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THE OMNI SHOW
Get to know the people and stories behind Omni's award-winning productivity apps for Mac and iOS.
Feb. 14, 2018, 6 a.m.
Orion Protonentis, Software Test Pilot
Orion Protonentis — swashbuckler, bug-hunter, pastry-enjoyer — joins the show to talk about testing Omni apps. And about his life on the stage with swords.
After studying acting and stage combat in Hawaii, Tennessee, and Las Vegas, and after tending bar and running nightclubs, Orion — whose first computers were Commodore 64, TRS-80, and Apple II — answered the call to come do support at The Omni Group.
He later made his way to the test department, where he's been finding bugs — so you don't have to.
You can find Orion @orionp on Twitter and on Micro.blog.
Some other people, places, and things mentioned:
Invisible Hair
Valentine's Day
Ken's Roadmap Blog Post
OmniWeb, OmniDiskSweeper
Liz Marley
Brian Covey
Ken Case
Trash-80
Living Videotext
The Princess Bride Sword Fight
Society of American Fight Directors
The Globe Theater
The Scottish Play
Seattle Opera
Brent Simmons: You're listening to The Omni Show. Get to know the people and stories behind the Omni Group's award-winning productivity apps for Mac and iOS. Music.
I'm your host, Brent Simmons. In the studio with me today is Orion Protonentis, Software Test Pilot at the Omni Group. Say hello, Orion.
Orion Protonentis: Hello, Orion.
Brent: Thank you. Now, listeners, I know that you're thinking that can't be his real name, Orion, because he's a tester and Orion the bug hunter is a bit on the nose. Nevertheless… is it in fact your real name?
Orion: It is in fact my real name.
Brent: It is. So, Orion, before we get started —
Orion: Certainly.
Brent: ... it should be noted that not only are you far taller than Aries, but you have a gorgeous, shocking head of hair.
Orion: Ah, it's true.
Brent: Except that it's also completely invisible, and our listeners want to know how you get it that way.
Orion: Sure.
Brent: Is it a cream of some kind, or...?
Orion: When I was younger, I used to read the X-Men a lot, and of course I always wanted to be a mutant. It turned out that my mutant power is invisible hair.
Brent: Lovely.
Orion: Yeah, sadly it's not nearly as effective as I'd hoped for, but yeah, at least I have a mutant power, so that's good.
Brent: Yeah, right, yeah. Yeah. I don't have a mutant power. So, Protonentis is not the Greek word for an affliction when all your protons are inflamed?
Orion: I really hope not.
Brent: Oh, okay.
Orion: I think that would be "protonentitis."
Brent: Protonentitis. A completely different...
Orion: Yeah, people say that sometimes as well, but...
Brent: Yeah, okay. Alright. So, you're a tester. You got your start here testing on OmniGraffle doing Pencil recognition.
Orion: Yeah, I moved down into test right before we did the Pencil work in OmniGraffle 2.8 for iOS.
Brent: How did that go?
Orion: It went quite well. I quickly learned things like a left circle and a right circle are not the same thing.
Brent: How are they different?
Orion: Well, they're interpreted a little bit differently.
Brent: Okay.
Orion: So, it turns out that if you're a right-handed tester working with a left-handed engineer, you come at things slightly differently. And so I would find bugs that he hadn't noticed while he was writing it, and then he would write things, in which I would find other bugs and we went back and forth until it was in a state where both righties and lefties were reasonably happy.
Brent: Ah, interesting.
Orion: Yeah.
Brent: Southpaws are ruining things for the rest of us again.
Orion: Well, except that a southpaw wrote the code, so actually I guess he's making it better for the rest of us.
Brent: Alright.
Brent: That's cool. Then from Graffle, you moved on to OmniFocus.
Orion: Mm-hmm (affirmative), yep. Worked on OmniFocus for a while.
Brent: Mm-hmm (affirmative), iOS or mac, or both?
Orion: Both, yeah. I helped Curt with some of the OmniFocus for Watch work he was doing.
Orion: Then just drifted from here to there.
Brent: Mm-hmm (affirmative). Did you have, like, a stable of watches that you tested things on, or with something like that, just the one watch was enough?
Orion: Just the one typically, yeah. Before we ship, we would check on two sizes of watch but that was about it.
Brent: Yeah. Smart.
Orion: Yeah. Well, at the time there were only those two, so it was easy.
Brent: Mm-hmm (affirmative). Moved from there on to OmniOutliner —
Orion: True.
Brent: Seems like [you've worked] on just about all the apps here.
Orion: Yeah, which is where we worked together actually.
Brent: Mm-hmm (affirmative), yeah, yeah.
Orion: We worked on OmniOutliner 5, and the soon to be arriving OmniOutliner 3 for iOS.
Brent: Both of which are the greatest OmniOutliner releases ever.
Orion: It is true. It is true. Very excited to see people get their hands on OmniOutliner 3 soon.
Brent: Yeah. It should be in fact out, maybe?
Orion: By the time this airs.
Brent: By the time this goes.
Mark Boszko: Same day.
Brent: Same day, in fact this is on the Outliner 3 day!
Orion: Very exciting. Excellent.
Brent: And it's also, it's probably also Valentine's Day.
Orion: It could be, yeah.
Brent: Yeah, okay. See, listeners, we're recording the week before. But no Plan yet?
Orion: No, not yet, no. Back on OmniFocus now, working on some of the things that Ken has written about in his blog post.
Orion: No OmniPlan. I'm still waiting to collect the fourth application in my card deck, but I have done three, so it's been fun.
Brent: Fourth of four?
Orion: The fourth of four, yeah. Not bad. A little bit of work on ... I guess I haven't worked much on OmniWeb but helped with some OmniDiskSweeper stuff, and then some of our internal tools as well.
Brent: Okay. So, what's a tester's day like? What do you actually do?
Orion: Yeah, that's a good question. I don't actually know most days what I'm going to wind up doing. I moved into test from support and in support, mostly when I went home at the end of one day, I was pretty clear what I'd be doing the next day. In test, I generally have a pretty good idea. Before I go home I'll have a sense of what I think I'm going to work on the next day, but you never really know.
So, some days it could be spending all of my day digging into a very specific thing with perhaps Shape Recognition if it's Graffle, or maybe working on encryption or something along those lines with OmniFocus. Or it could be a day where it's 20 or 30 verifies, where you take something that an engineer has done and you just make sure a bug's been fixed, that there's no unexpected fallout. So, it could be exploration, it could be a whole lot of tiny, little things in a given day. But it's always interesting.
Brent: Liz once remarked that somehow developers, in her mind, were almost fingerprinted, so that when a bug came back from a developer, she would know what kinds of things to test because of that developer's past, you know?
Orion: Sure, yeah. I can see that.
Brent: And so, like, every developer is a little bit different. They might always forget this one thing or something. Do you find anything like that?
Orion: I haven't run into anything where a developer would, a specific developer would forget one thing, but I mean, we all have different learning styles and different ways of working, so you definitely learn how to talk to different people both in and outside of your department. Yeah, we all have our own approaches.
Brent: So, the relationship between test and engineering here seems to be quite good. I've heard people on other companies complain that it's not always great. Here it's good. And is the key to that really just all the flattery?
Orion: Oh, absolutely.
Brent: Because every time I talk to a tester they just constantly tell me how I great I am when [crosstalk 00:06:04].
Orion: Well, and they bring you donuts.
Brent: Oh, yeah. Sure.
Orion: And there's confetti, and let us not forget the balloons every Monday.
Brent: Oh, yeah, yeah.
Orion: It's definitely all about flattery, yeah, yeah.
Brent: It seems to be working quite well.
Orion: Indeed. As Brian was chatting about a couple episodes a back, this is a company where you can walk in and you can talk to the CEO, which is pretty cool. But it does take a little while to get used to. And much like you can go talk to Ken, you can, for the most part, with a little bit of advance notice — because not everybody likes to be interrupted — go talk to anybody, which has been nice.
