I realized I freed myself from the ongoing, unsatisfactory consideration of transitions and musical "episodes", instead, I concentrated on forcing myself to let go certain things that were, for a long time, ingrained in the trained ears of mine, certain things I had gradually gained control of over these few years of craft-refining: details in pacing, exact timbre, the right moment for the main musical climax, the overarching dramatic discourse, and so on. Now I had to force myself to feel okay with things that are made inevitable, out of control, self-evolving, and self-generating. I still have the control over the total large envelope of the piece and of the localized details, but I should no longer try to shape the foreground and mid-ground materials to serve the underlying background structure. And whatever occurred from the process of these "petals"' minute developments or operations should become to me at times expected and at times surprising. Thus the interior of the piece is organic and all-encompassing like a Godspell secret garden while the outer shape of the music tells a quite different story.
This change of my thinking has its implications. My reconsideration of the musical form and of composing mechanism and operation made me look back, with new understanding, on the music I formerly enjoyed very much yet could not aesthetically approve — repertoires branched out or affiliated with the schools of American minimalism and of French spectral music. It does not mean that I am starting to write minimalistic music or spectral music, but that I now truly recognize the significance of their achievements and appreciate their influences over two generations of composers educated under the western classical music canon. The reminiscence of myself as a teen basked in the spring of uncontrolled hormone immersed in a dark realm of melancholia is poignant; I now acknowledge my internal ability to lose control of the surroundings while being inside my own imaginarium, my ability to feel the thrill and ecstasy of leaving things to their own doing. I now attempt to enjoy the consequence of writing a passage of music that would not be heard until it is inscribed on the paper, just as how I mindlessly scribbled down Night Split (2002) with a fervent frantic (except for that by then I did not want it to happen). I now try, instead of to control and shape, to let morph and navigate the music I want to hear. I respect Melancholia (2011-12) as a piece I was creating, but also as a living organism that forms itself as the writing progresses, and I recognize the actual, resulting beauty this balance of design and evolution will produce at the end.
The result – the piece once done – is what I wanted and what I did not know I want. After its premier I can still find faults and problems in the piece which might be caused by the inconsistency of my compositional process or the unfavorable steps taken due to the need of meeting the deadline, but something essential in the piece and in the way I thought while composing this piece (and future pieces) had changed, and I hope the change has come across and is audible in the performance. I sincerely wish Melancholia (2011-12) to be a successful manifestation of my creative return to the appropriating and encountering of my belly-flipping, confessionary intimacy, a brooding dark space made luminous and beautiful.


