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Patty Jenkins' upcoming Wonder Woman feature has a quality that's shared with no other recent movie bearing the DC logo (and it's not an opening projection that's projected somewhere in the ballpark of $175 million worldwide).
The quality in question is its Rotten Tomatoes score.
According to the aggregator the movie has amassed a 97 percent 'Fresh' rating, which is HUGE because it tells you that the critics that have seen he movie so far like it.
And speaking of critics, keep in mind that as of the writing of this article that percentage was made up of only 66 reviews, so that number is likely to go down, though it shouldn't be a huge percentage.
Which means that not only will Wonder Woman receive better reviews than either Man Of Steel, Suicide Squad or Batman V Superman: Dawn of Justice, but it's quite likely that it will be the most profitable movie based on a female superhero ever.
At least till Marvel Studios' Captain Marvel arrives on he scene.
Posted in action, DC Comics, DC Entertainment, Movies, My Two Cents, superheroes, upcoming, Warner Bros..Tagged Batman v. Superman: Dawn of Justice, Captain Marvel, Man of Steel, Marvel Studios, Rotten Tomatoes, Suicide Squad.


text:
John Arthur Annesley Goodall  (born 1970) is an English historian, author, and Architectural Editor of Country Life magazine.

Early life and education
Goodall attended St Edward's House at Ampleforth College until 1988, and then read history at Durham University. He subsequently took both an MA and doctorate as an architectural historian at the Courtauld Institute of Art.

Career
He worked for several years as a freelance writer and scholar, publishing his first book in 2001, God's House at Ewelme, which was joint winner of the Royal Historical Society Whitfield Prize for 2001 (presented in 2002).

He has written several guidebooks for both English Heritage and the National Trust. In addition he has contributed to numerous books and scholarly journals on the subject of historic English architecture. In 2003 Goodall joined English Heritage as a senior properties historian. He acted in 2007 as series consultant for the major BBC 1 series How We Built Britain, presented by David Dimbleby.

From November 2007 Goodall became Architectural Editor of Country Life, a magazine to which he had contributed since 1994. He was involved in a debate over the National Trust's presentation of its houses in 2010, speaking on the subject at the Hay Festival and at the National Trust's AGM.

Goodall's second book, The English Castle, was published by Yale University Press in April 2011 on behalf of the Paul Mellon Centre for Studies in British Art. The work received numerous accolades: the 2011 Alice Davis Hitchcock Medallion, the 2011 Large Format Illustrated Book of the Year Award at the Spear's Book Awards, and the 2013 Historians of British Art Book Prize (pre-1800). The work also received the G. T. Clark Prize for 2007–2012, recognising "the most distinguished published contributions to the study of the history and antiquities of Wales and the Marches during the previous quinquennium".

Other recent projects include contributions to the photographic book The English Cathedral by Peter Marlow and a chapter on the siege of Dover in 1216–17 for the book accompanying the Dan Snow Battle Castle television series. He has acted as series consultant for the Country Life book series taken from the archive of the magazine, including Curious Observations (2011) and Letters to the Editor.

On 25 October 2001, Goodall was elected a Fellow of the Society of Antiquaries of London (FSA). He sits on the Fabric Advisory Committees of St. George's Chapel, Windsor Castle and St Albans Cathedral, and is a part-time Humanities staff member at the City and Guilds of London Art School.

Along with Edward Impey, Goodall is a patron of the Castle Studies Trust, a UK registered charity founded in 2012.

Bibliography

Books
God's House at Ewelme: life, devotion and architecture in a fifteenth-century almshouse (2001) Ashgate, , .
The English Castle 1066–1650 (2011) London: Paul Mellon Centre for Studies, Yale University Press, , .

The Castle (2022) London: Yale University Press, ISBN 9780300251906.

Guide books
Pevensey Castle (1999) English Heritage,
Scarborough Castle (2000) edited by Katy Carter, English Heritage, , .
Bodiam Castle (2001) with Stephen Conlin, National Trust, , .
Richmond Castle, Easby Abbey (2001) English Heritage, , .
Whitby Abbey (2003) English Heritage, , . [out of print]
Muchelney Abbey (2004) English Heritage,
Warkworth Castle and Hermitage (2006) English Heritage, , .
Ashby de la Zouch Castle and Kirby Muxloe Castle (2007) English Heritage, , .
Portchester Castle (2008) English Heritage, , .

Essays and reporting

References

External links

Castle book and personal website
John Goodall biography and photo City & Guilds of London Art School
John Goodall profile Ashgate's summary of God's House at Ewelme
Video interview for Country Life's Curious Observations book

1970 births
Living people
English architectural historians
Castellologists
Country Life (magazine) people
English male non-fiction writers
Fellows of the Society of Antiquaries of London
Alumni of University College, Durham
People educated at Ampleforth College

redpajama_set_name: RedPajamaWikipedia


text:
Q: Date or Year matching in python I am using python 3.x . I have a post request for DOB where user can input either a year in YYYY format or Date in DD/MM/YYYY format
is there a way to validate if the user has inputed the DOB in required format or else prompt him to enter the DOB in right format.
I am using regex
    if  re.match( "\d{4}", dob_check):
        client_dob = dob_check
    elif datetime.datetime.strptime(dob_check, "%d%d/%m%m/%Y%Y%Y%Y"):
        client_dob = dob_check
    else :
        return return_aadhar_date_format

when i input 1891 it correctly fetch the DOB as well if i enter digits more than 5 it doesn't take it.
but when i enter 3 digit or less than that it throws an re.error

re.error: redefinition of group name 'd' as group 2; was group 1

.but i want to prompt the user to enter the DOB in right format.it's not an exception its some package error.
Also when i enter DOB in 12/12/2000 it throws an re.error as my guess is it goes to the first if block and the execution stops there.
Below are my approaches
    if len(dob_check) == 4:
        client_dob = dob_check
    elif datetime.datetime.strptime(dob_check, "%d/%m/%Y"):
        client_dob = dob_check
    else :
        return correct_format

second :
    if len(dob_check) == 4:
        try :
            if len(dob_check) == 4:
              client_dob = dob_check
            else:
                return correct_format
        except:
            return correct_format
    elif datetime.datetime.strptime(dob_check, "%d/%m/%Y"):
        client_dob = dob_check
    else :
        return correct_format