There have been days that I have found what I thought was a bug or an issue, and I go talk to somebody and indeed it is, then I have days where I go talk to somebody and they explain what's going on and I realize, "Ah, it's not it. It's me." Perhaps something has changed, or there's been a design shift, or there's some other reason for what I'm seeing. But it is nice, that open communication winds up saving a lot of work for everybody.
Brent: Mm-hmm (affirmative). Well, from our part, I have to say I've never had testers, really, in my entire career.
Orion: You worked solo for a long time, too.
Brent: I did, and I've had some jobs at companies and always worked remote, but they just never had testers, so having people actually test things seems like a miracle. Why didn't we ... why didn't I have that in my career all along?
Orion: It certainly seems to be something that not a lot of people do. I know I was reading another, a local company, reading a series of blog posts they did on why test is important to their company. And between that, and my experience here, I realized just how incredibly lucky I am.
Brent: Yeah.
Orion: Went to a test conference last year where most people were dealing with web based clients, a lot of services, ranging from that, to some people who are dealing with various small microchip testing, and it became clear that the value that we had at Omni was very different than the value that's typically placed on test.
Orion: So, I definitely count myself lucky to be here.
Brent: I think I've found that testers are people who know the products the best, too. Certainly, I'll go in to work on a feature and maybe I didn't even know that feature existed, but — that's happened more than once.
Orion: Certainly, yes.
Brent: Because I have been a user of OmniFocus and OmniOutliner for years before coming to the company, but I'm a fairly simplistic user, and there is all of this stuff, and the testers, you guys know every corner of it, it seems like.
Orion: Well, sometimes, yeah, certainly. And fortunately we can all collaborate together, so on any given team, a lot of times, one of us will have more expertise in a certain area than the other one. It's been interesting for me shifting from project to project over the last couple years. For instance, I've been using OmniFocus since about 2009, just as a customer, and then I worked on it for a while when I first moved into test. And then I was off it for about a year and moving back on. It's this combination of, all right, I've been looking the various iterations of this product for close to a decade at this point, but the last year there's been a lot of work done, hence a lot of things have moved around so I have days where I think, "Ah, yes. I know this very well," at the same time I'm thinking, "What the heck is going on here?"
So, it's been fun. It allows me to come in with both this knowledge set and a fresh set of eyes at the same time. And fortunately the other two people on my product team have been very nice at, "Oh, yeah, well, we changed this six months ago and here is what's going on in that area," and then I have the tools to go on and explore that a little more thoroughly.
Brent: Mm-hmm (affirmative). Is it somewhat common for people to spend, say, a year or two testing a single product and then move, or is that maybe common for some of the testers and not for other ones, or? I just wondered, do we have a general philosophy or do things just kind of happen the way they happen?
Orion: Sure, yeah. I mean, generally there's always an issue of what product is getting a lot of resources behind it at a given time, so some testers will wind up moving from product to product. Some testers will stay on the same product for years on end. It really just depends upon what your knowledge base looks like, what a given product needs at any given time. And then sometimes you have people coming in and out of the department as well, so people need to shuffle round. So, I actually wound up moving to OmniOutliner because somebody had left the team, and then I stayed there for a while. And once we were in a place where OmniOutliner 3 was in a good position, then I moved back to a different team.
Brent: Mm-hmm (affirmative). OmniOutliner 3, man, that's a good looking app. Hey, it's OmniOutliner 3 day.
Orion: Hey, I know somebody who worked on that.
Brent: Yeah?
Brent: I might have helped a little.
Orion: Little bit.
Brent: It's the first iOS work I've done in years. But I helped make some indent-y things a little bit more indent-y.
Orion: Nice, yeah. I remember that.
Brent: So, I was pretty pleased with what I did there.
Orion: [inaudible 00:10:34] indent more, indent less, indent. Hmmm.
Brent: Yeah. It's a free trial. Go get it on the app store. It's pretty cool and it syncs with the Mac version, and you need an outliner whether you know it or not.
Orion: It's true.
Brent: It is. So, before you came to Omni, you grew up in Portland.
Orion: I did.
Brent: Went to the University of Oregon, and so nerd things happened around there. You must have touched computers at some point as a young person?
Orion: At some point, yeah. Not so much there, but I grew up with using a Commodore 64, and then at school we had TRS-80s.
Brent: Trash-80s.
Orion: Trash-80s, indeed. And of course the wonderful Apple II.
Brent: Ah, yes.
Orion: So, I got in — aaahh. We even had color. It was amazing.
Brent: Oh, wow.
Orion: I still remember playing Conan the Barbarian on that. It was a delightful game. I spent quite a lot of time using computers when I was a kid. I was very fortunate in that aspect. I didn't wind up doing a whole lot of computer work in college, but I've always been an avid user since I was a small child. When I was in school I actually ... Is this the, "How did you get into test question?"
Brent: Well, this is-
Orion: Or is that later?
Brent: I think we're going to move on to bartending pretty soon.
Orion: Oh, oh, oh. I see. I see, okay. Well, great. We'll move on then.
Brent: All right. So, yeah, you touched computers —
Orion: I did. I touched computers.
Brent: ... grew up, and said, "Enough of that. I'm going to pour drinks for people."
Orion: Something like that, yeah.
Brent: But you do have some period of time where you've been bartending and running nightclubs and things like that?
Orion: Yeah, well, I spent a ... I decided I'd pick up a little side job while I was in college, and that side job turned into a 20 plus year career bartending, and running clubs, and running restaurants.
Brent: That could be a pretty interesting side job actually.
Orion: Yeah, it was nice. It was nice. I had a good time. And I was always using computers on the side as well, but not professionally. So, I might help friends, I'd help neighbors.
Brent: You were the unofficial tech support.
Orion: I was, yes.
Brent: You was always that guy, right?
Orion: I was that classic unofficial tech support. Yeah, absolutely.
Brent: Yeah, right. I have a T-shirt somewhere. It says in big block lettering, "No. I will not help you fix your computer."
Orion: Or the other classic refrain, which is, "I'm here because you broke something." Yeah.
Brent: So, then one day though, after running yoga dance clubs and whatever, you decided to come work at Omni. How did that happen?
Orion: It's true. Well, there was an opening for a support person here, and I've spent a whole lot of years talking down drunks getting them safely out of bars and restaurants, and also I had recently had a couple small children so I had experience talking to toddlers, and though I didn't have any experience in tech support, in software, I figured that between my abilities to talk to people who sometimes were demanding, people who were actively ...
Brent: Executive function skills aren't on there at the moment.
Orion: Certainly. My children who are always learning, and then my years of just exploring software, that perhaps I'd be able to come and do this with some training.
Brent: Mm-hmm (affirmative). So, it's an easier job than talking drunks off the ledge.
Orion: You know, it's very enjoyable. There was a day that I took a phone call and somebody was in a bad situation, and we helped him out and it took a little bit longer than I'd originally anticipated but we got everything back up and running for them, and I'd gotten off the phone and I think I'd probably had let out a sigh, one of those, "Ah, we did it," moments.
Brent: Yeah, yeah.
Orion: And Brian, the support manager walked by and he said, "Don't worry, man. Some days are kind of hard." I was like, "Well, I think maybe we need a little perspective here. Nobody challenged me to go outside and fight today, so I'm actually having a really good day." And he just laughed and he went —