text:
Q: random vagrant failures due to Connection timeout errors I am trying to run vagrant inside a VM and unfortunately it fails at random counts (It used to fail every other time). But when I set the log level to debug and run vagrant up it does not error out. Looking for advice on how to debug this issue.
host machine: rhel 6.5 (Santiago) 2 core 4G ram, ESXi 5.1
guest machine: rhel 6.5 (Guest Additions Version: 4.1.18)/centOS 6.5 (Guest Additions Version: 4.3.8)
Vagrant version - 1.6.5
VirtualBox 4.3.20
Chef Development Kit Version: 0.3.6
vagrant plugins
vagrant-berkshelf (4.0.2)
vagrant-login (1.0.1, system)
vagrant-omnibus (1.4.1)
vagrant-share (1.1.3, system)
failed run
Bringing machine 'default' up with 'virtualbox' provider...
    default: The Berkshelf shelf is at "/root/.berkshelf/vagrant-berkshelf/shelves/berkshelf20150206-18541-kdy12t-default"
==> default: Sharing cookbooks with VM
==> default: Importing base box 'rhel65-1.0.0'...
==> default: Matching MAC address for NAT networking...
==> default: Setting the name of the VM: XXXXXXXXXX_1423257225720_47393
==> default: Clearing any previously set forwarded ports...
==> default: Updating Vagrant's Berkshelf...
==> default: Resolving cookbook dependencies...
==> default: Fetching 'XXXXXXXXXX' from source at .
==> default: Using XXXXXXXXXX (1.2.0) from source at .
==> default: Vendoring XXXXXXXXXX (1.2.0) to /root/.berkshelf/vagrant-berkshelf/shelves/berkshelf20150206-18541-kdy12t-default/XXXXXXXXXX
==> default: Fixed port collision for 22 => 2222. Now on port 2200.
==> default: Clearing any previously set network interfaces...
==> default: Preparing network interfaces based on configuration...
    default: Adapter 1: nat
    default: Adapter 2: hostonly
==> default: Forwarding ports...
    default: 22 => 2200 (adapter 1)
==> default: Booting VM...
==> default: Waiting for machine to boot. This may take a few minutes...
    default: SSH address: 127.0.0.1:2200
    default: SSH username: vagrant
    default: SSH auth method: private key
    default: Warning: Connection timeout. Retrying...
    default: Warning: Connection timeout. Retrying...
    default: Warning: Connection timeout. Retrying...
    default: Warning: Connection timeout. Retrying...
    default: Warning: Connection timeout. Retrying...
    default: Warning: Connection timeout. Retrying...
    default: Warning: Connection timeout. Retrying...
    default: Warning: Connection timeout. Retrying...
    default: Warning: Connection timeout. Retrying...
    default: Warning: Connection timeout. Retrying...
    default: Warning: Connection timeout. Retrying...
    default: Warning: Connection timeout. Retrying...
    default: Warning: Connection timeout. Retrying...
    default: Warning: Connection timeout. Retrying...
    default: Warning: Connection timeout. Retrying...
    default: Warning: Connection timeout. Retrying...
    default: Warning: Connection timeout. Retrying...
    default: Warning: Connection timeout. Retrying...
    default: Warning: Connection timeout. Retrying...
Timed out while waiting for the machine to boot. This means that
Vagrant was unable to communicate with the guest machine within
the configured ("config.vm.boot_timeout" value) time period.

If you look above, you should be able to see the error(s) that
Vagrant had when attempting to connect to the machine. These errors
are usually good hints as to what may be wrong.

If you're using a custom box, make sure that networking is properly
working and you're able to connect to the machine. It is a common
problem that networking isn't setup properly in these boxes.
Verify that authentication configurations are also setup properly,
as well.

If the box appears to be booting properly, you may want to increase
the timeout ("config.vm.boot_timeout") value.

UPDATE:
I took a snapshot of my VM, based on the instructions from this blog: http://www.dedoimedo.com/computers/virtualbox-screenshot.html
The error I get in the guest VM:
MP-BIOS bug: 8254 timer not connected to IO-APIC
kernel panic - not syncing: IO-APIC + timer doesn't work! Boot with apic-debug and send a report. Then try booting with the 'noapic' option.

pid: 1, comm: swapper Tainted: G W -------- 2.6.32-431.el6.x86_64 #1

A: have a look here Vagrant stuck connection timeout retrying it should give you all the answers you need.
What I would recommend to do in the first place is:

*

*Upgrade your Vagrant to the latest version right now it looks it is 1.7.2 and you are using 1.6.5.

*Add this to your Vagrantfile
Vagrant.configure(VAGRANTFILE_API_VERSION) do |config|

  config.vm.provider "virtualbox" do |vb|
    vb.gui = true
  end

end

It will make VBox to start your Vagrant build VM in GUI mode.
Make sure it starts properly and you are able to log in to it with username: vagrant password: vagrant (this should be standard credentials set up on your base box).

*Then try to SSH to your running VM from host system. Using the same vagrant/vagrant credentials.

*If 2 & 3 are working fine then you could try to add this to your Vagrantfile:
(you can leave the previously specified GUI for VBox there as well if you wish)
Vagrant.configure(VAGRANTFILE_API_VERSION) do |config|

  config.ssh.username = "vagrant"
  config.ssh.password = "vagrant"

end

vagrant up your VM again and see if this will work.

*If all previous steps won't work for you I would go through all recommendations in the link I've provided above. Mainly VT-x enabled in BIOS, firewall off settings on Guest VM.

Hope this helps a bit. I am also starting with Vagrant now and it is not as easy as I thought it will be :) Good luck !!

