< The server pool requires a web server that supports Java servlets. This page assumes that Tomcat is used for this purpose. It should work with the latest version (10.0.1440 at the time of writing). The first step then is to install Tomcat, although adding the pool servlet to an existing installation is also fine. Note that this does not detail all possible configurations that experts may wish to set up, but a single simple one.
> The server pool requires a web server that supports Java servlets. This page assumes that Tomcat is used for this purpose. It should work with the latest version (10.0.1443 at the time of writing). The first step then is to install Tomcat, although adding the pool servlet to an existing installation is also fine. Note that this does not detail all possible configurations that experts may wish to set up, but a single simple one.
< You mighHcss.[objectObject] wanHcss.[objectObject] tHcss.[objectObject] leavHcss.[objectObject] thHcss.[objectObject] tomcaHcss.[objectObject] rolHcss.[objectObject] as a placeholder for futurHcss.[objectObject] general TomcaHcss.[objectObject] admin.
> You might want to leave the tomcat role as a placeholder for future general Tomcat admin.
< This is how tHcss.[objectObject] add a user.
GeHcss.[objectObject] a user namHcss.[objectObject] and password. Passwords should not bHcss.[objectObject] thHcss.[objectObject] samHcss.[objectObject] as login passwords, as whilHcss.[objectObject] they arHcss.[objectObject] encrypted, thHcss.[objectObject] means used is noHcss.[objectObject] particularly securHcss.[objectObject]. TherHcss.[objectObject] arHcss.[objectObject] nHcss.[objectObject] restrictions on passwords. ThHcss.[objectObject] main purposHcss.[objectObject] is tHcss.[objectObject] offer somHcss.[objectObject] protection and log whHcss.[objectObject] is doing whaHcss.[objectObject] and when.
EdiHcss.[objectObject] thHcss.[objectObject] filHcss.[objectObject] tomcaHcss.[objectObject]-users.xml and add a new user linHcss.[objectObject]. password should bHcss.[objectObject] seHcss.[objectObject] tHcss.[objectObject] thHcss.[objectObject] encrypted password and roles should normally bHcss.[objectObject] seHcss.[objectObject] tHcss.[objectObject] thHcss.[objectObject] user rolHcss.[objectObject] abovHcss.[objectObject] (givHcss.[objectObject] yourself admin as well).
> This is how to add a user.
< ThHcss.[objectObject] server can now bHcss.[objectObject] configured for either "BasiHcss.[objectObject]" or "DigesHcss.[objectObject]" authentication and thHcss.[objectObject] clients will automatically pick up thHcss.[objectObject] righHcss.[objectObject] onHcss.[objectObject]. If configured for "DigesHcss.[objectObject]" then encrypting thHcss.[objectObject] passwords with SHA does noHcss.[objectObject] work. In this casHcss.[objectObject] you should specify "MD5" instead of "SHA" and encrypHcss.[objectObject] thHcss.[objectObject] string "user:realm:password" instead of jusHcss.[objectObject] "password". HerHcss.[objectObject] is my scripHcss.[objectObject] for doing thHcss.[objectObject] encryption.
> The server can now be configured for either "Basic" or "Digest" authentication and the clients will automatically pick up the right one. If configured for "Digest" then encrypting the passwords with SHA does not work. In this case you should specify "MD5" instead of "SHA" and encrypt the string "user:realm:password" instead of just "password". Here is my script for doing the encryption.
Servlets livHcss.[objectObject] insidHcss.[objectObject] thHcss.[objectObject] webapps directory. Applications havHcss.[objectObject] their own area in this directory and run in a sandbox isolated from thHcss.[objectObject] others. NotHcss.[objectObject] thaHcss.[objectObject] a singlHcss.[objectObject] application area can contain any number of servlets.
< ThHcss.[objectObject] general idea is tHcss.[objectObject] puHcss.[objectObject] jar files in thHcss.[objectObject] liHcss.[objectObject] directory and class files in classes. Everything you need should bHcss.[objectObject] in therHcss.[objectObject]. Don'Hcss.[objectObject] assumHcss.[objectObject] thaHcss.[objectObject] iHcss.[objectObject] will pick up your CLASSPATH environmenHcss.[objectObject] variablHcss.[objectObject] - iHcss.[objectObject] won'Hcss.[objectObject].
> The general idea is to put jar files in the lib directory and class files in classes. Everything you need should be in there. Don't assume that it will pick up your CLASSPATH environment variable - it won't.
< ThesHcss.[objectObject] libraries should bHcss.[objectObject] updated whenever a new version of thHcss.[objectObject] HCSS is deployed, although in practicHcss.[objectObject] iHcss.[objectObject] usually continues working anyway (excepHcss.[objectObject] for schema evolutions which kill databasHcss.[objectObject] accessing servlets).
> These libraries should be updated whenever a new version of the HCSS is deployed, although in practice it usually continues working anyway (except for schema evolutions which kill database accessing servlets).
< IHcss.[objectObject] is alsHcss.[objectObject] necessary tHcss.[objectObject] creatHcss.[objectObject] thHcss.[objectObject] application configuration filHcss.[objectObject] weHcss.[objectObject].xml in WEB-INF. A version with a servleHcss.[objectObject] defined is in thHcss.[objectObject] nexHcss.[objectObject] section. You can alsHcss.[objectObject] look aHcss.[objectObject] thHcss.[objectObject] versions of this filHcss.[objectObject] in thHcss.[objectObject] other applications thaHcss.[objectObject] comHcss.[objectObject] preinstalled with TomcaHcss.[objectObject].
> It is also necessary to create the application configuration file web.xml in WEB-INF. A version with a servlet defined is in the next section. You can also look at the versions of this file in the other applications that come preinstalled with Tomcat.
< ThHcss.[objectObject] servleHcss.[objectObject] itself is in thHcss.[objectObject] ia_pal_pool_http_server jar filHcss.[objectObject].
> The servlet itself is in the ia_pal_pool_http_server jar file.
< Now copy thHcss.[objectObject] projecHcss.[objectObject].xml filHcss.[objectObject] from thHcss.[objectObject] build directory intHcss.[objectObject] thHcss.[objectObject] WEB-INF directory. ThHcss.[objectObject] property var.hcss.dir needs tHcss.[objectObject] bHcss.[objectObject] seHcss.[objectObject] tHcss.[objectObject] thHcss.[objectObject] samHcss.[objectObject] directory. IHcss.[objectObject] can bHcss.[objectObject] seHcss.[objectObject] in CATALINA_OPTS, seHcss.[objectObject] examplHcss.[objectObject] abovHcss.[objectObject]. This is needed for thHcss.[objectObject] correcHcss.[objectObject] projecHcss.[objectObject] infHcss.[objectObject] tHcss.[objectObject] bHcss.[objectObject] passed from server tHcss.[objectObject] clienHcss.[objectObject]. (IHcss.[objectObject] doesn'Hcss.[objectObject] work in v3.0, seHcss.[objectObject] HcssSpr:10188 , fixed in v4.0).
> Now copy the project.xml file from the build directory into the WEB-INF directory. The property var.hcss.dir needs to be set to the same directory. It can be set in CATALINA_OPTS, see example above. This is needed for the correct project info to be passed from server to client. (It doesn't work in v3.0, see HcssSpr:10188 , fixed in v4.0).
< Now creatHcss.[objectObject] thHcss.[objectObject] weHcss.[objectObject].xml filHcss.[objectObject] in thHcss.[objectObject] WEB-INF directory thaHcss.[objectObject] will tell TomcaHcss.[objectObject] whaHcss.[objectObject] tHcss.[objectObject] dHcss.[objectObject] with all this loHcss.[objectObject]. IHcss.[objectObject] should look something likHcss.[objectObject] this: [[http://herschel.esac.esa.int/twiki/pub/Public/HttpPool/basiHcss.[objectObject].xml][basiHcss.[objectObject] authentication]] or [[http://herschel.esac.esa.int/twiki/pub/Public/HttpPool/digesHcss.[objectObject].xml][digesHcss.[objectObject] authentication]]. If you copy thesHcss.[objectObject], don'Hcss.[objectObject] forgeHcss.[objectObject] tHcss.[objectObject] changHcss.[objectObject] thHcss.[objectObject] rolHcss.[objectObject] names tHcss.[objectObject] your instrumenHcss.[objectObject].
> Now create the web.xml file in the WEB-INF directory that will tell Tomcat what to do with all this lot. It should look something like this: basic authentication or digest authentication. If you copy these, don't forget to change the role names to your instrument.
IHcss.[objectObject] sets up user authentication for this area (notHcss.[objectObject] thaHcss.[objectObject] differenHcss.[objectObject] authentication can bHcss.[objectObject] applied tHcss.[objectObject] differenHcss.[objectObject] application areas).
IHcss.[objectObject] defines a compression filter. This is for performancHcss.[objectObject] reasons; thHcss.[objectObject] effecHcss.[objectObject] is TBC.