Brent: Nobody holding a bottle challenged you outside.
Orion: He was like, "Oh, right. Okay, yes. Yes. All right. Hmm."
Brent: Yeah, that's fair.
Orion: It was a nice change.
Orion: Oh, and a nice part was being able to pick up the phone and actually talk to our customers who really liked what we do, and what we were doing, and being able to help them was great.
Brent: Yeah. I've found whenever I'm out at a conference or something and around other Mac users and I tell them I work at Omni, they tell me how much they love the company and our software and everything.
Orion: That's awesome.
Brent: Yeah, and all of those people are going to get OmniOutliner 3 today.
Orion: Today? You don't say.
Brent: Well, yeah.
Orion: Amazing. Everybody needs an outliner.
Brent: I know. They may not realize it, but once you start using one, you're hooked.
Brent: You've totally got to have an outliner. The prices of outliners have really come down over the years.
Orion: Oh, yeah.
Brent: Living Videotext used to sell ThinkTank, and MORE, and some other ones, and they cost like 250 bucks.
Brent: I mean, you can get OmniOutliner 3 Essentials for 10 bucks?
Orion: $10.
Brent: $10?
Orion: $10, yeah.
Brent: Man, compared to 250 bucks, and that's in '80s money, I mean, come on.
Orion: That's a heck of a deal.
Brent: That's a hell of a deal. I'm selling it!
Orion: You're doing an amazing job.
Brent: Ah, geez. So, couple of years in support.
Orion: Mm-hmm (affirmative).
Brent: And what's a support day like, if you can remember that far back? I've talked to Brian, but I haven't talked to ... and he's the support manager, but I haven't talked to anyone who's done support otherwise.
Brent: So, you come in, your phone's just ringing, or are you on the [crosstalk 00:16:00], or?
Orion: Yeah, it kind of depends on the day. You have a little bit of time before the phone starts ringing, but your typical day in support, at least when I was upstairs, would be a mixture of answering email tickets, answering phone calls, helping people on Twitter, and checking the forums to see if you can help anybody there, so it's kind of a mix of things. I always really enjoyed picking up the phone. The first few months I did it, it certainly filled me with a mild sense of panic every time because you never knew what was going to happen.
But after a while I really learned to enjoy that. You never knew what was going to happen. So, every time you'd pick up the phone it was like, "All right. Is this going to be a philosophical conversation about how OmniFocus can help you manage your life? Or is it going to be an issue involved with shape duplication in OmniGraffle, or is going to be a leveling issue in OmniPlan?"
Brent: Mm-hmm (affirmative).
Orion: You just never knew what was going to happen, so it was kind of fun, which actually, it shares a similarity with what I enjoy about my job now, which is I never quite know what every day is going to hold.
Brent: Yeah. One thing about phone support, you can't revise, right?
Orion: That's true.
Brent: If you're writing, or typing, you can type a sentence and go, "Nah, that's not quite right," go back and fix it.
Orion: Right.
Brent: You have to think on your feet. It's all improv.
Orion: It's exciting.
Orion: Yeah. Theater background came in handy.
Brent: It's a high-wire act. That's a tough— I'm still amazed that Omni offers phone support. That is so rare in our community. I mean, I suppose Apple does, you know, some of the large companies do. But for companies our size, it seems to be quite rare.
Orion: When I talked to people and told them what I was doing at the time when I started here, they were always like, "Wait, but what? You do what?" I was like, "We pick up the phone and we answer it," and they're like, "You just answer the phone?" I'm like, "Well, yes."
Brent: Yeah, that's how that works.
Orion: So, if you need help, please call The Omni Group. We'll help you.
Brent: Yeah, right. It won't be Orion, but it will be somebody just as nice.
Orion: Amazingly nice.
Brent: Yeah, yeah. Especially if you need help with OmniOutliner 3.
Orion: I hear that comes out today.
Brent: Today?
Orion: Today!
Brent: Sweet. Happy Valentine's Day world.
Orion: Thank you.
Brent: So, two years at support, then two years back at test, so you've been here four years —
Orion: Just hit my four years.
Brent: Just about six months longer than me.
Orion: Okay.
Brent: That's pretty cool.
Orion: I remember you starting.
Brent: Yeah. I was the new guy. Before that, you were the new guy.
Brent: That's all right. Cool. Now, the rest of my notes here are jumbled. It's pretty much the word blood repeated over and over.
Orion: Ah, blood.
Brent: Ah.
Orion: Oh, that probably needs context for our listeners.
Brent: Probably does.
Orion: Yeah, that's true.
Brent: The first thing we should point out is that you're currently on hiatus from blood.
Orion: Hmm, interesting. Well, I do have small children so occasionally I'm not.
Brent: There is that.
Orion: Before I came here, I spent several years doing classical theater and I got into stage combat and choreography, so I used to play with fake blood, and swords, and knives, and guns, and fisticuffs.
Brent: So, is this more Sophocles, or more Shakespeare?
Orion: More Shakespeare.
Brent: More Shakespeare, okay.
Orion: There apparently was something about my rigid demeanor that lent itself to classic theater. I try not to think about what that says.
Brent: Hmm. Your demeanor is very, very rigid. Geez.
Orion: Indeed. I once worked with a director that described me as "bombastic, but with moments of truth," so I thought, "All right, well, I'll take that."
Brent: Little moments.
Brent: Yeah, that's something. So you studied at Hawaii.
Brent: You've always been to Tennessee.
Orion: Yeah, I went to University of Hawaii for theater, and I wound up doing an academic exchange to University of Tennessee, Knoxville. I spent a couple of years there with the Shakespeare troupe doing back to black plays and opening the aforementioned nightclub/yoga studio/art gallery, which was a number of adventures all rolled into one, before I had decided it was time to come back to Seattle again.
Brent: Mm-hmm (affirmative). So, what got you into the fighting? because that's the exciting part. Well, first question, do you ever watch ... so you were good with the swordplay and I assume... I don't even know. It's different kinds of swords, scimitars and things?
Brent: Yeah. Do you ever watch the lightsaber scenes in the Star Wars and think, "Nah, they got it all wrong, these guys."
Orion: No. The choreographers who work on those are amazing. Yeah. They're incredible. And of course in cinema, one of the prime examples is The Princess Bride fight, right?
Brent: I vaguely remember it.
Orion: It's incredible. They practiced it for four months before they wound up shooting it.
Brent: Is this the one with Inigo Montoya?
Orion: Exactly, yes. "I have something to tell you. I am not left-handed." "Oh, Neither am I."
Brent: Right.
Orion: It's probably one of the finest scenes ever put on film.
Orion: It's incredible. No, it is pretty funny though that I'll wind up watching shows and my wife will think, "They're fighting a lot. Why are we watching this?" And I will simply be sitting there in awe of the effects and the skill, and yeah, it's a different approach to reality but it's fun.
Brent: Uh-huh (affirmative), Uh-huh (affirmative). So, all the blood is fake blood we assume?
Orion: I hope so.
Brent: I hope so, because you've seen an awful lot of it.
Orion: I have seen —
Brent: You would be a scarred man.
Orion: Well, I am a scarred man, but that's not why, no.
Brent: Well, sure you are. So, you were into acting and classical theater, but what got you into the actual, the swordplay and all that kind of fun stuff?
Orion: I was taking a "movement for the actor" course at one point, and we had a gentleman come in and do just a couple two hour sessions with us, and he walked in with swords, which of course got my attention, as you might think it would.
Brent: Yeah, swords, yeah.
Orion: Then we spent two hours one Friday working with him, and I thought, "Oh, this is kind of interesting," and he came back the next week and we spent two more hours working with him, and then he was all done and he was going to leave. He says, "Anybody have any questions?" I said, "Yes. How do I do more of this?"
Brent: That's the right question.