A: Can you please try the below code
if  re.match( "^[1-9]\d{3}$", dob_check):
        client_dob = dob_check
elif re.findall(r"[\d]{2}/[\d]{2}/[\d]{4}", dob_check):
        client_dob = dob_check
else :
      return incorrect_format

A: Why not just use strptime for both validations?
Edit: It's been pointed out to me that it never reaches the full_time check if it is indeed a match, so here's yet another attempt.
def is_datetime_match(s, pattern):
    try:
        datetime.datetime.strptime(s, pattern)
        return True
    except ValueError:
        return False

if is_datetime_match(dob_check, '%Y') or is_datetime_match(dob_check, '%d/%m/%Y'):
    client_dob = dob_check:
else:
    return incorrect_format

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Information is just a click away on the DAU website with acquisition digital prototypes and Other Transactions Guide.
You're a program or project manager facing myriad choices when it comes to the acquisition process. Should you use a traditional Federal Acquisition Regulation-based model? Or perhaps an other transaction authority? A rapid prototyping-rapid fielding approach? Which type of contracting strategy should you use—a task order/delivery order? A blanket purchase agreement?
Finding the best approach is now a little less murky thanks to a set of acquisition digital prototypes produced by the Office of the Undersecretary of Defense for Acquisition and Sustainment (OUSD(A&S)) and MITRE Corp. and hosted on the Defense Acquisition University (DAU) website.
The acquisition digital prototypes—the Adaptive Acquisition Framework and the Contracting Cone, as well as an Other Transactions (OT) Guide—were rolled out in late 2018, and are easy-to-use, interactive tools.
The Adaptive Acquisition Framework shows the many different paths an acquisition program can follow and lets users click through the details for each path. Additional pathways, tailored models and new content will be added over time.
The Contracting Cone outlines the full spectrum of Federal Acquisition Regulation (FAR) and non-FAR contract strategies, and supporting materials provide details about each strategy. The goal of the tool is to provide visibility into new or lesser-known strategies and ensure that the full range of contract strategies is considered. Eventually, "our hope is that every part of the cone will be clickable," said Samuel N. Parks, communications and program analyst at DAU.
The Other Transactions (OT) Guide provides an overview of OTs—legal acquisition instruments other than contracts, grants or cooperative agreements that offer a streamlined method for carrying out prototype projects and transitioning successes into follow-on production—in addition to real-world examples. The guide also includes 10 "myth busters" that debunk some of the most common misconceptions about OTs.
Also available on the DAU website is a 10-episode "Other Transaction Mythbusting Video Series" by DAU Professor Diane Sidebottom, who came to DAU from the Defense Advanced Research Projects Agency (DARPA) and was involved in writing the OT Guide. Congress first authorized the use of OTs in 1958, with the legislation that created NASA. Congress allowed DARPA to use OTs in 1989, and their use was extended to the military services in 1996.
Feedback on the prototypes has been "really positive," said Parks. Nearly 20,000 users have visited the website since it went live in December, he said, and several users across DOD plan to incorporate the tools into contracting and acquisition training programs.
The acquisition digital prototype was driven by Ben FitzGerald and others in the OUSD(A&S). (FitzGerald has since left the Pentagon for a private business opportunity.) FitzGerald is a former senior fellow at the Center for a New American Security and Senate Armed Services Committee staffer who was brought to the Pentagon in December 2017 by the Hon. Ellen M. Lord, the USD(A&S), to oversee the splitting of the Office of the Undersecretary of Defense for Acquisition, Technology and Logistics into the USD(A&S) and the USD for Research and Engineering. As a Senate staffer, FitzGerald helped write a requirement in the National Defense Authorization Act (NDAA) for Fiscal Year 2018 for "digitized acquisition policy." The prototype on the DAU website is an outgrowth of that policy.
More online tools are on the way, beginning with one on middle-tier acquisition, although the timing is uncertain.
In the end, though, it's the acquisition workforce that will decide the future of such prototyping efforts. "So what we're seeking to learn over the course of this year is how much does the acquisition workforce value these types of tools?" FitzGerald said. "Because if we want to do that on an ongoing basis, it's going to require a lot of effort to make sure that everything is up to date and consistent and internally linked and all of that.
For more information, go to the DAU website at https://www.dau.mil/.
MICHAEL BOLD provides contract support to the U.S. Army Acquisition Support Center. He is a writer/editor for Network Runners Inc., with more than 30 years of editing experience at newspapers, including the McClatchy Washington Bureau, The Sacramento Bee, the San Jose Mercury News, the Dallas Morning News and the Fort Worth Star-Telegram. He holds a Bachelor of Journalism from the University of Missouri.
This article is published in the Spring issue of Army AL&T magazine.


text:
Q: How to delete record from database if no longer existed If I have a new data/record in my CSV file then I'm importing it to my SQL Server database using PowerShell like this.
$CSVImport = Import-CSV $Global:ErrorReport
        ForEach ($CSVLine1 in $CSVImport) {
            $CSVHold1 = $CSVLine1.Hold
            $CSVGSID1 = $CSVLine1.GSID
            $CSVSource1 = $CSVLine1.Source
            $CSVTYPE1 = $CSVLine1.TYPE
            $CSVMessage1 = $CSVLine1.Message
            $CSVCreatedDate1 = $CSVLine1.Time

            $query = "USE $Global:Database
               IF NOT EXISTS (SELECT * FROM Lit_Hold_Err
                    WHERE GSID = '$CSVGSID1'
                    AND Source = '$($CSVSource1 -replace "'","''")')
                BEGIN
                INSERT INTO Lit_Hold_Err (Hold, GSID, Source, Error, Type,Date)
                VALUES('$CSVHold1', '$CSVGSID1', '$($CSVSource1 -replace "'","''")','$CSVMessage1','$CSVTYPE1', '$CSVCreatedDate1')
                END"

        Invoke-Sqlcmd -Query $query -ServerInstance $Global:Server -Database $Global:Database

I'm just wondering how should I write another query that compare my CSV file with my database and delete a particular/s record from my database if it's no longer existed in my CSV file?.
I know I'll need to use DELETE Statement but I'm kinda stuck on WHERE Clause so Any help or suggestion would be really appreciated.