A: After trying various options available on different portals, Finally, I did avagrant destroy
followed by vagrant up and it worked for me... :)

A: In VMbox got to setting -> system -> motherboard there you will find extended features "Disable" all the features. Now start at the boot time press esc after the logo disappear. there you will get 3 options in that select the second option having "recovery" written and your system will work. By this your error "MP-BIOS bug: 8254 timer not connected to IO-APIC
kernel panic - not syncing: IO-APIC + timer doesn't work! Boot with apic-debug and send a report. Then try booting with the 'noapic' option."
is solved.


Elegance Set of 8 Silver Plated and Pressed Glass Mini Salt & Pepper Shakers, 1.75"H, 1" dia.
Creatively designed with your needs in mind. Elegance Silver is the missing ingredient to any great dinner party. Upgrade your title to host of the year with quality serve ware, dishware, table decor, and more! Elegance Silver is perfectly ideal for any home kitchen, commercial kitchen, or occasion. Don't settle for an inferior product, chose Elegance Silver.. Pressed Glass Mini Salt & Pepper Set.. The set of 8 shakers are shaped to give the table top a modern look.. The clean lines and plain design make these a great addition to almost any table top.


text:
#ifndef CTINYXMLWRAPPER_H
#define CTINYXMLWRAPPER_H

/*
	2010-12-06
	Kapselung der TinyXML-Libraries: TINYXML_USE_STL angeben beim Linken!
*/

#include "dll_main.h"
#include <tinyxml.h>
#include <string>

namespace AtalantaEngine
{
	class ATALANTA_EXP CTinyXMLWrapper
	{
	public:
		inline CTinyXMLWrapper();
		inline CTinyXMLWrapper(std::string pvsFileName);

		virtual ~CTinyXMLWrapper();

		inline void OpenFile(std::string pvsFileName);

		inline bool GetFileOpen();

		inline TiXmlHandle* GetNodeByID(std::string pvsNodeName); // Ein Node anhand des Elementnamens auslesen

	private:
		TiXmlDocument* mvoCurrDocument;
		TiXmlHandle* mvoCurrHandle;
		bool mvbFileHandle;
	};
}

#endif


Ferrari, the world's Top automotive brand, is an iconic performance machine, and not just its Supercars.
A look the financial performance shows exceptional performance, too.
No car maker in the sluggish, low valation sector has data that apply to Ferrari.
The Q-1 data showed strong earnings of 0.96/share beat estimates by 0.12/share, while revenue grew 1.2% to $991.3-B just shy of $1-B.
Those earnings are up 20% Y-Y from Q-1 Y 2017. On the revenue front, sales actually grew 6.3% adjusted for currency fluctuations.
And, look at just how much the bottom line expanded Vs the top line, which shows a strong widening in margins.
Unlike a number of stocks on your screens, Ferrari is not a big beneficiary of the overhauled US corporate tax code. While it did have a lower tax rate this year than in the same Quarter of Y 2017, it was down just slightly from 28.5% last year to 27.9% this year.
Ferrari's operating cash flow rose 40% Y-Y, while free-cash flow jumped more than 14%.
It then is no surprise that Thursday shares rose to new all-time highs, and then new highs Friday, finishing at $137.08 on the day.
Sporting EBIT margins of 25.3% for an automaker is amazingly good. Net profit margins came in at nearly 18%. Ferrari now boasts a market cap North of $24-B and not to long ago it was about $10-B.
1st, the company's transition to some of its V12 engine offerings are going very well.
Ferrari pricing and personalization programs also helped profitability, the bespoke program benefits margins, as we saw that in Ferrari's Q-1 Y 2018 results.
In Q-2, Ferrari fans can look forward to deliveries of the new Portofino, its hardtop convertible model that replaces the California T.
I look for the Portofino to find higher demand than the California T and to hold its resale value (better).
A strong global economy is also a driving force.
The global economy is heating up. Confidence is high and each region of the world Ferrari sells to saw a Y-Y increase in shipments. In fact, the Americas region was among the lowest performers, contributing growth of just 4%, I remember when Southern California accounted for about 40% of Ferrari's sales.
China, Hong Kong and Taiwan was the best-performing region, with shipments up 14%. Overall, shipments rose 6% for the Quarter.
Ferrari has ascended to the status of Aristocrat in the stock world too, nothing else compares!