Orion: And he said, "Well, there's actually a workshop in Las Vegas in two weeks," so I went home and I signed up. And I wind up spending three weeks in Las Vegas playing with swords and rolling around on the ground in 117 degree heat and learned a lot at the Society of American Fight Directors annual training. It was an incredible experience. So, I did that and that's actually what got me back into theater full-time for a number of years.
Brent: Oh, okay. Did you choreograph fight scenes as well as act in them?
Orion: I did. Yeah. I did.
Brent: Oh, okay. Is there a special visual language for choreographing fight scenes or —
Orion: Yeah there's ... are you talking about writing and recording, or how do you teach somebody a fight or?
Brent: Yeah. I guess, well, so you want to choreograph a fight scene and you've got a vision in your head, it's a number of steps, a number of shots, a number of different things have to happen in order. I wonder, I mean, music has notes that you can write down —
Orion: Sure, beats.
Brent: Yeah, what do you do with fights?
Orion: Yeah, so the same kind of thing. When I would show up to choreograph something, it's much like starting a day in test. So, I have a general sense of what I'm going to do. I've walked through the fight in my head. I know the people I'm going to be working with. I generally have a sense of what their skills are going to be and so I have an outline. ... Outlines. Hmm.
Brent: I bet you didn't use the OmniOutliner 3 though because it didn't come out until just today.
Orion: Just today, yeah. Sadly, no. Sadly, I didn't. And so I'd have an outline in my head and I would show up and start working with the actors in question, and then you wind up doing a little bit of tweaking here and there. At one point I had worked a fight with another person who was about my height as well, and we choreographed this long, complicated, small sword fight, and then we went to teach it to the two people that would be fighting in the show itself.
And for some reason they're having a hard time hitting some of the marks that we wanted them to hit, until we realized that they were both 6 inches shorter than we were. And when they said they couldn't do something, they quite literally couldn't do it because their arms were not long enough.
Brent: Uh-huh (affirmative), yeah.
Orion: So, a valuable learning experience. After that, it became much less rigid in how we planned them out, which is when I moved much more into kind of a conceptual outline. Some basic things, some basic moves, I wanted to make sure that it integrated into the fight and the story that I wanted to tell, because much like a musical — the premise behind a musical is that people begin to sing because there is something they cannot simply ... they cannot express in words. They have to sing. And same thing for fights, right? So, if you're telling a story, the story should contribute to ... the fight should contribute to telling that story. And so I would have the story that I wanted to tell and have some basic structure to it, and then I'd come in and I'd work with the actors to figure it out.
Brent: Yeah, so a fight's a mini-narrative within a larger narrative? It all has to make sense.
Orion: Yeah. You should always be driving the story forward.
Brent: Yeah, okay. So, you got to throw people around.
Brent: Fake blood.
Brent: How do you die on stage? Is there a technique to that? I mean, you've been pierced by the sword, I suppose, and now, you know, how would you describe that to the layman? What do you do to do a convincing, "Oh god, he got me," moment?
Orion: Sure. Well, I mean, if it's Shakespeare, you probably have a speech to deliver first.
Brent: Yes, yes. That's pretty awesome.
Orion: So, you can't die too quickly.
Brent: You can't just go.
Orion: No, no. A wound, a wound, and then you have to go on for five minutes of dialogue, and then eventually you —
Brent: It's amazing how chatty people get at that moment.
Orion: It's incredible. You have a pierced lung and yet somehow you can hold forth about the nature of reality, just incredible.
Brent: Right, and in the days before amplification too and you're reaching the back, the top of the Globe Theatre with a pierced lung.
Orion: It's incredible. It's amazing what modern medicine could do at that time. It's just incredible. No, actually, I rarely worked in a miked environment anyway, so I was always projecting to the back row wherever I was. I think it just depends upon the part. It depends upon what the death scene calls for. I mean, it could be a comedy, in which case of course you're going to die very differently than if you're telling a big dramatic story.
Brent: Die funnily, I guess.
Orion: Funnily, yes.
Brent: Yes.
Orion: Yeah, but I was just always trying to drive that story forward. It's funny, you were mentioning to the back row, I think we had chatted a little bit about children and dogs. When I was working down in Knoxville, the director I worked for at the time used to say that we did Shakespeare for children and dogs. And I thought, "What?"
Brent: What?
Orion: And then we were out on the square and we were doing shows, and indeed you would have people who would show up early and they'd bring their lunches or their picnics and they'd settle in and watch a show, but then you would see the periphery continue to grow, because it turns out that small children are entranced by loudly spoken Shakespeare, and shiny things, and the only people more entranced are dogs.
Brent: Dogs. You get the dogs!
Orion: It was incredible, you know? You'd start sword fighting. The dog would come along, which of course would bring the child along, which would bring the rest of the family along, and before you knew it, dogs were learning Shakespeare. It was incredible.
Brent: What do you think is the favorite play of dogs? I'm thinking Julius Caesar, but you know.
Orion: Could be. Could be. I think that they like dramas more than comedies.
Brent: Naturally.
Orion: Naturally. So, I was doing a production of The Scottish Play and we always got a lot of dogs. At the same time, the same production, our Twelfth Night, not nearly as many dogs. For some reason, the linguistic humor was lost on them.
Brent: Listeners, you notice of course that he referred to The Scottish Play because you can't say it by name.
Orion: Not supposed to, no.
Brent: No.
Orion: Although, we're not in a theater so technically ...
Brent: We are ... sort of performing?
Orion: Yeah, okay. Fair play. Fair play.
Brent: Yeah, let's stick with "The Scottish Play."
Orion: Well, it's one of the things like many career choices I made in my life, I came into acting late.
Brent: How many dogs named Spot show up to The Scottish Play, when they hear the, "Out, out, damned spot," line?
Orion: I was going to say they all tend to leave at that point.
Orion: Yeah, yeah. Well, Lady M. comes out, and she does her speech, and all the dogs that know what's good for them get out.
Brent: So, you don't sing much though?
Orion: Not much. I have done some work with Seattle Opera over the years. I've been fortunate to do some work there, but it's always fisticuffs and blades, and tussling about on stage. My wife is a trained opera singer and she is amazed by my singing ability. Of course, the thing that she's amazed by is my ability to convert anything into a minor key, whether or not it should be.
Orion: And then if it's a minor piece, but it has a major section, I will also convert the major section into a minor key, which makes Christmas carols entertaining. And it certainly made lullabies for my kids growing up, well, fortunately they grew to love me anyway, in spite of the fact that my lullabies had kind of a grim feel to them. You know, it might be that's also why they really like Nightmare before [Christmas].
Brent: Ah, yeah, sure. Yeah.
Orion: Interesting.
Brent: Because of Daddy.
Orion: It's because of Daddy.
Brent: How do your kids like having reformed actors as parents?
Orion: Well, we have the recovering actor. We have the recovering opera singer, and then my wife is a recovering pastry chef.
Brent: Oh, my.
Orion: Yeah, so she points out that one day the children are going to realize that not all parents like to sing loudly, engage in silly voices, roll around on the floor, and make multiple tier birthday cakes, but for now they're in this kind of happy reality where that's what parents do.
Brent: Thanks, Orion. How can people find you on the web?
Orion: On the web? micro.blog, at "orionp"
Orion: I'm also on Twitter at the same address, though I rarely post there except from micro.blog because it's amazing.
Brent: Yeah, yeah, it is. I'd also like to thank our intrepid producer, Mark Boszko. Say, "Hello, Mark."
Mark: Hello, Mark.
Brent: And especially, I want to thank you for listening. Thank you. Music.
© 1994-2020 The Omni Group.


