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January–February 2021 | The Arts
Fourteen fixes for a broken theatre
Marianne Ackerman
In every theatre maker's dream, the pandemic ends, the doors are flung open, and the patrons rush in, hungry for the visceral thrill of live performance. As the house lights dim, an actor speaks, and an ancient art form with a long history of reinvention enters a new golden age.
There's a nightmare version too: After months of isolation, people crave connection and conversation. But the virus, unlikely to be the last we'll know, has instilled a phobia of crowded spaces. Sitting in the dark beside strangers continues to feel risky, while at‑home entertainment keeps getting better and better. Theatre is forced into the catacombs, where small bubbles of loyal fans gather around to carry on the ritual of familiar stories and shared outrages.
I believe theatre will survive; it always does. But, in the meantime, these cursed quiet days present us with an opportunity to imagine a better future — one where the hectic, insular activity of putting on plays becomes more important and commands impact and power it did not have when the lights went out in March 2020.
It's time to aim higher.
Image by Odilon Redon, Centaur richt op de hemel, 1895; The Rijksmuseum
Who even remembers what it was like back then? Faux bravado ruled. Some iconic playhouses had already closed; others were struggling to find audiences. The boomers who propelled Canadian theatre in the 1960s, '70s, and '80s had reached an age when their donations were more avidly sought than their presence in the audience. "Youth and diversity" was the mantra. But now I wonder whether generational change and loosening the grip of white male management will be enough to kick-start a future with new voices and new visions.
As theatre critic for the Montreal Gazette in the '80s, I covered an explosion of creativity on the francophone scene, a transformative experience that lured me to abandon a fat salary and launch Theatre 1774. For most of the '90s, I wrote plays, directed, and slogged to pay the bills. Since leaving the company to write novels, I've seen two of my plays produced at Centaur Theatre, in 2000 and 2015. Before the pandemic, I took annual theatregoing trips to London, often saw plays in Toronto, and made occasional visits to the Stratford and Shaw Festivals. But it's in Montreal that I've most closely watched a community of talented artists increasingly struggle against impossible odds, coping with outmoded institutional models and missing out on the audiences they deserve. Forced to scrabble for grants and donations, they've made immense personal sacrifices to create.
The situation here — with all of its dramatic woes — has much in common with the scene in the rest of Canada. And a more sustainable path, I believe, begins with legacy theatres, specifically with their leadership roles, or lack thereof. I'll stick to the stage I know best, but hope it can serve as an instructive mirror for others.
Founded in 1969, Centaur Theatre enjoys strong name recognition that dates back to the '70s and '80s, when new plays by David Fennario and Vittorio Rossi attracted tens of thousands of people. Centaur became a voice of Anglo Montreal through turbulent times. At its high point in the mid‑'80s, it had two subscription seasons on two stages. But in 1991, in mid-recession, the founding artistic director, Maurice Podbrey, lamented in a Gazette interview that after two decades of growth, the theatre had racked up its first deficit. Still, there were 8,000 subscribers to an eight-play season, which sold some 112,000 tickets each year.
In retrospect, even the early '90s were the good old days. Today the subscription season has dropped to five plays (and may go to four). Subscribers number in the mid‑2,000s. Seven of the last nine seasons ended with significant operating deficits. If this were still the '90s, we might link Centaur's misfortune to a sagging economy and the shrinking Anglo community. But with 780,800 first-language English speakers, Anglo Montreal is bigger than Winnipeg, where the Royal Manitoba Theatre Centre operates on a $12-million budget, thanks to Montreal-born Steven Schipper's sound management over thirty years. Since 2000, the population of Greater Montreal has increased by 20 percent, to 4.2 million, more than 55 percent of whom are fluent in English. After several years of strong economic growth, Montreal had emerged as the fastest-growing urban economy in Canada by 2019, with a GDP second only to Toronto's.
Maybe Anglo Montrealers just don't want live theatre anymore? That idea is easily refuted. Since the entrepreneur Alvin Segal rescued the ailing Saidye Bronfman Centre, in 2007, the Segal Centre, located in the unhandy suburb of Côte‑St‑Luc, has been on a steep growth curve. Under the artistic direction of Lisa Rubin, revenue has increased to $6.6 million, thanks to a year-round program of contemporary plays and ambitious new musicals. Hiring Rubin may have been Segal's best decision, but the octogenarian's considerable entrepreneurial skills, honed while building his stepfather's suit business into an international force, are all over the theatre's management structure and strategy. With only 4 percent of its pre-pandemic revenue coming from public subsidy (compared with 32 percent at Centaur), the Segal has become a hopping cultural centre, drawing accolades and audiences across age, ethnic, and language groups.
In the meantime, these cursed quiet days present us with an opportunity to imagine a better future.
So, in the absence of another wealthy business genius with many rich friends, what would it take to restore Centaur Theatre's place in Anglo Montreal and make it an important cultural force once more? Here are fourteen ideas. Inspired by life in lockdown, they lean heavily on strategies for making new friends and getting back in touch with old ones. They're all aspirational fixes — and offered up as fodder for a much-needed discussion.
1. Pursue growth. The 2019–20 Centaur subscription season offered only fifteen weeks of theatre, including two shows brought in from elsewhere (and it was all cut short by COVID‑19). A few short-run events filled out the brochure, including the Wildside, a mid-January festival of indie shows, and a public presentation of a new work. But these offered little revenue potential, and most local artists who participated were paid a fraction of union rates. Reducing high-risk, high-cost productions may be necessary to stop spiralling deficits, but it is bound to exacerbate Centaur's slide off the public radar. In financially challenged times, the only route to growth and excellence is by way of a reimagined community role, which requires top-tier diplomacy.
During the last two decades, Anglo Montreal's indie theatre scene has grown and matured enormously. A dozen incorporated companies, with combined budgets of $7.2 million, offer an extraordinary range of high-quality professional shows, including outdoor Shakespeare, youth and children's fare, new Quebec plays, and biting docudrama. The Black Theatre Workshop, for example, will soon celebrate its fiftieth anniversary. Montreal's bilingual Fringe Festival is a vibrant summer event, managed out of the MainLine Theatre, on Boulevard St‑Laurent, a go‑to venue for some fifty smaller companies.
While these companies have strong identities and devoted bases, none has the resources or opportunity to fully realize the audience potential of their most successful productions. But Centaur could curate a bill of top-quality work drawn from smaller stages. There would be no shame and much merit in a legacy institution showcasing the broader community's creativity.
The blunt fact is that without the vitality of smaller companies, there would be no pool of actors, designers, directors, and playwrights honing their craft and somehow managing to stay in this city. Whether these proudly independent troupes would be interested in being at Centaur is another question. Hence the need for diplomacy, and for a coherent "second season" that lets theatregoers know they are tapping into something special. And remember: nothing makes you hungrier for playgoing than having just seen a good one.
2. Demolish, rebrand. With its wide portico steps and stately columns, Centaur's home at the Old Stock Exchange puts on a brave face, but renovation is long overdue. Priority should be given to the performance architecture. The smaller 241-seat space — unceremoniously named Centaur 1 — has an anchored plywood balcony that looms over a shallow stage, which faces a steep bank of fixed seats. The view from side rows is annoyingly restrictive. The entire space would be far more effective as a black box with movable chairs and stage. If social distancing is required, everything could easily be reconfigured.
Gutting Centaur 1 is both a practical and a symbolic necessity. A new name would help, too. Something feminine — the Mermaid? — could counterbalance the growly presence of a half man, half beast that's embedded in the corporate brand. (The 422-seat Centaur 2 needs a serious rethink as well, but that's a longer story.)
3. Move the office. Not until 2000, when my play Venus of Dublin was produced at Centaur, did I first see the administrative bowels — a jumble of desks jammed into one corner of the ground floor. On my way to the artistic director's window less nook, I passed pale people hunched around a photocopier, a strangely funereal atmosphere, as if nobody dared talk out loud.
The pandemic has emptied many great commercial spaces throughout the city. Now is the perfect time to move all but building-related employees to some spacious, well‑lit spot in one of Montreal's creative neighbourhoods. Consolidated under one roof, rehearsals, publicity, and administration can build experiences that exude a welcoming aura. That should also make it easier for staff to cope with increased usage of the performance spaces by other companies and creators.
4. Feed and water the guests. On a trip to London last February, I agreed to meet a friend for drinks at the Royal Court Theatre, on Sloan Square. Arriving shortly after 5 p.m., I was surprised to find the restaurant-bar filling up and assumed there was an unscheduled event. Not so: all those people were there for a play, which didn't start until 7:30. In normal times, the best London theatres are meeting places, alternative pubs. The Young Vic has a thriving all-day restaurant on the main floor and a spacious bar on the mezzanine. You can get Prosecco at West End intervals. London has acknowledged an inescapable fact: our info-entertainment-sustenance cycle is now 24‑7.
The pandemic has thrown many of Montreal's best young foodie entrepreneurs out of work, which makes this a great time to replace Centaur's menu of chips, chocolate bars, and ho‑hum house wines with inventive, creative fare. Celebrating and engaging our local foodie innovators might even incentivize their friends and fans to check out a play.
5. Reach out to families. Most parents will do cartwheels on behalf of their precious kids. Why not get serious about children's theatre on Saturday and Sunday afternoons, timed so that adults can see the main show while their little ones visit a big-tent performance in the lobby? A juicy family show over the holidays would appeal to grandparents entertaining far-flung family. (We know there's potential here: last year, when I took my grandson to The Nutcracker, an underwhelming experience at $250 for three tickets, Place des Arts was packed.) Montreal has two successful young people's theatre companies whose work merits more exposure. Mainstage family entertainment at Centaur should happen at least once a year.
6. Single out singles. Going solo to the cinema is a thing to do, a perk of having spare time. The same cannot be said for theatre, which is deeply imbued with the Noah's Ark syndrome. Why be shy about our need for human connection (or the fact that even married people can find it hard to get a date for the theatre)? Why not create a special solo price for designated performances, along with a post- or pre-show drink?
The tone of most theatre promotional campaigns oscillates between begging and boasting: We need your support! We are essential! Very little effort goes into imagining what it's like to be an actual member of the public, which is ironic since, at its core, the art form is all about pretending to be other people.
7. Sell more tickets (and stop giving them away). I was surprised to open the royalty statement for my 2015 play, Triplex Nervosa, and learn that of 8,825 people who saw it at Centaur, almost 20 percent got in free with comps, vouchers, and passes. Early in the run, brisk ticket sales prompted a one-week extension. Even in that fifth week, though, 300 tickets were given away. As the only member of the team whose pay depended directly on the box office (10 percent of net), I calculate the largesse cost me about $5,000. More to the point: if that many tickets are given away during a popular play, what happens when tickets aren't moving?
Most Toronto theatres offer "industry" discount tickets to people working in theatre, as do many indie companies. But discounts are a neutral gesture; a loyalty program aimed at creatives would have much more potential. A paid membership could offer a range of perks. Why stop with discounted tickets? Why not add a season launch party? An invitation to attend the annual general meeting? Opportunities to discuss the dramatic arts with the board of directors?
The free-ticket syndrome, while it might appear generous, actually keeps people at a distance. It signals an entrenched feudal system: the reigning king or queen confers perks on a lucky few, chosen from the hordes of starving artists. The way forward is to treat creative types as stakeholders, to cultivate a sense of belonging and participation, to ask for their support.
8. Open up to books. Whenever the novelist Louise Penny publishes a new mystery, it sits comfortably on the New York Times bestseller list for weeks. She's just one of many Quebec writers working in English — all part of a lively Anglo literary scene celebrated by an annual awards gala organized by the Quebec Writers' Federation (with its 780 members) and the multilingual Blue Metropolis literary festival, launched by the writer turned publisher Linda Leith in 1999. Still, Anglo Quebec authors and their publishers face the number-one problem confronting the book industry everywhere: how to get copies in front of potential readers.
Last year, Centaur spent $373,123 on publicity to get a few thousand people into the building, coats off, and seated. Why not offer these same people an opportunity to arrive early and browse through a Quebec-themed bookshop? If Centaur management can't handle the burden of becoming a bookseller, surely the local literary types could make this modest proposal happen. Even if the effort doesn't contribute significantly to theatre revenues, it would help attract the attention of smart readers and writers, who otherwise might not consider going to a play.
9. Reach out to music. The Anglo Montreal music scene is often cited internationally for its originality and vitality. Cheap rents no doubt played a role in creating this incubation hub, and while those days are fading fast, a slew of established musicians live here. Music, of course, is one of the art forms hardest hit by the destabilizing power of the internet, yet creative types have found ways to build revenue streams by touring and giving concerts in large venues. They've become masters at building their fan base through social media and internal organization. Theatre can — and must — learn from this sector.
At the same time, commissioning these amazing local talents to compose scores for Centaur productions is an excellent way to give plays a palpable Montreal feel, while tapping into their considerable followings. I also know this from experience: threading Patrick Watson's music throughout Triplex Nervosa led to considerable attention among his multi-generational fans.
10. Create buzz through conversation. The days of the Olympian critic are over. Most remaining theatre reviewers are struggling freelancers, and sharing economic fragility with the medium you cover does not exactly inspire trenchant commentary. Across the arts, the gatekeeper role has shifted to the juries who award lucrative prizes. This arrangement may work for books, which remain on sale well after publication, but most plays have long since closed when the awards are handed out. In the absence of comment in the press, some theatres blow their own horns, but who believes self-praise?
In our fragmented world, no single voice can judge the merit of a work of art or steer the myriad of potential publics toward something they might actually enjoy. So creating conversation should become part of a theatre's outreach effort: recruit a panel of avid theatregoers that represents different ages, backgrounds, tastes, and genders. Post their bios online. Invite them to see the plays. Record moderated conversations. Publicize it all widely. This theatrical version of the CBC's "At Issue" panel could end up creating more buzz than yet another blizzard of self-regarding tweets from management.
Traditional theatregoing is a passive activity. As the explosion of Zoom meetings has shown, listeners crave interaction — a chance to voice their opinions and hear what others think. An official comment panel is only the beginning of what could become an ongoing conversation between audience and creators. Post-show talkbacks are old school. What's needed today is an app that allows patrons to comment instantly and that aggregates those comments for a range of promotional purposes.
11. Get a bus. Montreal's francophone scene is so much larger and more varied than Anglo Montreal that comparisons are rarely useful. But there is one practice on the French side that could open up considerable potential for growth: touring the Island of Montreal, and possibly further afield in the province. Francophone Quebec theatre has a well-developed circuit, where hit plays from Montreal stages can have a hundred or more performances before returning to the city for a second run.
The francophone path has been decades in the making, but surely Centaur could start on a modest scale. Both Geordie Theatre and Youtheatre have developed touring circuits that account for the bulk of their revenues. It's hard to imagine that the mid-winter Wildside Festival brings in new theatregoers or advances anyone's career. These shows could easily be sent on tour instead — paving the way for larger works from the main stage. Touring would enhance the Centaur brand outside the downtown core and provide more exposure for Montreal actors.
12. Go public. The single greatest threat to the non-profit scene is the dreaded founder's syndrome. Many companies were willed into existence by visionary leaders, aided by waves of hard-working supporters (girlfriends, wives, ex‑wives, philanthropists), and these founders made sure their boards were composed of loyalists. After a founder's departure, boards might drift or seize control, but mainly they stay invisible — and become unapproachable.
Non-profit boards are responsible for governance. But how does a citizen taxpayer go about speaking truth to power? Who even is the power? As far as I can establish, the fourteen men and women on Centaur's board of directors recognize two duties: to choose the artistic director when the job is open (by way of an Ottawa-based headhunter, most recently) and to fundraise. The AD then works for the board in what, from the outside, appears to be a closed circle, a Vatican-style structure. This airtight relationship sets the tone for everything that happens at Centaur, by ensuring the governors remain isolated from the environment in which the theatre must live.
Consider another paradigm: the Montreal Museum of Fine Arts. When the board chair recently undertook to fire the director general and chief curator, Nathalie Bondil, a public outcry ensued. At a subsequent meeting, a slate of four powerful women ran for positions; three were elected by a paid‑up membership, and the ex-chair was voted off the board. Clearly, a feudal system is not the only way to govern a publicly funded arts organization.
13. Revise the CEO job description. Traditionally, combining the roles of artistic and executive directors has been considered necessary to prevent messy clashes between the artistic vision and financial responsibility. In changing times, however, running a building-based theatre has become hugely complicated; it's unreasonable to expect that any one individual could have expertise or interest in all of the wide range of tasks required to keep an arts organization afloat — especially a working artist with an eye on his or her own creative career. (Indeed, since Podbrey's retirement, in 1997, his three successors have each taken time away from their $100,000-plus jobs, and from Montreal, to direct plays elsewhere.) Many theatres, such as Toronto's Canadian Stage, have acknowledged the burden by dividing the job in two, handing over the business side to an executive director. In reality, this division can simply mean giving the general manager a new title.
It's time to recognize that theatre management is itself a creative challenge, one that requires diverse skills, a deep knowledge of institutional context, and an intimate awareness of how a very particular research-and-development-based organization works. To move forward, Centaur needs a creative director, tasked with reimagining how the theatre could play a more effective role in the community while taking into account the city's particularities and history.
14. Learn to know and embrace virtual space. The eternal beauty of theatre resides in fundamentals that have not changed since at least the Greeks. People gather around, one person stands to tell a story, another chimes in, and it's a play. Each performance is a unique transitory experience, living on only in human memory. It's this simplicity that draws talented people to invest vast chunks of their lives in the making of theatre.
It's also what blinds those makers to the ongoing revolution in communication technologies, which are key to the survival and importance of the art form. Devising a comprehensive digital strategy is essential. Marketing is not only or even primarily about selling tickets; it's about standing out, engaging audiences, setting up transactional experiences that will prompt people to reveal themselves and commit. The purpose of a digital marketing strategy, and indeed the goal of creative management, should be to create better theatregoing experiences, expand revenue streams, and stimulate growth.
Convincing people to sit quietly in the dark while actors speak should be considered but a pause in the larger conversation between theatre and its public. Otherwise, exit stage left to the catacombs.
For legacy theatres such as Centaur, the time has come to acknowledge that every state-funded theatre is a public institution that exists within a democratic social system, a marketplace, and a particular community. After the pandemic, the way forward begins with demolishing old feudal habits and structures. It's time to lower the drawbridge, open the gates, and air the place out.
Marianne Ackerman watches from Montreal.
Theatrical Superstar
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Jerry Wasserman
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A review of A Fiery Soul: The Life and Theatrical Times of John Hirsch by Fraidie Martz and Andrew Wilson
Denis Johnston
Impolite Companies
A review of Committing Theatre: Theatre Radicalism and Political Intervention in Canada, by Alan Filewod
Robert Fothergill
Palace on the Rideau
A review of Sarah Jennings' Art and Politics: The History of the National Arts Centre


