text:
Q: How can I use my Active Directory credentials to log in to my Linux machine? I would like to use the same username/password to log in to my Linux machine as I do for a Windows machine that authenticates against Active Directory.
In particular, what I want is:

*

*When I log in via LightDM or SSH, I am authenticated with my AD credentials.

*If my account does not exist locally, an initial one is created.

*I do not want to have to manually synchronise passwords.

*I don't need the option to create non-AD-authenticated accounts on the local machine, but I don't mind if the possibility exists either.

I do not administer the AD or what it runs on. I have full administrative control of the Linux machine. I have installed Samba and can reliably browse network shares using my AD credentials.
I initially tried to follow the ActiveDirectoryWinbindHowto, but it appears that I would need to be an administrator of the AD for those instructions to work (this also applies to some other, very similar instructions I found elsewhere).

A: If you're not the Micro$oft AD admin, do some MBA (Management By walking Around) and talk to the guy/gal because to do integration between Linux and Windows, you need willing admins on both sides.
(Putting bottles of real French Champagne right in front of anyone has helped me in 100% of the cases.)

redpajama_set_name: RedPajamaStackExchange


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text:
Q: How to use Azure Databricks to run ML programs with multiple files and modules? I know how to run a Machine learning program in a single notebook. But how do I run if there are multiple files and dependencies. How do I run this code. Any ideas in this case?

A: There are two methods for installing notebook-scoped libraries:

*

*Using the %pip or %conda magic command in the notebook. The %pip
command is supported in Databricks Runtime 7.1 and above. Both
%pip and %conda are supported in Databricks Runtime 6.4 ML and above.
This article describes how to use these magic commands.

*

*Using Databricks library utilities. This is supported only on
Databricks Runtime, not Databricks Runtime ML. See Library utilities.

Reference: Notebook-scoped Python libraries
OR
Specify your library requirements in one notebook and install them through %run in the other.
Define the libraries to install in a notebook called InstallDependencies.
dbutils.library.installPyPI("torch")
dbutils.library.installPyPI("scikit-learn", version="1.19.1")
dbutils.library.installPyPI("azureml-sdk", extras="databricks")
dbutils.library.restartPython()  # Removes Python state, but some libraries might not work without calling this function

Install them in the notebook that needs those dependencies.
%run /path/to/InstallDependencies    # Install the dependencies in first cell

Reference: Databricks - Notebook library Utilities


The people who know and care about you will be there when you need them. Your role is to provide them with instructions, important financial details, and then relax. You're in good hands.
Provide your Executor a copy of your Will.
Make sure your delegate has a list of important account information or telephone numbers for retirement plans, insurance policies, investments, bank accounts, safe-deposit boxes, properties, preferred law and accountant firms.
Designate a power of attorney to ensure that proper information can be accessed in the event of your illness or death.
Contact us for additional information. We're pleased to answer any questions you may have.


text:
The State of Security at Delphix
Security is consistently ranked as one of the top concerns of our customers. Sometimes, it's even the gatekeeper for teams to adopt Delphix, the warden to keep your data safe, and the bridge builder to your existing enterprise systems. Security is paramount to us, and we incorporate the industry standard practices of identification, authentication, authorization, and auditing for each control we build into our platform. In this post, I discuss strategy, existing features for you to adopt now, and what's on the horizon.
Identity: How Delphix Identifies You
Identity is the foundation on which we build security at Delphix. Previously, Delphix has built user-based security controls around engine-specific user names, which, for small deployments can be fine. But for a larger, enterprise-wide application, this approach leaves many pitfalls, such as high administrative overhead, localized control, lack of additional security controls.
In 5.3.3, we added SAML 2.0 support, enabling Delphix to connect to enterprise identity providers (IdP)—an industry standard for driving user-based identity and authentication. By integrating with IdPs, Delphix adopts common standards like multi-factor authentication that can be established by InfoSec teams.
Within the Delphix product, this creates a shift from using user names, as the mode of establishing who you are, to your email address, which is how identity is established within most IdPs. This practice is foundational as we authenticate human connections via Single Sign On (SSO), generate API keys tied to a user email (to establish accountability) for machine authentication, and tie all actions across all Delphix engines to the associated email. This standard propagates uniformly across all of your engines—reducing administrative overhead—and provides the foundation we need to build best-in-class security.
Authentication: How You Prove Your Identity to Delphix
Now with identity squared away, let's dive into the security controls we've built for authentication. At Delphix, we think about authentication in three buckets: human (users), machine (APIs and automation), and infrastructure (databases and operating systems). We look at each experience by examining industry trends (e.g. what does it take to offer a "passwordless" Delphix experience?), prevalence of the specific controls we introduce (e.g. password vaults are growing in popularity and more often being mandated by InfoSec policies), and the flexibility in the experience we can deliver.
Below is an overview of recent functionality that we've delivered to enhance how Delphix authenticates connections and get out of the business of manual and less secure passwords.
1. Human (User) Authentication via SSO Support
In 5.3.3, we introduced SAML 2.0 support, which enables SSO access via your identity provider (IdP) of choice. Single sign-on via SAML2 has quickly become the de facto authentication strategy, supplanting things like username/password and LDAP or AD. In addition to per-engine SSO support, it is also a prerequisite for Data Control Tower (formerly known as Central Management).
This enhancement not only ties human identity to an identity provider (IdP), but allows enterprise security teams to build in additional controls for user authentication, like two-factor authentication.
2. Machine Authentication via API Keys
Delphix is API-first and we want to provide an optimal security experience for our API-centric customers—whether it's integrating our platform into a CI/CD pipeline or simply using an orchestration point of choice. That's why we introduced API keys via Data Control Tower. DCT users can generate API keys to integrate into their virtualization and masking scripts. We also provide key rotation to assist with InfoSec policies.
API keys build in a new level of security for scripting and automation workflows by shifting to a token-based authentication system from the less secure username and password. All keys are tied to the user email that generated them, and each key can be rotated to maintain token lifecycle standards.
3. Infrastructure Authentication (OS/DB connections)
We recently introduced password vault support to remove the need for operating system and DB username/password-based credentials for adding environments and linking dSources. As of 6.0.4, we support both CyberArk and HashiCorp Vaults for all supported Unix/Linux/Windows operating systems, plus Oracle, SQL Server, and SAP ASE for database authentication. We will be extending coverage to the rest of the Delphix-supported DB portfolio (Db2, HANA, Postgres, and EBS) in subsequent releases. Masking support for DB-based authentication will soon be added as well.
Note: A common use case for this is to rotate your credentials inside of the password vault on a regular basis. Delphix won't see the credentials. Every new operation requiring the authentication step requires Delphix to establish a new session to the password vault and to retrieve the credential at that time for use. We do not store any infrastructure passwords on the Delphix Engine.
This is the quickest time-to-value for most teams looking to shift away from manual usernames and passwords. Many of our customers already have a password vault team within their enterprise that sets policies and provides vaults as a service. The good news is that the Delphix implementation readily fits most enterprise vault requirements. Switching to this standard is a matter of configuring a Delphix vault or directory, placing your infrastructure credentials inside, and registering the vault and credential string inside the platform.
We recognize that for many organizations, there's a strong push to go completely passwordless, which generally means there's a mandate to go to a token-based system. One standard that we have adopted for all of our OS-level support and are building out for all database authentication is Kerberos.
While this requires additional infrastructure to implement a Kerberos system, this standard does away with passwords, which represents an additional level of security.
Authorization: What Users are Allowed to Access in Delphix
1. User-based Authorization
With the GA of Data Control Tower, Delphix introduced a central point of control that can be extended to numerous areas of the Delphix experience by way of setting global policies. User-based access administration—now available—is the first step in a long line of enhancements.
This August, we released our complete overhaul of user-based data control via data access groups available with Data Control Tower. In essence, it's a shift from engine-based user registration, data access management, and user access permissions setting to a global, enterprise-wide approach. Data Control Tower provides specified groups over a set of data that can span multiple engines and assigns granular permissions for each data object (dSource, VDB). From an administrative standpoint, this completely streamlines day-to-day user access.
Customers often have user management systems within the enterprise in the form of an Active Directory or LDAP directory service. The request to be able to tie into those systems as a means of defining access within Delphix has been one of the most frequently requested enhancements. The good news is that this is LIVE and is available via DCT by way of IdP attribute mapping.
What this means is that if you have your AD or LDAP service connected to your IdP, we can import AD groups as IdP attributes and use those for determining access group membership. This drives value for you in that any changes made to relevant users in your AD/LDAP directory will automatically be reflected in Delphix (with Data Control Tower).
In the case below, we examine how this would work for two application teams. In the below figure, the AD attribute is mapped to the customer IdP that is then pushed to Data Control Tower Access Groups.
Note: Active Directory and Okta are just examples of systems that Delphix interfaces with—any system that supports SAML 2.0 is supported for this workflow.
It's not uncommon for developers to move teams, which necessitates granting and revoking access to relevant data in Delphix. Normally, this would be a manual step. However, in Data Control Tower, this is automatic as long as the change is reflected in AD/LDAP.
Note: Masking support for data access groups is planned for 2021. It will have a similar experience but will focus on masking objects like environments.
2. Write-to-Environment Authorization
A common worry with application teams that bring their own target infrastructure (servers, storage, and associated OS licenses) to a shared engine is the potential for a different team provisioning VDBs onto their target hosts. As of 6.0.5, we have introduced functionality on the virtualization engine to enable an engine-wide lockdown of target environments, coupled with the ability to attribute VDB provision permissions on specific environments to user groups. This prevents one team from accidentally provisioning VDBs to another team's infrastructure. The UI will be introduced in the Data Control Tower at a later date.
3. Admin Privileges Authorization
We are also building a subsetted admin control group into Data Control Tower that will allow for a more granular selection of admin-like privileges (e.g. add environment, view performance metrics, set policies). We recognize that not every organization has the same admin-to-application team relationships for which we built our engine-based administrative model. Instead, this enhancement is aimed at providing flexibility around the application team experience and to empower them to perform admin-tasks (if it makes sense for your organization).
Audit: Driving Accountability Throughout Delphix
The final element of security we are heavily investing in is the audit capability of Delphix usage among customers. Yet again, since Data Control Tower spans a Delphix deployment, it is the logical point of introducing this set of security audit enhancements.
Universal User Actions Audit Log
Data Control Tower audit log is a live feature that tracks and exports all of the actions that are being done within Data Control Tower. The future vision for this feature is to extend it to cover all actions taking place across all connected Delphix engines.
Security around connections to Delphix is just the tip of the iceberg. And this is only a snapshot of the work focusing on securing connections to and from Delphix, ultimately leading to a secure, scalable, and rich experience. There is no solution for security that is a one-size fits all. If your InfoSec policy requires something special—reach out, let's have a conversation, and we can work together to make sure that you are covered. In future posts, we'll cover security measures such as extending our reporting capabilities via DCT APIs to datasource-specific security enhancements to name a few—stay tuned!
*** This is a Security Bloggers Network syndicated blog from Resources – Blog authored by Delphix. Read the original post at: https://www.delphix.com/blog/state-security-delphix
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Lupe Rose, The CEO Launching A New Era Of Women's Football
Learn how this CEO is ushering in a new age of female empowerment
Kiana Dirden
D. A. Romo 3 years ago 7 Min Read 6867 views
What is a maverick? Someone who breaks the rules, achieves success, and changes the world.
Who is Lupe Rose?Kicking Off the Women's Football League Association (WFLA)The Queen of AleShe Beverage as an IPOWhat Keeps Her up at Night?If She Had a Billboard for 24 Hours, What Would it Say?What is Lupe's GREY Style?
Who is Lupe Rose?
Lupe Rose is the president of She Beverage and CEO of the Women's Football League Association. Having started her career in radio, she has worked as a brand developer and entrepreneur in the entertainment industry for over a decade.
Kicking Off the Women's Football League Association (WFLA)
Lupe Rose holding WFLA football
Lupe is fighting for equality in sports by introducing the first professional women's football league to pay its players. Female athletes, en masse, are severely underpaid in comparison to their male counterparts. By using the NFL's structure as a guideline, Lupe is collaborating with stadiums and negotiating TV licenses to set a better standard for women's wages in sports. As CEO of She Beverage, Lupe also plans to use her brand to help fund the WFLA and usher in a new era of female sports.
The Queen of Ale
Lupe grew up in Baldwin Village, once known as "The Jungle" of Los Angeles. Because her family struggled with poverty, Lupe was forced to work hard for everything she had. After obtaining a degree in business and marketing, she began her career working in radio. At age 21, she sold her first original idea to McDonald's for $500,000.
Eventually, Lupe founded West Swagg Music Group where she helped music artists creatively and landed a distribution deal with Universal. In 2009, she and her business partner founded She Beverage, which catered alcoholic drinks specifically to women. After trademarking "The Queen of Ale" they officially launched in 2014 and branched out to include vitamin water. When another company offered her $500M for her product, Lupe knew she was onto something spectacular and declined the offer.
While developing products for the Dodgers and working with the WNBA, Lupe heard several stories of women expressing desire to play in the NFL. In order to fulfill this desire and eliminate discrimination in a male dominated industry, Lupe decided to launch the WFLA. By creating this league, Lupe is able to push female empowerment in sports while also creating new opportunities for women.
She Beverage as an IPO
Lupe Rose CEO of She Beverage and Women's Football League Association
According to Lupe, She Beverage is days away from going public and is the first female and minority owned company of its kind to do so. She excited is excited about the many new opportunities this brings to her brand, which has already acquired many subsidiaries. One of these companies includes Pickupp, a transportation service similar to Uber. They will also be launching She Meets, a new dating app geared towards women.
The WFLA has many teams open for investment and recently sold the New York Stars to Ja Rule. Several colleges have already reached out to Lupe and the league asking about recruitment opportunities for their students. Next year the WFLA will hold exhibition games to introduce the league and its players to the public. The WFLA is expected to officially launch in 2021.
What Keeps Her up at Night?
"Honestly, since we decided to go public and I have investors, friends, and family who believed in me and this company, the thought that consumes me the most is doing right by them—keeping my word, pushing as hard as I can to build something they are proud to be a part of, and building a legacy for my family."
If She Had a Billboard for 24 Hours, What Would it Say?
What is Lupe's GREY Style?
This article originally published on GREY Journal.
Tags : entrepreneurFootballInvestmentJa RuleLupe RoseMavericksProfilesShe BeverageSportsstaffWFLAWomenWomens Football League Association
D. A. Romo October 16, 2019
How A Hitchhiker Sold A Billion-Dollar Idea To Make A Pyramid
Who Are The Top 10 Instagram Earners?
D. A. Romo
During his time as Editor in Chief for GREY Journal, David covered a diverse range of entrepreneurial stories—from accomplished Silicon Valley investors to rising startup founders. He holds a BFA in digital filmmaking and has spent years honing his skills as a screenwriter, producer, and author. Currently, he has one published book, The Streetfighter Journals, and is working on releasing a collection of short stories and a tabletop RPG adventure.
Marc Randolph, The Netflix Cofounder Who Disrupted The Entertainment Industry
D. A. Romo November 2, 2020
Cesar Hidalgo, The Physicist Exploring How Humans Judge Machines At Work
D. A. Romo October 6, 2020
Micha Kaufman, The Fiverr CEO Shaping The Future Of Remote Work
D. A. Romo July 30, 2020
Billy Dec, The Entertainment King Changing The World Of Marketing
D. A. Romo May 1, 2020
Odile Roujol, The Ex Lancôme CEO Creating Global Networks For Women
D. A. Romo March 5, 2020
Peter Schoenke, The Man Who Saved Fantasy Sports
Fabio Viviani, The Chef Virtuoso Teaching Restaurant Owners How To Succeed
George Chunkau Mui, The Crazy Kid Changing Your Community
D. A. Romo May 18, 2019
Chris Lai, The Man Bringing Tron To Your Neighborhood
Tonisha Jackson says:
My name is Tonisha Jackson i work hard to be the best at watever i do team player motivated time management lessonin in. Understanding skills can control My attitude and any situation but im give it my all sweat blood im want to play woman football
D. A. Romo says:
That's amazing Tonisha! I hope you do well!
The Social Dilemma Review: Your Mind Is Worth $3 Trillion
The new Netflix documentary, The Social Dilemma is an inside look at technology's role in the manipulation of our mind...