text:
Consent to Treatment () — второй студийный альбом Blue October, выпущен в США компанией Universal Records 15 августа 2000 года.

Об альбоме
Диск записан на студиях «Bay 7 Studios» в Уолей Уилладж и «Media Vortex» в Бербенке, оба — штат Калифорния. Consent to Treatment первый альбом группы, выпущенный крупным лейблом, а также единственный альбом, записанный при участии гитариста Брэнта Коултера, игравшего тогда в составе Blue October. Также в записи этой пластинки участвовал впервые присоединившийся к коллективу Мэтт Новески. Вступительный трек на диске представляет собой стихотворение, написанное Джастином Фёрстенфелдом и прочитанное Блю Миллером. Женский бэк-вокал в песне The Answer принадлежит Райн Смит.

Список композиций

Участники записи
Blue October:
 Джастин Фёрстенфелд — стихи, вокал, гитара
 Райан Делахуси — скрипка, мандолина
 Джереми Фёрстенфелд  — барабаны
 Брэнт Коултер — гитара
 Мэтт Новески — бас-гитара, бэк-вокал

Сессионные музыканты:
 Джордж Уинстон — фортепиано
 Эрик Горфейн — скрипка
 Блю Миллер — вокал
 Джейн Скарпантони — виолончель, струнные аранжировки
 Райн Смит — бэк-вокал

Продакшн:
 Ник Лоней — продюсер, инженер, сведение
 Дэвид Алерт — ассистент инженера
 Мартин Клемм — ассистент инженера
 Кевин Пэйдж — ассистент инженера
 Грэг Арчилла — продакшн, сведение
 Боб Лудвинг — мастеринг
 Блю Миллер — продюсер