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BE A HOST
WORLD PARA ATHLETICS CHAMPIONSHIPS
Women's 200m T53 | Final | London 2017 World Para Athletics Championships
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Gold: Samantha KINGHORN, Great Britain
Silver: Angela BALLARD, Australia
Bronze: Hamide KURT, Turkey
Start list:
Jessica FROTTEN, Canada
Hamide KURT, Turkey
Angela BALLARD, Australia
Keiko KONISHI, Japan
Ilana DUPONT, Canada
Samantha KINGHORN, Great Britain
Jessica Cooper LEWIS, Bermuda
Kelsey LEFEVOUR, United States of America
For more information on the London 2017 World Para Athletics Championships, please visit www.worldparaathletics.org/London2017
Results will be available here: http://www.paralympic.org/london-2017/schedule
Like us on Facebook: https://www.facebook.com/ParaAthletics and follow us on Twitter https://www.twitter.com/ParaAthletics and Instagram https://www.instagram.com/ParaAthletics
London 2017 was the ninth edition of the World Para Athletics Championships and marked the first time the event was held back-to-back with the IAAF equivalent. From 14-23 July, around 1,300 athletes from 100 countries took part, contesting 213 medal events.
World Para Athletics Partners
Official website of World Para Athletics

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For more than 15 years, Gray & Pape has provided the Dayton Power and Light Company with on-going cultural resources management support at their JM Stuart Generating Station. The firm has successfully represented DP&L's interests to state and federal permitting agencies in advancing cultural resources studies, developing treatment plans, preparing Memoranda of Agreement, and formulating other strategies for managing cultural resource permitting issues at the facility. Located along the Ohio River in Adams County, facility services have included alternatives analysis for siting studies, cultural resource identification and evaluation surveys, geomorphological and landscape reconstruction analyses, historic structures documentation, multi-site archaeological data recovery, and development of innovative mitigation strategies. Gray & Pape received the Ohio State Historic Preservation Office Public Education and Awareness Award for the publication 10,000 Years in Adams County. This document was prepared as a mitigation measure to provide the public with an account of the archaeological, architectural, and historical studies undertaken on behalf of DP&L.


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The Damned – In Concert At Paris Theatre, London – 1977 – Past Daily Backstage Weekend
The Damned - never mind The Sex Pistols, it was The Damned all along.
Past Daily Backstage Weekend
The Damned – never mind The Sex Pistols, it was The Damned all along.
https://oildale.s3.amazonaws.com/wp-content/uploads/2017/04/22030611/The-Damned-Live-at-The-Paris-Theatre-London-May-191977.mp3
The Damned – In Concert at The Paris Theatre, May 19, 1977 – BBC Radio 1 In Concert Series –
The Damned in concert this weekend. Almost impossible to imagine, but it will be 40 years since this concert was broadcast, and 41 years since The Damned issued their landmark debut single, New Rose and the era of Punk was well underway.
There have been disputes – arguments and heated discussions over who actually got Punk rolling. Much has been attributed to The Sex Pistols, and certainly under the tutelage of Malcolm McLaren, grabbed headlines and controversy and clearly made the bigger initial impression. However, it should be noted that New Rose predates Anarchy In The U.K. by several weeks. New Rose was released on October 26, 1976 while Anarchy In The UK was issued a month later to the day, on November 26, 1976.
The Damned went about their business, and legions of fans followed – The Sex Pistols were busy heaping outrage, getting kicked off labels and creating a fashion statement that became emulated all over the UK and the world.
So who got there first? Depending on who you talk to, it was either. I will say, for my two cents, that I was working in London when both singles were released, and New Rose created the bigger, more jaw-dropping impression on me than Anarchy did. I couldn't hear New Rose enough, and wore out the first pressing within a few weeks of buying it at Vinyl Solution. There was just something missing from Anarchy and I couldn't put my finger on it.
All that said, here was what represented a new genre in the making. It was pure manic energy and it took a lot of people by surprise, particularly those who opted for softer, mellower West-Coast oriented rock or Arena Rock along the lines of AC/DC. It took American audiences a while to warm to this new music, the spiky hair, the safety pins, the ripped clothes – and there was a goodly amount of resistance to it when the flood of discs and new bands popped up. We had The Ramones, but they were different in a way – Punk was something else. And until bands like The Clash surfaced, The Damned as well as The Sex Pistols were the wave of the future.
So this concert featuring The Damned as last-minute replacements comes from May of 1977; forty years ago next month. The Damned are still with us, still recording, still touring and still reminding us they represented "the next big thing" and were, for all intents and purposes, the first ones to do it.
Crank it up and enjoy the hell out of it. New Rose still makes my hair stand up.
Tags: Brexit, Donald Trump, European Union, God Save the Queen (Sex Pistols song), Good Morning Britain (2014 TV programme), ITV (TV network), John Lydon, Left-wing politics, London, Sex Pistols
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David Bowie – Live In London 2000 – Past Daily Backstage Pass – Birthday Edition
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Brian Eno (Eno & The Winkies) In Session – 1974 – Past Daily Soundbooth
Rod Stewart & Faces – Live At The Paris Theater – 1971 – Past Daily Weekend Soundbooth


