text:
About ScreenFish
ScreenFish
where faith and film are intertwined
OtherFish
You are here: Home / Film / Fireworks Wednesday – Marriage Iranian Style
Fireworks Wednesday – Marriage Iranian Style
April 8, 2016 by Darrel Manson Leave a Comment
Iranian filmmaker Asghar Farhadi has developed a following in the last few years with films like The Past, About Elly, and the Best Foreign Language Oscar winner, A Separation (for which Farhadi also received a writing nomination). That means that we now get to see some of his earlier work, such as his 2006 film Fireworks, out Wednesday.
With the Iranian New Year as a backdrop, Roohi, a young bride-to-be is hired as a house cleaner for an affluent Tehran family. But she soon discovers that there are issues between the husband and wife. The wife enlists Roohi's help in spying on her husband and her next door neighbor with whom she believes her husband is having an affair. Roohi gets caught up in shifting loyalties and in the web of lies that she begins to uncover. Worst of all, it may threaten to undo her trust in the bonds of marriage she is about to enter.
The film is structured as a thriller with bits of information and misinformation being dispensed a bit at a time. We, like Roohi, are very much in the dark about these two people and their problems. We also may have questions at the end about what should be done with that information. That gives the film just a small touch of a film noir quality in that we see a dark side of everyday life and are not quite sure how Roohi should respond to what she discovers.
Even though there may be some cultural differences, this really is a very universal film. Issues of infidelity and suspicion are common in marriages regardless of where people live. The distrust that Roohi encounters has poisoned the marriage of these two people. Will the experience spread the seeds of doubt as she enters her own marriage?
Filed Under: Film, Reviews Tagged With: Adghar Farhadi, infidelity, Iran, marriage
THE SF NEWS
Get a special look, just for you.
One Night in Miami: History for Today
Darrel's Dozen (or so) 2020
Another Round – Just a Little Buzz
Disenchantment Part 3: Seeing the Present in the Past
The Ultimate Playlist of Noise: Listening for Life
film and television carry stories which remind us of the stories God has woven since the beginning of time. come with us on a journey to see where faith and film are intertwined.
ScreenFish Articles
© 2021 · ScreenFish.net · Built by Aaron Lee


text:
McEwen, Thomas Carothers, Jr., Capt
Last Primary AFSC/MOS
1115A-Pilot
Last AFSC Group
Aircrew
1964-1965, 1115A, 1st Air Commando Squadron
This Military Service Page was created/owned by SSgt Robert Bruce McClelland, Jr. to remember McEwen, Thomas Carothers, Jr., Capt.
If you knew or served with this Airman and have additional information or photos to support this Page, please leave a message for the Page Administrator(s) HERE.
Casualty Info
Nashville, Tennessee Last Address
Bien Hoa AB, RVN
Casualty Date
Non Hostile- Died Other Causes Reason
Air Loss, Crash - Land
Bien Hoa (Vietnam) Conflict
Woodlawn Memorial Park - Nashville, Tennessee Wall/Plot Coordinates
01E Line 093, Virtual Wall, Tennessee
Military Associations and Other Affiliations
2012, Vietnam Veterans Memorial [Verified] - Assoc. Page
McEwen, Thomas Carot...
4400th CCTS
2012, Vietnam Veterans Memorial
Join Year
http://www.nps.gov/vive/index.htm
HQ Address
Last Updated: Apr 16, 2015
My Photos From This Association
2614 Also There at This Association:
Aamold, Daniel Lawrence, A1C, (1969-1970)
Abbott, Robert William, Maj, (1943-1965)
Abernathy, Robert Lloyd, Maj, (1949-1965)
Abramoff, Arthur John, 1st Lt, (1963-1967)
Acher, Robert Paul, Capt, (1965-1969)
Acosta, Jesse Rodriquez, SSgt, (1955-1965)
Adachi, Thomas Yuji, SMSgt, (1965-1970)
Adair, Samuel Young, Maj, (1962-1972)
Adam, John Quincy, CMSgt, (1966-1968)
Adams, Erhard Jimmie, Sgt, (1966-1970)
Adams, Hughie Darell, Maj, (1941-1964)
Adams, John Wilburn, Capt, (1962-1972)
Adams, Lee Aaron, 1st Lt, (1963-1966)
Adams, Michael Thomas, Capt, (1961-1969)
Adams, Oley Neal, SSgt, (1956-1966)
Adams, Royce Horace, TSgt, (1954-1969)
Adams, Samuel, CMSgt, (1953-1965)
Adams, Stanley Lee, Capt, (1965-1969)
Adams, Steven Harold, A2C, (1965-1966)
Adkins, Kenneth Dale, Sgt, (1967-1970)
Adkisson, James Willie, SSgt, (1954-1966)
Adrian, Joseph Daniel, 1st Lt, (1964-1967)
Aguillon, Felizardo Cuenca, TSgt, (1956-1975)
Aili, David Emil, SSgt, (1963-1967)
Albanese, John Ernest, Sgt, (1965-1968)
Albasio, John Anthony, Capt, (1966-1969)
Alberton, Bobby Joe, CMSgt, (1955-1966)
Albrecht, George Henry, Capt, (1949-1964)
Albright, John Scott, Capt, (1967-1968)
Alexander, Calvin Eugene, SSgt, (1956-1969)
Alfred, Gerald Oak, Maj, (1964-1966)
Alho, Antonio Lopez, Sgt, (1966-1969)
Allee, Richard Kenneth, Col, (1955-1968)
Allen, Charles Franklin, Capt, (1955-1965)
Allen, Henry Lewis, Maj, (1967-1970)
Allen, Thomas Ray, Maj, (1963-1967)
Allenberg, James Pattee, Maj, (1962-1970)
Alley, Gerald William, Col, (1954-1972)
Alley, James Harold, Sgt, (1968-1972)
Alley, Willie Warnie, TSgt, (1955-1969)
Allinson, David Jay, Col, (1961-1966)
Allmond, Barry Kenneth, Capt, (1968-1972)
Alloway, Clyde Douglas, TSgt, (1956-1970)
Alston, Kennith, A1C, (1961-1966)
Altus, Robert Wayne, Capt, (1967-1971)
Alves, Moses Lopes, Maj, (1957-1969)
Amesbury, Harry Arlo, Maj, (1954-1972)
Ammon, Glendon Lee, Col, (1954-1966)
Amos, Thomas Hugh, Maj, (1963-1972)
Andersen, Martin Weigner, Maj, (1953-1967)
Anderson, Douglas Ray, TSgt, (1951-1970)
Anderson, Edwin Parker, Lt Col, (1947-1969)
Anderson, Gregory Lee, SSgt, (1966-1970)
Anderson, Henry H., TSgt, (1951-1967)
Anderson, Meredith Glenn, Maj, (1952-1970)
Anderson, Robert Dale, Col, (1953-1972)
Anderson, Robert William, Maj, (1953-1967)
Anderson, Ronald Stanley, A1C, (1970-1972)
Anderson, Vincent Craig, 1st Lt, (1971-1972)
Anderson, Warren Leroy, Col, (1956-1966)
Anderson, Warren Lester, Capt, (1954-1966)
Andre, Howard Vincient, Maj, (1957-1969)
Andrews, George Robert, Capt, (1964-1969)
Andrews, Stuart Merrill, Col, (1954-1966)
Andrews, William Richard, Lt Col, (1964-1966)
Angstadt, Ralph Harold, Lt Col, (1951-1966)
Annis, Thomas Richard, A1C, (1960-1966)
Anselmo, William Frank, SSgt, (1964-1968)
Anthony, Paul Wayne, A1C, (1968-1970)
Anthony, Raymond F., Lt Col, (1960-1972)
Antonio, Catalino Beltran, Sgt, (1969-1972)
Apodaca, Victor Joe, Maj, (1961-1967)
Appelhans, Richard Duane, Lt Col, (1959-1967)
Appleby, Ivan Dale, Col, (1952-1967)
Aragon, Jose Ruben, SSgt, (1957-1965)
Armond, Robert Laurence, Capt, (1961-1965)
Armstrong, Frank Alton, Maj, (1952-1967)
Armstrong, John William, Col, (1949-1967)
Armstrong, Robert George, 1st Lt, (1961-1964)
Arnold, Louis Broward, Sgt, (1964-1967)
Arseneau, Galen Leroy, MSgt, (1951-1967)
Arthington, Marvin S., 1st Lt, (1968-1970)
Artis, Herbert J., SSgt, (1953-1971)
Asada, Ronald Kazuo, Sgt, (1966-1969)
Asbury, Benton Francis, Maj, (1953-1970)
Ashe, Ronald Anthony, Capt, (1968-1972)
Asire, Donald Henry, Col, (1953-1966)
Atterberry, Edwin Lee, Lt Col, (1955-1969)
Austin, Charles David, Maj, (1965-1967)
Austin, Joseph Clair, Col, (1948-1967)
Avery, Allen Jones, TSgt, (1961-1972)
Avolese, Paul Andrew, Maj, (1953-1967)
Ayers, Richard Lee, Col, (1960-1970)
Ayres, Gerald Francis, Maj, (1950-1972)
Ayres, James Henry, Lt Col, (1960-1971)
Bach, John Joseph, Capt, (1961-1969)
Backus, Kenneth Frank, Capt, (1960-1967)
Badley, James Lindsay, 1st Lt, (1965-1968)
Baggett, Joseph Bradshaw, Maj, (1953-1965)
Bailey, Fred Earl, Maj, (1950-1966)