text:
The Day Black Podcasters Blew It Up At Amalgam
by Erica Freeman
Podcasters at the Blackfinity Gauntlet Black Podcasters Meet-up in Philadelphia, PA, 2016
The idea of "community" has become a cliché. It's easy to fake from a distance but close up, tone of voice, body language and seemingly unimportant gestures loom a lot larger. We blerds (and associates) were packed in last Saturday at Philly's own Amalgam Comics and Coffeehouse for the Blackfinity Gauntlet Black Podcasters Meet-up — and only the most delusionally cynical could have poked holes in our closely-knit cloaking shield. No out-of-control egos, condescension or shade detected.
The meet-up couldn't have been held in a better space. All of this nerd love was flowing in the first-floor warehouse space that Ariell Johnson transformed so successfully at Frankford Avenue and Huntingdon Street in Kensington.
Even with the well-designed combination of open aisles, well-placed shelves, and cozy seating areas, I was a little overcome by the size of the crowd on Saturday. By overcome, I mean thrilled. Black nerds were everywhere, buying merch, drinking coffee, eating chocolate croissants and mini sweet potato Bundt cakes (ok, that was me), and communing hard.
I'd managed to drink my first and long awaited coffee of the day without spilling it on anyone and accumulate a pretty nice haul of comics by the time the podcasters panel started. Moderated by the host of Geekin' Over 40 and co-creator of The Black Geeks Big Baba Rob, the event had drawn a full-on crowd by the time I ambled over to find a seat wasn't in the cards.
The Black Geeks' Big Baba Rob and owner of Amalgam, Ariell Johnson
It was clearly a standing-room only situation to hear podcasters Tatiana King of Fan Bros Show, Geek Soul Brother, Ashlee Blackwell of Graveyard Shift Sisters, the Potbelly Samurai of The Black Geeks, dburt of Afronerd Radio, Jamie Broadnax of Black Girl Nerds, The Black Tribbles' Storm Tribble and Bat Tribble, and R.P. Wilson of Comicidal Terrahawks.
Both panel and audience dug into a real discussion about the issues encountered in the effort to be a successful podcaster, the particular needs, trials and joys of running a podcast in the black nerd world, and ultimately, what it means to have an authentic, yet accessible, presence in a world of white media.
Storm, one of the Black Tribbles, remarked on diversity, even among black nerds: gamers, comic book lovers, superhero nerds, horror aficionados, and sci fi fans. And, I learned a few things by being in a room filled with so many different kinds of expertise. During a trivia round, I was lucky enough to be standing next to writer, consultant, and editor of DC's Batman line of comics Joseph P. Illidge, who informed me Superman isn't just vulnerable to Kryptonite, but to magic, as well. Who knew? (A lot of people, I know — just not this gal.)
With experts like Illidge in the room, it was easy for me to feel at a loss when it came to my own experience. But it was also reassuring to be surrounded by people who know what the hell they're doing. Thank god, I wasn't the only one. Podcasters at all levels took care to name mentorship and mutual support as two things necessary to thrive in the world of black media.
Both Jamie Broadnax and the Potbelly Samurai gave real life examples, attributing their podcast successes to Geek Soul Brother's mentoring. Jamie let us in on the fact that she committed to starting a podcast while she was on air as a guest on Geek Soul Brother's show. That day she thought to herself: "Well, it's on record. It's indelibly printed forever that I said I was going to podcast." She did, and is now helping others make the same trek.
Also, during the Q&A, Graveyard Shift Sisters' Ashlee Blackwell offered up seemingly simple, yet profound, advice based on her experience co-hosting the Girls Will be Ghouls podcast with Zena the "Real Queen of Horror." In this age of frantic phone-checking, account-monitoring, and fleeting successes, she reminded us: "Have patience — with yourselves, with your brand, your cohosts, with your content — everything."
Birthing and nurturing a podcast, blog, production company or one-time creation takes just that. Even when you believe in what you're doing it's surprisingly easy to question yourself, your work, and the resources it takes. And, isolation can be a monster. We need to remember that none of us are in it alone and that each of us — even the newbies with their truly insightful questions — has something valuable to give.
In the words of Big Baba Rob: "Each one, teach one." That practice is proving to bring more and more of us to a place of achievement in a larger environment that can be daunting and often hostile. But all that negative energy seemed surmountable that afternoon because we weren't taking our community or our opportunities for granted. It's hard not to be grateful on such a day.
Click HERE for a list of podcasters who attended Blackfinity Gauntlet Black Podcasters Meet-up.
For a list of podcasts by people of color, go to: Podcastsincolor.com.
For Women's History Month: Black Nerd Problem's Profiles of Their Very Own Wonder Women
Read at Black Nerd Problems.
Black Wonder Woman image by Illumistrations
The Short Fantasy Fiction of Shveta Thakrar
LINK: Innumerable Voices: Profiling short fiction writers and exploring speculative fiction
NASA: Images of the Middle East from space
Astronaut tweeted this incredible photo of the United Arab Emirates
Articles, News
Graphic novel tackles issues of contemporary Iranian identity
Kioomars Marzban and Vahid Fazel's Jensiat
Donald Trump's Social Media Ties to White Supremacists
LINK: I'm just as shocked as you are.
TWD's Steven Yeun featured in Netflix "Voltron" series
LINK: Catch the series trailer for VOLTRON: LEGENDARY DEFENDER
https://www.youtube.com/watch?v=ChXy1Qtv9TE