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Growing Scandal at Sacramento School District: Additional Email Reveals More Deception - Sacramento City Teachers Association
FCMAT Emails Show District Deceived Community - Sacramento City Teachers Association
Growing Scandal at Sacramento School District:
Additional Email Reveals More Deception, Hiding Facts and Fiscal Mismanagement From the Public
District aware of $7 million per year windfall due to undercounting students on April 1,
but pushed ahead with layoffs in May and higher class sizes for students
Link Available Here to the Sacramento City Teachers Association Website
Sacramento, July 25, 2019– A recently-obtained email from Sacramento City Unified School District (SCUSD) Superintendent Jose Aguilar – in addition to those released last week – shows a growing scandal at the district.
Emails, sent in March, discovered by the Sacramento City Teachers Association (SCTA) through a public documents request, released last week, show that the Sacramento City Unified School District (SCUSD) ignored warnings from a state of California fiscal monitor about false and misleading budget data.
An additional email, dated April 1, also discovered by SCTA, from Aguilar to Sacramento County Education Superintendent David Gordon shows that top SCUSD officials knew as early as April 1 that they had undercounted enrollment by 730 students, resulting in $7 million in additional funds available in each of the next two school years, and in subsequent years.
Despite availability of these funds, Aguilar and SCUSD officials knowingly deceived the community, including some school board members, about its financial condition. The misleading data was used to justify important decisions, including the layoff of hundreds of teachers and other school employees in May. Hundreds of teachers and staff were sent pink slips. The district refused to honor its contract with SCTA resulting in a strike by educators.
Later the district acknowledged that instead of a projected $54 million negative ending fund balance for 2020-21, it would have a surplus of $15 million—a $69 million turnaround.
In March, Mike Fine of the state of California's Fiscal Crisis and Management Assistance Team wrote in an email to SCUSD Superintendent Jorge Aguilar and board President Jessie Ryan that"[Y]our staff has again demonstrated that they don't have the capacity or willingness to produce accurate data." Sacramento Mayor Darrell Steinberg also was copied on the email correspondences.
Fine informed SCUSD officials in writing that he has "no confidence' in the district's business staff. At the time these emails were written district officials had claimed that SCUSD was on the brink of a state takeover.
The additional emails and those released last week indicate that district officials knew much earlier that the information that they were sharing with the community was not accurate.
The March email exchange was reported last week in the Sacramento Bee . Copies of the emails, including the April 1 email, can be found here on the SCTA website.
With 40,000 students, the Sacramento City Unified School District is the 13th largest school district in California. The Sacramento City Teachers Association is an affiliate of the California Teachers Association and the National Education Association.
About the Sacramento City Teachers Association
Since 1921, the Sacramento City Teachers Association has represented teachers, school nurses, psychologists, language speech and hearing specialists, social workers, librarians and other certificated professionals who work for the Sacramento City Unified School District. SCTA represents 2800 professional educators.
Sacramento City Teachers Association
 5300 Elvas Avenue | 916.452.4591
www.sacteachers.org
Big Education Ape: UPDATE: Sacramento City Unified officials slammed by fiscal adviser | The Sacramento Bee #REDFORED #SCTA #SCUSD #CTA - https://bigeducationape.blogspot.com/2019/07/sacramento-city-unified-officials.html
Inside Betsy DeVos' Billions: Just How Rich Is The Education Secretary?
This is the fifth in a series that explores the personal fortunes of President Trump's cabinet officials. See more on Mike Pence, William Barr, Steven Mnuchin and Wilbur Ross.
Among Donald Trump's historically rich cabinet members, Betsy DeVos is the richest. But for more than two years, the extent of her finances has been a mystery. Now Forbes has zeroed in on the root of the DeVos family fortune, Amway, to come up with what we believe is the most realistic estimate of the size of her fortune published so far. Together, Betsy DeVos, her husband and their four adult children are worth roughly $2 billion.
The key to untangling DeVos' empire appears to lie in Securities and Exchange Commission filings from the late 1990s and early 2000s, when Amway's Asia-Pacific business operated through a publicly traded subsidiary. Those documents indicate that Betsy's husband Dick DeVos and his three siblings had equal interests in the subsidiary, an indication that they equally split their ownership of the rest of Amway. Given that his parents have both passed away and the DeVos family continues to own half of the business, it seems reasonable to assume that Betsy, her husband and their kids now control one quarter of the family's stake, or about 12% of Amway. That share is worth an estimated $1.3 billion.
Assuming they also own 25% of the family's second-largest asset, the Orlando Magic basketball team, that's another $300 million or so. Their slice of the family's portfolio of commercial real estate, private equity investments, mansions and yachts makes up the rest of the education secretary's net worth.
Betsy's Billons
Betsy DeVos is the richest member of Donald Trump's cabinet. She, her husband and their four adult children are worth an estimated $2 billion—mostly in Amway stock.
Betsy, the daughter of auto parts magnate Edgar Prince and sister of Blackwater founder Erik Prince, owes the vast majority of her fortune to her marriage to Dick DeVos. His father, Richard DeVos Sr., cofounded Amway in 1959 alongside his high school friend, Jay Van Andel. What began as two buddies selling an all-purpose cleaner door-to-door quickly grew into an army of independent salespeople hawking vitamins, soaps and other household goods to friends and family—and, controversially, earning money by signing others up as distributors too. Dick DeVos ran the company from 1993 to 2002. Today one DeVos (Dick's brother Doug) and one Van Andel co-chair the board. The families split ownership 50/50, according to a spokesperson of the DeVos family. CONTINUE READING: Inside Betsy DeVos' Billions: Just How Rich Is The Education Secretary?
Does Twitter's new design make you grumpy? Use this extension to turn back time | Digital Trends #newtwitter #newtwitterdesign
Craving the Old Twitter Design? This Browser Extension Will Help | Digital Trends
Does Twitter's new design make you grumpy? Use this extension to turn back time
Twitter for desktop now looks a bit more like the Twitter app — but not everyone is in love with the new design. For the change-wary users already referring to Twitter's "good old days," there's a new browser extension that will make Twitter.com look like, well, Twitter again.
he new Mozilla Firefox add-on GoodTwitter forces the web browser to return back to Twitter's previous design. As an OpenSource extension, the free download adjusts browser requests so that, on Firefox, Twitter looks like the more familiar social network.
The extension, created by user Zusor, is already in version 1.7 after launching just a few days after the new design began rolling out. It also fixes a few bugs from the original extension, including the inability to copy and paste. The extension now has a 4.7 star rating.
Along with adapting a more app-like look, Twitter's redesign rearranges the desktop home page. The top navigation bar is gone, replaced by navigation options on the left-hand side, while standards like trends and "who to follow" jump over to the opposite side. The redesign also brings Explore from the mobile app to desktop, along with the bookmark option
One of the most anticipated updates, however, launched without replacing the old CONTINUE READING: Craving the Old Twitter Design? This Browser Extension Will Help | Digital Trends
Hate Twitter's new design? Here's how to get the old look back - https://thenextweb.com/?p=1232095 by @Mixtatiq on @thenextweb
Dissent within statewide task force adds tension to California's charter school debate | EdSource
Dissent within statewide task force adds tension to California's charter school debate
There was disagreement over which proposals to forward to Gov. Newsom
Sitting on Gov. Gavin Newsom's desk is a document that has added fuel to the roiling debate over legislation that would limit the growth of charter schools in California.
Newsom hasn't taken a public position on the 13-page report by the California Charter School Policy Task Force, which he asked State Superintendent of Public Instruction Tony Thurmond to convene.
But the four members affiliated with charter schools on the 11-member task force say they're concerned that the report misconstrues what the group supported. They are particularly critical of a package of proposals that Thurmond presented to the task force, put to a vote and then included in the report. Thurmond ran the task force meetings and oversaw the writing of the report.
Thurmond dismissed the criticisms as off-base and defends the wording of the report and the decisions behind it. Some committee members agree with him.
CHARTER SCHOOL POLICY TASK FORCE
Newsom and Thurmond appointed the task force with equal representation of labor unions and charter schools.
The four members affiliated with labor unions were:
Dolores Duran-Flores, legislative advocate of the California School Employees Association;
Lester Garcia, political director of SEIU Local 99;
Alia Griffing, political director of the American Federation of State, County and Municipal Employees Council 57;
Erika Jones, a Los Angeles Unified elementary teacher and board member of the California Teachers Association.
The four members affiliated with charter schools were:
Margaret Fortune, president and CEO of the Fortune School of Education and chairwoman of the California Charter Schools Association;
Cristina de Jesus, president and CEO of Green Dot Public Schools;
Beth Hunkapiller, an administrator with Aspire Public Schools;
Gina Plate, vice president of special education for the California Charter Schools Association.
The other three members, representing the interests of school districts, were:
Ed Manansala, superintendent of El Dorado County and board president of the California County Superintendents Educational Services Association;
JUST ANOTHER CHARTER SCHOOL SHILL Ed Manansala - Staff Conference 2014 on Vimeo - https://vimeo.com/84233110 on @vimeo
Cindy Marten, superintendent of San Diego Unified, the state's second largest district;
HERE'S CINDY WITH THE GANG
Edgar Zazueta, senior director of policy and governmental relations for the Association of California School Administrators.
JUST ANOTHER CHARTER SCHOOL SHILL (LOBBIED FOR BROAD CONTROLLED LAUSD BOARD)
The disagreement highlights the struggle Newsom and the Legislature are having as they determine the future role and growth of charter schools. California has more than 1,300 charter schools. They serve more than 10 percent of the state's 6 million public school students.
During the next two months, Newsom's advisers, charter school advocates and detractors will be negotiating language in Assembly Bill 1505, which could substantially restrict charter school growth. Its author, Assemblyman Patrick O'Donnell, D-Long Beach, and its co-sponsor, the California Teachers Association, are citing some of the contentious proposals in the task force report to support their positions. Their ability and that of charter advocates to sway public opinion on charter school reform could shape a potential deal on the legislation.
Earlier this year Newsom asked Thurmond to create the task force and report back by July 1 on two key issues: how to weigh a charter school's fiscal impact on school districts and how to change the way a school receives authorization to operate.
In consultation with the governor's office, Thurmond appointed representatives from both sides of the charter controversy. The task force's meetings were not open to the public, with Thurmond's staff taking notes but with no formal minutes.
EdSource reached out to all 11
members and spoke with the eight who responded. They differ on some pivotal details.
After meeting weekly for nearly three months, the task force issued a report with 13 proposals considered by the group: four recommendations, listed first, reached by CONTINUE READING: Dissent within statewide task force adds tension to California's charter school debate | EdSource
Big Education Ape: Hired Guns, Scholars and the California School Policy Task Force | tultican - http://bigeducationape.blogspot.com/2019/06/hired-guns-scholars-and-california.html
Milliken v. Bradley: Supreme Court Case Has Helped Keep Schools Segregated : NPR
This Supreme Court Case Made School District Lines A Tool For Segregation
Roughly 9 million children — nearly 1 in 5 public school students in the U.S. — attend schools that are racially isolated and receive far less money than schools just a few miles away. That's according to a sweeping new review of the nation's most divisive school district borders from EdBuild, a nonprofit that investigates school funding inequities.
"Inequality is endemic" in America's public schools, the report says, identifying nearly 1,000 school district borders where schools on one side receive at least 10% less money per student than schools on the other side and where the racial makeup of the two sides' students varies by 25 percentage points or more. It is the story of segregation, in 2019.