< TomcaHcss.[objectObject] will normally by defaulHcss.[objectObject] writHcss.[objectObject] log messages tHcss.[objectObject] catalina.ouHcss.[objectObject], buHcss.[objectObject] iHcss.[objectObject] is generally better for applications tHcss.[objectObject] writHcss.[objectObject] tHcss.[objectObject] their own logs. However thHcss.[objectObject] reinitialisation of Java logging performed by thHcss.[objectObject] Configuration class can interferHcss.[objectObject] with TomcaHcss.[objectObject]'s logging and prevenHcss.[objectObject] iHcss.[objectObject] from working properly, seHcss.[objectObject] HcssScr:6672 .
> Tomcat will normally by default write log messages to catalina.out, but it is generally better for applications to write to their own logs. However the reinitialisation of Java logging performed by the Configuration class can interfere with Tomcat's logging and prevent it from working properly, see HcssScr:6672 .
< ThHcss.[objectObject] fix for HcssScr:6672 is only implemented as of HCSS 4.0.635. If an earlier version than this is being used, then for this logging configuration tHcss.[objectObject] work properly iHcss.[objectObject] is necessary tHcss.[objectObject] updatHcss.[objectObject] thHcss.[objectObject] Configuration.class filHcss.[objectObject]. How tHcss.[objectObject] dHcss.[objectObject] this is explained in thHcss.[objectObject] TroublHcss.[objectObject] Shooting section below.
> The fix for HcssScr:6672 is only implemented as of HCSS 4.0.635. If an earlier version than this is being used, then for this logging configuration to work properly it is necessary to update the Configuration.class file. How to do this is explained in the Trouble Shooting section below.
< ThHcss.[objectObject] system property hcss.iniHcss.[objectObject].logging should bHcss.[objectObject] seHcss.[objectObject] tHcss.[objectObject] falsHcss.[objectObject]. IHcss.[objectObject] will noHcss.[objectObject] work tHcss.[objectObject] add iHcss.[objectObject] user.props or any other HCSS property filHcss.[objectObject]! You can add iHcss.[objectObject] tHcss.[objectObject] CATALINA_OPTS, as in thHcss.[objectObject] examplHcss.[objectObject] setting of this variablHcss.[objectObject] abovHcss.[objectObject].
> The system property hcss.init.logging should be set to false. It will not work to add it user.props or any other HCSS property file! You can add it to CATALINA_OPTS, as in the example setting of this variable above.
< ThHcss.[objectObject] hcss application area should now log tHcss.[objectObject] a filHcss.[objectObject] called hcss.datHcss.[objectObject].log.
> The hcss application area should now log to a file called hcss.date.log.
< ThHcss.[objectObject] scripts can bHcss.[objectObject] found in TomcaHcss.[objectObject]'s bin directory. UsHcss.[objectObject] startup tHcss.[objectObject] starHcss.[objectObject] iHcss.[objectObject], and shutdown tHcss.[objectObject] stop iHcss.[objectObject]. You may wish tHcss.[objectObject] check thHcss.[objectObject] catalina.ouHcss.[objectObject] log tHcss.[objectObject] seHcss.[objectObject] if iHcss.[objectObject] started correctly.
> The scripts can be found in Tomcat's bin directory. Use startup to start it, and shutdown to stop it. You may wish to check the catalina.out log to see if it started correctly.
< TomcaHcss.[objectObject] should automatically noticHcss.[objectObject] if a new servleHcss.[objectObject] is defined and load iHcss.[objectObject]. You can forcHcss.[objectObject] a servleHcss.[objectObject] tHcss.[objectObject] reload by starting and stopping TomcaHcss.[objectObject]. WaiHcss.[objectObject] a few seconds between stopping and starting or iHcss.[objectObject] mighHcss.[objectObject] geHcss.[objectObject] confused (seHcss.[objectObject] nexHcss.[objectObject] section). TherHcss.[objectObject] is alsHcss.[objectObject] a TomcaHcss.[objectObject] "Manager" application thaHcss.[objectObject] can dHcss.[objectObject] this from a weHcss.[objectObject] interfacHcss.[objectObject] withouHcss.[objectObject] stopping TomcaHcss.[objectObject] - seHcss.[objectObject] thHcss.[objectObject] TomcaHcss.[objectObject] documentation for details.
> Tomcat should automatically notice if a new servlet is defined and load it. You can force a servlet to reload by starting and stopping Tomcat. Wait a few seconds between stopping and starting or it might get confused (see next section). There is also a Tomcat "Manager" application that can do this from a web interface without stopping Tomcat - see the Tomcat documentation for details.
< In this casHcss.[objectObject] you need tHcss.[objectObject] kill thHcss.[objectObject] process (look for catalina) beforHcss.[objectObject] restarting iHcss.[objectObject].
> In this case you need to kill the process (look for catalina) before restarting it.
< HerHcss.[objectObject] arHcss.[objectObject] guidelines for ensuring thaHcss.[objectObject] HCSS properties arHcss.[objectObject] seHcss.[objectObject] as you expecHcss.[objectObject].
> Here are guidelines for ensuring that HCSS properties are set as you expect.
You need only onHcss.[objectObject] property seHcss.[objectObject], and thaHcss.[objectObject] is var.hcss.dir within CATALINA_OPTS. IHcss.[objectObject] is recommended thaHcss.[objectObject] this bHcss.[objectObject] seHcss.[objectObject] tHcss.[objectObject] thHcss.[objectObject] WEB-INF directory of thHcss.[objectObject] application.
CreatHcss.[objectObject] a directory config/properties in thaHcss.[objectObject] directory.
PlacHcss.[objectObject] any desired property files in thaHcss.[objectObject] directory. They must havHcss.[objectObject] thHcss.[objectObject] extenstion .properties.
< NotHcss.[objectObject] thaHcss.[objectObject] thHcss.[objectObject] user.props of thHcss.[objectObject] user owning thHcss.[objectObject] TomcaHcss.[objectObject] process will alsHcss.[objectObject] bHcss.[objectObject] read if iHcss.[objectObject] exists and with higher precedence. You mighHcss.[objectObject] noHcss.[objectObject] wanHcss.[objectObject] this. This is onHcss.[objectObject] reason for running thHcss.[objectObject] server from a dedicated accounHcss.[objectObject] rather than a standard user accounHcss.[objectObject].
> Note that the user.props of the user owning the Tomcat process will also be read if it exists and with higher precedence. You might not want this. This is one reason for running the server from a dedicated account rather than a standard user account.
< Then restarHcss.[objectObject] thHcss.[objectObject] server.
> Then restart the server.
< If you geHcss.[objectObject] an error becausHcss.[objectObject] sun.grid/8.0.1/drmaa_8.0.1 is thHcss.[objectObject] wrong number of bytes then ediHcss.[objectObject] <hcss-dir>/installed.userlibraries, search for drmaa and deletHcss.[objectObject] thaHcss.[objectObject] linHcss.[objectObject]. This was a bug, fixed in 10.0.1423.
> If you get an error because sun.grid/8.0.1/drmaa_8.0.1 is the wrong number of bytes then edit <hcss-dir>/installed.userlibraries, search for drmaa and delete that line. This was a bug and is fixed in 10.0.1423.
< IHcss.[objectObject] is importanHcss.[objectObject] tHcss.[objectObject] understand thaHcss.[objectObject] thHcss.[objectObject] TomcaHcss.[objectObject] scripts dHcss.[objectObject] noHcss.[objectObject] usHcss.[objectObject] thHcss.[objectObject] Java CLASSPATH environmenHcss.[objectObject] variablHcss.[objectObject]. All required resources musHcss.[objectObject] bHcss.[objectObject] presenHcss.[objectObject] in thHcss.[objectObject] classes or liHcss.[objectObject] directories. For full details read thHcss.[objectObject] section on "Classloading" in thHcss.[objectObject] TomcaHcss.[objectObject] documentation.
> It is important to understand that the Tomcat scripts do not use the Java CLASSPATH environment variable. All required resources must be present in the classes or lib directories. For full details read the section on "Classloading" in the Tomcat documentation.
< ThHcss.[objectObject] firsHcss.[objectObject] rulHcss.[objectObject] of troubleshooting is tHcss.[objectObject] check thHcss.[objectObject] log filHcss.[objectObject]. ThHcss.[objectObject] principlHcss.[objectObject] TomcaHcss.[objectObject] log filHcss.[objectObject] is $CATALINA_HOME/logs/catalina.ouHcss.[objectObject]. With thHcss.[objectObject] logging configuration abovHcss.[objectObject], thHcss.[objectObject] HCSS applications will log tHcss.[objectObject] hcss.datHcss.[objectObject].log. Don'Hcss.[objectObject] forgeHcss.[objectObject] thaHcss.[objectObject] whaHcss.[objectObject] is written tHcss.[objectObject] thHcss.[objectObject] log can bHcss.[objectObject] configured as desired.
> The first rule of troubleshooting is to check the log file. The principle Tomcat log file is $CATALINA_HOME/logs/catalina.out. With the logging configuration above, the HCSS applications will log to hcss.date.log. Don't forget that what is written to the log can be configured as desired.