A: A suggestion would be using DBATool's Import-DbaCsv to read the CSV file and bulk load it to a table on tempdb, then use a merge instruction to make the inserts/updates/deletes.
The import command would be something like:
$Credential = Get-Credential
Import-DbaCsv -Path .\test.csv -AutoCreateTable -SqlInstance my-instance -Database tempdb -SqlCredential $Credential -SupportsMultiline


text:
Q: How to determine if an equation is a rational variety? Is there an easy way to determine if a given equation is a rational variety? For example, is $x^3+y^3+z^3=3$ a rational variety?
I have maxima installed on my computer, if that helps.

A: Since you tagged this question with number theory, it seems like you might be interested in the answer to this question over $\mathbf Q$ or other `arithmetic' fields. Let me just make a few comments about the problem over $\mathbf C$, to show that it is already extremely subtle there. In other words, the short answer to your question "is there an easy way?" is no.
Let's stick to equations that define smooth hypersurfaces in projective space. In your example, your equation can be rewritten in homogeneous form as $X^3+Y^3+Z^3-3W^3=0$, and it's easy to check that really is a smooth cubic surface in $\mathbf P^3$.
There are some general comments one can make. Let's say your defining equation has degree $d$ and involves $n$ variables. (I assume $n \geq 3$ to avoid degenerate cases.)

*

*If $d=2$, your variety (a quadric hypersurface) is always rational. Proof: project from a point on the variety!

*If $d \geq n$, then your hypersurface is never rational. One way to see this is that in this case, one can construct global differential forms of top degree on your variety, but a rational variety never has such forms.

*If $3 \leq d \leq n-1$, the question is more difficult. Cubic surfaces in $\mathbf P^3$, including your example, are known (since the 19th century) always to be rational. By contrast, in the early 1970s it was proved that a smooth cubic threefold in $\mathbf P^4$ is never rational! And, as far as I know, it is still an open question whether every cubic hypersurface in $\mathbf P^n$ for $n \geq 5$ is rational. (Some of them are.)
Let me expand a little on the third point. Although rationality is a very difficult question in this case, there are some weaker properties that can be easier to deal with. For example, it is another classical fact that cubic hypersurfaces are always unirational, meaning that there is a finite dominant rational map $\mathbf P^n \dashrightarrow X$. (So $X$ can be "parameterised by rational functions", just not in a one-to-one fashion.) More generally, any hypersurface of degree $d \leq n-1$ is rationally connected, meaning that there is a rational curve connecting any two points. Depending on the context, sometimes these properties are adequate substitutes for rationality.
Finally, if indeed you are interested in the answers to these questions over non-closed fields such as $\mathbf Q$, then the whole story is even more complicated! For example, even a quadric surface need not be rational. I won't try to say anything in this case; instead I'll refer you to the book Rational and nearly rational varieties by János Kollár.


text:
The tempered glass cover will break if the temperature difference is too large.
Often busy in the kitchen, citizens are unavoidable to contact all kinds of tempered glass cover. Little wonder, glass raw materials have different classifications, a little improper use, there may be potential safety hazards, sudden burst and other accidents.
According to experts, the quality of toughened glass cover depends on raw materials. The Market Kitchen tempered glass cover according to the different raw materials, dividend general glass, tempered glass and heat-resistant glass three types. Generally glass has the disadvantage of "fragility"; toughened glass is often used in automobile glass, bathroom partition, telephone booth, etc., but it also has its own inevitable disadvantage, that is, when the ambient temperature changes suddenly, it may break. In this regard, there have been many reports about the sudden bursting of tempered glass caps in domestic and foreign media. It is reported that Japan has suspended the production of tableware with toughened glass as raw material.
"In order to make customers use safer, more convenient and more environmentally friendly, we have introduced Glass series heat-resistant tempered glass cover." Kitchen utensils experts said that, unlike tempered glass, the heat-resistant glass used in this series of utensils contains high-temperature boric acid, even withstanding the huge temperature difference between "ice and fire" days, it is not harmful. "The most remarkable difference is that tempered glass tableware may break because of changes in ambient temperature, but even if it has just been taken out of the refrigeration room, heat-resistant glass tableware can be directly put into the microwave oven for heating. There is no need to worry about the glass breaking caused by excessive temperature difference."
Previous:Material D···
Next:How to Mai···
How to drill holes in toughened glass
1. Can toughened glass be perforated?Toughened glass can punch holes.Tempered glass is quite common in modern decoration, especially in balconies, bathrooms and so on. But some people don't know a
How to adjust the flatness of tempered glass
Do you know the reason why tempered glass used in our daily life is not smooth enough? Today let's get to know more about it.The problems of poor flatness of tempered glass can be divided into two
Environmentally friendly tempered glass cover has become a new favorite in kitchen
I've seen glass cups and bowls, so I'm sure I haven't used tempered glass caps. On the occasion of New Year's Day, relatives and friends come from home to house. They can't eat all
How to Clean Glass Covers of Different Shapes
The application effect and popularity of tempered glass cover in daily life and industrial production are obvious. It can be seen how obvious the excellent characteristics of this product are. Many pe

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Bracelets + bangles are a wonderful expression of personality. Gold or platinum, with gemstones or without we believe a fine bracelet should always bring a smile to your face. We have an extensive diamond + precious gemstone collection in store (and all sorts of other jewellery!) + can advise as to the very best for your particular circumstance.