The Noah's Alphabet Animals Church Nursery Rug carries animals whose names begin with all the letters of the alphabet. Now children can practice phonics as they pronounce the names of the animals. A classroom quality carpet that is not only fun, but great quality and an excellent teaching tool for Sunday School Teachers.


text:
The Confédération générale de la production française (CGPF: General Confederation of French Production) was a French manufacturers' association.

Foundation

The Confédération générale de la production française (CGPF) was created at the initiative of Étienne Clémentel.
It was founded on 19 March 1919, bringing together 21 employers' federations in an attempt to unite previously competing groups.
The CGPF demanded complete freedom from government interference, but the right to participate in any government action that might affect the interests of its members.
The Union des industries et métiers de la métallurgie (UIMM) acted in effect as the instrument of the Comité des forges steelmakers' association for handling social issues.
The UIMM provided logistic support to the Confédération générale de la production française (CGPF), with the result that the CGPF was accused of being simply a puppet of the steel industry.

History

The Fédération des Associations Régionales (FAR), founded in 1919 to represent provincial businesses, was absorbed into the CGPF in 1923.
By 1936 the CGPF had 28 branches.
The CGPF claimed to represent all employees, but in fact was mainly controlled by large industrial concerns with headquarters in Paris, particularly metallurgy companies, and was weak in areas such as commerce and banking.
The CGPF made its views public on all major issues that affect the economy or social organization.
It had special committees to review tax and tariff issues.
In the financial crisis of 1925 the CGPF supported Raymond Poincaré's policy and opposed that of the Cartel des Gauches.

The government generally chose the CGPF as the agency to represent employers on governmental committees.
Thus the CGPF participated in the National Economic Council, National Council of Handicrafts, Higher Council on Educational Methods, Higher Commission on Occupational Diseases, Industrial Hygienic Commission and Commission on Engineering Awards.
The CGPF represent French employers at the International Labor Office.
The CGPF was the voice of French industry at the International Economic Conference (1927), International Committee of Economic Experts (1931) and Lausanne Conference (1932).

Before 1936–36 the CGFP was handicapped by rivalry among the different industrial groups and by lack of a strong domestic opponent.
The International Labor Office said of the CGPF that, "In practice ... the General Confederation of Production is, beyond doubt, only a permanent meeting place for the heads of different federations; its power is ephemeral, inasmuch as it depends on their consent, and yet considerable, if, by the exchange of views, it brings about unanimity between them.
The growing power of the General Confederation of Labour (CGT: Confédération générale du travail) forced the CGPF to transform itself into a more effective organization.

When the CGPF central council met on 15 May 1936, just after the election of the Popular Front, it was still mostly concerned with minor internal arrangements.
Aymé Bernard was the only member who brought up a political situation. He said,

On 7 June 1936 Alexandre Lambert-Ribot, secretary general of the Comité des forges, signed the Matignon Agreements to end the general strike that had ensued.
CGPF President René-Paul Duchemin signed on behalf of French employers.
Forces led by the de Wendels and Rothschilds, who were hostile to Duchemin's labour policies, forced an Extraordinary General Assembly in August 1936 to reform the CGPF, which was renamed the Confédération générale du patronat français (CGPF) and given a new constitution and leadership.

Publications

Publications included:

Notes

Sources

Trade associations based in France
1919 establishments in France
1936 disestablishments in France

redpajama_set_name: RedPajamaWikipedia


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Modern slavery is a crime and a gross violation of fundamental human rights and as such is not compatible with H&W's company values. It takes various forms, such as slavery, servitude, forced and compulsory labour and human trafficking, all of which have in common the deprivation of a person's liberty by another in order to exploit them for personal or commercial gain.
H&W has a zero-tolerance approach to modern slavery and is committed to ensuring that H&W acts ethically and with integrity in all our business dealings and relationships. In order to achieve this H&W needs to implement and enforce effective systems and controls within the business to ensure modern slavery is not taking place anywhere in the business or in any of our supply chains.
H&W is also committed to ensuring transparency through the business and in its approach to tackling modern slavery throughout H&W's supply chains, consistent with the disclosure obligations under the Modern Slavery Act 2015. H&W expects the same high standards from all of its team members, officers, contractors, suppliers, agents, business partners and any other person contracted by or on behalf of H&W. H&W also requires that no one will use forced, compulsory or trafficked labour, and that no one is held in slavery or servitude, whether adults or children, and H&W expects that its suppliers will hold their own suppliers to the same high standards.
H&W is a manufacturer of beer and a provider of pub, restaurant and accommodation facilities. H&W has its head office in the UK and all trading outlets are in the UK.
The group has an annual turnover in excess of £36m.
H&W's business is organised into two principal business units: Pubs and Drinks.
DUE DILIGENCE PROCESSES FOR SLAVERY AND HUMAN TRAFFICKING
As part of our initiative to identify and mitigate risk: -
the geographical scope of H&W's licensed premises are limited to ensure optimum supervision of the use of its properties;
long standing relationships are built with local suppliers and business partners which whom H&W makes clear its expectations of business behaviour;
H&W's preferred point of contact with national or international supply chains is with a UK company or branch and H&W expects these entities to address anti-slavery and human trafficking issues.
H&W has in place systems to encourage the reporting of concerns and the protection of whistle blowers.
H&W's supply chains include the sourcing of raw materials principally related to the provision of food and drink, some of which are from overseas.
SUPPLIER ADHERENCE TO OUR VALUES
H&W has a zero tolerance to slavery and human trafficking. H&W expects those in its supply chain and other contractors or agents to comply with H&W's values. We collate and review Modern Slavery Statements from our suppliers as part of our process. For those suppliers who are not covered by the legislation and do not have statements, we have shared our Modern Slavery Policy and asked them to confirm adherence to its principles. We also conduct regular visits to our suppliers, and include visits to the production lines to observe the working environment.
The Directors are responsible for compliance in their respective teams and for their team's supplier relationships.
We consider the principles of the Modern Slavery Act throughout our recruitment process. Where we recruit from overseas, we only deal with agencies with whom we have an existing relationship and we speak to recruits to ensure that they have not paid any fees to agencies to get to the UK. We continue to check in with new team members regularly, and operate an open policy to address any concerns.
We have developed a Guide to Modern Slavery and how to spot potential victims, which we share with our Regional and General Managers, and our Business Partners, to enable them to identify indicators of Modern Slavery and to provide contact details for the UK Slavery Helpline.
OUR EFFECTIVENESS IN COMBATING SLAVERY AND HUMAN TRAFFICKING
We use the following methods to measure how effective we have been to ensure that slavery and human trafficking is not taking place in any part of our business or supply chains:
Public house visits by Area Managers and Regional Managers;
Monitoring of recruitment and payroll systems within the H&W; and
Open communication with Suppliers regarding H&W's values and expectations.
This statement is made pursuant to section 54(1) of the Modern Slavery Act 2015 and constitutes our group's slavery and human trafficking statement for the current financial year. Matt Kearsey Managing Director Hall & Woodhouse Limited 21.3.2019


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Riding the school bus is fun when we follow the School Bus Safety Rules. Buster the Safety Bus and the Transportation Safety Team are available to help your students learn some important school bus safety rules.
You may also contact the Columbia County Schools Transportation Department at 706-541-2729 for additional information or assistance.