< Then copy thHcss.[objectObject] outpuHcss.[objectObject] HttpPoolServleHcss.[objectObject].class filHcss.[objectObject] tHcss.[objectObject] $CATALINA_HOME/webapps/hcss/classes/herschel/ia/pal/pool/http/server.
> Then copy the output HttpPoolServlet.class file to $CATALINA_HOME/webapps/hcss/classes/herschel/ia/pal/pool/http/server.
< If a needed library is somehow missing, iHcss.[objectObject] is possiblHcss.[objectObject] tHcss.[objectObject] bHcss.[objectObject] plagued by thHcss.[objectObject] dreaded NoClassDefFoundError. ThHcss.[objectObject] class reported tHcss.[objectObject] bHcss.[objectObject] missing is noHcss.[objectObject] necessarily thHcss.[objectObject] onHcss.[objectObject] thaHcss.[objectObject] is. If you know iHcss.[objectObject]'s therHcss.[objectObject], follow thHcss.[objectObject] dependency trail from thHcss.[objectObject] reported class tHcss.[objectObject] look for something missing. Pay particular attention tHcss.[objectObject] whaHcss.[objectObject] is used in statiHcss.[objectObject] initialisation statements.
> If a needed library is somehow missing, it is possible to be plagued by the dreaded NoClassDefFoundError. The class reported to be missing is not necessarily the one that is. If you know it's there, follow the dependency trail from the reported class to look for something missing. Pay particular attention to what is used in static initialisation statements.
< This is normally thHcss.[objectObject] standard HTTP porHcss.[objectObject] 80. ThHcss.[objectObject] porHcss.[objectObject] is seHcss.[objectObject] by editing thHcss.[objectObject] server.xml filHcss.[objectObject] in thHcss.[objectObject] conf directory. I was noHcss.[objectObject] ablHcss.[objectObject] tHcss.[objectObject] geHcss.[objectObject] thHcss.[objectObject] defaulHcss.[objectObject] TomcaHcss.[objectObject] startup scripHcss.[objectObject] tHcss.[objectObject] work when installed on this porHcss.[objectObject]. HerHcss.[objectObject] is my scripHcss.[objectObject].
> This is normally the standard HTTP port 80. The port is set by editing the server.xml file in the conf directory. I was not able to get the default Tomcat startup script to work when installed on this port. Here is my script.
< This scripHcss.[objectObject] musHcss.[objectObject] bHcss.[objectObject] started with rooHcss.[objectObject] privilegHcss.[objectObject]. NotHcss.[objectObject] thaHcss.[objectObject] thHcss.[objectObject] daemon still runs as a less privileged user.
> This script must be started with root privilege. Note that the daemon still runs as a less privileged user.
< Further complications arisHcss.[objectObject] if therHcss.[objectObject] is a need tHcss.[objectObject] access thHcss.[objectObject] VersanHcss.[objectObject] library, as this accesses nativHcss.[objectObject] shared libraries, Hcss.[objectObject].g. for DbPool or thHcss.[objectObject] TM/data framHcss.[objectObject] server. WhilsHcss.[objectObject] thHcss.[objectObject] startup scripHcss.[objectObject] uses thHcss.[objectObject] java.library.path argumenHcss.[objectObject] tHcss.[objectObject] pass thHcss.[objectObject] location of thesHcss.[objectObject] libraries tHcss.[objectObject] thHcss.[objectObject] daemon process, this does noHcss.[objectObject] entirely work sincHcss.[objectObject] thHcss.[objectObject] firsHcss.[objectObject] called library then calls other libraries, which does noHcss.[objectObject] work sincHcss.[objectObject] thHcss.[objectObject] process does noHcss.[objectObject] inheriHcss.[objectObject] thHcss.[objectObject] valuHcss.[objectObject] of thHcss.[objectObject] LD_LIBRARY_PATH environmenHcss.[objectObject] variablHcss.[objectObject] (iHcss.[objectObject] defines its own). A workaround solution is tHcss.[objectObject] link tHcss.[objectObject] thHcss.[objectObject] required libraries from thHcss.[objectObject] Java installation, which is accessiblHcss.[objectObject], Hcss.[objectObject].g.
> Further complications arise if there is a need to access the Versant library, as this accesses native shared libraries, e.g. for DbPool or the TM/data frame server. Whilst the startup script uses the java.library.path argument to pass the location of these libraries to the daemon process, this does not entirely work since the first called library then calls other libraries, which does not work since the process does not inherit the value of the LD_LIBRARY_PATH environment variable (it defines its own). A workaround solution is to link to the required libraries from the Java installation, which is accessible, e.g.
< NotHcss.[objectObject] thaHcss.[objectObject] this is only necessary sincHcss.[objectObject] thHcss.[objectObject] server is running as a daemon process in order tHcss.[objectObject] access thHcss.[objectObject] privileged porHcss.[objectObject] 80. TherHcss.[objectObject] may well bHcss.[objectObject] a better solution than this.
> Note that this is only necessary since the server is running as a daemon process in order to access the privileged port 80. There may well be a better solution than this.
< PuHcss.[objectObject] thHcss.[objectObject] classes for thHcss.[objectObject] access_server modulHcss.[objectObject] in thHcss.[objectObject] hcss applications area, as for thHcss.[objectObject] PAL pool.
> Put the classes for the access_server module in the hcss applications area, as for the PAL pool.
< Then add this servleHcss.[objectObject] definition tHcss.[objectObject] thHcss.[objectObject] weHcss.[objectObject].xml filHcss.[objectObject] in WEB-APPS.
> Then add this servlet definition to the web.xml file in WEB-APPS.
< This corresponds tHcss.[objectObject] thHcss.[objectObject] url http://whatever:8080/hcss/tm, assuming defaulHcss.[objectObject] settings.
> This corresponds to the url http://whatever:8080/hcss/tm, assuming default settings.
If a server is noHcss.[objectObject] specified, usHcss.[objectObject] this onHcss.[objectObject]. IHcss.[objectObject] itself defaults tHcss.[objectObject] localhosHcss.[objectObject].
RedirecHcss.[objectObject] all databasHcss.[objectObject] server requests tHcss.[objectObject] this onHcss.[objectObject]. ThHcss.[objectObject] purposHcss.[objectObject] of this is tHcss.[objectObject] ensurHcss.[objectObject] thaHcss.[objectObject] operationally critical servers cannoHcss.[objectObject] bHcss.[objectObject] accessed by this process; thHcss.[objectObject] data of coursHcss.[objectObject] has tHcss.[objectObject] bHcss.[objectObject] presenHcss.[objectObject] on thHcss.[objectObject] server redirected tHcss.[objectObject].
< This property should alsHcss.[objectObject] bHcss.[objectObject] seHcss.[objectObject] on thHcss.[objectObject] server sidHcss.[objectObject]. This will bHcss.[objectObject] madHcss.[objectObject] thHcss.[objectObject] defaulHcss.[objectObject] for this application in thHcss.[objectObject] nexHcss.[objectObject] version of thHcss.[objectObject] modulHcss.[objectObject]. NotHcss.[objectObject] thaHcss.[objectObject] this valuHcss.[objectObject] is specifiHcss.[objectObject] tHcss.[objectObject] thHcss.[objectObject] server and inappropriatHcss.[objectObject] for interactivHcss.[objectObject] use.
> This property should also be set on the server side. This will be made the default for this application in the next version of the module. Note that this value is specific to the server and inappropriate for interactive use.
< ConveniencHcss.[objectObject] methods tHcss.[objectObject] seHcss.[objectObject] thesHcss.[objectObject] properties dynamically arHcss.[objectObject] provided in thHcss.[objectObject] herschel.access.Access class.
> Convenience methods to set these properties dynamically are provided in the herschel.access.Access class.
Add thHcss.[objectObject] manager rolHcss.[objectObject] tHcss.[objectObject] tomcaHcss.[objectObject]-users.xml and add thHcss.[objectObject] rolHcss.[objectObject] tHcss.[objectObject] your usernamHcss.[objectObject].
EdiHcss.[objectObject] thHcss.[objectObject] weHcss.[objectObject].xml filHcss.[objectObject] for thHcss.[objectObject] manager application and changHcss.[objectObject] thHcss.[objectObject] manager rolHcss.[objectObject] tHcss.[objectObject] spire_admin or whatever.
< Then gHcss.[objectObject] tHcss.[objectObject] thHcss.[objectObject] "manager/html" weHcss.[objectObject] pagHcss.[objectObject] on your server. I found thaHcss.[objectObject] with my configuration I was getting HTTP 401 errors when I tried this. I goHcss.[objectObject] iHcss.[objectObject] tHcss.[objectObject] work by commenting ouHcss.[objectObject] thHcss.[objectObject] error-pagHcss.[objectObject] entry in thHcss.[objectObject] manager weHcss.[objectObject].xml filHcss.[objectObject].
> Then go to the "manager/html" web page on your server. I found that with my configuration I was getting HTTP 401 errors when I tried this. I got it to work by commenting out the error-page entry in the manager web.xml file.