text:
Talking Punk, Pizza and Zen With Teenage Bottlerocket
pennywise, rise records, Tales from Wyoming, teenage bottlerocket, the trocadero
by Geno Thackara
Look through the Teenage Bottlerocket catalogue and the first glance already tells you these guys are consistent. You see a series of covers using the same skull-and-arrows logo with changing colors – Warning Device uses the familiar yellow of hazard symbols, for instance, and the horror-spoofing They Came From the Shadows has a black and slime-green scheme straight out of Tales From the Crypt. Underneath the different shadings they like to stick to the basics. Fun catchy hooks and hard-rocking grooves are the order of the day, mostly at just the speed & volume that mindless headbanging was made for.
They stick to the pattern with the latest offering Tales From Wyoming (due March 31), borrowing the red and blue of their state flag for the cover, but life behind the scenes is a little different this time. This is the band's first release with Rise Records – a partnership aimed at giving them a further boost and reaching more new audiences to convert.
"Rise has been great!" bassist Miguel Chen enthuses about the newest step. "We're super-stoked about working with them so far. Bill brought a lot to the table as a producer – he helped push us harder and we were really happy with how the record turned out!"
That would be Bill Stevenson (of Descendents and Black Flag), the first outside producer the band has gotten to fully man the console after at least partly producing every previous recording themselves. That pushing has helped refine their reliable strengths and add the right dose of variety (a small one). "There are a couple curveballs, but nothing too crazy," Chen says about the newest disc. It's still a solid half hour of silly fun, whether they're singing about relationships, werewolves or their favorite pizza place.
Another fun twist in the life of a punk rocker: he's been developing an interest in Buddhism and yoga in recent years. "I got into meditation and Buddhism to sort of deal with the loss of my mother and sister," he explains. "I had a lot of sadness for many years because of that, and eventually a friend of mine gave me a copy of Dharma Punx. That book changed my life."
No, that doesn't quite mean he's been adding Asian motifs to the songs or perhaps leading the other guys in morning Zen meditation on the bus (as fun as that may be to imagine). "I think the music hasn't been affected, but doing yoga definitely helps keep me in shape on the road."
They've got a lot of road ahead of them, currently tearing around the US and Europe straight through the start of summer. "I don't believe we are going anywhere new this time around," Chen says, "but it should be a really fun tour! I would like to play one show in South Africa. So far we've done shows in North America, South America, Australia, Europe and Asia, so having one show in Africa would be amazing!"
When it comes to other artists they'd love to share that stage with in the future, he simply says Metallica – probably no surprise to anyone who noticed the dozen or so references to that band squeezed into the new single "Nothing Else Matters (When I'm With You)" in the span of three and a half minutes. Still, if they've reached the point where legends like Bill Stevenson and NOFX have become colleagues, who's to say what partnerships are still to come?
Teenage Bottlerocket comes to the Trocadero tonight!


text:
Q: HttpServlet - How to know if SSL Client Authentication is used I have a Servlet container (Glassfish/OC4J) which service some JAX-WS web service endpoints which can be reach using HTTPS. The SSL is configured to support both Client Authentication and Server only authentication (like client-auth="want" on Glassfish).
In my endpoint implementation I want to know if the connection was done with or without Client authentication. I already have access to the HttpServletRequest object, but the getAuthType() method is always returning null, no mater if Client auth is done or not (checked using wireshark to be sure it does what I want).
Does anybody knows how to have access to such info ?
Thanks a lot

A: The javax.servlet.request.X509Certificate request attribute should return an array of java.security.cert.X509Certificate.
You can get it from your request using:
X509Certificate[] certs = req.getAttribute("javax.servlet.request.X509Certificate");

If non-null, and if it contains something, the first element (certs[0]) will be the client certificate itself. There may be other elements in this array, which will contain intermediate CA certificates (what's presented by the client can be a certificate chain), where cert[i] is issued by cert[i+1].