Художественная работа:
 Мэтт Новески — обложка

Альбомы альтернативного рока
Альбомы Blue October

redpajama_set_name: RedPajamaWikipedia


text:
Experiments (43) Apply Experiments filter
Reproductive Health Arizona (1) Apply Reproductive Health Arizona filter
Articles (318) Apply Articles filter
Displaying 226 - 250 of 326 items.
J.B. v. M.B. [Brief] (2001)
In a dispute over frozen embryos during a divorce case, the court decided the wife's fundamental right to not procreate mandated destruction of the pre-embryos in light of the husband's continuing ability to procreate with a different partner. The court also said embryo disposition agreements used by in vitro fertilization clinics were generally enforceable subject to either spouse's right to change his or her mind prior to use of the pre-embryos.
A.Z. v. B.Z. [Brief] (2000)
The Massachusetts Supreme Court in a case of first impression decided that a prior written agreement between a husband and wife regarding the disposition of frozen embryos in the event of a divorce was unenforceable. This was the first case to reject the presumption that written agreements to conduct in vitro fertilization practices were binding. The court would not force the husband to become a parent merely because he signed a consent form that would have awarded the frozen embryos to his wife in the event of marital separation.
Karl Ernst von Baer (1792-1876)
Best known for his contributions to the field of embryology, Karl Ernst von Baer also pursued a variety of other areas of study including medicine, botany, zoology, and anthropology. Committing his life to scientific research, von Baer's work led to the advancement of the understanding of mammalian reproduction, development, and organ functioning. His embryological discoveries ultimately led him to a view of development that supported epigenesis and refuted long-held thinking about preformation.
Induced Pluripotent Stem Cells (iPSCs) are cells derived from non-pluripotent cells, such as adult somatic cells, that are genetically manipulated so as to return to an undifferentiated, pluripotent state. Research on iPSCs, initiated by Shinya Yamanaka in 2006 and extended by James Thompson in 2007, has so far revealed the same properties as embryonic stem cells (ESCs), making their discovery potentially very beneficial for scientists and ethicists alike.
"A Genomic Regulatory Network for Development" (2002), by Eric H. Davidson, et al.
In 2002 Eric Davidson and his research team published 'A Genomic Regulatory Network for Development' in Science. The authors present the first experimental verification and systemic description of a gene regulatory network. This publication represents the culmination of greater than thirty years of work on gene regulation that began in 1969 with 'A Gene Regulatory Network for Development: A Theory' by Roy Britten and Davidson. The modeling of a large number of interactions in a gene network had not been achieved before.
August Antonius Rauber (1841-1917)
August Antonius Rauber was an embryologist and anatomist who examined gastrulation in avian embryos. He examined the formation of the blastopore, epiblast, and primitive streak during chick development. Subsequent researchers have further studied Rauber's findings, which has led to new discoveries in embryology and developmental biology.
Gastrulation in Gallus gallus (Domestic Chicken)
Gastrulation is an early stage in embryo development in which the blastula reorganizes into three germ layers: the ectoderm, the mesoderm, and the endoderm. Gastrulation occurs after cleavage but before neurulation and organogenesis. Ernst Haeckel coined the term; gaster, meaning stomach in Latin, is the root for gastrulation, as the gut is one of the most unique creations of the gastrula.
Translational Developmental Biology
Translational developmental biology is a growing approach to studying biological phenomena that explicitly aims to develop medical therapies. When discussing the generation of new therapies it is often argued that they will emerge as a "translation" from "fundamental biology." Although translational research is not a new term, "translational developmental biology" has been steadily gaining popularity as discoveries in cell and developmental biology, particularly those involving stem cells, provide a basis for regenerative medicine.
Warren Harmon Lewis (1870-1964)
As one of the first to work at the Carnegie Institution of Washington Department of Embryology, Warren Harmon Lewis made a number of contributions to the field of embryology. In addition to his experimental discoveries on muscle development and the eye, Lewis also published and revised numerous works of scientific literature, including papers in the Carnegie Contributions to Embryology and five editions of Gray's Anatomy.
"Formation of Genetically Mosaic Mouse Embryos and Early Development of Lethal (t12/t12)-Normal Mosaics" (1964), by Beatrice Mintz
The paper "Formation of Genetically Mosaic Mouse Embryos and Early Development of Lethal (t12/t12)-Normal Mosaics," by Beatrice Mintz, describes a technique to fuse two mouse embryos into a single embryo. This work was published in the Journal of Experimental Zoology in 1964. When two embryos are correctly joined before the 32-cell stage, the embryo will develop normally and exhibit a mosaic pattern of cells as an adult.
David Edwin Wildt (1950- )
David Edwin Wildt developed and applied assisted reproductive technologies to conserve rare and endangered wildlife species in the US during the twentieth and twenty-first centuries. He advocated genome resource banks to help preserve biodiversity, and he advocated for practical ethics to guide wildlife reproductive biologists when they use technology and environmental planning. Wildt often focused on the cheetah (Acinonyx jubatus), but he researched greater than fifty vertebrate species.
Marcello Malpighi (1646-1694)
Marcello Malpighi studied chick embryos with microscopes in Italy during the seventeenth century. Trained as a medical doctor, he was among the first scientists to use the microscope to examine embryos at very early stages. Malpighi described early structures in chick embryos, and later scientists used his descriptions to help develop the theory of preformationism.
"Hybrids and Chimeras: A report on the findings of the consultation" by the Human Fertilisation and Embryology Authority in October, 2007
In 2007, the Human Fertilisation and Embryology Authority in London, UK, published Hybrids and Chimeras: A Report on the Findings of the Consultation, which summarized a public debate about research on, and suggested policy for, human animal chimeras. The HFEA formulated the report after conducting a series of surveys and debates from earlier in 2007. The HFEA issued a statement in September 2007, followed by an official report published on 1 October 2007. Their report on human-animal chimeras set a worldwide precedent for discussions of the ethical use of those embryos in labs.
Subject: Publications, Legal, Outreach
Julia Barlow Platt's Embryological Observations on Salamanders' Cartilage (1893)
In 1893, Julia Barlow Platt published her research on the origins of cartilage in the developing head of the common mudpuppy (Necturus maculosus) embryo. The mudpuppy is an aquatic salamander commonly used by embryologists because its large embryonic cells and nuclei are easy to see. Platt followed the paths of cells in developing mudpuppy embryos to see how embryonic cells migrated during the formation of the head. With her research, Platt challenged then current theories about germ layers, the types of cells in an early embryo that develop into adult cells.
Subject: Experiments, Theories, Processes
"Diethylstilbestrol in the Prevention and Treatment of Complications of Pregnancy" (1948), by Olive Watkins Smith
In 1948, Olive Watkins Smith published 'Diethylstilbestrol in the Prevention and Treatment of Complications of Pregnancy' in the American Journal of Obstetrics and Gynecology. In 632 women treated with diethylstilbestrol, Smith demonstrated that the drug stimulated the production of progesterone, a hormone that regulates the uterine condition during pregnancy.
George Nicholas Papanicolaou (1883–1962)
George Nicholas Papanicolaou developed the Pap test in the United States during the twentieth century. The Pap test is a diagnostic procedure used to test for cervical cancer in women. Papanicolaou's work helped improve the reproductive health of women by providing an effective means of identifying precancerous cells and improving the likelihood of early treatment and survival of cervical cancer.
Subject: People, Reproduction
Franz Josef Kallmann (1897–1965)
Franz Josef Kallmann studied the biological and genetic factors of psychological disorders in Germany and the United States in the twentieth century. His studies at the New York State Psychiatric Institute in New York City, New York, focused on the genetic factors that cause psychiatric disorders. Kallmann was one of the first to use twins to study how a mental disorder is passed on by comparing the occurrence of epilepsy and schizophrenia in both fraternal and identical twins.
"Testing the Kin Selection Theory: Who Controls the Investments?" from The Ants (1990), by Bert Hölldobler and Edward O. Wilson
In "Testing the Kin Selection Theory: Who Controls the Investments?" Bert Hölldobler and Edward Osborne Wilson discussed the predictive power of kin selection theory, a theory about the evolution of social behaviors. As part of Hölldobler's and Wilson's 1990 book titled The Ants, Hölldobler and Wilson compared predictions about the reproductive practices of ants to data about the reproductive practices of ants. They showed that the data generally supported the expected behaviors proposed by kin selection theory.
"Sources of Human Psychological Differences: The Minnesota Study of Twins Reared Apart" (1990), by Thomas J. Bouchard Jr, David T. Lykken, Matthew McGue, Nancy L. Segal and Auke Tellegen
In 1990, Thomas J. Bouchard and his colleagues published the paper "Sources of Human Psychological Differences: The Minnesota Study of Twins Reared Apart" in Science Magazine. The paper described the results of a study initiated in 1979 on the development of twins raised in different environments. The scientists conducted their experiment at the University of Minnesota, in Minneapolis, Minnesota. The researchers physiologically and psychologically assessed monozygotic twins or triplets who were reared apart, comparing the similarity of those twins to twins who were reared together.
"The History of Twins, As a Criterion of the Relative Powers of Nature and Nurture" (1875), by Francis Galton
In the article "The History of Twins, As a Criterion of the Relative Powers of Nature and Nurture," Francis Galton describes his study of twins. Published in 1875 in Fraser's Magazine in London, England, the article lays out Galton's use of twins to examine and distinguish between the characteristics people have at birth and the characteristics they receive from the circumstances of life and experience. Galton calls those factors nature and nurture. Based on his study, Galton concluded that nature has a larger effect than nurture on development.
Carnegie Institution of Washington Department of Embryology
The Carnegie Institution of Washington's (CIW) Embryology Department was opened in 1914 and remains one of six departments in the CIW. The department quickly became, and remains, world renowned for its many embryonic development discoveries. In 1913 Franklin P. Mall, Professor of Anatomy at Johns Hopkins Medical School, applied for a Carnegie grant to support his research with human embryos. Mall had a collection of over 800 human embryo specimens and was at the point of wanting to do more than just collect.
Frederik Ruysch, working in the Netherlands, introduced the term epithelia in the third volume of his Thesaurus Anatomicus in 1703. Ruysch created the term from the Greek epi, which means on top of, and thele, which means nipple, to describe the type of tissue he found when dissecting the lip of a cadaver. In the mid nineteenth century, anatomist Albrecht von Haller adopted the word epithelium, designating Ruysch's original terminology as the plural version. In modern science, epithelium is a type of animal tissue in which cells are packed into neatly arranged sheets.
Subject: Theories, Processes