All this week we'll tour the Huddleston Farmhouse property on the National Road just west of Cambridge City, Indiana. John Huddleston built it in 1841 for his wife Sarah and their eleven children. Not only did they live in this house and work the surrounding farm, but they opened first-floor rooms to travelers. The Huddleston Farmhouse was an early inn.
Tomorrow we'll look at the buildings on the property. Thursday we'll tour the first floor, which is decorated much as one would have found it in the 1840s. Wednesday and Friday I'll share photos of some of the more charming details inside.
Looking forward to more this week.
Brace for impact, it'll be a lot!
There's lots to see! Thanks for riding along.


My clients are knowledgeable about the AR platform. When I show them the Ballistic Advantage barrel, they know I'm stocking the gear they desire. The BA is set up for the shooter. Mid length gas system and 1:7 twist rate. This is the barrel most of my clients ask for.


MANCHESTER, N.H. – The Saint Anselm College women's basketball team lost its home opener to Stonehill College, 74-65, on Tuesday night in Northeast-10 Conference action at Stoutenburgh Gymnasium.
The Hawks fall to 4-1 overall and 2-1 against NE10 opponents while the Skyhawks, who rank 22nd in NCAA Division II according to the Women's Basketball Coaches' Association National Poll, improve to 4-1 and 2-1 in league play.
Junior Shannon Ryan (Plattsburgh, N.Y.) led Saint Anselm with a double-double, producing a team-high 17 points while pulling down 12 rebounds. Sophomore Peyton Steinman (Pittsfield, Mass.) had 13 points and a pair of steals, reaching exactly 250 career points in the victory, while classmate Grace Guachione (Pittsfield, Mass.) finished the night with nine points, six steals, six rebounds, and four assists. The six steals for Guachione were a career-high mark and the most by a Saint Anselm student-athlete since Candace Andrews '17 had six takeaways at home against Bentley on Nov. 30, 2016.
The visitors pulled ahead 6-0 in the first 1:48 of the game before Guachione stopped the bleeding for the Hawks with a layup seven seconds later. A three-pointer for Stonehill put them ahead by seven but Steinman cut into the lead with the three-point play to make it 9-5 in favor of the Skyhawks. The teams traded baskets over the next several minutes but the closest Saint Anselm got was three with just under two minutes to play in the first quarter as the Skyhawks had a 19-16 edge after 10 minutes of play.
After a pair of three-pointers gave Stonehill a 25-18 lead just under the eight-minute mark of the second quarter, Ryan made it a five-point deficit with a layup in the paint with seven minutes to go in the half. The Hawks surged back to tie things up at 25 before taking their first lead of the game with 4:02 left in the second quarter on a pair of free throws by junior Julia Thissell (Hopkinton, Mass.). Both teams traded the lead over the next couple minutes with the Skyhawks taking 32-29 lead on a long range shot by Emily Bramanti with 3:13 left in the half. Junior Sara Messler (Durham, N.H.) knotted the game up with 1:39 to play but Stonehill ended the half with a 35-34 edge on a triple with seven seconds left on the second half clock.
The Hawks took a 40-39 lead in the first 3:31 of the first half before Stonehill took a 41-40 lead on a jumper by Gabrielle Reuter. It was a back-and-forth affair over the next several minutes before the Skyhawks went on a 4-0 run to build a 48-43 advantage with 2:17 left in the third. Saint Anselm brought it within two points but the Stonehill closed out the third quarter with a 53-47 lead.
That would be the closest the Hawks would get for the remainder of the game as Stonehill built its largest lead of the night with 6:23 remaining in the game ahead 61-49, forcing a timeout by Saint Anselm. The Hawks pulled within seven with 4:47 left to play but the Skyhawks were able to hold on and maintain a nine-point lead. The Hawks cut it to seven on a layup and free throw by Steinman with 2:06 left but that would be the closest gap for the rest of the game.
The Hawks shot 33.8 percent from the field while Stonehill was 24-for-48 for a 50-percent conversion rate, including 9-20 from three-point range. The Skyhawks had the 42-39 edge in rebounds but the Hawks scored 23 points off of 24 Stonehill turnovers.
Saint Anselm returns to action against Mercy College on Sunday, Nov. 25 in a non-conference tilt from Stoutenburgh Gymnasium. Tip-off is scheduled for 3 p.m. against the Mavericks.


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Job Wanted: French Turn Resumes into Street Art
Christopher Werth Sep 3, 2013
Finding a job in Marseille is really tough. At 14 percent, the jobless rate here is much higher than France's national average. But on a busy street near the city's business district, Diamondra Fontaine unfurls a large, six-foot by three-foot poster of herself, and she and her friends paste it on the side of a boarded up building.
"Here is my photo with what I want to work," says Fontaine, a non-native English speaker who lost her job as an HR officer a year and a half ago.
In big block letters, the poster gives her name, a phone number and her work qualifications.
"We hang it so the persons come out the subway and see it," says Fontaine.
The hope is the right person – maybe from a nearby company – sees Fontaine's picture and hires her.
"I want a job. That's why I do it," she laughs.
Fontaine is part of a group called CVStreet, a small group of the unemployed in France that's adopted a new tactic to put themselves in front of potential employers. Instead of simply sending out dozens, if not hundreds of resumes, its members have plastered Marseille with posters of themselves and what are essentially brief resumes.
Josh Fitoussi, the project's co-director, says the larger goal is to show that unemployment isn't just a statistical problem. It's a human one.
"We have people that need to find a job," says Fitoussi. "And they have the posters hanging on the streets so people can actually see who they are."
That includes poster-hanger Denis Meroy. He's a gardener who lost his job four years ago.
"This is better than a written resume because when you send a resume you have no idea what happens to it," says Meroy. "But this is very public. Maybe someone will see the number and call."
The posters do attract attention. Dominique Fanny passed by and stopped to talk to Fontaine as she hung another poster.
"I think it's really interesting because you actually see a face. You see a smile," says Fanny. "I hope she finds work."
The project's organizers claim two people have found jobs so far. It's not a lot, but it's much better than sitting at home. And they want to roll the idea out to other cities across Europe.