text:
Learnlife / Learnlife Blog / Reimagining 2050: the learning environment in a VUCA world
Reimagining 2050: the learning environment in a VUCA world
Future skills and 21st century learning for a Volatile, Uncertain, Complex and Ambiguous (VUCA) world. In education, we are immersed in such framing and terminology as we develop learner-directed and purposeful learning approaches to support the emergence of a new generation who can actually thrive in the future.
However, as much as we nurture spaces to connect with nature, ourselves and each other, and as much as we help build higher-order thinking skills in our future-proof learners, we have not always managed to help them articulate what that VUCA world looks like. Yes it is uncertain, and jobs will appear that we haven't yet dreamed up and all the rest of it, but we can do better, can we not?
As much as we feel that the responsible thing to do is help prepare learners to adapt and thrive under uncertain conditions, and it is the right thing to do, it is still their future. We grew up with a vision of the future alive in stories, films, and popular culture, and though we are still waiting for our hover boards and thought-controlled navigation systems, we were encouraged to dream about something to look forward to.
Are we able to say the same today? Climate breakdown, cascading disasters that always seem to be happening "faster than previously estimated", and we wonder why climate anxiety is a thing. The future, if we leave it in the vacuum of rolling 24-hour news coverage and post-apocalyptic movies, is a bleak place indeed.
Reimagining a VUCA world
So where do we start to reimagine a VUCA world? The Sapienship project is a good place, with their focus on storytelling to bring the macro-historical perspective into view and set the scene for where we might have taken a wrong turn as a species, and what we might do to rebalance our world. Throughout all the talk of tech-optimism and new social structures, we must not lose sight of what it means to be human, and what that connection to our past and to the world around us feels like.
Storytelling, visualisation, and research can all be combined to create the provocation of articulating the reality of life in 2050 and beyond. The talk of a "sustainable" future is just not inspiring enough. A regenerative, reimagined future where we can do things differently. That is something to inspire.
From there, learners can go anywhere. The UN Sustainable Development Goals could provide a framework for exploration (let's take advantage of their broad and sometimes vague parameters!), and learners can take their thinking in any direction that sparks something in them. Love them or not, they are the central framework of policy and will be embedded in every walk of life.
What will infrastructure look like in a VUCA world, and will we really be using Hyperloops to move around cities? What jobs will really be replaced by AI and what opportunities does that create for us to use our time differently? Will businesses really start working together on shared success and foundations of trust instead of pursuing blind profit? How might that happen? How will 10 billion people eat and will they be buying bacon that has been grown on blades of grass? Will we ever close the equity gap, and start living like we all matter in equal measure? What does that look and feel like?
How can we build these big questions into our learning environments? At Learnlife we use a fluid learning paradigm that builds learning around passion and curiosity, and helps build the skills and abilities our learners will need for the future. We focus on supporting engagement and agency, empowerment, motivation and resilience. That has not been a linear process, but it is working, and it is time to take the next steps.
Building a vision of a better future in a VUCA world is something we can do together, and VUCA learning can be rich and diverse, with complex problem solving and transdisciplinary, systems thinking.
It would be easy to write such learning projects off as tokenistic, but here is the thing: learners deserve to imagine a better future and start to visualise their place in this new world. We need to shift the narrative from "adapting" and "surviving" to really flourishing in a world we get to reimagine.
This generation of learners did not create the mess we are in, but they are the ones who have to solve it. The very least we can do is to help them see that this is an opportunity to do better, build something new and look forward to meeting that challenge.
What do you think? How can we help learners connect to that sense of open possibility in their future, and reframe the doom and gloom narrative around us? How can we support them to visualise and explore that world, and to truly internalise their human right to shape it into something better?
Learn more how Learnlife is preparing the learners and the learning community for the VUCA world by re-writing the course of learning and education through the new learning paradigm.


text:
El Messerschmitt Bf 163 (Bayerische Flugzeugwerke) fue un avión construido por la Messerschmitt antes de la Segunda Guerra Mundial. Solamente un prototipo fue construido y probado.

Desarrollo

Durante el otoño de 1935, la considerable potencialidad del proyecto Fieseler Fi 156 para las tareas de reconocimiento a corto alcance y observación aérea hizo que el Reichsluftfahrtministerium RLM (Ministerio del Aire del Reich) elevara una propuesta para un avión de cooperación con el ejército que ocupara las mismas especificaciones que el Fi 156. Estas estipulaban el uso de un motor Argus As 10 o Hirth HM 508 y colocaban énfasis en el uso de pistas muy cortas y poco preparadas de aterrizaje, visibilidad máxima para los dos miembros de la tripulación, y una amplia gama de velocidades. El avión que resultara competiría con el Fi 156.

El Bf 163 siguió estrechamente la fórmula impuesta por el Fi 156, siendo un monoplano de ala alta con estructura metálica, bordes de ataque alares automáticos, flaps dobles y un tren de aterrizaje extraordinariamente alto. La característica más interesante del avión era la amplia gama de incidencia del ala entera, la cual giraba sobre su propio eje, con puntales de refuerzo que se unían al fuselaje por rodamientos y así podían cambiar su ángulo de movimiento sobre las alas. El primer vuelo fue el 18 de febrero de 1938 motorizado por un Argus As 10C. El Bf 163 V1 demostró ser similar al Fi 156 pero bastante más complejo y más caro; sin embargo, algunos componentes de un segundo prototipo Bf 163 V2 fueron construidos pero no completados ya que el Bf 163 fue cancelado en favor del Fieseler Fi 156.

Una denominación confusa

En una rara decisión, el RLM más tarde rehusaría la denominación 8-163, lo que pasó contadas veces en la era nazi. Aún más confusamente, el avión también era un diseño Messerschmitt, el Me 163 Komet, un interceptor cohete. Los dos aviones solo se distinguían por el prefijo (el más temprano Bf 163, y el posterior Me 163). El nuevo prefijo "Me" fue adoptado por todos los diseños Messerschmitt, después de que el nombre oficial de la fábrica Bayerische Flugzeugwerke (BFW) fue cambiado a Messerschmitt AG en julio de 1938, cuando Willy Messerschmitt adquirió la empresa BFW.

Especificaciones

Véase también

Referencias

Bibliografía
 Green, William Warplanes of the Third Reich. Galahad Books, 1986.

Enlaces externos

Bf 163
Aviones de reconocimiento de la Segunda Guerra Mundial de Alemania
Aviones de reconocimiento de los años 1930 de Alemania


Big data needs big protection. In just the last two years, 90 percent of the world's data has been created*. And as computer networks grow, so too does the quantity of vulnerable information.
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At Columbia Engineering Cybersecurity Boot Camp, learners get hands-on training in networking, systems, web technologies, databases, and defensive and offensive cybersecurity. You will also learn methods, techniques, and best practices for accurately conveying the severity of the risks facing an organization's security posture.
Classes held two weekdays from 7 to 10 p.m.
Ready to learn more about Columbia Engineering Cybersecurity Boot Camp? Contact an admissions advisor at (646) 880-3457 or fill out the form below.