redpajama_set_name: RedPajamaCommonCrawl


text:
Sniffer dogs used to find man buried under pile of cheese, photocopier not at fault.
By Iain Sherwood, Jun 9 2016 12:48PM
A worker trapped under a "huge amount" of cheese after metal shelving inside a food distribution warehouse collapsed has been freed.
A drone was used to look amongst the shelving for the missing worker. Sniffer dogs from Merseyside also assisted with the search.
His colleague Debbie Belcher said there had been "complete fear and dread" when it emerged he was trapped.
"I can't imagine what he's been going through," she said.
Filed under: photocopier fault, faulty copier, cheese, trapped under cheese, sniffer dogs
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text:
Stacey Woelfel
…think, write, repeat…
Home > Uncategorized	> Is It Wrong to Wish for a Busy News Summer?
Is It Wrong to Wish for a Busy News Summer?
May 27, 2010 staceywoelfel	Leave a comment Go to comments
-first posted at RTDNA.org on May 25, 2009
Memorial Day marks the beginning of the summer vacation season. That's welcome news for millions of kids not facing the early morning school bell for a while, but is a dread day on the calendar of many an assignment editor across the country. Before I was a news director I ran the desk here and at my Florida station. And I knew well then that as the white shoes and white belts came out for summer, I was raising the white flag on trying to come up with enough stories to keep us going all summer.
I know that some of you are thinking of some very big summer stories. Hurricane Katrina hit while there were still three weeks left in the season, and the World Trade Center attacks came with just shy of two weeks left before fall. But I'm talking about the dog days of July and August here—that time when the assignment folder is as empty as the school classroom across the road. Those are the times that try even the hardiest of assignment editor.
Still think I'm exaggerating? Check out these summer blockbusters that peppered the airwaves in years gone by. Just last year, when we all could have been doing a little more digging on the mortgage meltdown and Wall Street crisis that was heading our way, what did we focus on? How bad the pollution was in Beijing for the Olympic athletes. Three years earlier every news network had hourly reports from Aruba on missing American Natalee Holloway. That gem started in May and was only swept off the air by the rising waters in New Orleans following Katrina. Similarly, in the months leading up to 9/11, we spent the entire summer speculating what that evil Gary Condit must have done the Chandra Levy. Only now are we getting some reporting on the man who appears to be the real perpetrator of that crime.
Personally, I've always found August to be the worst of the summer drought months. It's the month that never gets any respect. Aside from being a vacation time for many, leaving workplaces half-empty for its entire span, August can't even get the respect of having a single holiday. It's the only month that doesn't have or share a holiday of its own.
Some would argue that we, the media, cover lighter news in the summer because that's what people want for their vacation time. While there could be some truth to that, I see two flaws in that logic. First, what we sometimes report on may be light, but it's far from what people want to hear on vacation. Back in summer of 2001, battling the Levy story for the headlines, was the "Summer of the Shark." Time magazine called it that and the networks followed, giving us daily reports on shark attacks and threats worldwide. Is that really what you want to see before your week in Pensacola? The other problem is that news does seem to happen other places in the summer—just not here. From politics to the economy to science, there are summer stories all over the world—just none of them seem to be American.
This all brings me to the question in the title of this blog: is it wrong to wish for a busy summer of news? Knowing what we consider news to be, wishing for it does seem to be wishing crime, death, disease, and other horrors on people just for the sake of giving us something to do. There was a time when I guess I thought that wasn't as full of bad karma as I do now. What producer out there doesn't hope for one more piece of breaking news to spice up a 10 o'clock newscast—or even just put the show on time. We usually don't think about the person at the receiving end of that wish, having some personal tragedy to provide our crews with something to cover. Do firefighters wish for a good apartment blaze to break up a slow Saturday shift? Does the NTSB investigator hope for a commuter plane mishap in Minnesota to get him out of the stifling humidity of DC in the summer? Both of those prospects seem horrible when you put them down on paper. But is what we sometimes jokingly wish for so different?
Maybe it's time to fill the summer with stories we enterprise on our own and don't wait to come over the scanner. If you think about it, what better time to go out and dig up some stories—when there's nothing else going on. Reporters reading this should brush up on their investigative skills and turn a small project for a favorite producer. Producers can team up with some pet reporters to build a block about an important public policy issue in town. The possibilities are nearly endless—and none of them involve waiting for an event that's not coming anyway.
I guess my wish for a busy news summer is to see enterprise spring up like the grass in my yard right now. I spent my Memorial Day weekend tending to it. Now you spend the rest of your summer germinating your own good enterprise ideas.
Who Can Say His Favorite Class Was Economics? How to Win Friends and Influence…Perceptions
Snowden Talk to Techies Speaks to Journalists, too
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Discourteously Tilting at Courtesy Titles
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Hard Weather, Soft People
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New Necessities Are the Mother of Invention
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The Millennials
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When is a Census Taker like a News Director?
You're Cooler Than You Think
Posting Archive
A Perfect Example of the Need for a Federal Shield Law
A Swipe at the Audience with Occam's Razor
A Trip Through the Media Mix
Bad Eldrick, Bad
Better than Video
Breaking the Human Chains
Cameras Roll as a News Director Stands Tall
Gluttony is Good
Grown-up Consumers with Little Kid Tastes
Half a Century of Progress?
Hitting Back
I Blame Smuckers: A Cautionary Tale
In Praise of Local Newsrooms
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Meeting in the Middle
Memo to Tiger Woods
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Not New Coke
OK, I Need Some Help on This One
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Stonewalling Jackson
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The Discomfort of Change
The First One Hundred Days
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The New Class Clowns
The Physics of News
The View from the Dais
They Want What You Have
Things You're Saying Wrong and Don't Even Know It
Too Many Elections?
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@staceywoelfel
Same. twitter.com/chelseaperetti… 3 days ago
@PJ_onTV @king5 Congrats! Great move. We'll miss you in St Louis. 2 weeks ago
@elisewho Same. 5 months ago
The Murray Center joins the DOCNYC Road Trip today live from Columbia at 3 pm EDT/2 pm CDT. Robert and I, along wit… twitter.com/i/web/status/1… 1 year ago
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@DX_IFF 2020 early bird passes are now on sale! Double Exposure returns this October 14-16 with a virtual festival… twitter.com/i/web/status/1… 1 year ago
The films from the Murray Center graduating class of 2020 are streaming live all day today and tomorrow. See these… twitter.com/i/web/status/1… 1 year ago
When I started driving in 1975, gas prices in Missouri averaged about 25 to 30 cents per gallon. Adjusted for infla… twitter.com/i/web/status/1… 1 year ago
Just $10 for an all-access pass to stream 82 movies at home in the Kansas City Film Fest International next week! B… twitter.com/i/web/status/1… 1 year ago
Cinema Worker Solidarity Fund gofundme.com/f/cinema-worke… 1 year ago
Stacey Woelfel is an associate professor at the Missouri School of Journalism and the news director for KOMU-TV, the University of Missouri-owned NBC affiliate for central Missouri. The commercial station serves as the teaching laboratory for the Missouri School of Journalism. Students at KOMU-TV are the reporter, producers, writers, photographers, and editors of five daily newscasts that go head to head with competing newscasts in the market.
He is the former national chairman of the Radio Television News Directors Association, is a member of the association's Executive Committee, and has served as the chair of the ethics committee, and a member of the convention planning and education committees. He also serves as a member of the board of governors of the Mid-America chapter of the National Academy of Television Arts and Sciences.
Stacey is a winner of the Payne Award for Ethics in Journalism, the Emmy, the Edward R. Murrow, and numerous regional and local awards. He is a frequent instructor in free media practices for journalists worldwide. Woelfel is the author of Suspicious Signs: Effects of Newscaster Scripts, Symbols, and Actions on Audience Perceptions of News Organization Bias and penned a chapter in Silenced: International Journalists Expose Media Censorship. He holds a doctorate in political science.


text:
Monique Ferraro
Counsel, Hartford Steam Boiler
Monique Ferraro is Counsel in the Cyber and Privacy Risk Practice at Hartford Steam Boiler Inspection and Insurance Company. She provides legal and technical expertise in support of cyber-efforts undertaken by Munich Re's US Property and Casualty Operations. Previously, Ferraro was principal at Technology Forensics, a digital forensics, e-Discovery and information security consulting firm and owner of the Ferraro Law Firm. Prior to that, Ferraro worked for the Connecticut Department of Emergency Services and Public Protection, where she was a Founding Member of the Computer Crimes and Electronic Evidence Lab and the Internet Crimes Against Children Task Force. Ferraro is a CISSP and CIPP/US.
https://www.linkedin.com/in/monique-ferraro-cissp-cipp-us-bb47167?trk=nav_responsive_tab_profile
The Real $100 Million Question: What Is the Cybersecurity Standard of Care?
By Joseph Burton, April Doss, Monique Ferraro, William Rogers and Mark Silvestri	on Feb 15, 2017