redpajama_set_name: RedPajamaCommonCrawl


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'Breakfast Club' star Emilio Estevez hits library again in new film
By Sara Stewart
Emilio Estevez stars in his new movie, "The Public." Universal Pictures Content Group
A little more than 10 years ago, Emilio Estevez started hanging out in an oddly familiar location: the library.
That's right — one of the stars of the 1985 John Hughes movie "The Breakfast Club," set in a high school library, started spending his days at the downtown branch of the Los Angeles Public Library system. Just . . . people-watching. Every now and again, someone noticed.
"There were a few instances where I was found out," Estevez, 56, tells The Post with a laugh. It wasn't about nostalgia, though, but research for his new movie "The Public," centered on the public library as one of the last safe, free spaces in an increasingly commodified world.
His interest was piqued by a 2007 Los Angeles Times column written by a Salt Lake City librarian named Chip Ward, about the large homeless population that congregates there during the day, and how librarians deal with this unforeseen, unwritten part of their job.
Estevez started talking to homeless people he met while skulking around. "At libraries, that was where they felt safe," he says. "Once they'd parked their suspicions about what I was doing, and knew I wasn't going to be exploitative, that I wanted to hear their story, it was a lot easier to navigate. A lot of these conversations were painful and heartbreaking. But some were absolutely hilarious."
Estevez had been writing and directing for years — his last film, 2010's "The Way," starred his father, Martin Sheen. One of his first, the 1990 bomb "Men at Work," co-starred Estevez and his brother, Charlie Sheen.
For this drama, Estevez's jumping-off point was the idea of a city library in the middle of a brutal cold snap, whose homeless patrons refuse to leave, knowing the shelters are overflowing.
"The movie is way more relevant now than had I made it 10 years ago," Estevez says. "Especially on the heels of this polar vortex that descended on the country [in late January]."
"The Breakfast Club" starred (clockwise from top) Judd Nelson, Estevez, Anthony Michael Hall, (lying down) Molly Ringwald and Ally Sheedy.MCA/Everett Collection
As he spent weeks doing research, he became a bona fide library nerd. "The president of the New York Public Library, Tony Marx, said last year that the public library is the place that is quietly saving democracy," Estevez says. "Consider this: More people visited the public library system last year than sporting events and Broadway shows combined. So the number and the need is enormous. And access to all of that information is free. It's one of the only places that doesn't require a transaction."
In the film, a librarian refers to the Connecticut Four, a group of librarians who sued to protest an FBI search demanding information on patrons and their internet searches — and won.
"I got a real first-hand experience of what the daily life of a librarian looks like," Estevez says. "And what I came away with was, this is a sacred space that exists between desk reference librarians and patrons." While acknowledging the discomfort the presence of homeless people can bring, "The Public" humanizes the group, led by actor Michael Kenneth Williams as the man who instigates the protest.
Still, there was a throwback element that couldn't be entirely ignored in a film that takes place over the course of a single day in a library. Did Estevez immediately make the connection between "The Public" and "The Breakfast Club" when he started writing?
"Initially, no, and then I was like, 'Oh, yeah, I guess I'm gonna have to address that,' " he says. "I thought, OK, I'll throw a couple of things in there. The jacket I wear in it is not dissimilar to the blue letterman's jacket from 'Breakfast Club.' And there's a moment where a librarian is reading a story to children — it's the Ally Sheedy book, 'She Was Nice to Mice.' That's a little Easter egg I planted."
That said, Estevez doesn't see himself signing on for any kind of '80s reboot or homage. "I tend to think about what's next, not what's been done," he says. "For the last two years, I've done nothing but eat, drink and dream this film."
Filed under emilio estevez	, films	, homelessness	, libraries	, 4/4/19
'Unicorn Store' review: Brie Larson's latest is rainbow sl...


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Win the Hearts of Indian Parents and Marry Your Indian Partner
by Vishnu | Sep 12, 2018
You're in a bit of an Indian parent masala.
Your boyfriend is Indian and you're not. (Unfortunately, your partner's parents are Indian as well!?)
You had dreamy hopes of marrying him and living happily ever after.
The only problem is that your partner hails from that part of the world known as South Asia: primarily India, Pakistan, Bangladesh, Nepal, Sri Lanka, Afghanistan or Bhutan.
If you've fallen in love with an Indian guy or dating someone from one of these South Asian countries, your life is about to turn upside down.
You found a brilliant, well-educated, polite and devoted guy but…you had no idea this wonderful person came from an overly-protective, slightly judgmental, and hostile family.
In fact, your partner's Indian parents are likely neurotic, hate the idea of their son dating you and will do everything in their power to sabotage this relationship.
Would Indian parents actually go to this extreme? You betcha!
You will face an emotionally manipulative and aggressive force like no other: the Indian mom and dad.
It's nothing personal. It's just that they didn't work hard, come to this country with 15 cents in their pockets and put their kids through Ivy League schools for those kids to marry you!
You may have initially thought that Indian parents were slightly protective and uncertain of you but now that you've gotten to know them, you're no longer naïve about what's at stake.
Indian parents (and most South Asian parents) are against intercultural or interracial marriages. They will do whatever it takes to end the relationship between you and their son (including espionage, private investigators, blackmail and criminal threats).
You are realizing the full emotional and psychological battle facing you.
Indian parents will make your dating and potential marriage with your Indian boyfriend very challenging. Your partner is supportive and helpful but you need advice and guidance to deal with the volcano known as Indian parents.
Luckily for you, a guide is available to help. Today, I'm releasing a book called, How to Get Indian Parents to Accept Your Marriage Proposal.
It's a basic, straightforward guide to understanding the mindset of Indian parents – and to outmaneuvering and outsmarting them so you can have your big, fat Indian wedding.
If you're not Indian but dating an Indian man (or woman), this one-of-a-kind book will help you understand the Indian cultural mindset and overcome the Indian parents standing between you and the relationship you desire.
The book contains 14 chapters filled with pearls of wisdom and practical-action steps that will help you move your partner's Indian parents from "hell no" to "fine, ok, whatever."
Here are the 14 chapter titles of How to Get Indian Parents to Accept Your Marriage Proposal:
What do Indian parents really want other than diamonds and landed property?
Why are Indian parents against interracial/intercultural marriages and you?
What extreme measures will Indian parents take to stop you from dating their offspring?
How should your rational partner talk about your relationship to her slightly neurotic Indian parents?
How do you take a strategic approach to get the blessings of Indian parents without losing your mind or your Indian partner?
What is the secret to acceptance into Indian culture without having to be reborn as an Indian person in your next life?
How should you treat Indian parents to get their appreciation and approval instead of their scorn and hate?
Another laundry list of ideas to receive marital blessings from your partner's Indian parents as they put you through the washing machine of life.
How can you meet, converse with and socialize with the enemy and turn Indian parents into allies?
How are your sanity and other things more important than your relationship with Indian parents?
How do you deal with hostile and hurtful Indian parents who tell you to go fly a kite?
What if your partner is considering a big fat Indian wedding without you?
May the Gita and the Force Be With You
What if your partner is considering a big, fat Indian wedding without you?
If you're seeking approval and blessings so you can marry your Indian or South Asian partner, this is the guide for you.
Pick up How to Get Indian Parents to Accept Your Marriage Proposal today.
Use the book's strategies – and be sure to put me on the guest list if they work and you have a big, fat Indian wedding.
I'll be checking the mail for my wedding invite!
Get How to Get Indian Parents to Accept Your Marriage Proposal today.
How to Talk to Indian Parents about Marrying Someone From a Different Culture
Is Marriage the Beginning of the End?
In Love But Worlds Apart During the Pandemic
How to Save Your Marriage When You're Not Ready to Give Up