redpajama_set_name: RedPajamaCommonCrawl


text:
Visit NJSBDC.com
NJ Thrives Small Business Webinars
All State-Wide Events
Request COVID-19 Help
New Jersey Updates
Federal Updates
Economic Resources
NJSBDC Network
A Legal Perspective: Restarting Your Business as New Jersey Embarks on the Road Back from COVID-19
SOURCE: Saiber.com
On April 27, 2020, Governor Murphy unveiled the "Road Back: Restoring Economic Health through Public Health," a set of guidelines and benchmarks which the New Jersey State government will utilize as it determines how and when to reopen parts of the state and its economy. On June 15, 2020, New Jersey entered the second stage of the Road Back, which includes the reopening of "non-essential" retail stores (albeit with a limited customer capacity), child care centers, and outdoor dining. Personal care businesses, including barbershops and hair and nail salons, opened on June 22, 2020. Further incremental steps of the second stage of the Road Back are scheduled for the coming weeks, including the partial reopening of indoor retail shopping malls and indoor dining.
As New Jersey's government reopens the state in phases in accordance with the Road Back, many small business owners are also charting the road back for their businesses. This article contains a high-level overview of a few of the factors small business owners might consider as they are faced with the prospect of restarting their businesses in the "new normal" as our country and state continue to combat COVID-19.
Back to Business Plan
It is imperative that employers develop a comprehensive plan to welcome employees back to the workplace. While creating this plan, an employer should analyze all the relevant issues related to and challenges presented by the return of its employees to the workplace. A key component of the planning phase is to not only create new policies and procedures for maintaining a safe workplace environment during this pandemic but to also review and revise existing policies and procedures to ensure compliance with new laws and modifications to existing laws. To that end, employers must remain flexible and be prepared to adapt to changes in relevant laws and guidance relating to workplace best practices to minimize the risk of COVID-19 infection.
Employers should ensure their plan addresses the basics of returning to work, such as policies regarding employee screenings (for example, temperature checks and health questionnaires, if appropriate), visitors, social distancing, sanitation and hygiene, and the use of facemasks and other personal protective equipment, as well as contingency plans for certain scenarios, such as the company's procedure if an employee tests positive for COVID-19. New and updated policies and procedures should be delivered in writing to all employees, and employees should receive training regarding these policies and procedures. It is also advisable that each employer designate a representative to address employee concerns, questions, and requests regarding these policies and procedures.
Employment-Related Considerations
As employers adapt to this new environment, they face unprecedented challenges in the areas of employment and human resources management. It is imperative that employers not only remain abreast of changes in federal and state laws and guidance regarding employment and health and safety but also not lose sight of established tenets of employment, health and safety, and privacy laws.
As noted above, employers must prepare for and monitor changes in federal and state laws in response to concerns arising from COVID-19. In recent months, the Families First Coronavirus Response Act expanded paid sick leave and family and medical sick leave for certain COVID-19 related reasons and imposed a requirement on certain employers to display a notice of employee rights under the Act for the remainder of the year. The New Jersey Family Leave Act has similarly been expanded to include certain employee protections, including protected unpaid time off, for reasons related to COVID-19.
In addition to new laws and regulations passed in response to COVID-19, employers must also ensure compliance with existing employment laws. For example, if workforce reductions are deemed necessary, employers must make decisions related to such reductions in compliance with anti-discrimination and anti-retaliation laws and, if applicable, the WARN Act and corresponding state WARN laws. Reasonable accommodations must continue to be granted to employees under the Americans with Disabilities Act. If an employee tests positive for COVID-19, an employer must take affirmative steps to maintain a safe environment for its employees while simultaneously ensuring it complies with employee leave laws and laws which protect the confidentiality of an employee's medical information. These examples represent just a few of the laws employers must consider with respect to managing its workforce during the COVID-19 outbreak.
COVID-19 Related Loans
The Federal and State governments have offered a number of loan and grant programs intended to support businesses that are impacted by COVID-19. The Federal Programs include the Paycheck Protection Program (PPP), expanded Economic Injury Disaster Loan (EIDL) program, and Main Street Lending Program. New Jersey has launched the New Jersey Small Business Assistance Grant and Loan Programs, the New Jersey Emergency Assistance Guarantee Program, and the New Jersey Entrepreneur Program. While the funding for certain of these programs may be exhausted, eligible businesses should monitor the programs closely for additional rounds of funding.
Any business which obtained a loan or grants under any of these programs should diligently review the program's requirements with respect to continued eligibility, utilization of proceeds, and, if applicable, loan forgiveness. Certain deadlines and requirements of these programs are also subject to change in accordance with new laws and regulations, such as the Paycheck Protection Program Flexibility Act of 2020, which was signed into law on June 5, 2020. As the name of the Act suggests, the Act modified the initial rules which applied to PPP loans in order to provide borrowers greater flexibility with respect to the utilization of PPP funds, the timeframe for repayment of PPP loans, and the criteria for loan forgiveness. Additional guidance and FAQs also continue to be published in connection with many of these programs.
Business owners should also review the documents evidencing other loans which their business obtained prior to or during the COVID-19 pandemic. Loan documents often include financial covenants which may prove difficult to satisfy while social distancing efforts remain in effect. A business that is in danger of defaulting on its loan obligations could consider seeking a waiver of such default from its lender. If a borrower is unable to make monthly payments during this health crisis, it may consider approaching its lender to negotiate a loan workout.
Contractual Considerations
COVID-19 has closed businesses and disrupted supply chains. Businesses, in conjunction with their legal representation, should analyze contracts to which they are a party to determine if the current environment has, or will have, an effect on their contractual obligations. For example, many contracts include a force majeure clause, which may excuse a party from performance in the event of certain unforeseen circumstances. Even if a contract does not have an express force majeure provision, a court may void a contract or excuse a party from its duty to perform if performance has unexpectedly become impossible or the nature of the parties' overall bargain has fundamentally changed as a result of a supervening event.
While Governor Murphy has signed Executive Orders granting certain relief to residential homeowners and residential tenants, similar relief has not been extended to commercial tenants as of the date of submission of this article. Businesses that are having difficulty impact making lease payments as a result of the impact of the COVID-19 pandemic should carefully review their lease terms with legal counsel and should initiate a dialogue with their landlords to explore alternative payment options or a lease amendment. In some instances, force majeure and similar provisions in a lease may offer relief for a lessee.
Additional details regarding a number of the items listed in this article can be found at the COVID-19 resource center that has been published on our firm's website, www.saiber.com. We wish you, your families, and your businesses health, safety, and success on the road back.
https://www.saiber.com/insights/publications/2020-07-01-restarting-your-business-as-new-jersey-embarks-on-the-road-back-from-covid-19