EdBuild says the disadvantaged districts in these cross-district comparisons receive, on average, about $4,200 less per student than their wealthier neighbors, largely because of differences in what they're able to raise through local property taxes. To put that gap into perspective, schools spent an average of $12,000 per student in 2017, according to the U.S. Census Bureau. This means that disadvantaged districts have about one-third fewer dollars per student than their peers up the street.
Imagine you're a principal with one-third less funding to pay for teachers, textbooks, buses and counselors.
Now imagine you're a child living at the center of that inequity.
"You know it as soon as you look at the school. You know it the minute you walk into a classroom," says Rebecca Sibilia, EdBuild's founder and CEO, of these funding differences. "There are kids who see this every day, and they understand."
They understand, Sibilia says, that the scales are tipped against them. Their schools are still segregated and underfunded more than 60 years after the Supreme Court issued one of its most famous rulings, in Brown v. Board of Education, unanimously CONTINUE READING: Milliken v. Bradley: Supreme Court Case Has Helped Keep Schools Segregated : NPR
Jersey Jazzman: What's Really Happening In Camden's Schools
What's Really Happening In Camden's Schools
This latest series on Camden's schools is in three parts:
Part III (this post)
I want to wrap up this series of posts about Camden's schools with a look at the latest CREDO report, which the supporters of recent "reforms" keep citing as proof of those reforms' success.
Long time readers know the CREDO reports, issued by the Center for Research on Education Outcomes at Stanford University, have been perhaps the best known of all research studies on the effectiveness of charter schools. The reports, which are not peer-reviewed, look at the differences in growth in test scores between charter schools and public district schools, or between different school operators within the charter sector. CREDO often issues reports for a particular city's or state's charter sector; they last produced a statewide report for New Jersey in 2013.
I and others have written a great deal over the years about the inherent limitations and flaws in CREDO's methodology. A quick summary:
-- The CREDO reports rely on data that is too crude to do the job properly. At the heart of CREDOs methodology is their supposed ability to virtually "match" students who do and don't attend charter schools, and compare their progress. The match is made on two factors: first, student characteristics, including whether students qualify for free lunch, whether they are classified as English language learners (in New Jersey, the designation is "LEP," or "limited English proficient"), whether they have a special education disability, race/ethnicity, and gender.
The problem is that these classifications are not finely-grained enough to make a useful CONTINUE READING: Jersey Jazzman: What's Really Happening In Camden's Schools
How segregation keeps students of color out of richer nearby districts - Vox
How segregation keeps poor students of color out of whiter, richer nearby districts
See how your local school district compares.
Much of the conversation about school segregation in America is about how to lessen segregation within a school district, ensuring students of all races in the same district can study together in the same school.
That's the kind of policy Joe Biden opposed in the 1970s, which he was called out for during the first Democratic presidential debates. These policies tried to ban federal courts from forcing districts to bus children from one neighborhood to another to desegregate schools.
But many districts are so segregated that they can't be integrated just by moving students around within their borders. School district boundaries that draw a sharp line between two separate and unequal districts — one majority-white and well-funded, one nonwhite and underfunded — are quite common in the United States.
Here's the border that separates two school districts in Connecticut — Lebanon and Windham.
Lebanon is 90 percent white, and it spends about $22,000 per pupil each year. Windham is about 25 percent white, and it spends $3,000 less per pupil than Lebanon.
There are nearly 1,000 borders like this in the US, according to a new report from the education nonprofit EdBuild. It looked for bordering districts where there was at least a 25 percentage-point gap in white students, as well as at least a 10 percent gap in funding.
On the disadvantaged side of the border, there are nearly 9 million students who attend schools that are, on average, 65 percent nonwhite. These schools received about $13,000 per pupil.
We can draw school zones to make classrooms less segregated. This is how well your district does.
School segregation didn't go away. It just evolved.
The data proves that school segregation is getting worse
On the advantaged side, there are nearly 3 million students who attend schools that are, on average, 25 percent nonwhite. These schools receive about $17,000 per pupil.
And there are about 133 borders that are extremely unequal, with a 50 percentage-point difference in nonwhite students and a 20 percent funding gap.
By talking about integration only in the context of what happens within school districts, "We're missing an entire part of this debate," EdBuild CEO Rebecca Sibilia said.
Truly integrated schools would require integration between districts. But 45 years ago, the courts made this exceedingly hard.
Is your district one of the disadvantaged? Or advantaged?
The map below shows every American district on either side of one of these borders.
We've zoomed into your area to give you a better look, but you can explore the entire US. CONTINUE READING: How segregation keeps students of color out of richer nearby districts - Vox
CURMUDGUCATION: FL: Trees and the Taj Mahal
FL: Trees and the Taj Mahal
Florida Education Commissioner is angry with Duval Schools Superintendent Diana Greene. Grr mad. Really really mad.
Corcoran was previously the speaker of the house, where he pushed a variety of privatization moves. In particular, he pushed the "Schools of Hope," a cool plan in which public schools that were having trouble would be targeted for direct charter competition, with lots of incentives for big out-of-state operators to come and rake in some Florida taxpayer bucks. In other words, when the state finds a public school that needs some extra help and support, they instead call in private operators. Like finding a traveler beaten and hurt beside the road, and instead of calling a doctor, you call some vultures.
Yes, if you haven't been following events in Florida, they really are the worst. But then, they have installed a group of strongly anti-public education folks in all the education oversight positions, as well as powerful advocacy groups with lots of clout, so none of this comes out of left field. If any state is well-positioned to completely eliminate public education, it is Florida (even if they do attempt to hide the attempt by redefining "public").
Anyway, Duval school system includes several schools that are struggling, and they have a brand new superintendent, Dr. Diana Greene (with a background in actual education).
Corcoran gave her three choices. One of the choices was hand over some schools to IDEA, a Texas corporate charter chain founded by a pair of Teach for America products devoted to the No Excuses model.
That was the choice Greene was supposed to pick, but instead she went with working with the local community to salvage the schools they were committed to. Corcoran was not happy. In fact, he stewed aloud that perhaps it was time for the state to take over the schools that he wanted to hand off to IDEA. IDEA is on Corcoran's favorites list-- they have been given the green light to start moving into Florida and start opening those Schools of Hope.
Actually, I'm not sure this would make a very good school.
Meanwhile, this summer has seen Corcoran throwing more snits in Greene's direction. The school district has been working on a proposal to use a half-cent sales tax to fund a major capital improvement program for the district. Corcoran is not a fan, and in explaining his non-fanness, he also shared some of CONTINUE READING: CURMUDGUCATION: FL: Trees and the Taj Mahal
'Home-school charters' let families use state dollars for Disneyland, horseback riding lessons and more - Los Angeles Times
'Home-school charters' let families use state dollars for Disneyland, horseback riding lessons and more
In California, there's a way parents can use money from the government to buy multi-day Disneyland Park Hopper passes, San Diego Zoo family memberships, tickets to Medieval Times and dolphin encounters at SeaWorld.
There are a handful of charter schools that give students' families as much as $2,800 to $3,200 — tax dollars sent to the charter schools — every year to spend on anything they want from a list of thousands of home-school vendors approved by the charters, according to the schools' websites.
Some home-school vendors offer tutoring, curricula, books and other traditional educational services. Other vendors sell tickets to theme parks that are billed as field trips, or extracurricular activities that are billed as P.E., including parkour classes, acting classes, ice skating lessons, horseback riding lessons and more.
It's such a popular deal that some home-school bloggers have written articles explaining how California parents can take advantage of the schools' money.
"If you live in California and you're not taking advantage of this, I don't know what to say," said Karen Akpan, a home-school charter parent of four who lives in Beaumont. She wrote a recent blog article describing how she used the educational funds to pay for a family trip to Disneyland, Chicago CityPASSes and Legoland tickets, as well as computer coding kits, educational toys, books and subscription cooking kits for her kids.
The idea behind these charters, which some call "home-school charters," is that families can customize their children's education — just like regular home school — but with state education money.
These charters differ from other, more typical independent study schools or hybrid schools or virtual charter schools, which often assign a structured curriculum of courses for students to complete or offer in-person classes at resource centers.
With home-school charters, there doesn't have to be a set curriculum. Students only have to meet virtually with a teacher once a month and turn in one work sample for each meeting — a sample that the teacher doesn't grade, according to parents.
It is difficult to know how many charter schools operate this way. The state doesn't track them. The California School Boards Assn., which has been critical of charter schools, says it has not researched these kinds of charters because relatively few students enroll in them.
These home-school charters are an uncommon marriage between public charter schools and home schooling, which California considers to be private schooling.
They are an extreme but little-known form of school choice that home-school advocates say is unique to California.
"I don't know of any states where they're paying for the kinds of things they're paying for in California," said Mike Smith, president of the Home School Legal Defense Assn. a national group that advocates for home-schooling families.
Two of the most popular home-school charters that work this way are Valiant Prep and Inspire Charter School South, both of which were authorized to operate by the CONTINUE READING: 'Home-school charters' let families use state dollars for Disneyland, horseback riding lessons and more - Los Angeles Times
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A seat belt is defective if it does not protect a passenger, during an accident, from injuries sustained inside the vehicle. According to the U.S. Department of Transportation's National Highway Safety Administration (NHSTA), in 2002, over 2.9 million people were injured by seat belts, and seat belt injuries caused 43,000 deaths. Seat belts can be defective because of an automobile manufacturer and their failure to properly install the belt, because of faulty design of the belt or a malfunction in the creation of the belt. Faulty seat belts can become unlatched during an accident or they may become loose or tear apart, leaving the driver or passenger without proper security or safety.
Automobile accident victims who have suffered serious injuries, or the wrongful death of a loved one, because of defective seats belt consult with The Killino Firm. They know that we will examine the vehicle and the seat belt to determine what happened and why. They also know that we will prosecute their cases so that they receive all of the compensation they are entitled to. At The Killino Firm, we recognize that these injuries often change our clients' lives forever. As a result, we provide personalized and caring representation, while zealously fighting for our clients at every stage of their cases, including trial, if necessary.
We employ a team of attorneys, paralegals and investigators knowledgeable about seat belt design and defects. We also understand that our clients have suffered serious, at times catastrophic injuries, and need a law office that will deal with the insurance companies and guide the clients and their families through the maze of medical care and treatment that they face.
When you need a lawyer who will exhaustively investigate an automobile's defective seat belt and make sure that every responsible party is held accountable, contact The Killino Firm, where Keeping America Safe is our primary goal. To speak with one of our attorneys, please fill out the form on this page, call us toll free at 877-875-2927, send our Injury Attorneys an email. We will respond promptly to your inquiry so that you can experience The Killino Firm Difference.