text:
The Hard-Ons
More from The J Files
MP3 30.00 MB
Feature by Dan Condon
Do It With You
Thirty years ago, three teenage mates – Peter "Blackie" Black, Ray Ahn and Keish De Silva – set up drums, guitar and bass at De Silva's family home on Ernest St, Lakemba, in Sydney's west and formed a band called Hard-Ons.
We'd alternate between playing a song and diving under the bed and pulling out the Playboys and reading them for a few minutes.
Ray Ahn
"We used to practice in his bedroom because he didn't have a garage," bassist Ray Ahn told ABC Radio's Wide Open Road in 2008. "It was a typical Sri Lankan house. I think there was a picture of Jesus somewhere, very well manicured garden, there was a big fish pond in the back, they used to get me to come and give them a hand with their fish. Every now and then his next door neighbour would come and yell at us.
"His bedroom was really tiny, tiny and smelly, that's all I remember. Bad foot odour, a single bed with an infinite number of Playboys underneath he bed. We'd alternate between playing a song and diving under the bed and pulling out the Playboys and reading them for a few minutes."
Within a couple of years, the band were one of the most exciting outfits on the Australian punk scene, drawing thousands to shows around the country where kids would go bananas to songs like 'Surfin' On My Face', 'Girl In The Sweater', 'What Am I Supposed To Do' and 'Bye Bye Girl'; fast, aggressive songs with sugary pop melodies.
Hard-Ons are still around – having split for just a brief period in the late '90s – and while the record sales and live numbers may be smaller than those early days, it will soon become obvious why they keep on going.
My first date with my still-here husband... 28.8.87 , Carringbah Inn ♡. Still loving the music.
Suzi via Facebook
Suck N' Swallow
Are Hard-Ons a pop punk band? A heavy metal band? A prog band? A noise band? A hardcore band? Truth is, the band have music that fits all of these genre descriptions and more. The passion for music the members of the band express means they can't tie themselves down to one style.
"They have continued to evolve, they've never stayed in one place, they've always done what they're drawn towards and what's going to make them happy as musicians and as creative beings," says Matt Reekie, from Unbelievably Bad magazine.
The only thing I regret about punk rock was that I could read music so well and then when I got into punk rock I was like 'who needs this shit?!'
Peter "Blackie" Black
While none of the three teens knew how to play their instruments at first, Blackie told Double J that he did have talent on another instrument.
"My parents, at a very young age, put me in the Bankstown Police Boys Club Band. I played the trumpet since I was about nine," he says. "I could read music really fluently, played in a marching band, did ANZAC parades, did solo recitals which I won medals for. The only thing I regret about punk rock was that I could read music so well and then when I got into punk rock I was like 'who needs this shit?!'."
While they loved metal and hard rock, it was punk that was the most appealing genre for the three teenagers.
"I think the reason punk made more of a big deal to Hard-Ons than any of the other stuff was we could relate to it on a musical level, it was very reachable with our small means," Ahn said on Wide Open Road. "The other thing was no one else knew about it, it felt like we were privy to a secret world so you felt kind of special.
"We had struggling parents, all three of us. We weren't rich punks like some other bands, we were poor punks. It seemed like the only kind of music we could attempt was punk music. The fastest most direct, most brutal, most in your face, most 'how can I make a statement in two minutes' kind of music. We were impatient little kids. It was punk music, that's all."
Keish, Ray and Blackie on the back cover of Smell My Finger & Other Bits / Hot For Your Love, Baby (Original 1986, image from 1994 release)
"We grew up with AC/DC," Blackie told Mark Dodshon on triple j in 1986.
"And we love the Ramones," added Keish.
"There's a lot of good rock'n'roll bands, whether it's heavy metal or whether it's punk or whether it's power pop," Blackie continued. "You can tell when you hear it, you can tell those people, when they're doing it, that this is what they really like doing. There's a big difference between listening to a band like Ramones and the Dead Boys compared to listening to some arty farty stuff."
Wow, you guys were the first gig I saw as a first yr student at Wollongong uni bar, O week 1993, with You Am I.
Clare via Facebook
The departure of Keish in 2001 brought on a marked change for the band. New drummer Pete Kostic hit harder than the founding drummer and lead vocal duties were passed on to Ray and Blackie.
"They started making this really wild, heavy music with Blackie screaming that wasn't as poppy," Reekie says. "It was a big shock to a lot of fans. It was a lot more aggressive and a lot more punk rock.
"I think a lot of fans gave up on them at that point. They didn't understand this new direction and why they wanted to pursue that. I think what it took was a lot of years to go by before they almost found another audience. A younger audience came in and really appreciated their experimental nature and the fact that they weren't bound by convention."
Speaking with Richard Kingsmill on triple j in 2003, the band said they had received criticism about their ever-changing sound, but suggested that there was no other way they could operate.
"A lot of people reckon the Hard-Ons sound the same album after album," Ahn said. "But a lot of people think our big problem is we change our sound from song to song and album to album.
"You couldn't please everybody, we had a wide taste in music so that reflected in the songs that we did. A lot of people just liked our metal stuff and a lot of people just liked our punk stuff."
"I like a lot of different music so I want to try a lot of different music," Blackie added. "I personally get bored if I have to listen to an album where every song sounds the same. I don't want to be in a band like that. I'm not just going to play one type of music."
Where Did She Come From?
Some of Australia's finest bands have been formed by immigrants. Members of The Easybeats, AC/DC, Cold Chisel and The Saints largely came from British or European backgrounds before their families settled in Australia. But Hard-Ons were a different prospect altogether, Unbelievably Bad's Matt Reekie tells Double J.
"One of them had Croatian heritage, one of them had Korean heritage and one of them had Sri Lankan heritage, which was kind of this racial rainbow," he says. "I can't think of another band who had that. I don't think these guys ever really looked at the colour of one another's skin, they just saw kindred spirits."
I don't think these guys ever really looked at the colour of one another's skin, they just saw kindred spirits.
Matt Reekie
Ray Ahn spoke to ABC Radio about coming to Australia for the Wide Open Road series in 2008.
"I grew up in Seoul until I turned 9 and my family emigrated to McMahon's Point, across the water from Luna Park," he said. "It gave us a pretty false picture of what Australia was like. We were there for about six months. My dad lost his job, so the money flow wasn't too good, so we moved to Punchbowl. There were a lot more olive skin people, Lebanese people, Greeks, Italians, a hell of a lot of Yugoslavs and Macedonians, as well as other Mediterranean people. Egyptians, a lot of Chinese.