-Largely compatible with other language version of TLA, the original Golden Sun, and some compatibility with Mario Golf & Tennis for GBA.
Welcome to the world of Golden Sun hacking!
This program is intended to be very user friendly as far as game hacking tools go. Since it's still pretty early along in devolopment I need your help to make sure it gets that way. Feel free to visit the URL at the top of this file, and complain about how confusing the interface is. I would really appreciate it, really!
First and foremost, I ALWAYS recommend keeping a backup copy of the original ROM file. The editor is still in early stages, and although I have faith in my programming abilities I still can't guarantee the ROM file won't get corrupted by some strange coincidence while you're using the editor. I blame it on the goblins, don't let them ruin your day, keep a backup.
When you open the program there should be a box in the center of the window that says "No file open" Fixing that is as easy as going to the top-left, and clicking on File > Open. You'll need an english ROM of 'Golden Sun: The Lost Age' to use the program. If you don't have one, unfortunately you'll have to get it yourself. I can not provide you with one, please do not ask.
Alternatively, you can also press Cntrl + O to open a ROM.
Perhaps just as important as knowing how to load a file is knowing how to save your progress. Simply go to File > Save to save to the same file you opened, or if you want to create a new file go to File > Save As... After using Save As, all subsequent saves will be made to the new file. I recommend you never save over the original ROM file, and always keep a back up copy of it some where.
Alternatively, you can also press Cntrl + S to save, or you can press Cntrl + Shift + S to save as.
NOTE: It's a bad idea to post ROMs on forums, or anywhere really. To distribute your hack I recommending finding a progam to turn it into a patch file, and distributing that instead. Lunar IPS is a good patch creation/application tool. You can get it at the URL below.
Once you've opened a ROM the item editor has likely opened up automatically, but it's important to know how to switch to a different editor. Toward the top right of the window is a bar of icons, hover your mouse over them, and watch the text to the right. Switching between editors is as easy as finding the right icon, and clicking on it.
Alright, now into the real work. When first opened the item editor has a list of items on the left, and a huge blank panel on the right. Once you select an item from the list, the panel gets filled with all sorts of nice data. Lets go over all of it, and remember if it isn't apparent what something is, hover your mouse over it, and wait for a tool tip to appear.
At the top left you'll see the items icon, beside that is it's name, and below, the item's description. Unfortunately none of this is editable in this version of the editor, so let's move on.
NOTE: The item icon is loaded from a database in the editor right now, not the ROM. So if you hack the item icons yourself, the change wont be reflected in this version of the editor.
Located at the top center this is, predictably, the price the player has to pay to buy the item. Selling price is always calculated as 3/4 this value.
Located at the top right. Mostly this just dictates which equipment slot the item can occupy. The names are pulled from the ROM, so some may be misleading... I may have to change that.
Items: Anything that can not be equipped at all.
Weapons: Swords, Axes, Maces, Staves (Plural of Staff), e.t.c.
Armor: Vests, Mail, Armor, Robes, Dresses, e.t.c.
Chest protector: Shields, Bracers, Gloves, Armlets, e.t.c.
Head protector: Hats, Caps, Helms, Crowns, Circlets, e.t.c.
Underwear: Oddly enough, Class changing items.
It should be noted that Items cannot be equipped at all, and only Weapons can use an Unleash.
Located at the top right under the equipment type. Indicates whether the item can be used as many times as the player wants, just once, until it breaks when used in battle (or is later repaired), bestows a psyenergy (In which case the use field indicates which ability), or if it changes after being used. The names of the values are pulled from the ROM.
NOTE: "Item will change" appears to be programmed to specifically only work for Hermes' Water, It's a shame really.
Located toward the top right to the left of Defense. This value indicates how much a characters attack stat is modified when they equip this item.
NOTE: Really the Min/Max ought to be -32768/32767. Expect that to be fixed in the next version, I apologize for the inconvenience.
Located toward the top right to the right of Attack. This value indicates how much a characters defense stat is modified when they equip this item.
NOTE: The difference in Min/Max range from the Attack value is explained by the fact that the game uses twice as much memory for an items attack as it does for it's defense.
Located toward the upper center right, below Unleash Rate. This is the elemental affinity of a weapons normal attack. When the item is equipped as a weapon in battle attacks may cause more, or less damage depending on the character using the item's corresponding elemental power and the corresponding elemental resistance of the target.
Located on the right below the attribute, a check mark beside a character's name indicates that they can equip the item as long as it is in fact equippable (Type is set to anything but Items).
Located on the left below the item description.
The item inflicts the "curse" status effect while equipped.
Once the item is equipped it can't be unequipped the normal way.
Up to 30 of this item can be carried. Try using this with weapons, and other equipment. I haven't noticed any bad glitches from it.
I have no idea, you get a cookie if you can tell me what it does if anything.
Located toward the bottom, below the equippable by flags, and misc. flags. Each item can have up to four additional effects while equipped. These can increase your stats, number of turns in battle, remove curses, or even increase the number of random encounters. Their names are pulled from the ROM.
Hopefully they're self-explanatory by their name. There are duplicates of some of them, in those cases I always recommend using the first appearance in the list.
To the right of each additional effect box is a number value, this is a modifier value for that effect. Keep in mind that Some effects may not use this value at all.
Located at the bottom left. This is the effect of the item when used, or if the "uses" field is set to "Bestows Psyenergy" this indicates which psyenergy the character gets from equipping the item.
Located at the bottom right. This is the ability the item will sometimes unleash in battle while equipped as a weapon.
When first opened, the enemy editor will be set to edit individual enemies. At the top of the enemy list on the left you'll notice a small gray extra panel that says "Individuals" Click on this to switch between editing individual enemies, and enemy groups.
On the left you have a list of enemies to choose from, and to the right is a huge empty panel once again. As before once you actually select an enemy from the list, the panel will get stuffed with all sorts of interesting data to edit. Also as before you can hover your mouse over most things to find out what they are. Well... That is if I know what they are. Yes, you'll find some unidentified values here, I apologize for the inconvenience, and of course anyone who can tell me what they are as specifically as possible gets a cookie.
At the top left is the enemies name. Sadly, it's not editable in this version of the editor.
A sprite, by definition, is a graphic in a video game that can be animated or moved independently around the screen. In this case we have the graphic of the enemy. Click on it to change the enemies appearance.
The sprite selection interface is a little more complicated than other selection interfaces you'll see. It's fairly similar to the Sprite Viewer though, so if you need help using it refer to the Sprite Viewer's section in this guide. Of particular interest though are sprites that are actually 2 sprites wide such as the Doom Dragon, for these you'll want to be sure to select the first half, or you'll only end up with half a monster. Also know that it appears Golden Sun: The Lost Age doesn't like applying palette swaps to them, although the editor doesn't mind it at all.
NOTE: The sprite viewer has 15 palette swaps, while battle sprites for some reason are limited to the first 5.
Located at the top center to the right of the enemy's name. This is the level of the enemy, which is used during calculations for some attacks.
Located at the top right. This is the number of the turns the enemy gets during battle.
NOTE: I believe it's actually clamped to a maximum of 4 in game, this may be reflected in a future version of the editor.
Located toward the top center, below Level. The health points of the enemy, and amount of damage they can take before being defeated.
Located toward the top right, below Turns. The Psyenergy points of the enemy, or amount of energy it has for special abilities.
Located toward the top center, below HP. The Attack strength of the enemy, which relates directly to how much damage they can cause.
Located toward the top right, below PP. The Defense stat of the enemy. A higher defense decreases the amount of damage the enemy recieves.
Located toward the top center, below Attack. The speed of the enemy, which decides when their turn comes in battle. The more speed the sooner they get to go.
Located toward the top right, below Defense. I'm not really sure what luck does.
Located toward the upper center, below Agility. The amount of HP the enemy regenerates at the end of each round of battle.
NOTE: For some enemies a multiplier is applied to this. That isn't factored into the value here, I'm not sure where it is.
Located toward the upper right, below Luck. The amount of PP the enemy regenerates at the end of each round of battle.
NOTE: A multiplier may may be applied to this for some enemies, like is applied to HP regen. More testing is required.
Located a bit above center, below the sprite, and HP/PP Regen. Each enemy can carry up to 4 items they can use in battle. Beside each item is a number, which specifies how many of that item the enemy is carrying.
NOTE: These items are not dropped when the enemy is defeated.
Located a bit above center at the left, below items. Unknown, though it may affect the the checkboxes beside each ability do. I'd love to know what exactly it does, there's a cookie in it for you.
Located a bit above center toward the left, below items to the right of the first unknown value. Unknown, though it may affect the enemies AI. Set to anything above 5, the enemy will do nothing but defend. If you have more information, I'll trade you a cookie for it.
Located center, below & above unknown values. The abilities that the enemy posseses. Each ability has a checkbox beside it, but heck if I know what they do. If you want a cookie find out for me, pretty please!
If for any reason an enemy is unable to perform an ability it selected for that turn it may decide to attack or defend instead. Sometimes they may defend even if they don't technically have the ability to.
Located toward the bottom underneath abilities. A set of four values that I have yet to identify. I have a hunch The last one may not be used at all, but if you can prove me wrong or tell me what the other ones do you get a cookie.
Located toward the bottom left, underneath the slew of mystery values. The number of coins the player recieves for defeating the enemy.
Located toward the bottom center, to the right of Coins. The item the player might recieve upon defeating the enemy's group.
NOTE: Can't you only get one item per enemy group you defeat, though multiple enemies could be coded to always drop an item? Worth investigating which item you'll get when you're "guaranteed" to get multiple.
Located toward the bottom right, to the right of Item Reward. The amount of experience the player recieves for defeating the enemy.
Located at the bottom. You have your enemy's elemental attribute followed by three unidentified/unused values (Cookie anyone?). Below those is a table of elemental level/power/resistances.
NOTE: Uneditable because these sets of stats are shared between enemies. A seperate editing interface will be available for them in a later version of the editor.
On the left is a list of enemy groups, on the right is a rather blank, but relatively small panel. If you select an enemy group you'll be treated to the relevant data about it in the panel on the right. You can hover your mouse over a value to try get a tooltip stating what it is. Sometimes you'll just get question marks though, what I really meant to write there is "Free cookie if you tell me what this value means."
It may be worth explaining what an enemy group is. Imagine you're traveling around Weyard in search of the next lighthouse.
*K-KAWRRR* Oh No! A random battle.
it as you'll soon see).
They're pretty much the meat, potatoes, as well as what ever vegetable is being served of the enemy group editor, if you can't locate them there's a problem. There are five slots for enemies, each has a minimum & maximum value. The minimum & maximum values specify the amount of that enemy that might appear at the beginning of the battle, minimum being the least number that can appear, and maximum being the most. A value between them will be selected at random when the battle starts.
NOTE: Golden Sun: The Lost Age is picky about what how many of what kind/size of enemies can appear glitchlessly. The game automatically limits itself to a maximum of six enemies at any time, but you may need to experiment to ensure their sprites don't get screwed up from the game running out of video memory to store them in.
You may notice four odd values off to the right, I think they're odd too. It's worth a cookie to let me to know why they're not so odd after all.
This is really an awesome feature from here you can... Oh wait, "This feature has not been programmed yet." Well what kind of lazy programmer is working on this project, huh?
What? It's me? Oh... Well, *Ahem* Sorry for the inconvenience.
Probably should have removed that button for now, but then you wouldn't be able to read all those nifty capitilized identitifications for the maps. Anyway, expect a working map viewer in a later version of the editor.
To the left you'll see a list of... Images! That's a nice change isn't it? Anyway on the left is a list of sprite sets, and there are two blank panels on the right to begin with this time. Upon selecting a sprite set on the left, the top panel on the right will get filled with a bunch of options for viewing the sprites, and the bottom panel gets some miscellaneous data on them.
Located at the top right of the top panel. The currently selected animation to view. Click the arrows on either side of the number to change animations.
Some animations switch to a different one after a while, the number at the right underneath the playback controls tells you which animation is actually currently playing. Also notice the play button will turn black, and the stop button will turn red once the animation reaches it's end, assuming it doesn't loop. Not all animations loop back to their first frame though, so hitting the play button will always restart the animation from it's first frame.
Located at the center right of the top panel. This indicates which filter is currently being used to adjust the colors of the sprite. This feature of the game is primarily used for enemy sprites to create multiple versions of the same basic monster. It's also used while casting psyenergy outside of battle.
Located at the bottom right of the top panel. The current direction of the sprite being shown. Although the number of directions available is primarily decided by the sprite set you are viewing, it can also be affected by the animation currently being played.
NOTE: Some directions are just mirrored versions of a different direction's sprites. If the number underneath the playback controls with the + symbol beside it matches, the two directions use the exact same sprites. Often in these cases the one facing more to the right is the real sprite, the exception is if the directions value in the lower panel is equal to 22.
Located at the bottom left of the top panel. There's a play button, and a stop button. The play button restarts the animation from it's first frame, and the stop button, well... Stops it.
The numbers along the bottom from left to right are: The actual sprite index being used from the sprite pack + the modifier for the current direction. Lastly the actual current animation playing since they can sometimes jump automatically from one to another making it differ from the one you selected.
Yes I'm going to bunch all of these together, got a problem with it? Too bad.
Going from top left to bottom right, down here you have the width & height of the sprite in pixels, then it's default scale which is how much it gets stretched, or shrunk compared to other sprites.
attached to it such as a shadow.
Down one more we have the directions value, which although not always exactly equal to the number of directions available in the sprite set, is directly related to it. On the right is the number of animations in the set.
The next two values are unidentified, and worth a cookie if you can tell me what they are. I suspect the second one may not be used at all.
Collision Diameter is the last value, this is used to decide how close in pixels the player can stand to the sprite before running into it. Note that the player's sprite's collision diameter is also factored into the calculations. I'm not sure if this value has a different meaning for sprites that cannot be collided with, such as battle sprites.
Wow, this one has a really wide list on the left, and a rather puny empty panel on the right. Once a string (a chunk of text as it is stored in computing) is selected from the left, its full contents are displayed in the panel on the right. Only one line of a string can be displayed in the list, while it could actually span multiple lines. If you see a character within hard brackets like "" that means it's a special command, I have an idea what some of them do, but if you want a cookie you could always figure out the rest for me.
I have one last feature to mention that doesn't fit in anywhere else. You may have noticed in screenshots that the editor sometimes has a different background image, while yours by default is stuck with the same one. The program randomly selects a .jpg file from the "editor bg" folder to use as a background image. Go ahead, try sticking a random .jpg file in there, and watch as it sometimes becomes your new editor background!
With that, we're at the end of the guide for Golden Sun: The Lost Age Editor. Thanks for taking the time to read it, or at least skimming through it. If you have any questions, comments, or bug reports please visit the forums below.


Many individuals who have suffered the loss of natural teeth have a special need for someone who is extra sensitive to how they look, and has the cosmetic training to design a smile that will be attractive and will fit specific facial characteristics.
Dentures are usually removable with a full or partial set of teeth. The condition of the patient's bone is essential, and is the key to how the orthotic will fit. In cases where there is insufficient bone, the expert dental team at Smile Center Orlando may recommend that you see our periodontist for a bone graft or for implants that will provide better retention of your denture.
Denture therapy also includes the monitoring of the tissues of the mouth and the health of the jaw joint. Both the jaw joint and the tissue must be healthy in order to obtain proper function with the denture in place. Our dentist and periodontist pride themselves on creating and maintaining healthy smiles with individualized denture therapy.
Discover if full or partial dentures are fitting for you. Call the Smile Center Orlando at (407) 678-8848.