text:
Brent Hastie
Chief Financial and Supply Chain Officer, Coca-Cola North America at The Coca-Cola Company
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Brent Hastie's Biography
Brent Hastie is Senior Vice President and Chief Financial and Supply Chain Officer of Coca-Cola North America. In this role he is responsible for leading an organization of close to 4,000 supply chain and finance associates across the United States and Canada. Hastie has total P&L accountability, as well as commercial and controllership responsibilities within the North America Business Units of USA Operations, Venturing and Emerging Brands, Fountain, Minute Maid, Canada and Supply Chain. He also has financial oversight responsibility for the refranchising of company-owned bottling operations in North America to independent bottlers. Previously, Hastie served as Senior Vice President of Strategy and Planning for The Coca-Cola Company. In this role, he was responsible for driving global strategic planning and helping develop new avenues for revenue growth aligned to Coca-Cola's 2020 Vision, while also finding opportunities to improve productivity and efficiency. Hastie first joined The Coca-Cola Company in 2006 and has served as Chief Strategy Officer for Coca-Cola Refreshments; President of Active Lifestyle brands, where he was responsible for managing the glaceau business; Vice President of Commercial Leadership Still Beverages; and Vice President of Strategy and Planning, all for the North America Group. Prior to joining The Coca-Cola Company, Hastie was a Principal with McKinsey & Company working in Atlanta, Brazil and South Africa. He also has worked in the Private Equity Group of Bain Capital as an Executive Vice President. He earned a B.S. in Chemical Engineering from the Georgia Institute of Technology, graduating summa cum laude and received an M.B.A. with distinction from Harvard University.
Source: The Coca-Cola Company on 07/18/2017
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Brent Hastie's Connections (85)
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Timothy K. Leveridge
Vice President and Investor Relations Officer, The Coca-Cola Company
Claudia Lorenzo
President, Association of Southeast Asian Nations, The Coca-Cola Company
Vice President and Director, Flavor Ingredient Supply, The Coca-Cola Company
Roberto Mercade
President, Latin Center, The Coca-Cola Company
Ceree Eberly
Former Senior Vice President and Chief People Officer, The Coca-Cola Company
Senior Vice President and Chief Information and Integrated Services Officer, The Coca-Cola Company
Howard G. Buffett
Board Member, Berkshire Hathaway Inc.
Darlene Nicosia
President, Canada, The Coca-Cola Company
Curtis A. Ferguson
President, Greater China and Korea, The Coca-Cola Company
Stuart Kronauge
President, Sparkling Business Unit, Coca-Cola North America, The Coca-Cola Company
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Visit the glacial ice spilling off of the Northern Patagonia Icefield. Ride along scenic valleys, lush forests, craggy mountain trails and sandy beaches, all with the peaks rising 10,000 feet above you.
The Patagonia Frontiers wilderness ranch combines extensive private terrain within a unique location that offers access to unlimited riding opportunities. Whether your horseback outing lasts for an hour or a week, our rides are designed to provide you with an experience that you will treasure. The scenic valleys, lush forests, and mountain peaks offer a wide variety of terrain in which to ride, and it's not uncommon to see soaring condors or even the elusive huemul, the endangered Chilean deer that appears on the national symbol. There are opportunities for long canters or to gallop the horses in open terrain if you so desire, but this is not required. New riders can be confident that their horses are bred for the conditions and are trained to be easily controlled by novice riders.
Our horseback excursions range from simple trail rides to multi-day horse trips that include packhorses to carry the food and equipment. A favorite ride amongst our guests is a multi-day outing to visit the glacial ice spilling off of the Patagonia Icefield. We also offer rides with boat support to allow the comfort of returning to your same bed each night for all or a portion of the trip.
We can combine any trip with a selection of additional activities such as fishing, horse-riding, whitewater rafting, wildlife viewing, and agritourism.
We end all our trips with a customary Chilean asado (barbeque). Guests, staff, and neighbors traditionally all share in this feast of lamb, slow-roasted over an open fire, new potatoes, fresh salads from our greenhouses, bread and wine. Don't be surprised to find yourself staying up late listening to the strumming of a guitar and a soft Spanish melody as the horses' nicker in their home pasture.
We invite you to take a look at our 9-, 12- or 14-day horse riding itineraries.
In Patagonia, horseback riding is an integral part of the traditions, customs and daily affairs of a unique and colorful culture. The horse is one of the most salient features of everyday rural life and visitors will soon notice the ubiquitous mount, saddled and waiting outside of each sparsely scattered home. To ride a horse in the vast expanse of wild Patagonia is more than a simple adventure, it is also a chance to become immersed in the distinctive and gracious culture of the local cowboys, or gauchos. The Gauchos and their families, with their distinctive clothing and saddlery, local knowledge and skills, offer a glimpse into one of the most traditional cultures of Chilean society.
In Patagonia the relationship between horse and rider begins early in life. It is no surprise to come across a young child atop a horse, riding alone, confidently along a mountain path. Mothers and fathers often ride with younger children on the saddle in front of them, making their way to visit relatives or neighbors. Often, the only way to bring commodities to market and supplies back home is via multi-day journeys with a string of packhorses. Local riders are expert packers, loading pigs, chickens and cheese that form the packhorse loads to town and are replaced with basic foodstuffs, or home goods on the return home.
While the main southern highway opened the region to additional vehicular transport some ten years ago, for many families the principal means of access between ranches, towns and services remains a network of trails, river fjords, and simple bridges. Most families in the area raise sheep or cattle, and this same series of trails provide the only means of bringing their herds to the marketplace. First you hear the gauchos ever-present work companion, the herd dog, barking and yipping, followed by the low mewing of cattle on the move. Finally, bringing up the rear and holding the whole group together comes the hard-working Chilean cowboy, born to the saddle.
Horses in Patagonia are typical of the native Chilean Criollo breed and Criollo crosses. The Criollo is well known as an even-tempered, surefooted mount with good speed and excellent endurance. They are just the horse that are needed for the varied terrain and vast frontier spaces of the region.
The horses we use at Patagonia Frontiers live on the ranch and in the valley. Our horses have been raised and trained under our direct care and supervision and are well known to us. This allows us to match the best horse to each guest. If you are new to horse riding, perhaps you'll ride Tango, as friendly and as good-natured a mount as you are likely to meet. If your experience leads you to desire a highly responsive mount, then Paella's training and lineage may be to your preference. Whatever horse you ride, we'll spend plenty of time introducing you to our equine partners and familiarizing you with the comfortable Chilean saddles and tack.


Nightingale stopped loading my Soundcloud page. I re-installed Nightingale and the Soundcloud addon to no avail. I'm not very technical. I know Nightingale didn't use their new version and wasn't a browser they supported, so maybe it stopped being meant to work. It may only affect me, but I have no problems using Soundcloud in firefox. Thanks if anyone can help, maia.
Are you trying to load the soundcloud page in the browser or the list from the extension?
(12-28-2014, 05:09 AM)freaktechnik Wrote: Are you trying to load the soundcloud page in the browser or the list from the extension?
The page in the browser, i think. Ctrl+T, type soundcloud.com, hit enter... Sorry i took so long to reply to your kind reply.
(01-02-2015, 08:27 AM)maia Wrote: The page in the browser, i think. Ctrl+T, type soundcloud.com, hit enter... Sorry i took so long to reply to your kind reply.
To get your stream, log in to soundcloud by clicking on the soundcloud icon in the right bottom corner of the Nightingale window.
Hi! I new to Nightingale but old to SoundBird, I have the SoundCloud addon, and it crashes when i try to login, I click the soundcloud button, then input my user and pwd, and then hit login, then a small window appear, I suppose this is where I authorize Nightingale (or the addon) to login to my soundcloud, but it crashes and restarts Nightingale... Can you help me Obi Wan? You are my only hope.
Try uninstalling flash player, if that's an option for you. I'm not sure if you could disable it just for Nightingale, but fact is, the crash happens in flash player.
I have some troubles using Soundcloud.
I'm able to log in my acount but nothing appears in the dashboard / stream.
Is this bug related to flash player aswel?
Nope, that's (most likely) the API usage of the add-on being outdated. But we'd have to investigate that.
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