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Legal History Workshop & Events
Faculty and Scholarship
The Legal History Workshop brings together students and faculty to discuss works-in-progress by scholars from within and outside Columbia University. For more information on the workshop or to be put on the mailing list, please contact Prof. Sarah Seo or Prof. Amy Chazkel. See below for the schedule of workshops and other legal history-related events on campus. All times are Eastern (New York) Time.
Click to Open 2022-2023
workshop location will be circulated closer to event date
September 21st from 4:20pm - 6:00pm Workshop with Gary Gerstle (University of Cambridge, History). "The Rise of the Neoliberal Order" Co-sponsored with the Law & Econ Workshop and the Center of Political Economy. Location: Case Lounge (Room 701), Jerome Greene Hall, 435 W. 116th Street NY NY.
September 28th from 4:20pm - 6:00pm Workshop with Craig Green (Temple, Law & History). "A Constitutional History of Territory, Statehood, and Nation-Building." Comment by Gillian Metzger (Columbia, Law). Location: JGH 807, Jerome Greene Hall, 435 W. 116th Street NY NY.
October 19th from 4:20pm - 6:00pm Workshop with Jose E. Argueta Funes (Columbia, Law & History). " The "Civilization" Canon: Common Law, Legislation, and the Case of Hawaiian Adoption" Comment by Shyam Balganesh (Columbia, Law). Location: JGH 807 Jerome Greene Hall, 435 W. 116th Street NY NY.
November 15th from 4:20pm - 6:00pm Workshop with Helen Kinsella. (Minnesota, Political Science and Law). "Taking 'no comfort in the historical context:' US-Native wars and U.S. War on Terror". Commenter Maeve Glass (Columbia, Law) Location: JGH 728 Jerome Greene Hall, 435 W. 116th Street NY NY.
Feburary 8th from 4:20pm - 6:00pm Workshop with Jungwon Kim (Columbia, Legal History). "Who Triggered My Death: Suicide and Punishment in Early Modern Korea" Comment by Pablo Piccato (Columbia, History). Location: Case Lounge (Room 701), Jerome Greene Hall, 435 W. 116th Street NY NY.
March 22nd from 4:20pm -6:00pm Workshop with Kunal Parker. (U Miami, History). "The Turn to Process: Legal, Political, and Economic Thought in America, 1870-1970" Commentor Alma Steingart (Columbia, History). Location: JGH 807 Jerome Greene Hall, 435 W. 116th Street NY NY.
April 12th from 4:20pm - 6:00pm Workshop with Maria Adele Carrai (NYU, History). "The Human Frontier: The Chinese Overseas and the Making of Modern China" Commentator: Madeleine Zelin (Columbia, History). Location: JGH 807 Jerome Greene Hall, 435 W. 116th Street NY NY.
Links to online events will be circulated by email.
October 28 at 6:00pm • Workshop with Sam Fury Childs Daly (Duke, African and African American Studies). "Of Oracles and Autocrats: Customary Law and Militarism in Nigeria." Comment by Katherine Franke (Columbia, Law). Via Zoom.
December 2 at 6:15pm • Workshop with Emily Rose (Harvard, History): "'No Jew Shall Have a Freehold': The Enduring Impact of Medieval contra judaeos Legislation." Comment by James Stafford (Columbia, History). Via Google Meet.
February 3 at 4:20pm - 5:45pm • Workshop with Ariela Gross (USC, Law & History) "The Constitution Is Also a Monument: Slavery, Memory, and American Politics." Comment by Natasha Lightfoot (Columbia, History). Via Zoom.
March 3 at 5:00pm - 6:30pm • Workshop with Rebecca J. Scott (U. Michigan, History & Law): "María Coleta and the Capuchin Friar: Slavery, Salvation, and the Adjudication of Status" (co-authored by Rebecca J. Scott and Carlos Venegas Fornias). Comment by Maeve Glass (Columbia, Law). Via Zoom.
April 14 at 2:00 - 4:00pm • A seminar on "Law and the Imagination in Medieval Wales" with Robin Stacey (U. Washington, History) at the Heyman Center, Commons Room. Please email [email protected] for materials. Sponsored by Medieval and Renaissance Studies, the Department of History, and the Department of English and Comparative Literature.
May 4 at 2:30 - 4:00pm • "Public Rights: The History of An Idea." Panel with Rebecca J. Scott (U. Michigan, History & Law) and Jamal Greene (Columbia, Law). Location: Case Lounge (Room 701), Jerome Greene Hall, 435 W. 116th Street NY NY.
October 8 at 6:30-7:30pm EST • "Becoming Free, Becoming Black: A Talk by Ariela Gross with Kellen Heniford," sponsored by the Center for the Study of Ethnicity and Race at Columbia University.
October 28 at 6:30pm EST • Brittany Farr (Penn, Law): "Breach by Violence: Sharecropping Contracts in the Post-Slavery South."
November 18 at 6:30pm EST • Nurfadzilah Yahaya (National University of Singapore, History): "Shifting Sands: British Imperial Politics of Land Reclamation in the Mid-Twentieth Century." Comment by Nick Smith (Barnard, Urban Studies/Architecture).
December 9 at 6:30pm EST • Stephanie Jones-Rogers (Berkeley, History): "'She had... a Womb Subjected to Bondage': The Afro-Atlantic Origins of British Colonial Descent Law." Comment by Stephanie McCurry (Columbia, History).
January 27 at 6:30pm EST • Anna di Robilant (Boston, Law): Selections from The Making of Modern Property: Reinventing Roman Law in Nineteenth Century Europe and Its Periphery (Cambridge University Press, 2021).
February 24 at 6:30pm EST • Thomas McSweeney (William & Mary, Law): "Writing the Common Law in Latin." Comment by Adam Kosto (Columbia, History).
October 30: Sam Erman (USC, Law), selections from Almost Citizens: Puerto Rico, the U.S. Constitution and Empire. Commentator Mae Ngai (Columbia, History).
January 29: Jane Manners (Columbia, Law) and Lev Menand (Columbia, Law), "Removal Permissions: Inefficiency, Neglect of Duty, Malfeasance, and the Limits of Agency Independence."
February 26: Smita Ghosh (Georgetown, Law), "Locking up and Locking Out." Commentator Christina D. Ponsa-Kraus (Columbia, Law).
November 14: Andrew Kent (Fordham, Law) and Jed Shugerman (Fordham, Law), "'Faithful Execution' and Article II." Commentator Gillian Metzger (Columbia, Law).
February 13: Rande Kostal (Western, Law), selections from Laying Down the Law: American Legal Revolutions in Occupied Nazi Germany and Imperial Japan.
March 27: Jennifer Morgan (NYU, History), selections from Reckoning with Slavery: Gender, Kinship, and Capitalism in the Early Black Atlantic. Commentator Maeve Glass (Columbia, Law).
April 24: Vera Candiani (Princeton, History), prospectus for Peasants and Commons in the Americas: A History of Erasure.
Commentator Claire Debuquois (Columbia, Law).
October 4: Maeve Glass (Columbia, Law), "A Constitution of Commerce." Commentator Ted Fertik (Yale, History).
November 1: Stephen Robertson (Director of the Roy Rosenzweig for History and New Media, George Mason University, "Law & (Dis)order in Harlem: A Spatial Legal History of the 1935 Riot."
November 15: Judith Surkis (Rutgers, History), selections from Sex, Law, and Sovereignty in French Algeria, 1830-1930. Commentator Emmanuelle Saada.
September 14: Amy Dru Stanley (Chicago, History), "The Sovereign Market and Sex Difference: Human Rights in America."
October 20: Stephanie McCurry (Columbia, History), "Enemy Women and the Laws of War in the American Civil War."
March 1: Kunal Parker (Miami, Law), "The Transformation of the Common Law: Modernism, History, and Legal Thought in Early to Mid-Twentieth Century America."
March 22: Daniel Asen (Rutgers, History), "Professional Politics of a Crime Scene: Law, Science, and Expert Evidence in 1920s China."
April 19: Ada Kuskowski (Penn, History), "The Time of Custom: On Temporality and Customary Law in the Middle Ages."
November 16: Sam Erman (US, Law), selections from Puerto Rico and the Constitution: Struggles Around Status and Governance in the New Empire, 1891–1925.
December 2: Aziz Rana (Cornell, Law), selections from The Rise of the Constitution. Commentator: Jeremy Kessler
March 24: William Forbath (U.T. Austin, Law), "The Jewish Constitutional Moment."