text:
The Femme Have Arrived
by Andrea Daly
It's six-o-clock in the evening — which means it's early — and the little Brooklyn venue on the corner of Franklin and Clifton Place that has become a hotbed of talent and creative community has not yet opened its doors. Before the fog machines and familiar faces, the disco balls and DJs, I stand alone in the back room watching eleven performers check their charts, rehearse transitions, talk shop, and call out arrangement notes for tonight's set. They are all women.
If you haven't heard about Femme Jam, the hype will reach you soon. The women of Femme have been drawing monthly sold out crowds to the popular Bedstuy venue C'mon Everybody for a year now, hosting an all-female-led jam session that attracts amateur musicians, Broadway pit players, and touring professionals alike, and bookending it with highly-orchestrated performances of their own that feature coordinated costumes, choreography, and sparkling vocal arrangements. In this monthly mix of levels and styles are lessons about what actually creates change in an industry that has yet to find gender parity, how it happens, and who's making it.
To understand Femme Jam's significance requires a bit of background on the live music scene, where unrehearsed musical gatherings, called "jam sessions," are a common way for musicians to hang after hours. In a jam session, impromptu bands result when guest players (singers too) swap in and out of an existing house band to create an ever-evolving ensemble on stage. "It's basically like a pick-up game for musicians," says Megan Talay, who plays guitar for Femme and also subs on Broadway. In other words, it's fertile ground for an exhilarating communal experience.
But jam sessions can also be a hostile environment. "They're not supposed to be intense, scary things," says substitute Femme trombonist Gina Benalcazar, "but they usually are. It's a lot of pressure. If you go to a jam session and you mess up, that's it." And so participants are highly motivated to show off. In the jazz scene, Caroline Davis explains how instrumentalists "all learn these thirty to fifty jazz standards that everyone calls at jam sessions, and then [when we go to play them] everybody vibes each other." She laughs at the all-too-familiar experience of participants non-verbally intimidating each other on stage: "It kind of comes along with what the definition of a jam session is." Davis, a composer/saxophonist/vocalist who leads three different original projects in NYC, adds that one of the most special things about the Femme jam session is that it truly is "a safe space for people to come and share their talents." That safe space, however, is merely a ripple effect of Femme Jam's original intent.
Femme Jam was conceived, so the story goes, at an Alexandria Ocasio-Cortez fundraiser in October 2018, where vocalists Melissa McMillan, Camille Trust, and Alita Moses were waiting to soundcheck for a performance. As McMillan recalls, "the conversation turned to jam sessions… and I [asked] 'are there any jam sessions that are all women?' And we all started thinking about it and were like — no." Maybe it was the socially-aware setting, she concedes, that inspired the idea, but the immediate next question became "should we start this?" Joining with fellow vocalist Miranda Joan, the four performers began brainstorming about how to create the event that participants now describe as everything from "a hang" to "an almost theatrical experience."
The rundown of that experience looks like this: On the third Tuesday of every month, at C'mon Everybody, doors open at 8pm. DJ Luna Rosa spins specially-selected tunes to warm up the room, and the house band takes the stage at 8:30pm. The four founders (vocalists Joan, McMillan, Moses, and Trust) make a choreographed entrance, and after an introductory a cappella medley, the full band plays the tunes they've rehearsed for that night's theme. Finally, the stage opens up to would-be jam participants. To participate, audience members sign up on a clipboard: all performers of all experience levels and gender identities are welcome. (Yes, men come out in throngs to participate.) Two hours later, at 11:00pm, the house vocalists return to the stage to close out the night with a house band rendition of Destiny's Child's "Survivor." Admission is $10, and every other month half the proceeds are donated to charities or non-profits that empower the local community, "especially organizations that support women and girls," notes Joan.
On the night that I slip into the venue early, the performers are already gathering for their only full-band practice. Camille Trust is wearing a baby blue jersey, oversized jean overalls, and a spiky platinum blonde wig and visor. It's her boy band costume, as per tonight's theme, "N'Sync versus Backstreet Boys." Joan matches Trust's vibe with an oversized bright orange jersey top that reads "Trixter," in a font that could have been pulled from the logo of the late-nineties suburban retail chain 'Spencer's Gifts.' Moses and McMillan are similarly-styled. House sound engineer Somer Bingham works around the musicians, checking cables. (Bingham, who knows what a rarity female sound engineers are on the live music scene, heard about Femme and immediately asked the venue to switch her schedule so that she could work the event.) The performers catch up about life and business, and soon the four vocalists are leading a rapid-fire rehearsal.
Fast forward to the vocalists' anticipated entrance that night, and I am squished between bodies in a room with rainbow lights and fog pooling on the ceiling. The crowd cheers. I have never seen anticipation like this for a jam session, and there is a reason why: Although multiple elements could make Femme unique (its inclusive, welcoming environment, its local charity outreach, the obvious fact that it is led by women), its most standout element is arguably its theatrical approach. Femme carves out space not only for sonic creativity from house performers and jam participants alike, but also for dramatic, thematic, and visual creativity: which is to say, for theatre. Each month's theme and corresponding musical arrangements are a surprise for the audience, amplified by choice choreography and costumes plucked from thrift shops and the singers' own closets. (I'm told that a massive group text chain accompanies the creative decisions surrounding outfits each month.) I ask the vocalists where the theatrical components of Femme come from. Although they suggest that choreography and costumes are natural extensions of a performance in which they "want to not take ourselves so seriously" and "be funny, but also fierce" (McMillan), all four founders have been involved in musical theater. Trust admits she "loves choreo," and says "a large part of my performance capabilities came from [when] I was in a performing group called Entertainment Revue in Tampa for ten years until I was eighteen." (Entertainment Revue is a non-profit arts group that performs over fifty shows a year with an all-girls song and dance ensemble.) Joan was involved in musical theater in high school as well. For Moses, it was personal: "I grew up watching my Mom flourish on and off Broadway as a triple threat." Moses started doing theater when she was nine, and continued throughout high school, planning to apply to college theater programs, until ultimately deciding to do music instead. McMillan, too, was heavily involved in high school: "I did the camps, I was in every play." She releases a self-deprecating laugh. "I'm the lead in everything. I do national theater convention, I'm auditioning to perform at the national thespian convention, literally." As with Moses, McMillan had plans to major in musical theater until her alma mater, University of North Texas, dropped the major after she'd already enrolled, and she stumbled into jazz singing.
Besides Femme Jam's tongue-in-cheek theatrical elements of costumes and choreography, each edition of Femme genuinely embraces a new surprise musical theme. The vocalists's a cappella medley functions like a sizzle reel on that month's theme, and when the house band joins, every song is thematically relevant. With these many layers of performance combined, Femme's audiences experience the anticipation and thrill of a show in which they know what to expect structurally, but simultaneously have no idea what to expect from the performers themselves. Because of this, unlike other jam sessions, McMillan observes that Femme's audience includes "a lot of non-musicians, [and] a lot of people that are just there to chill." In other words, they have expanded the traditional jam session audience as a direct result of their outside-the-box thinking. (Besides "N'Sync versus Backstreet Boys," past themes have included "British invasion," "Disco," "Female Songwriters of the 60's," "Holiday Songs," "Famous Call-To-Action Songs," and "Original Songs" written by members of Femme themselves. Other themes involve re-appropriation, as with the "She's a [blank]" theme, featuring songs originally performed by men with the lyric "She's a [blank]" (e.g. brickhouse), this time performed by women.)
On this Tuesday night, in the rainbow-colored room where Femme is about to re-appropriate a turn-of-the-millenium boy band craze, it's now 8:30pm and so the singers enter in dark sunglasses from behind the crowd, strutting and posing like ubiquitous teen sensations. They adopt their roles both physically and verbally. "You know, I've been on tour for a minute," one of them quips, shrugging coolly. At the front of the room, they break into thirty seconds of early-aughts boy band dance moves, perfectly coordinated. The crowd loses its mind. The quality of the ensuing a cappella medley makes me dizzy, and when the house band enters, it shines alongside them, with tight horn parts arranged by Davis. After the house band finishes, the jam sessions participants that climb to the stage are visibly having a blast, and the audience supports them with cheers. I am embedded in a love fest. When the house performers return at last, to close the night with Femme's signature cover of "Survivor," the audience responds by knowing all the words.
At the end of a long evening, I ask the performers to open up to me about hurdles and opportunities in their own careers, and what they wish for the future of Femme Jam. Over our ensuing conversations and phone calls, the women unanimously express their gratitude for the visibility and community provided by Femme Jam. I sought to discover how a recurring event like this was built, to explore what all necessitated it, and to learn what changes it has brought to the lives of those involved. Individually, the career experiences of these musicians also revealed truths that surprised me, with far-reaching implications for those of us working towards gender parity in music and especially musical theater.
AD: "How did you get connected to Femme? What are the specific networks that brought you together?"
Gina Benalcazar (trombone): "Mostly it's word of mouth."
Danae Greenfield (keys): "Alita and I are in the same wedding band; she told me about it."
Julia Adamy (bass): "I went to school with Melissa."
Lessie Vonner (trumpet): "I knew [the others] from hangs or going to shows, or mutual friends."
Elena Conn (drums): "Camille Trust and Melissa McMillan heard me perform at [another jam session, called] The Jelly, and approached me."
Megan Talay (guitar): "My [drummer] friend Elena Bonomo was talking about it, and I was like — 'well, who's on guitar?' — and then I went to the first one, and after that I was like "guys, I'll do this.' [laughs]"
AD: "Now that you're involved in Femme, have you gotten new gigs or made new connections that way?"
Conn (drums): "Sure enough, within about four or five months of doing the jam session, my gigs doubled. And after doing a lot of work on my own time, my work has now basically tripled."
Caroline Davis (sax): "I've definitely had people get in touch with me and say 'oh I saw you play saxophone for Femme Jam, do you want to play saxophone for this gig that I'm doing next month?"
Adamy (bass): "I'm meeting a lot more female musicians than I ever did at any of the other jam sessions."
Talay (guitar): "One of the bigger perks is that I met another [female] guitarist who I was able to pass off gigs to. Her name is Michiko [Egger]… she's on tour with Spongebob right now."
AD: "Have you faced any roadblocks or received any opportunities in your career that you associate with gender or with gender politics?"
Vonner (trumpet): "[When I am] touring with Beyoncé, she tries to have an all-female band, so I think that was probably my foot in the door. But then at some point it becomes, like, 'ok, you're a female trumpet player, but at the end of the day, can you do the job and do it well?' So I'm proud to say that while I may have gotten into the band because I was a woman, I'm still in the band because I do my job really well."
Adamy (bass): "For me I feel like I generally get gigs more because I'm female, and not the other way around, which I have very many mixed feelings about… Obviously there are plenty of incredible female musicians, [but I've] been in circumstances where people are just hired because they're female, not because of their abilities. Recently, I had a gig — it was the first time, I realized, that this had ever happened — where the band was majority-women, not because being a woman was required, but just because people hired good people, and most of us happened to be women. Like, that never happens. [laughs]"
AD: "As a female-identifying, non-binary, or gender non-conforming creative working in what is today still a male-dominated field, do you have any personal insights or experiences related to that imbalance that you are comfortable sharing?"
Miranda Joan (vocals): "[laughs] Yes… As far as sharing personal stories, I definitely have a lot. I've definitely had advances made, I've had producers try and kiss me in sessions, and things like that—"
AD: "In the middle of a session?"
Joan (vocals): "At the end, they're like 'I think there's a vibe here, do you wanna…?' And I'm like 'dude, [laughs] what? No. No thank you. I feel like I could go on and on about that, but… I think what's important to be said [about Femme Jam] is that we set a tone, with the session, of like 'you come here to behave…'"
AD: [laughs]
Joan (vocals): "…You come here to be a good person, you come here to share in the beautiful thing that is music and to make music. That's why we're here. And we are not here for all those other ego things and for all the other funkiness. [Since] it's female-led, and because the house band is all these badass women, we set this tone of, like, 'we are here and we are together and we are strong, we are powerful, and we are open to have you come and participate in this.'"
Moses (vocals): "There is a stigma at most [jam] sessions surrounding female musicians and how seriously they're taken."
Benalcazar (trombone): "I was at a gig once, and a guy goes, 'Hey, do you know the Dixieland songbook?" I said 'Yeah, sure — what are we doing?' And he said 'But do you know all the tunes?' I said 'Yes, I know the tunes.' He's like 'Yeah, but can you, like, improv?' I said 'Yes.' I didn't understand why he kept asking me. And then another guy came in. He said 'do you know the Dixieland songbook?' And the guy said 'Not really,' and he's like 'Ah, you'll learn it,' and then he put him on the stage."
AD: "What?"
Benalcazar (trombone): "And I said, 'Wait, I just told you I knew the book.' So it's like, not really hindering my career, but, that was rude, and stuff like that happens."
Greenfield (keys): "When I was in college at Berklee, people would have sessions… the kind of thing where anyone could come and sit in. I'd be the only girl in there sometimes, out of like fifteen guys… I would show up, I would be one of the first ones in the room, and I wouldn't get to play at all… It was definitely the most judged I've felt."