When dreaming of money, the first thing that comes to mind is a fabulous life. Yet, one privilege of being a self-made person is giving back and helping those without privileges. When thinking of LGBT activists, names like Madonna, RuPaul and Connor Franta come to mind. Rarely does Tim Gill. You might not know his name, but you know Tim's work.
Tim's a Coloradan. After getting laid off and searching for months for a job, he started his own company with a $2,000 loan. Tim's company created word processing software for Apple computers. He worked hard, even taking customer calls at 2 a.m., to grow his company.
Quark soon became the industry standard for magazines and newspapers. After two decades of hard work, Tim sold his portion of Quark for millions of dollars.
Tim could've funded a fabulous life and kicked back. Instead, he started The Gill Foundation and donated over $400 million of his own money to further LGBT rights. His foundation has invested more than $335 million to date nationwide. In nearly every U.S. state, The Gill Foundation is effecting change by supporting organizations that support transgender women of color, fight for birth certificate rights, combat religious freedom bills and championed marriage equality.
Tim continued, "I never thought being gay held me back." He knew if he let it, he wouldn't be successful. In college, driven to help his community, he was as an LGBT advocate. This passion continues today as a business leader who is changing the corporate and political worlds.
Work hard, and invest time and energy in your success.
Had you heard of Tim Gill?
With their writing and speaking for DebtFreeGuys.com and Queer Money™ podcast, David Auten and John Schneider help queer people live fabulously, not fabulously broke. Their goal is to connect LGBTQ people with the information and services they need so queer individuals and the community can do more and be more.


This custom was initially made to my friend who work for Bosch Service, who is the certified trainer for Bosch diagnostic tools.
In real, they do have one company vehicle looked very similar to what I did. The Renault Kangoo is painted in Bosch blue and square Bosch Service logos on both side. I would say the VW Caddy simply the replica of the real one.
hi, is this car yours?


text:
#ifndef TEST_SSL_HPP
#define TEST_SSL_HPP
#include "cassandra.h"

#include "objects/object_base.hpp"

#include <gtest/gtest.h>
#include <string>

namespace test { namespace driver {

/**
 * Wrapped SSL context object
 */
class Ssl : public Object<CassSsl, cass_ssl_free> {
public:
  /**
   * Create the default SSL object
   */
  Ssl()
      : Object<CassSsl, cass_ssl_free>(cass_ssl_new()) {}

  /**
   * Create the SSL object from the native driver object
   *
   * @param ssl Native driver object
   */
  Ssl(CassSsl* ssl)
      : Object<CassSsl, cass_ssl_free>(ssl) {}

  /**
   * Create the SSL object from a shared reference
   *
   * @param ssl Shared reference
   */
  Ssl(Ptr ssl)
      : Object<CassSsl, cass_ssl_free>(ssl) {}

  /**
   * Adds a trusted certificate. This is used to verify the peer's certificate.
   *
   * @param cert PEM formatted certificate string
   * @return Ssl object
   */
  Ssl& add_trusted_cert(const std::string& cert) {
    EXPECT_EQ(CASS_OK, cass_ssl_add_trusted_cert(get(), cert.c_str()));
    return *this;
  }

  /**
   * Sets verification performed on the peer's certificate.
   *
   * @param flags Verification flags
   * @return Ssl object
   */
  Ssl& with_verify_flags(int flags) {
    cass_ssl_set_verify_flags(get(), flags);
    return *this;
  }

  /**
   * Set client-side certificate chain. This is used to authenticate the client on the server-side.
   * This should contain the entire certificate chain starting with the certificate itself.
   *
   * @param cert PEM formatted certificate string
   * @return Ssl object
   */
  Ssl& with_cert(const std::string& cert) {
    EXPECT_EQ(CASS_OK, cass_ssl_set_cert(get(), cert.c_str()));
    return *this;
  }

  /**
   * Set client-side private key. This is used to authenticate the client on the server-side.
   *
   * @param key PEM formatted key string
   * @param password used to decrypt key
   * @return Ssl object
   */
  Ssl& with_private_key(const std::string& key, const std::string& password) {
    EXPECT_EQ(CASS_OK, cass_ssl_set_private_key(get(), key.c_str(), password.c_str()));
    return *this;
  }
};

}} // namespace test::driver

#endif

redpajama_set_name: RedPajamaGithub


text:
(-) Testimony
Most Relevant Sort descending
Statement on the Situation in Afghanistan Before the Subcommittee on Near Eastern and South Asian Affairs
Mr. Chairman, thank you for this invitation, and thank you for your continuing work to focus attention on Afghanistan. I have brought a written submission for the record providing background in…
Testimony by Barnett R. Rubin
The Role of Border Technology in Advancing Homeland Security
Written Testimony beforea joint hearing of the U.S. Senate Judiciary Subcommittee on Technology, Terrorism, and Government Informationandthe U.S. Senate Judiciary Subcommittee on BorderSecurity…
Testimony by Stephen E. Flynn
Hearing on U.S. Policy in the Andean Region
U.S. Senate Caucus on International Narcotics Control Washington, D.C. September 17, 2002 This transcript has not been edited. WITNESSES: RICHARD L. ARMITAGE, Deputy Secretary of Sta…
Testimony of Jamie Metzl Before the House Select Committee on Homeland Security
STATEMENT OF JAMIE F. METZL SENIOR FELLOW AND COORDINATOR FOR HOMELAND SECURITY PROGRAMS, COUNCIL ON FOREIGN RELATIONS PROJECT DIRECTOR, COUNCIL ON FOREIGN RELATIONSINDEPENDENT TASK FORCE …
Testimony by Jamie F. Metzl
Rethinking the Role of the U.S. Mexican Border in the Post-9/11 World
Written Testimony before a hearing of the Committee on Foreign Relations, United States Senate on "U.S.-Mexico: Immigration Policy & The Bilateral Relationship" Stephen E. F…
The Terrorist Threat in Africa
Testimony before the House Committee on International RelationsSubcommittee on AfricaHearing on "Fighting Terrorism in Africa" By Princeton N. LymanRalph Bunche Senior Fellow and…
Testimony by Princeton N. Lyman Africa Program
Law in Political Transitions: Lessons from East Asia and the Road Ahead for China
Room 419 of the Dirksen Senate Office BuildingWritten Statement of Jerome A. CohenCHINA'S LEGAL SYSTEM IN TRANSITIONSenator Hagel and other distinguished members of the Commission and staff: I am ple…
Testimony by Jerome A. Cohen
Iran: Tehran's Nuclear Recklessness and the U.S. Response
Mr. Chairman and members of the committee, thank you for allowing me the privilege to come before you to discuss the threat posed by the Islamic Republic of Iran. Today, as for much of the past quart…
Testimony by Ray Takeyh
Testimony of Douglas Holtz-Eakin before the Committee on the Budget, United States House of Representatives [Prepared Remarks]
Chairman Nussle, Ranking Member Spratt and members of the Committee, I am pleased to have the opportunity to discuss the topic of mandatory spending in the federal budget. In my remarks, I wish to ma…
Testimony by Douglas Holtz-Eakin
The Civilian High-technology Economy: Where is it heading?
Statement of Adam Segal, Maurice R. Greenberg Senior Fellow in China Studies, Council on Foreign Relations before the U.S. China Economic and Security Review Commission, Chinese Military Modernizatio…
Testimony by Adam Segal Asia Program
Charles A. Kupchan


Yiftah Shapir of the INSS in a photo from the INSS website. Accessed 12 November 2012.
Yiftah Shapir is head of the INSS Middle East Military Balance project and for 10 years was co-editor of the annual publication Middle East Military Balance.
Shapir is currently head of the INSS Middle East Military Balance project and is also a senior research associate at Investment Support Systems Inc.
Shapir, Yiftah., 'More Trouble for the F-35?', INSS Insight, No. 314, February 15, 2012.
Shapir, Yiftah., 'How Many Domes Does Beer Sheva Need?', INSS Insight No, 277, August 28, 2011.
Shapir, Yiftah., 'The F-35 Deal: An Enlightened Purchase?', Strategic Assessment, Volume 13, No. 4, January 2011.
Shapir, Yiftah., 'The White Army against Iran: The Saudi Weapons Deal', Part 2, INSS Insight, No. 218, November 2, 2010.
Magen, Zvi. and Shapir, Yiftah., 'Adornment of the Syrian Bride?', INSS Insight, No. 209, September 21, 2010.
Shapir, Yiftah., 'Iran's Late-Summer Display', INSS Insight, No. 205, September 5, 2010.
Shapir, Yiftah., 'The Saudi Arms Deal', INSS Insight, No. 200, August 17, 2010.
Magen, Zvi., Shapir, Yiftah. and Bagno-Moldavsky, Olena., Russian Arms Exports to the Middle East: A Means or an End?', Strategic Assessment, Volume 13, No. 2, August 2010.
Shapir, Yiftah., 'Trends in Military Buildup in the Middle East', in Strategic Survey for Israel 2010, eds. Shlomo Brom and Anat Kurz, Tel Aviv: Institute for National Security Studies, 2010.
Shapir, Yiftah., 'The United States and the Buildup of Military Force in the Persian Gulf', INSS Insight, No. 161, February 14, 2010.
Shapir, Yiftah., 'Israel's Arms Sales to India', Strategic Assessment, Volume 12, No. 3, November 2009.
Magen, Zvi. & Shapir, Yiftah., 'Supplying Iran with S-300 Systems', INSS Insight, No. 126, August 26, 2009.
Shapir, Yiftah., 'Iran's Ballistic Missiles', Strategic Assessment, Vol. 12, No. 2, August 2009.
Shapir, Yiftah., 'Trends in Military Buildup in the Middle East', in: Brom, Shlomo and Kurz, Anat, (Editors), Strategic Survey for Israel 2009, Tel Aviv: Institute for National Security Studies, 2009.
Shapir, Yiftah, 'Hamas' Weapons', Strategic Assessment, Volume 11, No. 4, February 2009.
Shapir, Yiftah., 'An Iranian Satellite in Space', INSS Insight, No. 92, February 9, 2009.
Shapir, Yiftah., 'An Iranian Ambassador in Space?', INSS Insight, No. 69, August 31, 2008.
Shapir, Yiftah., 'Saber Rattling and Demonstrations of Missile Power', INSS Insight, No. 63, July 21, 2008.
Shapir, Yiftah S. and Brom, Shlomo., 'The Regional Military Balance', in The Middle East Strategic Balance 2007-2008, Mark A. Heller, ed. Tel Aviv: Institute for National Security Studies, 2008.
Shapir, Yiftah., 'The Launch of the Iranian Kavoshgar Rocket', INSS Insight, No. 48, March 5, 2008.
Shapir, Yiftah., 'The Launch of Israel's TecSAR Satellite', INSS Insight, No. 44, February 12, 2008.
Shapir, Yiftah., 'The Syrian Army Buildup', Strategic Assessment, Vol. 10, No. 2, August 2007.
Shapir, Yiftah., 'The Saudi Arms Deal', INSS Insight, No. 27, August 7 2007.
Shapir, Yiftah., 'Anti-Rocket Defense: A Waste of Taxpayers' Money?', INSS Insight, No. 18, May 30 2007.
Shapir, Yiftah., 'Artillery Rockets: Should Means of Interception be Developed?', Strategic Assessment, Vol. 9, No. 2, August 2006.
Shapir, Yiftah., 'Iran's Strategic Missiles', Strategic Assessment, Vol. 9, No. 1, April 2006.
Shtauber, Zvi. and Shapir, Yiftah., eds, 'The Middle East Strategic Balance 2005-2006', Sussex Academic Press (Brighton) and The Institute for National Security Studies, (Tel Aviv), 2006.
Shapir, Yiftah., 'Trends in Military Procurement and Buildup' in: Zvi Shtauber and Yiftah S. Shapir, eds., The Middle East Strategic Balance 2005-2006, Sussex Academic Press (Brighton) and Institute for National Security, (Tel Aviv), 2006.
Shtauber, Zvi. and Shapir, Yiftah., eds, 'The Middle East Strategic Balance 2004-2005', Sussex Academic Press (Brighton) and The Jaffee Center for Strategic Studies,(Tel Aviv), 2006.
Shapir, Yiftah., 'Iran's Efforts to Conquer Space', Strategic Assessment, Vol. 8, No. 3, November 2005.
Shapir, Yiftah., 'Satellite Technology in the Middle East', Strategic Assessment, Vol. 7, No. 1, May 2004.
Brom, Shlomo and Shapir, Yiftah., 'The Egyptian Armed Forces' in: Shlomo Brom and Yiftah S. Shapir, eds., The Middle East Strategic Balance 2003-2004, Sussex Academic Press (Brighton) and Jaffee Center for Strategic Studies, Tel Aviv University, (Tel Aviv), 2004.
Shapir, Yiftah., 'Iranian Missiles: The Nature of the Threat', Tel Aviv Notes, No. 83, July 9 2003.
Shapir, Yiftah., 'North Korean Missiles for Yemen: Is There a Missing Link?', Tel Aviv Notes, No. 59, December 22 2002.
Shapir, Yiftah., 'Libyan Weapons of Mass Destruction: Qaddafi Redux?', Tel Aviv Notes, No. 49, September 12 2002.
Brom, Shlomo. and Shapir, Yiftah., 'Erecting a Separation Fence', Tel Aviv Notes, No. 42, June 27 2002.
Shapir, Yiftah., 'Ballistic Missiles in Iran', Tel Aviv Notes, No. 41, June 10 2002.
Shapir, Yiftah., 'Syria and Libya: Beyond the Axis of Evil', Tel Aviv Notes, No. 37, May 14 2002.
↑ 1.0 1.1 1.2 'Yiftah Shapir bio', INSS website.
↑ 2.00 2.01 2.02 2.03 2.04 2.05 2.06 2.07 2.08 2.09 2.10 'Yiftah S. Shapir bio', zoominfo.com.
This page was last modified on 15 November 2012, at 15:39.