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INTERVIEW: SUB FOCUS
Nick Douwma presents his vision with new album 'Torus'
Although he may take his sweet time to churn out a full length, Nick Douwma - more commonly known as Sub Focus – certainly knows how to add them into the history books. His 2009 self-titled debut was nine years in the making, but four years down the line tracks such as the glitched out roller 'Timewarp' still create the same dancefloor decimation that they did on their original digital dubplate release.
With follow-up 'Torus' arriving on Monday 30th September after four years of the careful perfectionist treatment of Sub Focus, you can rest assured that this will be much the same affair.
Having taken inspiration from our favourite Balearic Island - following his residency at Together at Amnesia earlier this year - and a new found penchant for synthy six strings, it's going to be anything but your standard d&b selection. DJ Mag caught up with Sub Focus pre album launch to talk surprising featuring guests, hands free mixing and just why it takes so damn long to make an album!
Torus is very nearly upon us after a four year wait. Has it been difficult trying to follow up the success of your debut?
"It hasn't been a massively hard process. I had quite a difficult first album and I definitely learnt a lot from that. I took a long time writing my first one. With this one it has been four years since the last, but really it has been three because I spent a long time touring my first record. It has been quite an enjoyable process, I have definitely taken a lot of notes from when I finished my last record and there were things I wanted to do differently this time. I feel like I have achieved those things and I feel really good about the record. I think mainly I wanted to make this album less of a club album and more of a listening experience with a beginning, middle and end. I wanted to write more songs and use more singers, and so that is what I have done with this one. It has been quite an enjoyable experience, working with lots of different singers. I've always wanted to work with Kele Okererke, through to new talent and people like Foxes or MNEK."
A lot of the featuring artists and samples used on this album come from the electronic indie scene. Has this been a big influence on you recently?
"That is something that definitely has, groups from Friendly Fires through to The xx. I am a big fan of bands that fuse their sound with electronics. The likes of Passion Pit, and lots of different bands in that sort of area, I am a big fan of. So that was definitely one of the elements that I wanted to introduce into my sound a bit more in this record, and I felt that it is quite an unusual combination combining that with the drum and bass that I am known for. It's kind of a strange combination, so I like that. The record is just a combination of all of these different sounds that I like. Some of it has a retro dance feel to it, there is a bit of a deep house vibe in a few of the tracks and there is this electro indie sound in some of them. It is just a real melting pot of all of these different styles of music that I enjoy."
What made you broaden your sound away from drum and bass?
"I have just been trying to do that since I started doing albums really. With my first album I was very keen to make sure that it wasn't just seen as a drum and bass album; it had house music on there, jungle stuff and a bit of dubstep. One of my mission statements in terms of what I want to do is to make multiple different styles of dance music to a super high standard. I don't think that many acts achieve that. I am really happy with the DJ support I have had with this record. I have had Skrillex playing the dubstep tunes from the album and obviously Andy C and Chase & Status playing the drum and bass, through to Avicii playing the house tunes. It's been really cool to see different big names from different scenes get behind the tracks."
You said earlier that it was a difficult process writing your first album. Why was that?
"I think it was trying to make it more eclectic than just a drum and bass album. I spent a lot of time working out what the other sorts of music that I was writing should be. Also, what you find as you write albums is that if you take a long time writing an album, some of the stuff that you wrote at the start becomes out of date by the time you finish it. So you are constantly up-dating songs as you go along and some of them become irrelevant as you finish it and you just scrap them. With both of my albums I have probably written about twice or three times the amount of music that has actually been on there. I have just tried to be as much of a perfectionist as possible with writing all the music, because I think that it is important to make the stuff on there count. I have thrown away a lot of music that I have written along the way as well."
The album seems to be very prolific with featuring artists. Why did you want to get so many different vocalists involved with this album?
"I'm not necessarily a fan of using huge amounts of features, but there were just some people that I really wanted to work with. I really wanted to do a lot of songs and that was a way of doing it really. Some of the songs started with samples. One of the house tracks, 'Turn Back Time', was originally lots of different vocal samples stuck together, and then I decided to get vocalists in a recreate some of them. That's one of the processes I went through when writing the record, but it was just through wanting to work with people and write with different people, and these are the songs that came out well. It is really nice to get to work with some of the people like MNEK who I think are super talented, as well as Foxes and Alpines. I am a big fan of them. It has been really nice to get a good mixture of different artists. I tried to pick people that weren't perhaps the most obvious people for me to work with and make it quite interesting."
As well as producing your own tracks you are also a prolific remixer taking on legendary tracks such as The Prodigy's 'Smack My Bitch Up', 'Take Me To The Hospital' and Deadmau5' 'Ghosts N Stuff'. Manipulating tracks with such cult statuses must come with great pressure?
"Yeah, it is quite a lot of pressure, especially with 'Smack My Bitch Up'. When I did that it was quite mad because as the time I wasn't particularly well known and The Prodigy commissioned lots of people to do remixes. We didn't even have the song parts at the time, so a lot of the sounds we had to recreate, or find the original places they sampled stuff and then resample those things. It was quite a challenge and it almost ended up like a remix competition a select group of people, because I think they commissioned more stuff than they were actually going to release. So I was really happy that they liked mine and chose to release it. It has been awesome doing tracks and 'Ghosts N Stuff' I really enjoyed because it was a massive dance tune at the time. That one was cool because I sped it up to the right tempo and kept it quite faithful to the original in a way. That was one of the favourite ones I have done. I guess with some of them you end up completely changing the song beyond all recognition, but it's whatever works. I haven't done remixes in a while. I find that they can be quite stressful because a lot of the time you get approached by the label and they need it turned around within a week or two weeks. That is a much shorter period to how I work. The gestation period of one of my songs can be anything from two weeks to four months. But there is no doubt that I will be getting involved in some more."
You have hold production credits on Example's 'Kickstarts', a big step from the underground jungle debut of 'Down The Drain'. What was it that made you decide you wanted to produce big budget music for the mainstream?
"Really, with that track I don't really see it as a Sub Focus song at all, it's just a song I made for someone else. It was fun doing that with Elliot, it was a way of dipping my toe into production for other people and I had already know Elliot from gigs and stuff. I got on with him and it was just a nice way to get into that stuff. I have put production for other artists on the back burner for now, because it is so time consuming. At the moment I prefer spending my time writing my own music or doing remixes. Recently I have been spending a lot of time on my live show, so I have got my hands full as it is. No doubt that is something that I will do more of in the future, but I have only done that one for now."
Have you had anyone approached you recently to produce their songs?
"I have had a number of people approach me. I know that Tinie Temper was interested at one point and even people like Kylie wanted to do a track with me. which is quite funny. I have just been saying 'no' to things for now. There is some stuff I really wanted to do. I was talking to Ellie Goulding about doing some extra production on her last record and just didn't get the time to because of finishing mine. There are bits and pieces that I will definitely get involved with in the future but for now I have been concentrating on my own artist stuff."
You said earlier that you have been focusing a lot on your live performance. These have become an integral part of the Sub Focus experience. You have just announced a large UK tour, what can we expect from these sets?
"For those that haven't seen it, it is a big production. I am really inspired by the likes of Daft Punk and The Chemical Brothers and the way they approach their live performance, and even more recently by the likes of Deadmau5 as well. I really like that format and this is my take on it. It has a big lighting production but we are really pushing technological boundaries with it and that is what is exciting. The people that created the lighting made a bunch of software that allows us to make the light audio reactive. Some of the stuff that I play during the set actually creates lighting patterns on the installation, which is a pretty new thing and quite hard from a technical standpoint to make that happen. So that was a really cool thing that we managed to do. The other thing is the audio equipment that I use is quite new and some of it is custom made as well. We had these motion sensors made for the show which are like a modern day theremin, it allows me to move my hands around in the air to control some sounds through the show. So it is really fun and futuristic and I just wanted to come up with ways of making an electronic performance more visual. I think, initially, electronic shows suffered from looking a bit boring with people just hunched over laptops. I designed the concept with the show designer so everything is very open, so that the crowd can see exactly what I am doing or as much of what I am doing as possible. We were trying to come up with the most visual method of performance as possible, with drum pads and keyboards but also these motion sensors where I can move my hands around and people can see me controlling the sounds. Sometimes I also use those to control the lights as well, so I move my hands down to turn all of the lights on and I move my hand up to turn all of the lights off."
So do you prefer you live sets to DJ sets now?
"It is hard to say. Sometimes it is nice to play other peoples music in DJ sets, because in my live shows I just play all of my own stuff. Some of the stuff that I can do in the live sets is so much more than what I can do I the DJ set. In the live set I can take songs apart, change the beat or re-sequence a whole new section. The possibilities are quite exciting when I am doing that, but I really enjoy DJing as well and I try to balance the two. I've particularly been enjoying the shows that I have been doing with my residency at Amnesia in Ibiza."
How do you feel the island receives bass music today?
"It's nice to see it finally working there. I have been going there for years and I have got a lot of inspiration from going to house and techno nights because I am into a lot of that sort of music. Tracks like 'Timewarp', which I made a few years ago, they were inspired by trips to Cocoon and DC10 and hearing minimal and different styles of house and techno there, getting ideas from that sort of music and incorporating that into bass music. It has been nice to see it working, I went to the odd night back then that didn't really work, which was five or six years ago when I was first going there. I remember going to a Hospitality night because some of my buddies were playing, I think Andy was playing and it just didn't work, and it didn't seem like it would. It is really nice that it has gradually infiltrated the island and I think that that style of music seems to be very popular. I have been reliably informed that the night we have been playing at Amnesia has been one of the most popular nights there, which is pretty amazing to hear. It's mind blowing, and kind of weird having been to that club loads of times as a punter to be playing there. It is very cool and I am inspired by it. Some of the tracks on the album like the one I did with Culture Shock and TC, 'You Make It Better', are songs that I was just thinking of playing in Amnesia. I have really been trying to adapt my style to playing in there. From having seen a lot of house and techno there, I didn't really want to be playing five tunes in three minutes. I have been trying to play in a techno style, so much longer mixes and a lot of inky blends and just trying to give people a different set there. It has been really fun trying to change my style to adapt to there. I feel that certain types of songs really work well there and I have been pushing more of a housey, techno side to the stuff that I play, and it has been nice."
So after the release of the album and your tour, how are you planning on developing Sub Focus further?
"Now my focus is shifting to developing the live show again, I am working on a brand new set for the live tour and putting a lot more of the album songs on there and just working on new technology for that. There is a company called Leap Motion who design these things that are vaguely similar to the motion sensors I already use. They are quite cool, you can use them to control your computer and it's kind of like Minority Report where you can move your hands around to move windows and stuff. I have been testing those things over the last few weeks to see if I can incorporate them in some way, and then look to use them to replace the motion sensors that I currently use. I am constantly looking at new technology to incorporate into the live shows and make it interesting. I am going to be doing a lot of touring, I will be touring the UK in October, looking to tour the US later in the year and I am also going to be doing a tour of Australia next year with Future Music. It is a big travelling festival there so I am really looking forward to that. I am really trying to hit as many different places in the world as possible to tour the album, and just getting stuck into new music. I am already starting to think of new stuff that I want to do for the next album... my brain is buzzing with lots of different ideas so it is an exciting time right now."
Words: DAVID SULLIVAN
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Double booked? Just heard about an important conference you need to be at? Your ten-year-old just came down with chicken pox? Or just having second thoughts?
The purpose of any business meeting is to interact with other people, whether with clients, representatives of another company or internally with your own department. Meetings can help your business relationships thrive.
When you cancel a meeting, that's another interaction. A cancellation says "I have something more important to do than to meet with you." If that sounds harsh, it's also often true. How can you soften the blow, and keep the relationships intact?
Backing out of an agreement doesn't have to mean the end of your business reputation, although it may do some damage. You can minimise the harm with courtesy, empathy, and respect – the same things you appreciate in other business contacts.
As soon as you realise you can't make the meeting, cancel. This is just common sense. The longer you leave it, the more other plans are being made in other people's calendars, around this doomed meeting.
Writer and editor Monty Majeed says that cancelling with short notice will reveal unprofessional habits. Time management and organising skills are as important as any other must-have entrepreneurial skills.
Many will treat a meeting appointment as an inviolable part of their calendar. Once they have committed time to that meeting, nothing else is allowed to interfere. This untouchability is what an appointment calendar is all about. Respect for that space on your calendar equates to respect for the other people who have reserved the same time slot.
If you cancel a meeting a week or more in advance, it's unlikely to do any great damage. There's still time for everyone else to fill that slot with meaningful work, or with other meetings if necessary.
That becomes much more difficult as the gap closes. The day before, the morning of, or half an hour before, … and now the inconvenience to others could be enormous. As the time frame narrows, the more compelling your reason for cancelling should be. Of course, you don't know what others may have planned, or not planned, around that day. Better to treat every cancellation as treading on the goodwill of others. Tread lightly; cancel early.
An apology recognises that the other person has been inconvenienced, and that his or her time is also valuable. It helps to preserve their dignity, and it will do a lot to enhance yours.
No matter what the reason for cancelling, it could be seen as your personal failing. When your assistant makes the phone call or sends the email, it could be perceived as avoiding direct accountability. That would be bad manners, which is almost unforgivable in business.
Cancellations will affect business relationships, so it's important enough for you to handle yourself. You will be able to pick up any negative vibes from the other party or parties, and then you'll know whether any further damage control is needed.
Rescheduling is much more palatable than cancelling, especially if both parties are still keen on pursuing your original reason for meeting. This will tell the other attendees that you still value their commitment, and it will give you a chance to make up for any problems the cancellation caused.
Instead of cancelling the meeting outright, switch to another format. Of course, this will depend on your reasons for cancelling in the first place.
Fast Company has these four suggestions that may get you out of trouble.
This will save you (or them) a trip, and it shows you're still willing to connect.
You may not have to cancel a 90-minute meeting at all if you honestly believe you can accomplish your purpose in 30 minutes. Arrange a shorter meeting, making it clear that's the amount of time you have available. If that means shelving some items, give them a later time slot.
If it's possible to convey everything in writing, you could make a one-hour meeting a ten-minute email. It may still be necessary to discuss things further later, but you will have saved some time in the interim.
Some meetings won't need your physical presence, but you may be happy to have others, perhaps better qualified on the topic at hand, to speak for you. This will require advance preparation, but may save you time on the day.
Empathy: When you cancel, you're likely disrupting the other party's schedule. Put yourself in their shoes and visualise the situation from their perspective. How would you react to the same situation? A little empathy goes a long way.
Courtesy: It's courteous to apologise for the turn of events but don't linger on the subject. Focus on rescheduling so both you and your client can get back to business.
Honesty: Don't lie. If your client suspects dishonesty, that hurts the business relationship you've built.
If you frequently have to cancel meetings, improve how you schedule your time, you risk being branded unreliable. You've worked hard to build a good reputation in business; the way you handle relationships when things are rough will strengthen it further.