Davis (sax): "I've had experiences, like many women, of people calling me [for work] because they're [sexually] interested in me… I'm very careful now, I've learned to suss things out a little bit more. I get a lot of information before I say yes to something."
Benalcazar (trombone): "When you're in a band that's really stacked, and you're the youngest one there, the fact that I'm a woman [means] people will listen to me, waiting for [me] to mess up. And then when you don't mess up they're impressed and they think 'Oh, well, maybe I'll hire her.' But they wouldn't have listened that intently if you were just another guy on the stage. So it helps me in that sense… Even if they're listening for me to mess up… well, then I play well, and now I'm taking [advantage of their scrutiny] — you kind of have to flip it.
Femme Jam was inspired by the realization that there was not a single female-led jam sessions in New York. On that subject of gender parity, multiple interviewees remembered times that they were the only woman, or one of a few women, in a room where music was being made:
Camille Trust (vocals): "Yesterday I went to do this ASCAP songwriters workshop… There were ten [applicants accepted into] the class and there were three girls and seven guys."
Conn (drums): "I was the only girl in my graduating class at Oberlin."
AD: "Really?"
Conn (drums): "I was the only female drummer in my entire time there. It's definitely a male dominated instrument, and jazz is very much a male dominated art form."
Trust (vocals): "Nine times out of ten I'm working with a male producer. Same with songwriters. Even when I did [my song] 'Lavender,' and tried to find a female mixing engineer and a female mastering engineer, it was very hard. I mean, I found them, and it was incredible, but it's just crazy that it's not even… you have to kind of dig for them."
Instrumentalists and vocalists are not the only music professionals whose lives intersect with Femme Jam. I conducted three additional interviews with Femme's live sound engineer Somer Bingham, Femme DJ Luna Rosa, and Margaret Skoglund, a musical theater general manger and Maestra Advisory Board member who reached out to Femme's founders early on to offer management assistance. The backgrounds and experiences of these three women, although different, echoed similar themes.
Luna Rosa, Femme's resident DJ, curates the music heard in the spaces between live performances. In her own career, she says female DJs are seen as "kind of a novelty, and so lately getting hired hasn't been difficult." That said, Rosa points out an idiosyncrasy I don't expect: "On the flip side, sometimes I do feel like I have to compete with 'model' DJs… female-identifying people who are very gorgeous, they're models, or they're influencers and they have a ton of followers on Instagram… then it becomes less about the talent of DJ-ing and more about how they look." For Rosa, it's all about the music and the energy. She feels at home with the Femme Jam crowd, where the room is more open to hearing underground artists and especially female artists.
Somer Bingham's role as a sound engineer is part technical, part creative, and part relationship-oriented; she ensures that everyone is amplified properly, and tries to make them feel comfortable on the stage. Outside of live sound, Bingham is a producer and mixing engineer who also writes songs for film and TV, records local artists in her home studio, and has also worked extensively as a booking agent for the historic Sidewalk Cafe. Like Femme's members, she has many talents, and like Femme's members, she's encountered sexism in different ways: "One of the more subtle ways is, a band might come in and be like 'where is the sound tech?' [laughs] As I'm setting up, as I'm tearing a box of cables." In her own career, Bingham didn't consider learning to run sound until someone else suggested it outright. "There just aren't other role models. There aren't enough people — enough women — also running sound, or producing, that subconsciously make you aware that's something that you could be doing too."
Margaret Skoglund is quick to assure me that she is not a musician, but she has managed the likes of Mamma Mia, Newsies, The Lion King, What the Constitution Means to Me, and more, while working for Disney, Daryl Roth Productions, 321 Theatricals, and now KGM. She knows that Femme has something special, based on the fact that when she called around New York looking for an all-female band for hire, not a single company could offer her one. When we speak about Skoglund's own industry of musical theater, she says: "Where I see [lack of gender parity] is with stage hands, with designers, with directors, musicians, managers, and —" Here, her energy intensifies. "We need to talk about this more. Much more. And get more women in power positions." The entrenched inequality in Broadway pits that Skoglund describes is of a more subtle kind. In the theatre, she explains, "it's not like the man and the woman are doing the exact same job except getting paid differently. It's like, all the men tend to do this. All the men tend to be guitar players, and they get their doubles, etc, and all the women tend to be strings players, where they don't typically get doubles or synth premiums. And so it just happens." (In response to this pervasive imbalance, Skoglund has founded Open Stage Project, an organization whose "singular mission [is] gender parity backstage." The organization performs outreach and training for high school aged girls interested in technical theater.)
Though my interviews didn't investigate a pay gap in the live music scene, trumpet player Lessie Vonner noted that she has had her touring experience with Beyoncé used against her in pay negotiations, versus colleagues whose own experiences playing with major artists only seems to increase their value at the negotiation table.
If women in both the musical theater and live music scenes traverse similarly-daunting professional landscapes, what can we learn by sharing these experiences with one another? The most interesting lessons are hiding in plain sight — in the careers of the Femme Jam instrumentalists who also play in Broadway and off-Broadway pits. Their nontraditional entrance points to musical theater speak directly to one of the ways that change is achieved in our industry. (Spoiler alert: change happens when music creators themselves write shows outside of the traditional musical canon.) Instrumentalists Gina Benalcazar, Megan Talay, and Elena Conn offer three different examples:
AD: "Gina, what was your journey toward getting involved in theater?
Benalcazar (trombone): "I'm a freelance trombonist/tubist. I play bass trombone, tenor trombone, and tuba, so I'm what they call a doubler."
[Benalcazar is also a composer, arranger, educator, and singer, who performs in all size ensembles, from octets to orchestras. She plays trombone in different styles, but her favorite genre is jazz because of the inherent listening, improvising, and interaction.]
"I've done a lot of pit shows, including Playing Hot, the Buddy Bolden musical Off-Broadway. That was my first real experience getting to work not just in the pit but also with the cast. I've sat in on other pits but you never really get to work with the cast as much, you're two separate entities.
AD: "Typically a musical theater score is very prescribed. What was the nature of that show such that it allowed for collaboration between the band and performers?
Benalcazar (trombone): "With the Buddy Bolden story, [Bolden] was one of the pioneers of jazz trumpet, one of the first true improvisers. And so [in the show] the band was on stage with him, and [the actor that played Bolden] would talk to us, and he actually played trumpet. I played tuba on that show, and [at the beginning of the act, Bolden's character] is just learning how to swing, and he'd say 'Tubist, give me a bass line!' and I'd have to come in with something and we would just jam over it. So it was really interactive. It was surreal being able to watch the show, and being with the cast."
Benalcazar's value to the show, in short, was not limited to her music-reading abilities, or even to her unique doubling capabilities (tubists are rare), but it also extended to her collaborative jazz chops, and the ability to listen and improvise live the same way she does in a multitude of other projects outside of theater. In other words, a show with a nontraditional musical score sought a performer for a nontraditional role, and they found her. And she was female.
Since getting her foot in the door on Playing Hot, Benalcazar has now started the subbing process for a much more standard pit gig. And she is not the only performer from Femme whose initial taste of theater came in a less standard wrapper:
AD: "Megan, it's been a little over a year since you started getting involved with musical theater, how did you break into it?"
Talay (guitar): "I play guitar and sing for a living, it's mostly guitar. I've been involved with singer-songwriters and pop projects, indie pop artists that would play Mercury Lounge and similar clubs. [When] I got out of college [I] was teaching a lot of lessons and making my own records… Musical theater was a game changer, [I] started subbing for two friends on Head Over Heels. That gave me a big boom and filled up my schedule to the point where I could stop teaching as much. Since then I've subbed on Waitress and Be More Chill on Broadway, and gotten to do The Jonathan Larson Project last fall. That helped me get to know [music supervisor Charlie Rosen], and then he called me for [Joe Iconis's] Broadway Bounty Hunter.
AD: "Could you say a little bit more about the experience of that first show?"
Talay (guitar): "In terms of breaking into [theater], I think Head Over Heels was a godsend of a musical, to be honest, for myself and for every woman involved in that show. A lot of us were able to play on Broadway for the first time because of it."
AD: "I knew it was an all-female band, but I didn't know that it resulted in so many Broadway debuts, was that intentional?"
Talay (guitar): "I don't think it was intentional, I think it's just telling of how involved women are with musicals when it comes to rhythm section chairs like that. And it's not like those who were making their Broadway debuts weren't experienced. I mean, Cat Popper was Ryan Adams' bassist, and just kind of a rock 'n' roller. And Dena [Tauriello] the drummer, same way. And so in turn, it was similar for the subs, we were getting our calls from these people that I kind of knew through the rock scene."
Like Benalcazar, Talay's first theater opportunity came from a show whose less traditional musical score demanded players from outside the theater scene — in this case, the rock and indie scenes. Elena Conn, one of Femme's two regular drummers (the other is Elena Bonomo), studied jazz performance with Billy Hart at Oberlin. There, Conn did a lot of big band drumming, and honed her skills reading sheet music. But her longtime passion is pop music, and so when she returned to New York she dove into the pop scene, where she began playing with artists, frequently helping singer-songwriters write their drum charts.
AD: "Elena, in 2019 you became a sub for Ross Golan's show The Wrong Man, off-Broadway. How were you able to expand from pop to musical theater?
Conn (drums): "The Wrong Man was an incidence of Alex Lacamoire looking for musicians who were not actually primarily Broadway performers. It's my understanding that Alex [was looking for people] to collaborate with him in writing the parts… He wanted to bring in musicians who were used to performing [themselves]… and not just sitting down reading music all day. This band is onstage and very much half of the entire show. I think without the band it would be a completely different show."
[The Wrong Man, which played at MCC Theater in 2019, was penned by successful pop songwriter Ross Golan, and the score reflects its author, with extremely contemporary pop structure and flavor. Conn was pulled into the show as a sub by drum chair holder Jamie Donald Eblen.]
Conn (drums): "My friend Jamie felt that not only the genre of music would fit me well, but [also] he thought that I would also just kind of be perfect for the concept of the show, in that I spend all of my time collaborating and adding things to the music that other people give me."
Conn is quick to admit that, as a sub for Jamie, her role is really to "be Jamie," but adds that she believes she and Jamie play pop music similarly to begin with. Like Talay and Benalcazar, Conn's opportunity came when the creators of a show with a less traditional musical score sought musicians with the right skill set for that sound.
If the extent of these interviews has demonstrated one thing most clearly, it is that lack of gender parity remains problematic across many facets of the music industry, but simultaneously that the women who are making music are powerhouses, and they wear many hats in their careers. In part as a result of their diversity and unique skills, a shift towards gender parity, however incremental, is happening, both in the live music scene and in musical theater. Meanwhile it is the omnipresence of community, of fellow professionals who are themselves agents of change, that both offers a sense of belonging and ensures that this change will continue. Joan puts the feeling best: "I feel so powerful because of the women that I'm around; they make me feel powerful." As she's gotten older, she reflects: "I've become more sure of myself. [In the past] I definitely have called upon my masculine energy a lot more, to contend in certain spaces and feel like I'm holding my own, and I think I've realized over the years there's so much strength and power in my feminine energy as well… that Femme Jam has reminded me of."
When Joan, Moses, McMillan, and Trust founded Femme Jam exactly one year ago, they couldn't foresee all the ripples of change they were about to create. They couldn't foresee an audience of respected music professionals mingling with amateur musicians and non-musical admirers, or predict the love and anticipation in the room. "There's always one moment per Femme," says McMillan, "where I look out [at the crowd] and I'm like 'oh my God, we created this!' [It may be] a simple idea, but the impact [of Femme Jam is] strong." Part spontaneous jam, part rehearsed concert, part tongue-in-cheek play, part social justice movement, part charity event, part career network, Femme is far more than the sum of its parts. And the experiences of those involved have offered us one beautiful, resounding answer to the question of how to create gender parity in the music industry: Do something different. And good. And the opportunities — and the crowd — will come to you.
Note: Femme Jam's full roster includes additional performers besides those listed above; contact Femme Jam for a full list. Out of necessity, the performers interviewed here were those that were in attendance on the day this author attended the jam session.
photos: Liz Smalls
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Whether you're looking for a quiet romantic weekend getaway, a comfortable room for your next hiking or fishing trip, affordable winter accommodations for skiing, or a charming retreat for your next mountain adventure, Meadowmont Lodge is your perfect choice. Enjoy their clean, quiet, and comfortable rooms for your year round mountain fun.Newly renovated rooms include air-conditioning, are pet friendly, have flat screen TVS, Wi-Fi; Keurig, refrigerators and microwaves in each room. Located on Highway 4 in the heart of Arnold. ADA and adjacent rooms.
Just minutes from White Pines Lake, the Sierra Nevada Logging Museum, the Arnold Rim Trail and Calaveras Big Trees State Park, Meadowmont Lodge is your perfect base for mountain adventures.