text:
L'Open Angers Arena Loire 2021 è stato un torneo di tennis femminile giocato sul cemento indoor. È stata la 1ª edizione del torneo, che fa parte del WTA Challenger Tour 2021. Il torneo si è giocato all'Arena Loire Trélazé di Angers, in Francia, dal 6 al 12 dicembre 2021.

Partecipanti al singolare

Teste di serie

* Ranking al 29 novembre 2021.

Altre partecipanti
Le seguenti giocatrici hanno ricevuto una wild card per il tabellone principale:
  Elsa Jacquemot
  Victoria Jiménez Kasintseva
  Mallaurie Noël
  Jessika Ponchet

Le seguenti giocatrici sono passate dalle qualificazioni:

  Isabella Šinikova
  Natal'ja Vichljanceva
  Daniela Vismane
  Yuan Yue

Le seguenti giocatrici sono entrate in tabellone come lucky loser:
  Vitalija D'jačenko
  Martina Di Giuseppe

Ritiri
Prima del torneo
  Mihaela Buzărnescu → sostituita da  Mariam Bolkvadze
  Alizé Cornet → sostituita da  Tamara Korpatsch
  Jaqueline Cristian → sostituita da  Ankita Raina
  Olga Danilović → sostituita da  Leonie Küng
  Anhelina Kalinina → sostituita da  Vitalija D'jačenko
  Jule Niemeier → sostituita da  Ylena In-Albon
  Viktoriya Tomova → sostituita da  Anna Blinkova
  Dajana Jastrems'ka → sostituita da  Martina Di Giuseppe
  Maryna Zanevs'ka → sostituita da  Julia Grabher
  Zheng Qinwen → sostituita da  Cristina Bucșa

Partecipanti al doppio

Teste di serie

* Ranking al 29 novembre 2021.

Campionesse

Singolare

 Vitalija D'jačenko ha sconfitto in finale  Zhang Shuai con il punteggio di 6-0, 6–4.

Doppio

 Tereza Mihalíková /  Greet Minnen hanno sconfitto in finale  Monica Niculescu /  Vera Zvonarëva con il punteggio di 6-2, 7-63.

Altri progetti

Collegamenti esterni

redpajama_set_name: RedPajamaWikipedia


Nothing you say will change the fact that the 20 million or more illegals are going out on their asses before the next year is out! All with burning Mexican flags being tossed out behind them for that matter.
you dont know that for sure. and neither do i. so im going to continue to try and make a change. you cant stop me from doing that.
In a court of Law, did you know that a Jury can declare a LAW unfair and have it overturned? Which means the Jury can over-rule the Judge? I bet you didn't know that. Why can they do that? Because sometimes laws are wrong.
You mean like those far left liberal activist judges that forgot it was their job to uphold the law not make the laws?
it is the people's will that shapes the law. but the bill of rights are not to be infringed upon. simple concept.
According to one of your last posts you think it is ok for a judge to shape the laws.....not the people's will.
and which one, pray tell, is that?
just make sure its not private property. the first amendment supercedes any notions of patriotism you might have.
I see you went DOWN another point GH0ST. Good going, you'll reach ZERO yet.
Why don't we stick to debating the topic? Last I checked, points can be earned for many reasons, not all having to do with posting quality. Some members have even established threads for the purpose of having rep point parties.


Vino Volo Ale House aims to revolutionize how people experience wine and beer. Located in a comfortable post-security retreat for air travelers, combining a cozy lounge, restaurant, and bar. Vino Volo (derived from "wine flight" in Italian) offers wines from around the world by the glass, in tasting flights, and by the bottle. Ale House offers beer from local breweries along with many beers from all over the world.


Website Pricing Columbus Ohio | How much does a website cost?
Without more details, the question is difficult to answer. I like to compare it to asking how much a house costs. As you can see from the photos at the bottom of the page, houses have many different purposes, sizes, and features, all of which have a great deal to do with how much they cost.
Just as it costs more in both time and materials to build the mansion than the tiny house on wheels, it takes a lot more time to build a website with hundreds of pages, blogging, social networking, and ecommerce features than it does to build a simple ten-page informational site.
One is not necessarily better than the other. It depends on your purpose and goals. Those are the things I try to determine in the initial website consultation.
So, how much does a website cost? Once I determine your needs, I can give you an accurate price, but the information on this page will give you general price ranges.
Small sites that display basic information including text and images can be a good way to start if you have a limited budget and would like to establish a web presence. You can always expand the site later.
All websites designed to be mobile friendly!
Optional - CMS that allows clients to easily edit portions of the site.
* Hosting with VWeb is recommended for this price range.
For medium sites, usually 15 to 20 pages.
The Deluxe Website includes all the options of the intermediate site, plus additional pages and features.
Without more details, the question is difficult to answer. I like to compare it to asking how much a house costs. As you can see from the photos on the right, houses have many different purposes, sizes, and features, all of which have a great deal to do with how much they cost.


text:
Posts Tagged 'Utilities'
More appalling incompetence at Northern Ireland Water
Tags: Incompetence, Northern Ireland, Utilities
The fallout from the unfit-for-purpose utility that is Northern Ireland Water shows no sign of ending any time soon. It has just come to light that almost £25 million allocated to upgrade Northern Ireland's ageing water system was given back to the devolved government in December.
Despite years of under investment in the water infrastucture, when money was made available for capital projects it was untouched then returned to the central government pot for reallocation to something else. Democratic Unionist MLA Alastair Ross seems to sum up the general feeling:
"One has to ask why NIW were unable to spend the £25 million when the need for improving the water infrastructure in Northern Ireland is well-known. This indicates poor financial management within NIW, and a lack of clear leadership within that organisation far beyond the former chief executive (Laurence MacKenzie).
"It seems that every day we learn of more and more mismanagement issues within NIW and indeed within their parent department under the ministerial responsibility of Conor Murphy."
Perhaps Conor Murphy is finding it harder than he expected to make the adjustment from being a member of the IRA and possessing explosives to being a member of a government and possessing control of a government department. Perhaps he is in denial of the reality at NI Water, but then, denial seems to be something that comes naturally to him.
NationalGrid – Not one of Met Office's 'intelligent' customers?
Tags: Failure, Incompetence, Met Office, Spin, Utilities, Vested Interests, Weather
According to a piece by the BBC's Martin Rosenbaum in December last year, the UK Met Office puts probabilistic seasonal data on the scientific pages of its website where, in the words of a Met Office board paper, such figures can be 'more targeted towards users who appreciate their value and limitations', (i.e. not members of the public).
Rosenbaum goes on to add that:
As another document put it, 'Intelligent' customers (such as the Cabinet Office) find probabilistic forecasts helpful in planning their resource deployment.
Based on this and the information published in a document on NationalGrid's website – as shared by Joe Public guest posting on Subrosa – we can only conclude that the NationalGrid is not one of the Met Office's so called 'intelligent' customers…
It seems NationalGrid find probabilistic forecasts helpful in planning their supply of gas to the nation. So it seems more than curious that the operator of this country's gas network was not let in on the secret forecast that was withheld from the public. Again it is pertinent to ask just why the Met Office issues these forecasts (that they claim are not actually forecasts) at all.
If NationalGrid – with its national strategic interest in seasonal forecasts – is not one, just who are these 'users who appreciate their value and limitations'? Perhaps that is yet another question the Met Office can answer. In the meantime we await their formal response to the FOI we have submitted to them and the Cabinet Office.
You can't fault their honesty…
Published 21/01/2011	Uncategorized Closed
Tags: Abuse of Power, Freedom of Information, Northern Ireland, Our Tax £s, Utilities, Vested Interests
But you can fault everything else! When it comes to stupidity it seems the good folk at Northern Ireland Water are in a league of their own. From hiring a Chief Executive with a criminal record for theft to paying him nearly £100,000 when he decided to resign, it seems NI Water's incompetence is constantly plumbing new depths.
As water regulators scrutinise the publicly run utility following its operational implosion as tens of thousands of water pipes burst during the December freeze, a Northern Irish politician has submitted a reasonable question in a Freedom of Information request.
Jim Allister of Traditional Unionist Voice asked how long NI Water's Dublin-based chairman, Padraic White, spends at work. The response of this public – and therefore supposedly accountable organisation – was anything but reasonable. As Allister explains:
"I am astounded by their refusal to answer and the utterly fatuous excuse concocted to try and keep this pertinent information from the public.
"In the most contrived and indefensible response to a FOI request that I have ever seen, NIW says releasing such information 'could potentially prejudice the progress and outcome of the Utility Regulator's ongoing investigation'.
"In an unbelievable fantasy trip they go on to proclaim, 'any significant media comment and speculation generated from such disclosure could impact on NI Water having to divert resources towards management of such matters.'
"It gets better, because then they say, 'Premature disclosure of information pertaining to the investigation, whilst the investigation is ongoing, could potentially result in closing off options through adverse public reaction'.
"And, in a telling finale they say, 'NI Water is minded of the fact that the sensitivity of the information requested may decrease over time and that this information may be suitably released in the future.'
"I'm only asking how often Mr White turned up to work!"
It's yet another example of how today's public servants tend their master. Things are run for their convenience and benefit, not those who pay their wages and suffer from substandard performance.
Allister suspects, as many others do, that White is another one of those networking Chairmen who get paid a handsome sum for a few hours work a week for no discernable benefit to the organisation – and that NI Water fears a backlash for paying out big money to a man whose Board failed to ensure the utility was fit for purpose.