text:
Adam Radcliffe October 6, 2005 4:00AM
Both Clap Your Hands Say Yeah and The National are currently basking in (or perhaps suffering from) the glow of being the next big thing out of New York. Thanks to Pitchfork, most eyes are on CYHSY to take home the prize. The real reason to go out to Modified this Saturday, though, is most definitely The National. Back in April, The National released its third record, Alligator, and it was well received for conveying a pathos befitting Midwestern transplants in New York who are approaching their thirties. Matt Berninger seems regretful, singing about love gone wrong and lonely self-doubt. But the music itself still brims with beauty and hope that rises above the self-involved lyrics. Dreamy guitars imbue a sense of quiet, yet the drums pound with intensity. Flourishes of piano and even strings make the sound full and crisp. Alligator is both captivating and troubling, and that is what makes it so enticing. So although the limelight may be well deserved, it's probably best that The National is less caught up in the hipster hype machine than its opening act. When that hype is gone, The National will still be playing, and people will still be listening.
Adam Radcliffe
Rage Against the Machine Just Postponed Their Phoenix Concert Dates
11 Rock Stars Who Allegedly Slept With Underage Girls
David Bowie and the 15-Year-Old Girls
After a Phoenix Punk Socked Glenn Danzig, Things Were Never the Same
By Tom Reardon
This Week's Music Feature: Remembering the Sail Inn
Numb Bats: Don't Call Them a "Girl Group"
By Heather Hoch