text:
Q: How to get true Orientation/Rotation value after a Transform applied? In my code, I am currently loading an Entity using the .loadAsync(named: String) method, then adding to my existing AnchorEntity.  As a test, I am then rotating my Entity 90°, and would like to determine how to then get the current angle of rotation.
The long-term intent is that I am going to allow users to rotate a model, but want to limit the rotation to a certain degree (I.E., the user can rotate the pitch of the model to 90° or -90°, but no further than that).  Without being able to know the current angle of rotation for the Entity, I am unsure what logic I could use to limit this.
Entity.loadAsync(named: "myModel.usdz")
    .receive(on: RunLoop.main)
    .sink { completion in
        // ...
    } receiveValue: { [weak self] entity in

        guard let self = self else { return }
        self.objectAnchor.addChild(entity)
        scene.addAnchor(objectAnchor)

        let transform = Transform(pitch: .pi / 2,
                                    yaw: .zero,
                                   roll: .zero)

        entity.setOrientation(transform.rotation,
                                  relativeTo: nil)

        print(entity.orientation)

        // Sample Output: simd_quatf(real: 0.7071069,
        //                           imag: SIMD3<Float>(0.7071067, 0.0, 0.0))
    }
    .store(in: &subscriptions)

I would have expected entity.orientation to give me something like 90.0 or 1.57 (.pi / 2), but unsure how I can get the current rotation of the Entity in a form that would align with expected angles.

A: simd_quatf
In RealityKit 2.0, when retrieving simd_quatf structure's values from .orientation and .transform.rotation instance properties, the default initializer brings real (scalar) and imaginary (vector) parts of a Quaternion:
public init(real: Float, imag: SIMD3<Float>)

Hamilton's quaternion expression looks like this:

In your case, the value 0.707 corresponds to a rotation angle of 45 degrees. If you set both real (a) and imag.x (bi) to 0.707, you'll get a total rotation angle of 90 degrees for X axis.

It's easy to check:
let quaternion = simd_quatf(real: 0.707, imag: [0.707, 0, 0])   // 90 degrees
entity.orientation = quaternion

To check what "readable" model's orientation is, use regular parameters from another initializer:
public init(angle: Float, axis: SIMD3<Float>)

print(entity.orientation.angle)         // 1.5707964
print(entity.orientation.axis)          // SIMD3<Float>(0.99999994, 0.0, 0.0)


Happy Wednesday everyone! Welcome back for another competition. This month is November, and for me that means Thanksgiving. I'm not sure if all of you celebrate Thanksgiving at all, but, as you can tell by the name, it is a time to be thankful for everything you have (while having a big buffet for dinner), kind of ironic, isn't it?
This time of year, I always look back on my year and remember all that happened. I remember the good times, and the bad, and I am thankful for all of it. Because, if those events did not happen, I would not be who I am today. So, make sure to always look back and be thankful for what you have, because some people are not as lucky as a lot of us.
For this competition, all you have to do is be thankful for something that happened in your life. It can be a very happy moment that happened this year, or it can be a bad event that happened but you had the strength to overcome it. There are no limits on what you can be thankful for. I'm looking forward to seeing what you are all thankful for.
Last edited by despect; 07-11-2018 at 09:55 PM.
This competition is now opennn!
I am thankful that I did my church communion and my Nan saw it. She's very old and all, currently in hospital and in some weird way I am thankful cause as part of the communion I wore a white dress in the church that day so in some weird way it was like she saw my wedding (as I was in a white dress).
Strange, confusing and unnatural as this may sound we are both thankful for it.