"When I was growing up there in the late '70s and early '80s the big movement was Vietnamese migration. As kids you don't really think too much about it. You've got cheap groceries, you've got mosques, you've got churches, you've got schools – for rock'n'roll it's a wasteland."
The band has encountered racism throughout their career, forcing them to adopt a way of combating the aggression of hostile crowds early on.
"The first gig we ever did someone yelled out 'Channel 0 band', because SBS back then was called Channel 0," Ahn remembers. "That got the crowd chanting 'Channel 0' every now and then.
"We came up with plans to combat booing and racism and stuff, one was to play as hard as we can. It might have meant that we had to get drunk or something, but we'd play as hard as we can so there would be no chance we could ever get blown off the stage by another band or give anyone the chance to yell at us. Play as loud as possible, play as fast as possible and, if possible, not have gaps between the songs. In half an hour we might have played 22 songs."
We were getting death threats and stuff so we made handbills that said 'no racists' and 'no fascists'. It got to the stage where it wasn't fun anymore.
Ahn said that racism was perhaps even more prevalent in punk rock than the suburban hard rock scene through the 1980s.
"In a way it was almost like [racists] were an accepted part of the punk scene. An ugly face of punk," he said. "People put up with it. So you hung out in the same circles. People who would wear mohawks and the studded belts, they tended to be the more fascist and racist. I would feel more comfortable going to a hard rock gig in the suburbs than a punk gig where a lot of them were just out and out racist. Or snobs.
For a while the band used their trademark humour to goad the intolerant punks, proudly professing their Punchbowl roots. But the backlash became too intense.
"We thought it would be fun to take them on and put handbills out saying that we were from Punchbowl," Ahn said. "It got to the stage where we were getting death threats and stuff so we made handbills that said 'no racists' and 'no fascists'. It got to the stage where it wasn't fun anymore."
Little Miss Evil
It shouldn't surprise anyone that a band called Hard-Ons have attracted a degree of controversy. The name itself was an initial cause for concern, with some radio stations refusing to play the band's music because of it.
"Well that's their bad luck, I couldn't care less," Blackie told Mark Dodshon on triple j in 1986.
The young punks had no intention of changing it, though.
The banned 'Girl in The Sweater' single cover
"Nup, are you kidding?" Blackie said. "I didn't change it for my Mum, I'm not changing it for anyone else. It's a matter of principle. It was a good filthy name and it catched on."
"It was chosen by our bass player Ray," Keish explained to Dodshon.
"He said, 'when we start playing live we can have posters that say the Hard-Ons are coming'," Blackie added. "That was really funny."
The band's album covers, largely designed by Ahn, have also been largely controversial. The band's most well-known single 'Girl in the Sweater' featured a graphic covered drawn by Ahn, in which a naked woman was impaled by a bass guitar. The cover was banned in Queensland, with retailers forced to sell it in a paper bag.
"Before it got put out, Waterfront [Records] went and got written permission by the Attorney Generals or whatever," Blackie told Dodshon. "So there's nothing about the cover that's not legal.
"See that lady over there? She was attacking us, man!"
The cover for 1993's 'Crazy, Crazy Eyes' single was a grotesque photo of someone holding around a dozen eyeballs.
"We went to a Vietnamese butcher, you can buy a whole stack of them for three dollars," Ahn explained to Kingsmill in 1993. "Or if you cut them out of the pig yourself they don't cost you anything. I started cutting out a couple of them with a butcher's knife they gave me, but after two I just couldn't do it anymore, they're just so hard to get out. They're stuck in there with tendons and stuff. So they cut 'em out for me for three bucks."
But, by the early-'90s, the band were tired of talking about the controversy they stirred up. They explained that they were just trying to have fun.
"A lot of people were interested in the controversy side of the Hard-Ons when we first started, but that's old news now," Ahn told Kingsmill in 1992. "We've explained what it means, we've explained our side of the story – it's comedy – so there's not really much to say."
The Hard-Ons' audience clearly became desensitised after a while as the cover art stopped eliciting such a heated reaction.
"We put out a single called 'All Set To Go' that had the three of us dressed in Ku Klux Klan outfits on the front cover and had 'White Folks Suck' written on it," Ray Ahn told Richard Kingsmill in 2003. "I thought we might get hate mail for that because we were making fun of racist people.
"We got this kid sending us a smashed record. He wrote, 'That's what I think of it. You guys have gone hardcore, you should have stayed traditional punk'. All our fans loved our humour. Not many people had problems with it."
The band's song and album titles show their humourous side perhaps more than anything else. 'Live at the KKK Rally', Dickcheese, Most People Are A Waste Of Time, 'Fuck Off Cunt Features' and Eat Shit, Listen To Horrible Music are just a few examples of their wordy prowess.
"They're actually autobiographical," Ahn told Myf Warhurst on Double J earlier this year. "'Smell My Finger', that was something that our ex-manager Rick was saying to us. We kept on saying 'Get us the money, we've finished the gig' but he goes 'Before I go and get you the money, please smell my finger'. That was one of the most absurd things we'd ever heard, coming from a manager"
"We're Aussies, we love taking the piss," Blackie added. "We're massively influenced by Paul Hogan."
On the Wide Open Road program, Ahn noted Hard-Ons humour ought not to be understated.
"Our sense of humour was the most important thing," he said. "None of us took each other really seriously. For some reason in the Australian society, if you take yourself too seriously then you're called a wanker. We took that concept and really ran with it.
"We made a big deal about coming from Punchbowl whereas we actually really hated being there. It was such a dead end. What would you do there? What would you do in Punchbowl on a Friday night? It's just rows and rows of houses. But we made a big deal of coming from there. We were a band that was ripe for taking the mickey out of everything."
Hate So Hard
Peter "Blackie" Black is an Aussie punk rock legend, a keen jujitsu practitioner and a strict vegan. But none of that pays his bills.
When he's not on the road with Hard-Ons, his other band Nunchukka Superfly or as a solo artist he's one of the 24,000 taxi drivers working on the Sydney streets. Blackie agreed to take us for a ride in his cab this week.
All I wanna do is music, so here I am in possibly one of the lowest jobs in the work/social rung. It's the only job where I can still be as flexible as I need to be.