text:
Iceberg Arena: Ridiculous Japanese Monster Mayhem
A part of my youth will always be tied to Godzilla. I inherited my father's love for the king of monsters and shared his excitement about obtaining Godzilla paraphernalia. I remember Christmases and Father's Days when we gave him bulky Godzilla VHS box sets, a Godzilla T-shirt (a semi-abstract image of his shadow against a skyscraper which he still regularly wears) and action figures that are proudly displayed in his office.
But most of all I remember the films, in bits and pieces that make about as much sense as the wholes. I remember how much fun is was to watch giant monsters crush tanks, trample Tokyo and beat and the crap out of each other.
Now much older and living on my own, I revisit Godzilla less frequently, but was recently reminded of the reptilian ringleader when looking at an action figure display at the St. Louis Delmar Tivoli Theater. Thinking myself somewhat of a Godzilla completist, I was shocked to discover he'd had a full 29 features leading all the way up to 2004 (ending with "Godzilla: Final Wars," which I watched with my dad). Most of my experience had been with the Showa era (the classics from 1954 – 1975), which many consider to be the height of cheesiness.
Godzilla originated in 1954 as the brainchild of director Ishiro Honda. The story was a parable about the dangers of the atom age embodied in the form of a giant dinosaur-like monster that terrorized Tokyo. In later sequels Godzilla would reverse roles and become a sort of guardian for Japan, defending it from all sorts of strange monsters that ranged from Mothra (a giant moth) to MechaGodzilla (a robot version of himself). Godzilla's design was tweaked over the years, but his powerful screeching roar and the atomic beam he fires from his mouth have remained staples.
Feeling a bit nostalgic, I decided it was time to fill in some of my gaps in the Kaiju (giant monster) genre and stage a showdown of the most ridiculous Japanese monster movies. Ishiro Honda was an obvious place to start since he'd been my favorite director from the genre and I knew he had several unusual non-Godzilla films ("Matango: Attack of the Mushroom People," for instance, which I once screened at Splice). I also acquired "Godzilla vs. Biollante" (not by Honda), known as the "lost" Godzilla films due to its brief theatrical release and unavailability on R1/R2 DVD.
So here are the competitors:
Dogora the Space Monster (1964)
Frankenstein Conquers the World (1965)
Godzilla vs. Biollante (1989)
Now much like my Rutger Hauer B-movie Double Feature the rules are somewhat different from the usual Iceberg Arena format. Instead of competing to be the best movie in the traditional sense, the winner will be decided by which film is the worst in a good way.
I will award Astro-Points for things like ridiculous premises, outrageously bad dialog, inexplicable occurrences, weird plot points, totally awesome monster abilities, induced head-scratching and general silliness. Ordinary badness like poor lighting or boring stretches do not earn Astro-Points.
The points awarded for each item will appear in brackets.
Dogora the Space Monster:
[8] Premise: A team of double-crossing jewel thieves is interrupted mid-heist by a giant squid from outer space who summons cyclones to suck up concentrated carbon. This is bad for the crooks, who are seeking a large shipment of diamonds, and bad for the hero cop, whose girlfriend lives near a massive coal mine. This was Honda last single-monster outing.
[3] Eventually the military concludes that Dogora was created when swarms of wasps (apparently flying around in the ionosphere) interacted with radioactive space cells. They therefore divine that wasp toxin should destroy Dogora, distributed by parachuting barrels of it into the air and pointing robotic hoses towards space (which fire about 30 feet up).
[3] When the toxin does take effect, it transforms Dogora, now a cloud of jellyfish-like bubbles, into rainbow-colored meteorites that rain down like skittles and crush the jewel thieves.
[2] For extensive use of a musical saw on the soundtrack to create an eerie alien warble.
[1] We are treated to a floating hobo in the opening scene. Other than this, the film never really exploits the fact that humans are carbon-based and Dogora largely ignores the cast, contrary to the poster art and DVD cover (seen above) which claim, "It devours buildings and people."
[1] Dr. Munakata, who we're told is one of the world's leading crystallographers, asks "Coal and diamonds are both made of carbon, right?"
[1] Dogora only appears in its widely publicized squid form for a handful of seconds through an effect where mist is superimposed on a squid superimposed on an image of the sky. Dogora is actually seen in this form for longer in many of the trailers, which repeat the shot several times throughout.
[1] The requisite American character, "Mark Jackson," karate chops three times as many people as the nearest Japanese character. As in the real world, a single mild blow on the back of the neck knocks the victim out instantly.
[1] The jewel thieves wear the world's most conspicuous white gloves even when engaging in nighttime stealth operations.
[1] For several stock footage scenes of satellites spinning around or just sitting there.
Frankenstein Conquers the World:
[12] Premise: Near the end of WWII, Nazis smuggle the immortal heart of Frankenstein from Frankfurt in the hopes that Japanese scientists can harness its cellular regeneration to create bullet-proof super-soldiers. A german destroyer transports the organ to a Japanese submarine, who then delivers it to Hiroshima just before the dropping of the atom bomb. 15 years later, a waif child is spotted killing small animals in the area. Dr. James Bowen, an American doctor living locally, manages to capture the creature, later discovered to be Frankenstein's monster. The artificial man grows into an enormous giant, escapes from captivity and is suspected in the destruction of several mountain villages. The truth turns out to be that Baragon, a tunneling dinosaur with a glowing horn (and no backstory), is at large and mega-Frankenstein may be on the only one who can stop it.
[4] After successfully defeating Baragon during a raging forest fire, there's still the question of what will happen to the 20-story Frankenstein. No problem. With less than 4 minutes left in the film a gigantic octopus comes out of nowhere, grapples with Frankenstein and pulls him into the ocean. I wish Hollywood films had that much unfathomable panache when dealing with loose ends.
[2] Frankenstein escapes from his chains when he grows so big that his shackles cut through his arm and the limb falls off. It's later found crawling around with a life of its own.
[1] Dr. Bowen teaches his Japanese assistant (later to be his wife) "American humor." She catches on quickly. When admiring his ability to cook beef (the sole element of American cuisine), he explains that the first step is to buy a good cut of meat. She quips back that really the first step is to "lasso a cow." Both burst into laughter and fall in love.
[1] For Mrs. Bowen's inexplicably giddy excitement when her husband suggests they visit the grave of a patient he couldn't save.
[1] For the dialog exchange:
"If only we didn't have to kill Frankenstein."
"Well unless you can think of some other way to kill him, we'll have to."
[1] For at least three irrelevant scenes involving go-go dancing.
[1] For the actress who responds to a nearby avalanche as Baragon busts through the side of a mountain with "Did you hear something?" and for the fact that nobody else does. We never see this character again.
[1] The film stars American C-actor extraordinaire Nick Adams, former hanger-on pal of James Dean and Elvis Presley, who'd promised three years earlier "I will never make a picture abroad."
[1] Alternate titles include "Frankenstein Versus Subterranean Monster Baragon" and "Frankenstein Meets the Giant Devil Fish."
Godzilla vs. Biollante:
[9] Premise: Dr. Shiragami, a once ambitious scientist now quietly wiling away his time experimenting with plant telepathy, crosses secret government Godzilla DNA with rose petals and the remains of his dead child Erika, inadvertently (well, actually it seems like it would have to be pretty advertent) creating Biollante, a towering rose-monster with thorny vine tentacles (arguably one of the lamest monster premises ever). As something of a sibling to the gargantuan lizard king, it calls out to Godzilla, who is busy decimating Japan, and several titanic battles ensue.
[4] The Japanese Self-Defense force tries to kill Godzilla with a mirror-lined hovercraft that reflects back his atomic ray "1000 times stronger" and by firing bazookas at him containing syringes of bacteria that eats his vital nuclearness. Not only is the poor understanding of science hilarious, but the visualization of these silly ideas is appropriately over-the-top.
[2] Dr. Shiragami communicates with Biollante through his young female telepathic assistant. At one point he abandons her on an empty ocean platform to try (unsuccessfully) to reason with the approaching Godzilla.
[2] After Godzilla defeats Biollante for the final time, its spores ascend into outer space and Dr. Shiragami sees the image of his daughter's now-smiling face superimposed in the glowing particles like some sort of trippy mirage.
[2] For perhaps the worst soundtrack in any Godzilla movie I've seen. Whether triumphant, comical, ominous or upbeat, the music never fits the action. One suspects that the composer was not given even a rough cut of the film to work with and that a deaf studio stooge ironed the musical tracks onto the celluloid at random.
[1] The various factions duking it out on the ground are a little difficult to follow, but one appears to be a silent assassin hired by an Arab company whose nefarious (?) plot involves ending world hunger with a Godzilla-spliced strain of super-wheat.
[1] There's also a couple of American agents working for a company called Bio-Major trying to steal the anti-nuclear bacteria for some unclear reason. You can tell they are American because one is African-American and their dialog consists of English expletives.
[1] Once Biollante blooms, it is able to spew radioactive acid vomit.
[1] Godzilla emerges from the inside of a volcano, after a terrorist bomb disturbs his sleep.
[1] The bazooka battle with Godzilla takes place along the riverbeds that wind through a Japanese commercial district, a huge set that is actually pretty cool.
Honda's "Dogora" was a major disappointment that really failed to do much cool with its crazy ideas and skimped on the special effects needed to be considered a kaiju classic. However, the director made up for it with "Frankenstein Conquers the World," a film so consistently silly and yet strangely inspired that I was never bored. Meanwhile, "Godzilla vs. Biollante" won't be regarded by any as the best in its series, but it is far from being the worst and had enough bizarre concepts to remain more memorable than most.
Winner: Frankenstein Conquers the World
Labels: 1960s, 1980s, Iceberg Arena, Japan, Review, SciFi, Screenshots and Images
Mad Dog said...
Fantastic idea for an article. I like to think of Evangelion as the sophisticated offspring of kaiju movies.
Iceberg Arena: Unofficial Pinocchio Sequels
St. Louis Theater Guide
Review of Flatland
Review of West and Soda
Review of Legend of the Sky Kingdom
Review of The Witch's Hammer


Jehovah's question here is its own answer. The Lord God asserts in unequivocal terms that He abhors all injustice. If He saves, He will be "a just God and a Savior" (Isaiah 45:21). If He damns, it will be upon the grounds of strict justice. He will never use wicked balances or deceitful weights. He has named Himself a God that will by no means clear the guilty (Exodus 34:7). — "Behold, God will not cast away a perfect [man], neither will He help the evil doers" (Job 8:20). — "He that justifieth the wicked, and he that condemneth the just, even they both [are] abomination to the LORD" (Proverbs 17:15).