Home / Articles / Preventing data breaches – Where do you start?
David Mattos, Principal and EVP, SecureITSource, Inc.
Once again, many are wondering if their personal information is compromised. While it makes everyone crazy wondering how, why did this happen AGAIN, the simple fact is that it will continue to happen. Even the most fiercely protected networks have been compromised – the CIA and NSA, for example.
If you are in Cyber-security (or have been involved in a breach), you may have been privy to the anatomy of an attack. If you are not, all you can think of is the guy in a hoodie in a dark room doing "something" on a computer. Truth is that the path to an attack can take weeks, months, or even years. For meatier targets, criminals can be very patient – and very thorough in reconnaissance and the ultimate take-over. It almost always involves becoming an insider under the disguise of a legitimate employee. Cyber-surveillance, physical surveillance, bugs, cameras, and physical entry can all be part of an attack. Bottom line – if an attacker wants IN, there are very few things that can completely stop them. However, by layering protection – one gate, another hurdle, a closed door – you can slow them down. Slow them down just enough to have one of your detection tools – or an ultra-alert human – stop them in their tracks.
When looking at the risks of credential theft, impersonation, lateral movement, and total network takeover, the key question is, "where do we start"? One place is privileged access and the layers you put in place to protect privileged assets with a solution such as CyberArk. Privileged is important, as they could be the keys to your kingdom!
Recommendation 1: Restrict privileged access to tier-0 and high value systems, most commonly domain/enterprise admin's access to Domain Controllers. This should be done in conjunction with Multifactor authentication (Okta), Identity Management (SailPoint) and proper network segmentation and tiering. Once the access is established, monitor behavior to the systems and stop known bad processes.
Impersonation of a privileged user leads to the ability to perform a total network takeover such as an advanced Kerberos attack or Golden Ticket.
Access to critical assets is often part of some user's day to day activities, making it hard to separate an outsider impersonation or rogue insider.
Many times, the same account used to access the high value systems is also the account used for all production support, making the operational impact of account management very high.
Benefits: Multiple layers of security and control are important to mitigating the risks of credential theft, impersonation, and total network takeover. Creating credential boundaries and decoupling the user from the account devalues the credential and requires the attacker to steal multiple things to get to multiple places. In the event an account is compromised, the attacker should not be able to connect directly to the high value asset. Assuming the attacker can impersonate and gain access to the asset, the behavior of the user will change and blacklisting techniques can be applied. The recommendation addresses both rogue insiders as well as outsiders impersonating insiders.
Recommendation 2: Remove local Admin rights and apply greylisting to high value user systems such as financial, Developer, Domain Admins or HR laptops/workstations.
Each organization will identify its own subset of high value end-points. Attackers will target these systems with phishing attacks or similar methods to "land".
An organization's high value end points are valuable to attackers as a way to impersonate the user to critical systems, plant malware, or gain a higher level of permission for lateral movement.
Attackers have many vectors to gain control of the network, so even if they don't land on the critical user's endpoint, they would be looking to move laterally to that system after mapping the network.
Removing local admin rights from high value users can be difficult, and companies fail to apply the best practice due to operational risk and perceived impact to the business.
Benefits: Apply greylisting to prevent fraudulent processes that may be trying to access sensitive data or install malicious code. This can also be an effective control against threats like ransomware, which can run as non-privileged users. The same greylisting is also a precursor to a good whitelisting program by silently collecting approved privileged escalations without any impact to operations or current access. Removing local admin rights of users is a common best practice and has been proven to limit malware infections.
Attackers rely on the ability to move laterally in technologies with large footprints such as servers, desktops, and databases.
Organizations struggle to change passwords frequently. Even if a password is changed to a complex and random password, it is frequently the same on multiple end points.
Disabling and renaming accounts is a good best practice, but the accounts almost always still exist and still represent risk.
Benefits: Unique and complex credentials create boundaries between systems and block an attacker from stealing one set of credentials and using them in many places. Backdoor accounts are seldom used on a daily basis and represent a minimal user and business impact. Frequent rotation of built-in accounts to a strong randomly generated password is a common part of most audit and compliance requirements.
Sensitive service accounts are not only at risk when unchanged and hard coded, but also when exposed to end users and during the import/update process.
Due to the elastic nature of dev-ops and infrastructure as a service, lateral movement and lack of credentials boundaries are exponentially greater with these highly permissioned accounts.
Many systems run outside of regular hours to limit the network impact at the time of scan or discovery, thus making it nearly impossible to manually change and rotate credentials.
Attackers use these accounts with high levels of access to nearly every system in the environment as an easy gateway for lateral movement and additional credential theft.
Benefits: Companies can immediately protect high-value accounts that are frequently targeted in penetration tests and live attacks by attackers or red teams. Even though the systems live for a short amount of time, the accounts used in templates and to create the systems are no longer static.
Recommendation 5: Protect new high-impact levels of access to the modern data center such as virtual consoles and keys for public and private cloud.
Most public cloud options such as AWS provide a customer specific set of keys with very high levels of access and no way to rotate or protect them. Stealing these keys provides an attacker the ability to comprise the environment in multiple ways.
Virtual console access buys an attacker time by allowing copies of systems to be created and compromised offline. This level of access also is the heart of the cloud operations and can easily shut down or disrupt a business from a single point of compromise.
Benefits: Storing, isolating and rotating the credentials used for critical access decouples the privileged access from the individual allowing an organization to have much more control over what people do and when. Recording these sessions also provides information to complement a big data program by providing a thorough audit trail.


text:
Fenway Park gets a bowl game, and baseball wants even more
Published: Fri, May 10, 2019 7:10 AM
Fenway Park is a baseball cathedral, but plans are to host a college football bowl game at the Red Sox' home after the 2020 seasonn. (AP Photo)
Fenway Park is getting a bowl game. Can Wrigley Field be far behind?
The website stadium.com reported that Boston is getting a college football bowl game for the 2020 season, joining Los Angeles and Myrtle Beach, South Carolina, as sites for new bowl games. Alas, the LA game will not be played at Dodger Stadium but at the new Rams' stadium, which is being called Los Angeles Stadium at Hollywood Park.
The Fenway Park game will align with the Atlantic Coast and American Athletic conferences. Fenway joins Yankee Stadium (Pinstripe Bowl) and the Diamondbacks' Chase Field (Cheez-It Bowl) as major league baseball parks hosting bowl games.
And the Fort Worth Star-Telegram reported this week that the Texas Rangers would like to get a bowl game for their new stadium, Globe Life Field, which is scheduled to open in 2020. The Dallas-Fort Worth metroplex already has three bowl games – the Cotton at JerryWorld in Arlington, the Armed Forces at TCU's Amon Carter Stadium in Fort Worth and the First Responder at the Cotton Bowl in Dallas.
So what's one more? In 2020, major college football will have 42 bowl games, which means 84 teams will participate; 84 out of 130.
Last year, the NCAA's Football Oversight Committee approved the addition of a maximum of three new bowl games. Starting in 2020, a record 43 bowls – including the College Football Playoff title game – will be played, meaning a record 65 percent of the 130 FBS schools (84 teams) will play in a bowl.
The Big 12 bowl contracts remain unchanged and go beyond 2019. The Big 12 champion (or another Big 12 team, if the champ makes the College Football Playoff) goes to the Sugar Bowl, followed in order by the Alamo Bowl in San Antonio, the Camping World Bowl in Orlando, the Texas Bowl in Houston, the Liberty Bowl in Memphis, the Cheez-It Bowl and the Armed Forces Bowl in Fort Worth, Texas.
But there are changes looming with bowl tie-ins, according to stadium.com.
Starting in 2020, the Las Vegas Bowl will pit the Pac-12 vs. a team from the SEC or the Big Ten, and the new bowl in Los Angeles takes the current Las Vegas matchup of Pac 12 vs. Mountain West.
Stadium.com reported that other changes include:
* The ACC replacing the Big Ten in the Holiday Bowl;
* The SEC and the Big Ten rotating in the Belk Bowl against the ACC'
* The Outback Bowl featuring an ACC team if a Big Ten team is in the Orange Bowl;
* The Gator Bowl pitting ACC vs. SEC every season;
* The Music City Bowl pairing the SEC and Big Ten every year;
* The Arizona Bowl will match the Mountain West against the Mid-American Conference;
The new Myrtle Beach Bowl will rotate between Conference USA, the Sun Belt and the Mid-American, with each league having a representative four times in a six-year span.
Can college football sustain 42 bowls? Well, television viewers clearly want them, else they would not be such a thirst to add to the schedule. The problem is available teams. The NCAA requires at least a .500 record to be bowl eligible, but on occasion, 5-7 teams have been granted a waiver to play, when not enough teams reached six wins.
But most years, a team or two gets omitted. Last season, 82 teams reached bowl eligibility for 39 bowls (78 slots). Left out were 6-5 Southern Miss, 6-6 Wyoming, 6-6 Louisiana-Monroe and 6-6 Miami-Ohio. Come 2020, fewer teams will face such shunning.
Oakland Athletics left fielder Robbie Grossman adjusts his cap as he waits for the next batter after a home run by Boston Red Sox's Christian Vazquez during the eighth inning of a baseball game at Fenway Park, Wednesday, May 1, 2019, in Boston. (AP Photo/Charles Krupa)
CommentsFenway Park gets a bowl game, and baseball wants even more


text:
package loon.utils.timer;

import loon.utils.StringKeyValue;

public class GameTime {

	protected static GameTime _instance = null;

	public static GameTime get() {
		return getInstance();
	}

	public static GameTime getInstance() {
		if (_instance == null) {
			synchronized (GameTime.class) {
				if (_instance == null) {
					_instance = new GameTime();
				}
			}
		}
		return _instance;
	}

	float _elapsedTime;
	float _totalTime;

	boolean _running;

	public static GameTime at() {
		return new GameTime();
	}

	public GameTime() {
		_elapsedTime = _totalTime = 0f;
	}

	public GameTime(float totalGameTime, float elapsedGameTime) {
		_totalTime = totalGameTime;
		_elapsedTime = elapsedGameTime;
	}