text:
Devlin Associates, P.C.
Pennsylvania & New Jersey Litigation Firm
Practice Area Overview
Michael R. Byron
A native Philadelphian, Michael R. Byron graduated from the LaSalle College High School in 1984. He obtained his Bachelor Degree in History at the Catholic University of America in 1988, and obtained his J.D. in 1993 from the Catholic University of America's Columbus School of Law. Mr. Byron served as a judicial law clerk to the Honorable Joseph L. McGlynn of the United States District Court for the Eastern District of Pennsylvania, and is admitted to practice law in the Commonwealth of Pennsylvania and the State of New Jersey. Mr. Byron is certified by the Philadelphia County Court of Common Pleas to sit as an arbitrator. He has arbitrated and tried cases in the United States District Court for the Eastern District of Pennsylvania, The Pennsylvania Court of Common Pleas throughout the Commonwealth, and the Superior Court of New Jersey throughout the State. He has been a member of the Philadelphia Association of Defense Counsel, and Philadelphia Lawyer Volunteers for the Arts.
Insurance Defense Litigation 35%
Errors and Omissions Liability Litigation 15%
Insurance Coverage 10%
General Liability (Premises/Auto) 20%
Product Liability 20%
Certified Legal Specialties
Arbitrator, Court of Common Plea, 1995
U.S. District Court Eastern District of Pennsylvania, 1993
Catholic University of America, Columbus School of Law, Washington, District of Columbia
Catholic University of America, Washington, District of Columbia
B.A. - 1988
Honors: With Honors
Major: History, Literature
Hartford Insurance Company, Senior Staff Counsel, 2000 to 2003
Margolis Edelstein, Associate, 1995 to 2000
Pro Bono Activities
Philadelphia Volunteer Lawyers for the Arts, 1996 to 2003
Allentown Office
From offices in Allentown and Philadelphia, Pennsylvania, as well as New Jersey, Devlin & Associates, P.C., provides legal counsel in Lehigh County and communities throughout Pennsylvania and New Jersey.
© 2021 Devlin Associates, P.C.. All Rights Reserved.


I'm having trouble with wildfly installed from the fedora repo.
I'm running fedora 27 and I installed the wildfly package from the repo. I started the wildfly service and wildfly 10 runs on port 8080. I added a management user and opened the console on port 9990, but it just gives 404.
Is there an extra step to run the management console?
On which ip address did you run JBoss server? Is it running on localhost or any ip address? What is the url you used to access the admin console?
Can you paste the result of the following command ?
The fact that it's returning 404 is a sign that there's some server which is responding to the request. Are you sure there's no other server that's listening on that port? What exact URL are you using?
Also attach the server.log when you start it this way.
I don't see a reason why the console isn't being deployed and I haven't tried using the WildFly (OS level) "service"/package to see what it does.
I vaguely remember goldmann used to manage the Fedora package for WildFly, but I don't know if that's still the case. Maybe he knows more about the state of that package in Fedora 27.
10:22:40,125 INFO [org.jboss.as.clustering.infinispan] (ServerService Thread Pool -- 38) WFLYCLINF0001: Activating Infinispan subsystem.
10:22:40,208 WARN [org.jboss.as.txn] (ServerService Thread Pool -- 54) WFLYTX0013: Node identifier property is set to the default value. Please make sure it is unique.
10:22:40,570 INFO [org.wildfly.extension.undertow] (MSC service thread 1-7) WFLYUT0012: Started server default-server.
10:22:40,592 INFO [org.jboss.as.ejb3] (MSC service thread 1-4) WFLYEJB0482: Strict pool mdb-strict-max-pool is using a max instance size of 16 (per class), which is derived from the number of CPUs on this host.
10:22:40,592 INFO [org.jboss.as.ejb3] (MSC service thread 1-2) WFLYEJB0481: Strict pool slsb-strict-max-pool is using a max instance size of 64 (per class), which is derived from thread worker pool sizing.
10:22:41,286 INFO [org.infinispan.configuration.cache.EvictionConfigurationBuilder] (ServerService Thread Pool -- 58) ISPN000152: Passivation configured without an eviction policy being selected. Only manually evicted entities will be passivated.
10:22:41,288 INFO [org.infinispan.configuration.cache.EvictionConfigurationBuilder] (ServerService Thread Pool -- 58) ISPN000152: Passivation configured without an eviction policy being selected. Only manually evicted entities will be passivated.
10:22:41,290 INFO [org.infinispan.configuration.cache.EvictionConfigurationBuilder] (ServerService Thread Pool -- 59) ISPN000152: Passivation configured without an eviction policy being selected. Only manually evicted entities will be passivated.
10:22:41,292 INFO [org.infinispan.configuration.cache.EvictionConfigurationBuilder] (ServerService Thread Pool -- 61) ISPN000152: Passivation configured without an eviction policy being selected. Only manually evicted entities will be passivated.
10:22:41,295 INFO [org.infinispan.configuration.cache.EvictionConfigurationBuilder] (ServerService Thread Pool -- 61) ISPN000152: Passivation configured without an eviction policy being selected. Only manually evicted entities will be passivated.
10:22:41,294 INFO [org.infinispan.configuration.cache.EvictionConfigurationBuilder] (ServerService Thread Pool -- 59) ISPN000152: Passivation configured without an eviction policy being selected. Only manually evicted entities will be passivated.
2017-11-17 10:22:40,125 INFO [org.jboss.as.clustering.infinispan] (ServerService Thread Pool -- 38) WFLYCLINF0001: Activating Infinispan subsystem.
2017-11-17 10:22:40,208 WARN [org.jboss.as.txn] (ServerService Thread Pool -- 54) WFLYTX0013: Node identifier property is set to the default value. Please make sure it is unique.
2017-11-17 10:22:40,570 INFO [org.wildfly.extension.undertow] (MSC service thread 1-7) WFLYUT0012: Started server default-server.
2017-11-17 10:22:40,592 INFO [org.jboss.as.ejb3] (MSC service thread 1-4) WFLYEJB0482: Strict pool mdb-strict-max-pool is using a max instance size of 16 (per class), which is derived from the number of CPUs on this host.
2017-11-17 10:22:40,592 INFO [org.jboss.as.ejb3] (MSC service thread 1-2) WFLYEJB0481: Strict pool slsb-strict-max-pool is using a max instance size of 64 (per class), which is derived from thread worker pool sizing.
2017-11-17 10:22:41,286 INFO [org.infinispan.configuration.cache.EvictionConfigurationBuilder] (ServerService Thread Pool -- 58) ISPN000152: Passivation configured without an eviction policy being selected. Only manually evicted entities will be passivated.
2017-11-17 10:22:41,288 INFO [org.infinispan.configuration.cache.EvictionConfigurationBuilder] (ServerService Thread Pool -- 58) ISPN000152: Passivation configured without an eviction policy being selected. Only manually evicted entities will be passivated.
2017-11-17 10:22:41,290 INFO [org.infinispan.configuration.cache.EvictionConfigurationBuilder] (ServerService Thread Pool -- 59) ISPN000152: Passivation configured without an eviction policy being selected. Only manually evicted entities will be passivated.
2017-11-17 10:22:41,292 INFO [org.infinispan.configuration.cache.EvictionConfigurationBuilder] (ServerService Thread Pool -- 61) ISPN000152: Passivation configured without an eviction policy being selected. Only manually evicted entities will be passivated.
2017-11-17 10:22:41,295 INFO [org.infinispan.configuration.cache.EvictionConfigurationBuilder] (ServerService Thread Pool -- 61) ISPN000152: Passivation configured without an eviction policy being selected. Only manually evicted entities will be passivated.
2017-11-17 10:22:41,294 INFO [org.infinispan.configuration.cache.EvictionConfigurationBuilder] (ServerService Thread Pool -- 59) ISPN000152: Passivation configured without an eviction policy being selected. Only manually evicted entities will be passivated.
Do your /usr/share/wildfly/standalone/configuration/standalone.xml contains the following xml piece ?
There must be a release-stream*.jar file in /usr/share/wildfly/modules/system/layers/base/org/jboss/as/console/main, that file is the web management console.
That file must come from a rpm package, but as I don't use the wildfly rpm packages, I cannot tell which package must be installed.
Last metadata expiration check: 1:31:38 ago on Sat 18 Nov 2017 20:45:38 IST.
Last metadata expiration check: 1:32:40 ago on Sat 18 Nov 2017 20:45:38 IST.


text:
Q: Yii file upload is not validating the file type When I upload a file it doesn't validate - it allows all types (it shouldn't), allows empty (it shouldn't as well) etc. Of course I included proper rules (I think) in my model.
It looks like fileField is not validating for some reason.
Please take a look at it if you can't find anything wrong.
Here is the code:
array('employeedetails_photo', 'EImageValidator',  'width' => 600, 'height' => 400, 'message' => 'Size error message'),

array('employeedetails_photo', 'file', 'allowEmpty'=>true, 'types'=>'jpg, gif, png', 'maxSize'=>409600,'tooLarge'=>'The file was larger than 400K. Please upload a smaller file.'),

A: there is some issue in yii, do image type validation with jQuery, same problem i faced but i solved it by doing with jQuery.

redpajama_set_name: RedPajamaStackExchange


text:
Diceratura roseofasciana is een vlinder uit de familie bladrollers (Tortricidae). De wetenschappelijke naam is voor het eerst geldig gepubliceerd in 1855 door Mann.