Location, Location, Location.North Wollongong is a great place to live. This renovated 2 bedroom apartment is close to the North Wollongong beach, North Wollongong Train Station and buses.
The 2 great sized bedrooms both include large built in wardrobes. The eat-in kitchen has gas cooking and plenty of bench and cupboard space. There is also a stylish modern bathroom with the internal laundry.
This is a security building and there is off street parking for one car.
* Close to transport and North Wollongong beach.


text:
package Imager::Font::Win32;
use strict;
use vars qw(@ISA);
@ISA = qw(Imager::Font::W32);

require Imager::Font::W32;

1;

__END__

=head1 NAME

=for stopwords GDI

Imager::Font::Win32 - uses Win32 GDI services for text output

=head1 SYNOPSIS

  my $font = Imager::Font->new(face=>"Arial");

=head1 DESCRIPTION

This module is obsolete.

=head1 AUTHOR

Tony Cook <tonyc@cpan.org>

=cut


text:
Q: Styles not being applied for light mode / dark mode. Last style in cascade is being applied I'm trying to build an app with light and dark mode.
The css looks like this:
.light-mode li,
p,
input,
time,
span,
a {
  color: var(--bravo);
}
.dark-mode li,
p,
input,
time,
span,
a {
  color: var(--bravoDark);
}

I don't understand as even when .light-mode class is applied the .dark-mode styles are still applied.
The classes .dark-mode and .light-mode are given to a wrapping div element.

A: if the classes of the wrapping div element at .light-mode and .dark-mode as you mentioned, you would need to select each element within those containers separately.
Currently, your CSS is just applying the light and dark mode to the li only, as you've separated the rest of the elements with commas, that means you're selecting p, input, time, span and a indiscriminately. Changing your code to:
.light-mode li,
.light-mode p,
.light-mode input,
.light-mode time,
.light-mode span,
.light-mode a {
  color: var(--bravo);
}
.dark-mode li,
.dark-mode p,
.dark-mode input,
.dark-mode time,
.dark-mode span,
.dark-mode a {
  color: var(--bravoDark);
}

This should solve your query, but without a shot of the HTML, I can't be certain. Let me know if there's anything else I can help with.

redpajama_set_name: RedPajamaStackExchange


Drama and Music – Twins Separated at Birth?
Seeing Derek Jacobi as King Lear demonstrated just how close performing a play and performing music are to each other. Both involve the realization of a written text, a manual of instructions, a dramatic constellation. We value a play not only for the beauty of its language, or the wisdom of its vision, but also for the space it leaves undefined, coloured perhaps by implications, but not by certainty. When Lear asks his daughters "Which of you shall we say doth love us most?" it seems a direct and simple question. But there are many situations in which such a question might occur, and many states of mind that might lead to it – therefore the question can be asked in a multitude of ways. A great actor or musician can turn a well known phrase in a way that makes us hear it anew, as if for the first time.
Composers and playwrights often give performance instructions to direct the actor or musician in the performance of the text, but in many cases there are none. Shakespeare's indications are minimal, as are Bach's. It might seem that the words or notes themselves give a clear sense of their performance, as does Lear's rage against the elements:" Blow, winds, and crack your cheeks! rage! blow!". Surely it is unnecessary to give performance indications for these words, their mood is clear. To experience the magic of Jacobi's whispered speech at this point however is to relish the ingenuity of man, the artistic and emotional wisdom of a great actor, free to choose the truth he sees in the words, their expression and their context. Many of the greatest playwrights choose not to limit the role of the actor with indications, either by convention or by personal choice, but the stature of their plays is certainly not diminished by this freedom – it is the space given to the human being in the role, the faith of the writer in the performer that his words will be taken seriously, and the realization that these words will need the flesh and spirit of another human being to become real. It is not least this freedom that allows the play to survive in a different age – whilst we are humans as we have always been, much of our expression must surely change with time. One of the beauties of listening to and playing Bach is the freedom he gives the performer: no other composer has been subjected to such varying interpretations, but that certainly has not lessened his stature or our respect for his achievement. His music has been a vital source of inspiration throughout many ages and artistic fashions. It is not just the genius of the writer to compose something timeless, but also not to tie it down to the present, the particular, not to dress it in a garb that will stifle its growth. For a play is a creation of its author, and like all creations it will grow and lead its own life, a life which the author, like a parent, may disapprove of. This life is both immanent in the very material of the play, and also a product of its history and upbringing, over which the author has little or no influence – all of these factors determine the growth of a play, but whether it will seem relevant to us in the present depends on whether there is space for us in it.
Another similarity between the two art forms lies in the logic of expression that colours both. In performing Bach or Stravinsky, the musician must form a picture of the changing character of the music; each phrase or motif will be expressing something. These expressions may be ineffable or intangible, indeterminate or imaginary, but they are the very stuff of music, as they are of drama. The words of a play may hold the lexical meaning that notes in music lack, but there is much more to the play than words. The words reveal the speaker, his train of thought and of expression. If a character were to say "It is raining again – I am fed up of this bad weather", the context of this phrase makes it clear how the character may have arrived at the conclusion, not only rationally, but also emotionally. But when Lear concludes "Let it be so; thy truth, then, be thy dower", we can understand on a rational level how he arrived at this point, but it is far from clear how he could become so angry in so short a time as to banish his most beloved daughter in such a rabid fashion. Since this all takes place only a few pages into the drama, the actor must make this behaviour credible in a very short time – surely one of the most formidable challenges on stage. It is emotional logic that is required here, an understanding of the way a mind can work, and the appropriate realization of the whole character, not just before the event, but also subsequent to it. In a similar way, a pianist performing Beethoven's Hammerklavier Sonata cannot merely follow instructions, but must understand how the grand and celebratory opening can be so rudely interrupted after only a few bars by the soft, timid answering phrase. It is not enough to carry it out, it must make emotional sense. The meaning that the words carry in the play do not lessen the challenge there, it is the underlying process that both the actor and the musician must understand and convey. Lear is not angry because he speaks – he speaks because he is angry.
King Lear is a unique play in reverse: the extraordinary opening can only really be justified by subsequent events, as there is too little time to prepare the audience for it. It is a play where all the action takes place in one room in the first five minutes and the remaining three hours are akin to a commentary, or inverse preparation. Only by the remainder of the play do we understand the opening. It is not so much that the play is about the consequences of Lear's initial actions, it is the opposite: only by the consequences do we begin to understand the character and how he was able to carry out his ruthless tirade at the beginning. Jacobi carried this out perfectly: his opening ceremony was capricious and impulsive, not attempting to prepare for the breach, but setting out his character in a way that allowed him to develop in a manner consistent with his actions. It is the same gift that allows a pianist to play the opening of the slow movement of Schubert's great Sonata in A in a way that makes the unprecedented outburst of the middle section seem not only possible, but inevitable – an understanding of character, emotions and of narrative structure, as well of course as the skill involved in communicating all this.
All these processes take place through the medium of the words, or notes, and the beauty and skill with which they are composed. It is fairly easy to speak a line of a great poem in an attractive way, or to play a pretty piece of music prettily. Aside from the importance of understanding the text, of interpreting it, there is the further challenge of familiarity. When we have heard a line of poetry many times, it becomes difficult to hear it again without it being stifled by the recollection of previous hearings. We no longer hear the poetry, we hear our image of the poetry. It is the eternal challenge of any performer to try to communicate the work itself, and bypass these images. Style plays an important role in this. There can be only a certain number of values we ascribe to a performance at any one time – values are essentially comparative, and there must always be a limited number of parameters to compare against. But within a generally agreed range of performance options, performers can interpret the work or play only a limited number of times before the image of their interpretation becomes more powerful than the interpretation itself. When this happens, new stylistic agreements have to be reached to allow new possibilities to emerge. It is not that we have discovered that Furtwängler was mistaken in his performances of Beethoven, it is just that within his parameters we can do no better, and there is no point in imitation or repetition, as they take us further away from the work itself. Our Faustian hunger for novelty is necessitated by the diminishing power of the known. Once we hear a line from Shakespeare spoken with the same inflection a certain number of times, we stop listening to the words and just hear the sound. Individual actors or musicians will perform their parts in differing ways, and that is desirable not merely because it reflects their differing personalities or interpretations, but also because it enables us to avoid falling into a reverie. Sometimes performers purposely distort aspects of the work precisely for this reason, just as Francis Bacon distorted his portraits to help us respond to his figures with more directness, more immediacy than we could by mere illustration. The technique of rubato, of distorting the pulse of the music, is partly designed to achieve this: by changing the pulse, we avoid becoming hypnotized by a steady beat and thereby stay alert. Not all rubato achieves this, of course, just as mannered acting does not make a good actor, but they both respond in some part to the danger of boredom. The idea that acting is about just saying the lines naturally, or that interpretation of great music is just playing what is written, is a simplification – it ignores the large number of conscious and subconscious contributions by the interpreter.
Some actors possess more musical qualities than others. Nowadays, actors seem to be encouraged to affect a naturalistic delivery, making the most sublime poetry sound as if were a spontaneous product of collegial banter. The more old fashioned declamatory style of acting can cause suspicion in modern audiences who mostly prefer things that resemble them and their lives. But declamatory acting, at its best, can be a very musical experience, using very similar techniques and effects as musicians might use in performance. In this sense, Derek Jacobi recalls some of the great romantic pianists: his ever fluctuating tone emphasizes long lines and phrases, grows in intensity and suddenly drops to pianissimo, much as Horowitz used to do at the piano; yet, as Horowitz, Jacobi is always masterful in his balance of the particular colour of the moment with the longer line of the speech. The great baritone Dietrich Fischer-Dieskau continued to give recitals after his retirement from singing, choosing melodramas such as Strauss' Enoch Arden, where a piano accompanies a spoken recitation. Fischer-Dieskau's mastery of tone colour, vocal inflection and rhetoric made him ideal for these works, and it is a terrible shame he never took to acting; if he had, he would most probably have resembled Jacobi in his delivery, colouring individual words without ever losing his place in the sentence. Great poetry such as that of Shakespeare has a density of meaning and expression quite akin to the harmonic and motivic complexities of late romantic music, such as Mahler symphonies, where every phrase covers several harmonies, contains a multitude of instruments and colours, and is quite ambiguous in direction. Music such as this cannot be ploughed through; it needs clarification, care and understanding of the many threads and allusions, just as dense poetry needs very thoughtful delivery to do justice to its many facets.
Music and acting are two aspects of the same skill, employing similar techniques in two different media, using the same human processes as a basis for aesthetic and more general reflections on human nature. They both present similar questions regarding the role of the performer in relation to that of the author, regarding the authority of the author over the work and regarding the adaptability of the work in changing circumstances, and yet these questions are universally answered without reference to each other, in spite of the fact that comparison can yield many helpful ideas and better understanding of the wider processes common to both. One need only think of the completely different attitudes to authenticity in the two fields to illustrate this artificial separation of the two art forms. And yet, when an artist of the calibre of Derek Jacobi performs, one can briefly forget these distinctions and enjoy the virtuosity, the depth of understanding and the skill in communication that he shares with the great musicians of the past and the present.