"I'm not eating today, I'm having a little fast," Blackie says as we cruise the streets of inner-Sydney. "I do that once every couple of weeks, it's good for you. It's an ancient tradition that I adhere to. Between 36 to 48 hours, nothing major. Just give yourself a good internal cleanout, keep yourself sharp, keep those fucking riffs blistering in your head."
So far today Blackie has recorded two demos, done a series of vocal exercises, practiced his jujitsu and is now ready for a shift behind the wheel.
Blackie describes himself as a guy who is "bad tempered, pushin' 50 and fully loves music". His passion for that last point is impossible to miss.
"All I wanna do is music, so here I am in possibly one of the lowest jobs in the work/social rung," he says of his day job. "I drive a taxi. I do it because it's the only job I've found where I can still be as flexible as I need to be to drop everything and do whatever I need to do with the music. Whether it's a last-minute recording session, a tour that's just popped up or a show that's come out of nowhere."
Thirty years since he first plugged in his guitar in Keish's bedroom in Ernest St, Lakemba, Blackie is very proud of what he and his best friends have achieved.
"The Hard-Ons is the band I started with my two good friends since childhood. There's quite a bit of pride there. We look back at our body of work and feel very proud of it."
But for Blackie music is far more than the Hard-Ons. He has a burgeoning solo career and another band with Ahn, Nunchukka Superfly. He just loves playing music.
For me music is pure joy, it's totally joyous. It's a really, really wonderful part of my life. I consider myself, in terms of music, a lifer. I want to play until I can't play anymore. Hopefully I'll be able to play until I cark it.
"For me music is pure joy, it's totally joyous. It's a really, really wonderful part of my life. I consider myself, in terms of music, a lifer. I want to play until I can't play anymore. Hopefully I'll be able to play until I cark it.
"My ex-wife once said to me 'you had such a shit childhood, that when you discovered music you just grabbed on to it. It gave your life meaning'. That could be right. I've never psychoanalysed it because I've never felt the need. It makes me feel so good each and every day that I don't care why."
The secret to keeping a band active for as long as the Hard-Ons is in their personal relations, Blackie says.
"It's probably a different situation than a lot of other bands. We were buddies first. Ray I just knew as this crazy egghead Asian kid who could draw amazing pictures. When he had his little portfolio out at lunchtime I'd go and look at what his latest drawings were. I just liked him that way.
"Keish, we shared quite a few classes together and then thing that attracted me to Keish was he was an absolutely piss funny guy, he would always crack you up.
"We were probably 7 or 8 years old when we met each other. We feel really brotherly towards each other. It's just the way it is. I guess maybe we take it for granted, but it's just something we're really used to. I don't make friends very well, I'm not a very friendly person. I've got really close friends from 1000 years ago and I don't really need much more.
"I think it's one of the reasons why the Hard-Ons lasted so long. It's very brotherly."
For 30 years, Hard-Ons have thrived as one of our country's most innovative, exciting, funny, catchy and brutal punk rock bands. The band enjoy a certain notoriety in Australia, but don't necessarily pull the kind of crowds to their shows that many would believe they deserve. They have a fervent following in Europe, but there's only so often they can make the trek to the other side of the world.
"They've never compromised anything according to what was going to take them to another level, what was going to make them more popular or more listenable, or even appeal to the underground," Reekie says.
"They just did exactly what they wanted to do."
But is it all worth it?
"It's very hard," Ray told Myf Warhurst this year. "It's back breaking. So if we're still here doing it, it just means that we really want to be here. It does really separate the serious people who really want to be in a band and those who think it's all too hard.
It's back breaking. So if we're still here doing it, it just means that we really want to be here.
"I should actually be about 80 or 90kg, at the moment I'm about 70, I can't put on any weight because I'm always lugging stuff. Playing in a band does take it out on you – it's not because of a deliberate choice, it's because our heroes have always done this do-it-yourself kind of thing."
"We love what we do," Blackie says of the years of work they put into the band. "It doesn't seem like a chore, that's for sure."
In 1993 a young Ray Ahn told Richard Kingsmill about his ultimate goal for the future.
"The financial gain connected with playing in a band is very unpredictable, up and down. I would like to get to a stage where I could play golf with Tom Jones."
While Ahn isn't hitting the links with the king of Welsh entertainment, the contribution he and his band have made to punk rock in Australia is beyond admirable.
"I don't think they've ever been given their proper dues. I think they've been a little bit overlooked," Matt Reekie says.
"At a time when punk has more to do with fashion than music, the Hard-Ons are still completely punk. They completely embody the ideal of what it was to begin with."
You rock!! Here's to many more years of great music. *raises glass*
Celeste, via Facebook
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In Thecus N2800 as a ZurmoCRM Application Server Performance Report, I have mentioned if you need faster load time, get a Thecus device with a more powerful processor. Here is comes.
In Thecus N2560 as a ZurmoCRM Application Server Performance Report, we know embedded Linux can be as fast as desktop Linux.
Even with the same processor, embedded Linux is the key to application performance. Let's see how fast Thecus N2800 is compared to other Atom D2701 models.
In Thecus N2560 as a ZurmoCRM Application Server Performance Report, I see N2560 could run as fast as Shuttle X50V2. Therefor, embedded Linux shall be as fast as desktop Linux.
Although QNAP TS-251 has the latest Celeron J1800 and comes with the latest QTS 4.1, it is still using outdated PHP 5.3.28 and MySQL 5.1.36. Let's see how fast it could beat with previous Atom D2701 models.
In Asustor AS-602T as a ZurmoCRM Application Server Performance Report, ADM provides better support for ZurmoCRM than QTS platform. In firmware 2.1, it has Alternative PHP Cache, Memcache, memcached, and optional PHP 5.5.3 R2.
Thecus N2560 is different. They have PHP 5.5.11 and MySQL 5.6.17 as optional module. Memcache and memcached are both supported.
How about the performance with ZurmoCRM with different PHP and MySQL? Is there any difference between ThecusOS and others? Let's take a look at it.
Before you install ZurmoCRM, please make sure you have meet the LAMP requirements. They will help ZurmoCRM to run faster and more responsive on your ThecusOS 6.
It's not easy to install ZurmoCRM and that's why I encourage to Test your ZurmoCRM with VirtualBox. If you preferred Memcached over Memcache, you may modify ZurmoCRM source code to enable support.
Here is the detail how-to.