De soort komt voor in Europa.

Bladrollers
Dier uit het Palearctisch gebied

redpajama_set_name: RedPajamaWikipedia


text:
package org.opennms.newts.aggregate;

import static com.google.common.base.Preconditions.checkNotNull;

import java.util.ArrayList;
import java.util.Iterator;
import java.util.Map;
import java.util.NoSuchElementException;

import org.opennms.newts.api.Duration;
import org.opennms.newts.api.Measurement;
import org.opennms.newts.api.Resource;
import org.opennms.newts.api.Sample;
import org.opennms.newts.api.MetricType;
import org.opennms.newts.api.Results.Row;
import org.opennms.newts.api.Timestamp;
import org.opennms.newts.api.ValueType;
import org.opennms.newts.api.query.Datasource;
import org.opennms.newts.api.query.ResultDescriptor;

import com.google.common.collect.Iterators;
import com.google.common.collect.Lists;
import com.google.common.collect.Maps;

/**
 * Generate primary data point measurements from a stream of samples.
 *
 * @author eevans
 */
class PrimaryData implements Iterator<Row<Measurement>>, Iterable<Row<Measurement>> {

    private static class Accumulation {
        private long m_known, m_unknown;
        private ValueType<?> m_value;
        private Map<String, String> m_attributes = Maps.newHashMap();

        private Accumulation() {
            reset();
        }

        private Accumulation accumulateValue(Duration elapsed, Duration heartbeat, ValueType<?> value) {
            if (elapsed.lt(heartbeat)) {
                m_known += elapsed.asMillis();
                m_value = m_value.plus(value.times(elapsed.asMillis()));
            }
            else {
                m_unknown += elapsed.asMillis();
            }
            return this;
        }

        private Accumulation accumlateAttrs(Map<String, String> attributes) {
            if (attributes != null) m_attributes.putAll(attributes);
            return this;
        }

        private Double getAverage() {
            return isValid() ? m_value.divideBy(m_known).doubleValue() : Double.NaN;
        }

        private long getKnown() {
            return m_known;
        }

        private long getUnknown() {
            return m_unknown;
        }

        private double getElapsed() {
            return getKnown() + getUnknown();
        }

        private boolean isValid() {
            return getUnknown() < (getElapsed() / 2);
        }

        private void reset() {
            m_known = m_unknown = 0;
            m_value = ValueType.compose(0, MetricType.GAUGE);
            m_attributes = Maps.newHashMap();
        }

        private Map<String, String> getAttributes() {
            return m_attributes;
        }

    }

    private final ResultDescriptor m_resultDescriptor;
    private final Resource m_resource;
    private final Iterator<Timestamp> m_timestamps;
    private final Duration m_interval;
    private Timestamp lastIntervalCeiling = null;
    private final ArrayList<Row<Sample>> m_samples = Lists.newArrayList();
    private final Map<String, Integer> m_lastSampleIndex = Maps.newHashMap();
    private final Map<String, Accumulation> m_accumulation = Maps.newHashMap();

    PrimaryData(Resource resource, Timestamp start, Timestamp end, ResultDescriptor resultDescriptor, Iterator<Row<Sample>> input) {
        m_resultDescriptor = checkNotNull(resultDescriptor, "result descriptor argument");
        m_resource = checkNotNull(resource, "resource argument");
        checkNotNull(start, "start argument");
        checkNotNull(end, "end argument");
        m_interval = resultDescriptor.getInterval();

        m_timestamps = new IntervalGenerator(start.stepFloor(m_interval), end.stepCeiling(m_interval), m_interval);

        // Gather the whole collection of rows.
        // We need these since the next sample for a given metric may only appear a few rows ahead
        Iterators.addAll(m_samples, checkNotNull(input, "input argument"));
    }

    @Override
    public boolean hasNext() {
        return m_timestamps.hasNext();
    }

    @Override
    public Row<Measurement> next() {
        if (!hasNext()) throw new NoSuchElementException();

        Timestamp intervalCeiling = m_timestamps.next();
        Row<Measurement> output = new Row<>(intervalCeiling, m_resource);

        for (Datasource ds : m_resultDescriptor.getDatasources().values()) {
            Accumulation accumulation = getOrCreateAccumulation(ds.getSource());
            accumulation.reset();

            int lastSampleIdx = 0;
            if (m_lastSampleIndex.containsKey(ds.getSource())) {
                lastSampleIdx = m_lastSampleIndex.get(ds.getSource());
            }

            Sample last = null;
            for (int sampleIdx = lastSampleIdx; sampleIdx < m_samples.size(); sampleIdx++) {
                Row<Sample> row = m_samples.get(sampleIdx);
                Sample current;

                current = row.getElement(ds.getSource());

                // Skip the row if it does not contain a sample for the current datasource
                if (current == null) {
                    continue;
                }

                if (last == null) {
                    last = current;
                    lastSampleIdx = sampleIdx;
                    continue;
                }

                // Accumulate nothing when samples are beyond this interval
                if (intervalCeiling.lt(last.getTimestamp())) {
                    break;
                }

                Timestamp lowerBound = last.getTimestamp();
                if (lastIntervalCeiling != null && lastIntervalCeiling.gt(lowerBound)) {
                    lowerBound = lastIntervalCeiling;
                }

                Timestamp upperBound = current.getTimestamp();
                if (intervalCeiling.lt(upperBound)) {
                    upperBound = intervalCeiling;
                }
                if (lowerBound.gt(upperBound)) {
                    lowerBound = upperBound;
                }

                Duration elapsed = upperBound.minus(lowerBound);

                m_lastSampleIndex.put(ds.getSource(), lastSampleIdx);
                accumulation.accumulateValue(elapsed, ds.getHeartbeat(), current.getValue())
                    .accumlateAttrs(current.getAttributes());

                last = current;
                lastSampleIdx = sampleIdx;
            }

            // Add sample with accumulated value to output row
            output.addElement(new Measurement(
                    output.getTimestamp(),
                    output.getResource(),
                    ds.getSource(),
                    accumulation.getAverage(),
                    accumulation.getAttributes()));
        }

        lastIntervalCeiling = intervalCeiling;
        return output;
    }

    private Accumulation getOrCreateAccumulation(String name) {
        Accumulation result = m_accumulation.get(name);

        if (result == null) {
            result = new Accumulation();
            m_accumulation.put(name, result);
        }

        return result;
    }

    @Override
    public void remove() {
        throw new UnsupportedOperationException();
    }

    @Override
    public Iterator<Row<Measurement>> iterator() {
        return this;
    }

}

redpajama_set_name: RedPajamaGithub


On Friday, February 28th, the PTA held their Founders Day meeting for 100 years of service. First, the PTA officers read the minutes of the last meeting. The next item on the agenda was a candle lighting ceremony, for the past presidents and the current president, Eileen Eckel. Lauren Svec, the president of Schuyler School's Student Council, also participated by lighting a candle. The meeting proceeded and the past Presidents received flowers.
The big show was next! Mark Stolzenberg, a clown, was the main attraction. Mark toured as a clown with Ringling Bros. and B&B Circus. He also appeared on ABC's soap opera, All My Children.
Mark road a unicycle, juggled with fire, did mime, performed acrobatics, did a lot of comedy and had many members of the audience on stage to participate. In my opinion, he was very entertaining.
The PTA served popcorn, just like the real circus, and also served juice, coffee, and cake at the end of the program.
Thank you PTA and Schuyler School for a great night!