According to the transcript, Obama's comments included: "All right. The last point I wanted to make is we did talk about what the environmental quality is down here right now. Lisa Jackson has been down here all week and she went all across the country — or all across the state of Louisiana. She's going to be monitoring what's going on in Alabama and Florida as well."
The 31st annual Mississippi Picnic is today at noon, at East Meadow in Central Park. Mississippi artists and authors will display and sell their art and books, and "Barbour will be on hand to bring greetings from Mississippi," the event's Web site says. The Mississippi Catfish Cooking team will be serving Simmons Farm fried catfish.
Hipp and a White House spokesman said Barbour continues to participate in daily conference calls with the White House, Coast Guard and others on the oil-disaster response.
Barbour missed another meeting between Obama and the Gulf governors on the president's trip last week to Louisiana. Barbour had previously committed to attend the opening of a solar-panel plant in Senatobia, Miss.


text:
01. AGGROVATORS - Militant Salute
02. AGGROVATORS - Smile
03. AGGROVATORS - Keep Skanking
04. AGGROVATORS - Rocking Jamboree
05. AGGROVATORS - His Majesty
06. AGGROVATORS - Hop Skip + Rock
07. AGGROVATORS - African Roots
08. AGGROVATORS - You've Caught Me Baby
09. AGGROVATORS - You'll Never Find
10. AGGROVATORS - Riding West
11. AGGROVATORS - Hot Lava
12. AGGROVATORS - Mr. Mister
13. AGGROVATORS - Spring Time
14. AGGROVATORS - Tollawah
15. AGGROVATORS - Black Unity
16. AGGROVATORS - Riding Uptown
17. AGGROVATORS - Forgot To Say I Love You
AGGROVATORS
At King Tubby's Studio
ATTACK GOLD
ATTACK 031CD ATTACK 031CD
"Aggrovators were the top band in '70s Jamaica, all the top producers at the time would use them for their recording sessions. This album is a collection of some top dub tracks recorded and mixed at King Tubby's Studio by King Tubby and Aggrovators. The Aggrovators were Carlton Barett, Aston Barett, Sly Dunbar, Robbie Shakespeare, Earl 'China' Smith, Santa Davis, Geoffrey Chung, Tony Chin, K. Sterling, C. Harvey, T. McCook, Bobby Ellis, Skully, L. Brown, Jackie Mittoo, and Winston Wright."
Other releases on ATTACK GOLD
Other releases by AGGROVATORS


text:
William LeRoy Cooper
Mr. William LeRoy Cooper passed away March 22,2021 at his home in College Park, Georgia. He was survived by his brother Mr. Frank Cooper of Miami, Florida, sisters Mrs. Carolyn Lamdrum, and Mrs. Claire Simmons of Atlanta. In the late 80's Leroy lost his wife, the love of his life, Helen. Mr. Cooper was very active with the Fraternal Order of the Moose, East Point and Mableton lodges. He was a Pilgrim of the Moose. He was also active with the East Point American Legion. He loved to play golf, and earlier in his life he participated in national putt putt tournaments. He graduated from Russell High School in 1958, attended Georgia Tech but was a devout Georgia Bulldawg Supporter.
The memorial service for LeRoy will be:
Saturday April 10, 2021 : 1:00 PM
Mableton Moose Lodge #1314
7894 White Road
Austell, GA 30168
Refreshments will be provided after the service.
In lieu of a floral tribute the Lodge requests donations to the Moose Heart Charity, and the family has also provided a link to https://www.copdfoundation.org/Take-Action/Donate/Donate-Now.aspx. Arrangements were provided by Davis-Struemph Funeral Home.
November 15, 1940 - March 22, 2021


For a few minutes forget about governance, architecture, and implementing a complex security framework based on a massive 500 page manual. If you want to know where your organization should start in terms of protecting itself from cyber threats, look no further than the Center for Internet Security (CIS) Top 20 Controls (CT20).
I'm also a fan of the NIST Cybersecurity Framework (CSF). Using CSF and CT20 together makes a lot of sense, but if you have to choose one list – make it the Top 20. Here's why.
1. CT20 does a fantastic job of stating the safeguards that should be implemented for each major control.
Other publications are more strategic, high-level, and top-down focused. Examples are COBIT 5, AICPA's new Cybersecurity Risk Management Examination (CRME), NIST CSF, FFIEC and so forth. Then there are mega-guides, such as NIST 800-53 and ISO 27001/2. None of these do what CIS has done because they do not tell you exactly what to implement and in which order according to the tenet of prioritization (i.e. reducing the most risk with the fewest safeguards based on real-world attacks and breaches), while emphasizing measurement, metrics, continuous mitigation, and automation. Remember, an organization cannot do everything all-at-once, nor should it. You have precious resources and you must be judicious when it comes to using them.
2. CT20 actually conforms to the thinking of a security-minded brain.
Finally, a publication that resonates with me, aligning with my thought process as I try to help educate organizations on how to think about cybersecurity. The story is often the same for many of us security folk, whether we consult, manage internally, or even wear the security hat as part of ODAA (other duties as assigned). We need to promote a culture of security while simultaneously implementing safeguards where they are needed most. CT20 tells us where and how. Let me explain.
When someone tells me they need help with security, whether it be specific assets or everything, the first things I ask are, "What do you (i.e. your organization) do?" and "What are all of your IT assets?" Literally, please give me a list of everything IT that you own, manage, or otherwise use, plus everything that's connected directly to your network, including any third-party endpoints and integrations. Guess how many times the response is, "Sure, here you go." Zero. It actually never happens. OK maybe once or twice, sort of. This is a problem.
The problem can be stated simply: you cannot protect what you don't know exists. Period. If you have one leaky pipe somewhere in your house and you don't know it's there, you will end up with mold or water damage. If you have one unsecured or unaccounted for asset, it's a potential attack vector. So what does the CT20 have to say about all of this? Let's take a look at the Basic Controls (1-6) of CT20 and see exactly why we have to do these first.
These are all about hardware and software inventory. Find everything. Build a database. Verify there are no unauthorized endpoints connected to your computing environment. Discern if there is any undesired or unapproved software installed, running, or stored (portable .exe) on your systems. Make sure software versions are supported and up-to-date. Put compensating controls around any high-risk systems, such as segregating them from other network segments, or placing an additional authentication mechanism in front of them. Many organizations struggle with mastering C1 and C2, attaining only a partial implementation state. Now, I personally think partial is far better than having nothing, but do we really want to be masters of none when it comes to the very basic foundation of IT asset management? No, of course not. The need to fully implement basic security practices is greater now than it's ever been. Once you understand what you have, then you begin to secure it.
These describe continuous vulnerability monitoring (scanning and reporting) and secure configurations, respectively. Now C3 will help inform C1 and C2 tremendously, and without C5 the primary assets of your users are just waiting to be pwned, so really those four controls establish the very basis of activities that must be on-going FOREVER at your organization in order to maintain control. And the idea of control brings us to access and monitoring.
Controls 4 and 6 talk about administrative access and monitoring/analysis of logs, respectively. My goodness, the number of times someone discovered that horrendous access management practices were happening is a number so large, the human mind can't even handle it. Okay, maybe it's not that big, but honestly it happens far too often. C4 is focused on securing admin access because in a perfect world unprivileged users could do much less harm if they are unable to gain unauthorized access to privileged rights.
C4 promotes specific controls, such as multi-factor authentication (MFA), using dedicated accounts, and so forth. We all know getting admin access is like becoming Superman of the computing world (or maybe the One-Above-All for comic aficionados), so of course we have to protect this special access. No need to elaborate. But what happens when someone does gain unauthorized access, privileged or not?
Or at least it should. There have been several articles published recently (in 2018) by security researchers claiming that any network can be infiltrated, many of them trivially with a competent, skilled team. What this means for business leaders is: you need to watch your computing environment very closely for signs of unauthorized activity and perform constant analysis of relevant data, much of it being logs. You have to watch all the time, 24x7x365. You can't have anyone asleep at the wheel, out on vacation for a couple days, or simply saying, "Yup I looked real quick, didn't see much." Wrong answer. In a world where successful breaches are happening all around us, detection is key to response. And of course you have to be able to respond, but that's a topic for another day.
So, there you have it. In the vast cyber security universe full of possible ways to detect, protect, and respond, you should start with the CT20 Basic 6 because they give you the biggest bang for your buck. By "your buck" I am referring back to the resources and investments that you will have to commit to cyber risk management activities. Such investments can be considerable in terms of Total Cost of Ownership (TCO), and therefore you ought to invest wisely based on risk reduction. Good thing someone did the heavy lifting for you.
With questions on this topic, contact the author, Albie Swartz at aswartz@cviewllc.com.


© 2019 CarpeDatum Consulting, Inc.
TM1COMPARE IS POWERED BY CARPEDATUM CONSULTING, INC. IBM, COGNOS, TM1 AND THE PREMIER BUSINESS PARTNER EMBLEM ARE TRADEMARKS OR REGISTERED TRADEMARKS OF INTERNATIONAL BUSINESS MACHINES. TABLEAU AND THE TABLEAU PARTNER EMBLEM ARE REGISTERED TRADEMARKS OF TABLEAU SOFTWARE. QLIK AND THE QLIK PARTNER EMBLEM ARE REGISTERED TRADEMARKS OF QLIKTECH INTERNATIONAL. MICROSOFT AND THE MICROSOFT GOLD PARTNER EMBLEM ARE REGISTERED TRADEMARKS OR MICROSOFT CORPORATION.