text:
BEING THERE: Dr. Dog @ The Electric Factory
by: PhawkerPosted on: February 2, 2014 November 10, 2022
Photo by MARY LYNN DOMINGUEZ
Last night Philly natives Dr. Dog threw down an epic, no-holds-barred, all-stops-pulled tour de force sold-out show that served as a fitting finale to the band's two-night homecoming stand at the Electric Factory. Decked out in their trademark Skittles-colored beanies and cheap sunglasses, the Dog played a seemingly endless 18-song set, followed by a six-song encore, that took long pulls from their newish album B-Room, with smaller sips from their older vintages stretching all the way back to their 2002 debut, Toothbrush. The beard-y six-piece seemed to be having the proverbial time of their lives cranking out one cheery-sounding folk-rocker after another all dressed up in sunburst harmonies, psychedelic twists and assorted magic jingly noise makers. While still-as-water singer-songwriter-guitarist Scott McMicken carried the vocal lead for the majority of the show, it was the ants-in-his-pants theatrics of singer-songwriter-bassist Toby Leaman that kept the crowd's energy up. At one point after "The Beach," Dr. Dog stepped away from the microphones, kicked back on the stage and played a few minutes of what could only be described as an interlude of elevator music. Obviously comfortable with the all-ages capacity crowd, similarly attired in ski caps and flannel shirts, Leaman then jumped down from the stage to crowd-surf, and later McMicken sang "Twilight" while dramatically lying flat on his back on the stage. It was all fun and games and sweet sounds until the encore when Dr. Dog was joined onstage by the Phillies' Phanatic and the crowd went ballistic as the green furry one twerked along to what was left of the band's stoner-friendly songbook. Didn't see that one coming. Undoubtedly, the Phanatic's appearance dovetailed nicely with the palpable Philly pride that was buzzing through the air at the Electric Factory last night as the band closed with a triumphant "The Rabbit, The Bat & The Reindeer," leaving the audience sweaty, slanted and enchanted. — MARY LYNN DOMINGUEZ
That Old Black Hole
Ain't it Strange
Say Ahhh
Heavy Light
Heart it Races
Oh Me Oh My
Too Weak To Ramble
The Worst Trip
Easy Beat
Die, Die, Die
Jackie Wants a Black Eye
The Rabbit, The Bat & The Reindeer
Previous PostPrevious IN MEMORIAM: 'Pete Seeger Made Me Understand How Far Behind Enemy Lines I Was Living'
Next PostNext RIP: Actor Philip Seymour Hoffman Dead @ 46


text:
State Department iPhones compromised by NSO Group spyware
Paul Hill Neowin @ziks297 · Dec 4, 2021 03:04 EST with 2 comments
Reuters has reported that at least nine iPhone devices belonging to U.S. State Department employees have been hacked. It's unclear who deployed the software but it was apparently designed by NSO Group, a creator of sophisticated spyware against which Apple has recently started legal action. The employees worked in or had connections to Uganda.
Responding to Reuters' investigation, a spokesperson from NSO Group, said:
"If our investigation shall show these actions indeed happened with NSO's tools, such customer will be terminated permanently and legal actions will take place. [NSO will also] cooperate with any relevant government authority and present the full information we will have."
While it could not be determined who had launched that attack against the U.S. State Department employees, NSO Group is known to sell its products to government law enforcement and intelligence clients, though, it is not involved directly in surveillance operations. The software has been used on numerous occasions to target government officials, journalists, business people, activists, academics, and embassy workers and this is why the U.S. added the firm to an Entity List.
With regards to the latest case, the attack would mark the biggest attack on U.S. government officials, however, the State Department nor the officials at the Ugandan embassy in Washington D.C. would give comments, nor would a spokesperson for Apple.
Nso group
Weekend PC Game Deals: A bundled up Dark Knight collection and more
Reuters: Big tech will still be able to bypass new global tax law
Save 25% off on a iPhone 13 Battery Case by ZeroLemon
Apple releases iOS & iPadOS 15.2, this is what's new [Update]
Apple warns Thai activists they are targets of 'state-sponsored attackers'
Apple Wallet's digital ID capability delayed to 2022
2 Comments - Add comment


A plot of land is for sale in Zouk Mosbeh behind NDU university , coefficient 40 - 120 % , high 17.5 m and stand back 3 m . Open sea view , unblockable .
Slope of land around 20% , fitting to build a living apts. or a foyer .