	public GameTime(float totalRealTime, float elapsedRealTime, boolean isRunningSlowly) {
		_totalTime = totalRealTime;
		_elapsedTime = elapsedRealTime;
		_running = isRunningSlowly;
	}

	public void update(float elapsed) {
		_elapsedTime = elapsed;
		_totalTime += elapsed;
	}

	public void update(LTimerContext context) {
		update(context.getMilliseconds());
	}

	public void resetElapsedTime() {
		_elapsedTime = 0f;
	}

	public boolean isRunningSlowly() {
		return _running;
	}

	public float getMilliseconds() {
		return _elapsedTime * 1000;
	}

	public float getElapsedGameTime() {
		return _elapsedTime;
	}

	public float getTotalGameTime() {
		return _totalTime;
	}

	@Override
	public String toString() {
		StringKeyValue builder = new StringKeyValue("GameTime");
		builder.kv("elapsedTime", _elapsedTime).comma().kv("totalTime", _totalTime).comma().kv("running", _running);
		return builder.toString();
	}
}

redpajama_set_name: RedPajamaGithub


text:
Q: Perl - Stock ticker error : Undefined fetch-method I'm working on stock ticker program for my class. This program should read ticker list from a file, fetch information using Finance::Quote module and display the result on to the screen. When I ran my program, I received error as follow:
Undefined fetch-method (ticker)
 passed to Finance::Quote::fetch at filename.pl line 56.
I have searched for this error's cause all day, but I can't find any answer that help me to understand the problem. Can anyone can help?
My code:
#!/usr/bin/perl -w
#
use strict;
use Finance::Quote;

# Set preferred currency
my $CURRENCY = "CNY";

# Assign file name to scalar variable, read file, and then assign
# to an array
my $techticker = "techticker.txt";
open (FH, "< $techticker") or die $!;
my @STOCKS = <FH>;
print @STOCKS, "\n";
close FH or die "Cannot close $techticker: $!";

# Define the format : label, style formatting, width of the field
my @labels = (["name",  "%24s",  15],
           ["date",  "%11s",  17],
           ["time",  "%8s",  10],
           ["last",  "%8.2f",  8],
           ["high",  "%8.2f",  8],
           ["low",   "%8.2f",  8],
           ["close", "%8.2f",  8],
           ["volume","%10d",  10]);

# Seconds between refresh
my $REFRESH = 120;

# --- END CONFIG SECTION ---

my $quoter = Finance::Quote->new();
my $clear  = `clear`;           # So we can clear the screen.

# Build our header.

my $header = "\t\t\tMEGA CAPITAL TECHNOLOGY COMPANY STOCK REPORT" .    ($CURRENCY ? " ($CURRENCY)" : "") ."\n\n";

foreach my $tuple (@labels) {
    my ($name, undef, $width) = @$tuple;
    $header .= sprintf("%".$width."s",uc($name));
 }

$header .= "\n".("-"x85)."\n";

# --- END HEADER SECTION ---

# Set default currency.
$quoter->set_currency($CURRENCY) if $CURRENCY;

for (;;) {  # For ever.
    print $clear,$header;

    foreach my $stockset (@STOCKS) {
        my ($exchange, @symbols) = $stockset;           # I think the problem is here
        my %info = $quoter->fetch($exchange,@symbols);

        foreach my $symbol (@symbols) {
            next unless $info{$symbol,"success"}; # Skip failures.
            foreach my $tuple (@labels) {
                my ($label,$format) = @$tuple;
                printf $format,$info{$symbol,$label};
            }
            print "\n";
        }
    }

    sleep($REFRESH);
}

Update:
Just fixed my code, I should extract my data and assign it to $exchange and @symbols outside the "foreach" loop. Here are the fixed code:
my $techticker = "techticker.txt";
open (FH, "< $techticker") or die $!;
my @symbols = <FH>;
chomp @symbols;
my $exchange = shift @symbols;

close FH or die "Cannot close $techticker: $!";

...
my %info = $quoter->fetch($exchange,@symbols);

for (;;) {  # For ever.
    print $clear,$header;

    foreach my $symbol (@symbols) {
        next unless $info{$symbol,"success"}; # Skip failures.
        foreach my $tuple (@labels) {
            my ($label,$format) = @$tuple;
            printf $format,$info{$symbol,$label};
        }
        print "\n";
    }

    sleep($REFRESH);
}

A: my @STOCKS = <FH>;
...snip...
foreach my $stockset (@STOCKS) {
    my ($exchange, @symbols) = $stockset;    # I think the problem is here

Indeed, I believe you are correct. @STOCKS is an array of simple strings. They won't automatically transform into $exchange and @symbols. Your code is this equivalent of doing
my ($exchange, @symbols) = "the rain in spain falls mainly in the plain";

in which case $exchange gets Eliza's entire practice phrase, and @symbols is completely empty.
Try looking up the split() function, perldoc -f split. I suspect that's what you want, but I don't know what the data looks like inside of your techticker.txt.


text:
Der Fischbach ist ein westlicher und linker Zufluss der Badischen Eschach. Er fließt am Ostrand des Schwarzwaldes im baden-württembergischen Schwarzwald-Baar-Kreis. Der Fluss ist 4,5 km lang und zusammen mit seinem Quellbach Glasbach 18,6 km.

Geographie

Verlauf
Der Fischbach entsteht aus dem Zusammenfluss des rechten Glasbachs, auch Vorderbach genannt, und des linken Eschbachs, der seinerseits aus linkem Hinterbach und rechtem Reutenbach entsteht und danach den Mittelbach aufnimmt, im zur Gemeinde Niedereschach gehörenden Ort Fischbach. Der längere und wasserreichere Glasbach wird als Hauptquellbach angesehen. Hydrographisch gesehen, kann dieser sogar als Hauptquellast des Neckars gelten, da der Fischbach eine höhere Wasserführung als die Badische Eschach aufweist, die wiederum der größere beider Quellflüsse ist und die Badische Eschach wasserreicher und länger ist, als der an ihrer Mündung noch junge Neckar. Der Fischbach fließt in südöstliche Richtung und vereinigt sich bei Niedereschach mit der Badischen Eschach. Nach traditioneller Lesart hieß das Gewässer von hier bis nach Horgen (Badische) Eschach, nach aktueller Lesart setzt sich der wasserreichere und längere Fischbach bis nach Horgen fort, wo er als wiederum wasserreicherer, dort aber kürzerer Nebenfluss in die längere Württembergische Eschach mündet, die aktuell von der Quelle an einfach Eschach heißt, ohne Namenszusatz.

Zuflüsse
Vom Ursprung zur Mündung. Abschnittsnamen nach heutiger Konvention.

 Glasbach oder Vorderbach, rechter Oberlauf
 Eschbach linker Oberlauf
 Grabenbach, von rechts zwischen Niedereschach-Vogelsang und -Schloss Granegg
 Badische Eschach, von rechts bei Niedereschach-Mühle
 Teufenbach, von links nach Niedereschach-Pulvermühle

Einzelnachweise

Fluss im Schwarzwald
Fließgewässer im Schwarzwald-Baar-Kreis
Fließgewässer im Landkreis Rottweil
Geographie (Niedereschach)
Geographie (Zimmern ob Rottweil)


A writer, editor, creative strategist and communications consultant, Zainab has worked in the media and communications industry for 10 years for various multi-national publishing brands such as The Foschini Group, seventeen magazine, Fast Company South Africa, Condé Nast and Independent Media. In 2017, she was instrumental in the PR roll-out for the opening of Zeitz Museum of Contemporary Art Africa (MOCAA) in association with Gucci and the V&A Waterfront, and has worked with brands such as Huawei, Bodhisattva and ONQ Makeup in a creative capacity. She currently consults for Virgin Active South Africa and ANA Publishing, and is a board member of the Council of Modest Fashion Africa (COMFA).
Ulpha is a digital enthusiast who loves digital marketing, content, marketing and not forgetting a panache for fashion. She has over ten years' experience in the digital industry. Fortunate to start out in the industry at a very young age while doing her Honours, she has evolved with the fast paced industry disruption of marketing technology. She has experience in digital content, digital marketing, content strategies, SEO, Google Analytics, creative design, digital strategies, social media management, website design and mobile applications and marketing. She's creative, proactive and very passionate about the digital world. Her goal is to always use her expertise to produce high quality, imaginative and successful work.
Her career started in Retail Buying, Planning & Merchandising 21 Years ago with a company called Topics, a Ladies and Kids brand that she grew for 8 years in the industry. The South African retailers that have shaped her career in Buying and Sourcing for the last 13 Years include Foschini TFG, Pep, Ackermans and Cape Union Mart's Old Khaki brand. She has experienced numerous trading environments across different markets within SA for the last two decades. This includes heading Merchandise Planning for Wear South Africa, the retail division of TCI Apparel, a huge local manufacturer. She is currently the MD of Urban Fluid (UF) Fashion, a Design Sourcing Specialist and Retail Consulting Agency, based in Ottery CT, whose clients range from emerging designers to large brand houses.
Leila's industry experience began with her internship at the headquarters of Freudenberg Performance Material's (FPM) in Germany where she received invaluable skills training alongside Hugo Boss, Max Mara & Esprit technologists. She was then recruited by FPM South Africa, which culminated in a 15 year tenure with senior roles in Quality Assurance and R&D. The impact of downsizing by a once leading apparel manufacturing sector in Cape Town, resulted in her entrepreneurial pursuits to stimulate local production activity. Her current fashion business ventures span both offline & online, the latter receiving business support as part of the ABSA Rise Scalarator program for Tech Female Founders in 2018. Leila's research across these various industries, coupled with practical experience has led to key insights for a fashion business that will survive and thrive Industrial Revolution 4.0.