text:
Tom Lantos, Age 80, Holocaust Survivor and Congress Member
By JTA February 11, 2008
Tom Lantos, the only Holocaust survivor ever elected to the U.S. Congress, has died.
Lantos, 80, a Democrat from California, died at Bethesda Naval Hospital in suburban Washington, Jewish sources said Monday.
Lantos announced last month that this term would be his last in the U.S. House of Representatives; he had been diagnosed with cancer of the esophagus. Lantos was known as a strident defender of human rights.
The Democrats' regaining of Congress in 2006 landed him in one of the most powerful positions in the House, the chairman of its Foreign Affairs committee.
< 1 m READ


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What is the Successful Estonian Company award?
The Experian Rating is a company's unique overall rating which is based on an analysis of the economic and financial situation as well as the payment behaviour of the business.


Who are you? How did you get here and when are you leaving? What's your life all about? Why haven't you sent [us] feedback already?
If you want to contribute to this site more directly, you can write me to ask about getting an editor's account. If you see something tagged "rogue content editor" or with someone else's nick, it's probably from one such contributor.
Spectacular! How could I not have seen this before?
Some things are enjoyed best when discovered on one's own… I'm glad that you did!
THANK YOU for posting transcripts of the Sendak/Colbert interview. I am in Canada and trans-border vid blockers, the passage of time, and my incomputance mean I have no other access to that exchange. I am so grateful to find it here. Yay for you. For true.
My pleasure. How I love both of those gents.
I hope you don't mind my writing you. I'm glad to know more about you and to see that you are fond of poetry and The Cyberiad. It was wonderful to read about Trurl and Klapaucius in your post.
Do you also write poetry?


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Q: How to start deatached process from terminal I downloaded and installed Unityhub and I have to click on the file to run it. I would like to have a command in terminal to run it.
For example I start my VScode simply typing code in terminal. I want to start UnityHub by typing something like unity-hub in terminal.
I created symlink so I can run it by typing unity-hub. But the process is attached to the current terminal. I tried nohup unity-nub & but i get unwanted output like
$ nohup unity-hub &
[1] 21947
$ nohup: ignoring input and appending output to 'nohup.out'

I would like to mimic the "code" behaviour when it starts an application as if I clicked on its file. Without any input in terminal.

A: unity-hub &>/dev/null & disown

More info at this related question

A: To get absolutely no output in the current terminal, you can start the nohupcommand inside another sh like:
sh -c "nohup unity-hub &>/dev/null &"
You may need to specify the full path to unity-hub if it's not local to current folder and sh (or bash) doesn't have it in the PATH.
You can also create your custom .desktop file to simply launch the app from the apps menu.
See Ubuntu documentation UnityLaunchersAndDesktopFiles or this article How to Create a .Desktop File For Your Application in Linux


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How to Bring the Miracle of AI to the Industrial Market
AI is currently considered as the most critical tool to find viable solutions to manufacturers' problems. If we want to help companies engage with such a complicated concept like Artificial Intelligence, its practical added value must be evident
Edward Cuoco, Vice President of Analytics at PTC
In the industrial world, the approach to AI is usually pragmatic and devoted to finding solutions to critical problems across the entire product lifecycle. It's not just a matter of thinking of AI ''because people are talking about it'' but it's a real, complicated concept that allows interesting enhancements to all digital innovations that have already been brought to manufacturers and suppliers. ''Artificial Intelligence isn't simply a buzzword, it's real and it's here. AI provides critical tools for providing our customers with practical, valuable solutions; solutions that could not exist without AI.'' Edward Cuoco, Vice President of Analytics at PTC, said during our conversation on the occasion of the latest edition of PTC Live- Worx in Boston.
From that perspective, if we consider Machine Learning, Computer Vision, Computer Sensing, or even the interplay of Deep Learning and Natural Language Processing and how all these complex techniques and disciplines are introduced into the market through product innovation, we understand how much AI is an actionable thing and not only a ''chatbot''.
AI as practical added value for customers
''Artificial intelligence is complicated as it should be; at a distance the degree to which AI has been integrated into our world is simply miraculous. Just twenty years ago, the idea of having tons of commercially available AI would have made people laugh, but today we find ourselves surrounded by quite a lot of AI. The real challenge in the industrial space is to make sure that we bring it to the market in a way that is usable and delivers value,'' Edward Cuoco added.
This approach is pivotal as it helps people use these features, disciplines, and techniques when and where they need to. This is going to be the real strength that underpins the concept of AI. Here is the key point: let's encourage companies to engage with AI, not by asking them to understand it, but making sure that the technology provided works in a way that is both effective and gives confidence. Edward Cuoco summarized this fundamental idea very well: ''At PTC, we think that we need to be leaders in the application of AI in the industrial sector; we focus on the practical application of AI to create and add value for our customers.''
Looking at the world with different AIyes
Now, after having determined the viability of AI in the real world, another question comes naturally: How have AI fundamentally changed the way people engage with their environment? AI allows us to understand the world in a different way and from a unique perspective. It helps us remark and record everyday actions that would be otherwise unremarkable and create patterns for prediction and analysis.
''AI is unique in its ability to not only help us understand information and drive insight but also that it's a powerful tool for augmenting human reasoning; when used properly, AI helps identify and determine hidden biases and human blind spots. Concepts like Sentiment Analysis changed the way we interact with one another and with machines. So if we look at the whole picture, the benefit of artificial intelligence and augmented reality goes beyond making a machine work better, they also extend and enhance human capacities.''
By augmenting human capacities through AI and AR, the interaction with the world and the processing of precious information becomes possible and faster. If you transplant this ability to the industrial context, you end up having humans so engaged with the surrounding environment that they are able to deeply understand what's happening on complex systems and, consequently, to elaborate on complicated information and take appropriate actions.
''AI allows systems to conceptualize and articulate complex machines and processes and present that to people, improving their ability to drive insights they can trust and consume. Take predictive maintenance as an example; this ability to understand what is likely to happen in the future allows experts to be more proactive and more informed, to really optimize their talents. It also allows people with less experience or domain expertise to have access to insights and recognize patterns that would have previously been beyond their current skills,'' explained Mr. Cuoco.
The idea of ''augmented human'' doesn't bring with it the assumption of the superiority of AI and doesn't objectify humans. The human factor is still fundamental as AI doesn't substitute expertise nor is it immune to bias reproduction – which is one of the most critical and discussed downsides of AI. For sure, AI can reproduce bias and accelerate bad decisions. What makes a real difference is operators' expertise and ability to see things from a different perspective, also thanks to the tools and information that AI provides. ''Human accountability remains at the heart of any AI strategy,'' affirmed Edward Cuoco. After all, what would a world without humans be like?
Posted on December 12, 2019 - (324 views)
by Sara Ibrahim
PTC France
Immeuble Emeraude 1 Rue du Petit Clamart
78140 Velizy Villacoublay - France
+33-1-40 83 32 70
http://www.ptc.com
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