text:
Horace's Favourites •
How Tool-Assisted Speedrunning Reveals The Inner-Life Of Video Games
Meet the obsessives deconstructing Mario 64
Steven Messner
27th January 2016 / 7:00PM
If you watched this year's Awesome Games Done Quick, you're already familiar with the Olympian feats of endurance and skill that players exhibit as they race through your favorite games and make you realize that, no, you aren't nearly as good at them as you might have thought. But there's another side to the coin that isn't nearly as popular as traditional speedrunning, a niche community of players prying open games and doing the unimaginable. Tool-assisted speedrunning ('TAS') might seem like simple cheating, but it's so much more than that. It's an exploration of the inner-life of video games, and it takes teams of expert players and programmers thousands of hours to do.
For many of us, a video game ends when the credits roll or when every challenge has been mastered—if we even make it that far. But for Scott "pannenkoek2012" Buchanan, Super Mario 64 has no end. It's a game that he has mastered both inside and out, and his knowledge of its inner clockwork borders on academic. By using emulators and memory hacking software, Scott is able to play Mario at a level that is impossible by traditional means. He can control Mario frame by frame, maneuvering him in ways even the average speed runner only dreams of doing. His staggering understanding of the game's programming and the glitches it spawns allows him to combine both to fascinating effect.
"I've been playing Mario since before I can remember," Scott told me one afternoon as we chatted over Skype. As a child, it was the first game he ever played. But unlike most of us, once Scott had finally mastered every challenge Super Mario 64 offered, he wasn't ready to move on. Using sm64.com, Scott's "bible" for the game, he began seeking greater challenges, like collecting every coin on every level. Through the website, he even discovered there were three different levels that, with careful use of a glitch, a player could potentially gather infinite coins. But being just a kid wrestling with the N64's awkward controller, Scott found he lacked the dexterity for these greater challenges and eventually drifted away from the game.
It wasn't until several years later, as a teenager, that Scott rediscovered his love of Super Mario 64 thanks to an emulator he downloaded onto his computer. Adamant that he would now beat the challenge his childhood self had failed to master, Scott discovered something interesting: It wasn't just three levels that Mario could gather infinite coins on but many more. Excited by this new discovery, Scott made his first YouTube video to share his findings with the world and took his first steps into the community of tool-assisted play.
Meet The TAS Team
Today, Scott is one of the more popular tool-assisted runners in the entire community. He works with a team of 12 other players who have transformed Super Mario 64 from a game into a science. But not content to be just scribes, they use their masterful knowledge of these glitches to do incredible things. In 2014, for example, Scott collected a coin that players had known about for 12 years but been unable to reach by exploiting geometry in the world.
Scott's main focus now is the "A' button challenge', a bid to figure out the optimal way of beating Super Mario 64 both by collecting all 120 stars (called a 100% run) or going straight for the finish line (called an any% run). Thanks to Scott and his peers, the 'A' button challenge has been reduced from 118 presses down to 32 for the 100% run. He's even working on a "no button challenge" to beat the game using only the joystick.
This incredible reduction of presses is thanks to Scott and the Facebook group of 12 other Mario 64 'TASers' he collaborates with. "Each one of us has a really good strength that no one else has, so it's really helpful that we're all together and can communicate so easily," he said. When I asked Scott what he felt he brought to the group, he was quick to answer: "I'm creative in coming up with new strategies and I have a lot of patience. If something doesn't work I'll keep trying it and keep thinking about new possibilities." That patience goes well beyond running into walls when trying to figure out a new method. Scott's tool-assisted runs can frequently take him up to 12 hours to complete a single movement—often just to save a single 'A' press.
Tyler Kehne is another influential member of the inner circle of Mario TASers. When Scott's videos were first gaining popularity, it was common for viewers to suggest solutions in the comments, but the vast majority of them were coming from people not nearly as educated as Scott. That was until Tyler started reaching out and blew Scott away with his knowledge of the game. "He started showing me stuff and I was like, whoa, this is a guy to be reckoned with. He showed me things I had never thought of," Scott said.
Tyler uses his skills as a computer programmer to unravel Super Mario 64's more esoteric secrets. He was the person who discovered the complicated trick of 'parallel universes', a term he coined after discovering a way to desync Mario's actual position on a map and the position the game uses to check if he is standing on solid ground.
Parallel universes were a massive breakthrough for the 'A' button challenge because, paired with another glitch called 'hyperspeed walking', it allowed Mario to gather enough speed to essentially break free from the map entirely, even though his ground-check position still remained behind. This trick places Mario on an invisible duplicate of the map, since the game thinks Mario is technically on solid ground when he is in fact way out of bounds. These duplicates extend in a grid an infinite number of times. With enough built up speed a TASer can move Mario around a level by causing him to break through the geometry and travel to new parallel universes, thus circumventing obstacles that would otherwise require an 'A' press. If it sounds complicated, that's because it is.
What Tools Are Used For Speedrunning
Such complicated methods often require complicated calculations, something that Scott excels at. During our chat, he showed me his workbook containing over 20 different spreadsheets of all of his research. Everything from the flight paths of certain enemies to calculations of how much speed Mario needs to perform a parallel universe movement are meticulously detailed and graphed.
The values for his calculations are gleaned through the use of memory hacking software like Cheat Engine, which can peek into specific addresses in RAM that a program assigns and read back whatever is stored there. Variables like Mario's coordinates or the vertices of polygons can be determined, but doing so requires first knowing where to look.
An important distinction to make is that everything Scott and his peers accomplish is theoretically possible using an unassisted version of the game. Though they certainly have the tools to hack Super Mario 64 ROMs or pry open the values stored in specific RAM addresses and change them as they please, these methods are only used to study and understand the game and not in the actual runs used to complete challenges.
One member of the group is even working on a modified controller that can interface with an N64 console and input the same sequences of button presses used on emulators to verify that what is done on an emulator is possible on the native hardware. This was most recently done to verify a method Scott had devised by cloning several goombas to make a ladder to avoid an 'A' press. It was a process that, due to the limitations of the N64's hardware, he was worried would crash the console if it ran out of memory, but was relieved to discover it didn't.
When it comes to actually performing the run, all Scott uses are the tools provided by the emulator, a controller plugin to offer greater precision, and the memory hacking software to see any values he might need in order to perform his complex maneuvers. He also uses a wired Xbox 360 controller to play the game because the extra buttons allow him to assign necessary emulator functions that he needs easy access to.
In a demonstration, Scott showed me how to exploit a 'misalignment' to allow Mario to snap up onto a higher ledge without using the 'A' button. By first standing on the ledge, Scott was able to determine the specific vertice he needed Mario to jump into to cause him to teleport upwards. Then, using save states to retry and correct failed attempts and Xbox 360 buttons to move the game forward frame by frame, he had Mario dive (which doesn't require the 'A' button) toward the vertice several times. Using the controller plugin to correct his movement by a fraction of degrees, Scott was able to time the jump perfectly to collide with the level geometry in such a way that he would be pushed up onto the ledge instead of away from it. In total, the whole process took minutes to complete a move that, in real time, would have been seconds.
On page two, how glitches are found in the first place.
Tagged with feature, Speedrun, Awesome Games Done Quick, Super Mario 64.
Games wot we mentioned above
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Summer Games Done Quick's charity speedruns start Sunday - these are our picks
Awesome Games Done Quick raises over $2.25 million for charity
Speedrunning mega-marathon AGDQ 2018 starts today
How to do finishing moves and unlock the Wakizashi in Warzone and Cold War
Finishing moves are fiddly - here's how to do them.


text:
Knox (* 4. September 1945 in London als Ian Milroy Carnochan) ist ein britischer Musiker, Songwriter, Sänger und Gründungsmitglied der Punk-Band The Vibrators.

Leben
Knox wuchs in Cricklewood im Norden Londons und in Watford auf. Dort spielte er in Schülerbands Gitarre und gab dies zeitweise auf, als er in Watford die Kunstakademie besuchte und sich der Malerei widmete. 1974 begann er wieder, Musik zu machen und gründete im Februar 1976 mit The Vibrators eine der ersten Punk-Bands.

1978 war The Vibrators von ständigen Besetzungswechseln und Auflösungstendenzen geprägt, in deren Verlauf Knox ausstieg und Ende des Jahres seine Sololaufbahn startete. Zwischen 1980 und 1983 veröffentlichte er zwei Singles und ein Studioalbum. Bereits 1982 kam es zu einer Reunion von The Vibrators in Originalbesetzung mit Knox als Sänger und Gitarrist. Seitdem war Knox immer wieder mit der Band auf teilweise ausgedehnten Europa- und US-Tourneen. Im Jahr 2010 kamen sie noch auf 130 Auftritte, bevor sich Knox 2011 erneut von The Vibrators trennte.

1983 gründete Knox zusammen mit Sänger Charlie Harper und Bassist Alvin Gibbs (beide von UK Subs) sowie dem Schlagzeuger Matthew Best (später bei Psychic TV) die Band Urban Dogs, die unter anderem das gleichnamige Album herausbrachte. Bis 1986 war Knox neben seinem Engagement in anderen Bands auch mit Urban Dogs rege tätig. Anschließend ruhte das Projekt, wurde jedoch in den 1990er Jahren von ihm und Harper mehrfach für vereinzelte Auftritte und Einspielungen reaktiviert.

1984 formierte Knox und einige ehemalige Mitglieder von Hanoi Rocks mit Fallen Angels eine weitere Band, mit der er in den folgenden vier Jahren drei Alben veröffentlichte.

1991 wirkte Knox als Gastmusiker bei der Produktion von Learning English Lesson One mit, einem Studioalbum der deutschen Rock-Band Die Toten Hosen in Zusammenarbeit mit Künstlern, deren Stücke auf dem Album nachgespielt wurden.

Neben der Musik ist Knox auch als Maler und Schriftsteller künstlerisch tätig. Seine Malerei ist sowohl von klassischen wie zeitgenössischen Künstlern geprägt. Als Vorbilder gibt er unter anderem Salvador Dalí und Andy Warhol an. Knox porträtierte zahlreiche Punk-Musiker, etwa Joe Strummer, Joey Ramone oder Sid Vicious. Als Literat ist er neben seiner Arbeit als Songwriter oder Texter diverser Bands und Musiker hauptsächlich als Science-Fiction-Autor tätig. Als Inspirationsquellen für seine Arbeiten in diesem Bereich nennt er die Werke von Ray Bradbury, Larry Niven, Isaac Asimov und Stephen King.

Diskografie
 1980: Gigolo Aunt (Single)
 1981: She's So Goodlooking (Single)
 1983: Plutonium Express

Weblinks
 Offizielle Seite von Knox

Einzelnachweise

Punk-Musiker
Musiker (Vereinigtes Königreich)
Rocksänger
Rock-Gitarrist
Brite
Geboren 1945
Mann


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