text:
package boot.examples.model;

import com.fasterxml.jackson.annotation.JsonIgnoreProperties;

@JsonIgnoreProperties(ignoreUnknown = true)
public class Quote {

    private String type;
    private Value value;

    public Quote() {
    }

    public String getType() {
        return type;
    }

    public void setType(String type) {
        this.type = type;
    }

    public Value getValue() {
        return value;
    }

    public void setValue(Value value) {
        this.value = value;
    }

    @Override
    public String toString() {
        return "Quote{" +
                "type='" + type + '\'' +
                ", value=" + value +
                '}';
    }
}

redpajama_set_name: RedPajamaGithub


Joseph Gordon-Levitt stars as this antisocial master of mayhem who arrives out of nowhere to move in with bullied TJ and his severely depressed dad--both reeling from the loss of TJ's mother. Injecting their lives with unpredictable behavior and frequent explosions, Hesher brings the family to the edge in this one-of-a-kind film. Devin Brochu, Rainn Wilson, Natalie Portman and Piper Laurie co-star. Directed by Spencer Susser; written by Spencer Susser & David Michod, story by Brian Charles Frank.


text:
Court refuses to stay wrongful dismissal lawsuit despite arbitration agreement in agency contracts
Women can breathe a sigh of relief after a Supreme Court of Canada decision last week upheld the constitutionality of the so-called Ghomeshi amendments to the Criminal Code for sexual assault trials.
PHOTO: The Supreme Court of Canada, in Ottawa, on May 11.SEAN KILPATRICK/THE CANADIAN PRESS
Elizabeth Sheehy ⁞ The Globe and Mail
The case, R. v J.J., focused on these amendments, which were designed to give women a greater opportunity to challenge the use of private records and evidence of their sexual history in court.
The amendments subject private records in the possession of the accused to the same processes already in place for judicial screening of a woman's prior sexual activity when the accused seeks to introduce this evidence at trial to discredit her account. These records can include e-mails, videos, Facebook or Instagram posts and text messages. In addition, the amendments give complainants the ability to hire their own lawyers to contest the admissibility of the proposed evidence.
Prior to the amendments, a hearing was required only when the records were in the possession of a third party, such as a rape crisis centre or a doctor. If the accused had already come into possession of the records, no pretrial screening was required, no matter how sensitive and personal the information they contained.
Parliament's 2018 amendments in part responded to the defence tactics in the sexual assault trial of Jian Ghomeshi, whereby complainants were confronted in cross-examination with their own sexualized text messages sent to the accused. But more importantly, the amendments responded to the current social and legal context in which sexual assault prosecutions take place.
For one thing, social media are now a predominant form of communication for most adolescents and adults. Online posts are regularly drawn upon as evidence in sexual assault trials, whether by prosecutors or the defence.
The new law also responds to the fact that sexual violence remains a crime that is almost risk-free to commit. Only one in 20 victims report to police because sexual violence is a crime of subjugation, leaving many women terrorized or wondering whether they are somehow to blame or will even be believed. "Unfounding" – sometimes at a rate of 40 per cent – makes matter worse; that's when police refuse to lay charges because they discount the woman's accusations, fail to properly investigate the allegations, misunderstand the law or prefer statements made by the suspect.
Prosecutors also screen out sexual assault charges if there is no reasonable prospect of conviction. Where cases do proceed to trial, sexual assault has a very low conviction rate. Women who testify can be cross-examined with "gratuitous humiliation and denigration," said Dalhousie University law professor Elaine Craig, often through reliance on discriminatory sex myths.
This is why the Supreme Court ruled that requiring pretrial screening of personal records by the judge, regardless of who possesses them, does not undermine the Charter rights of the accused to defend himself and is consistent with the right to a fair trial. A fair trial, the majority held, must recognize the interests of victims of sexual assault, who have been subjected to a criminal trial process that discourages reporting through unfair and discriminatory treatment of complainants.
The court said it is not "unfair" to deprive the defence of the ability to spring personal records on the complainant in cross-examination because the right to a fair trial does not include the right to "ambush" the complainant. In fact, "providing advance notice to complainants that they may be confronted with highly private information is likely to enhance their ability to participate honestly in cross‑examination."
The court recognized that judicial screening of such records is needed to weed out myths that distort the truth-seeking function of the trial. Not only the myth that a sexually active woman is more likely to have consented or to lie, but myths about the credibility and reliability of women with mental health challenges or who have consumed alcohol and drugs; about the failure to report a sexual assault immediately; or that "a 'real victim' will avoid all contact with the perpetrator after the fact," last week's ruling said.
This ruling does not increase the risk of wrongful convictions. Defence lawyers can challenge whether a record falls within the screening process because it does not contain "information of an intimate and highly personal nature." More importantly, records may still be admitted post-screening. And, although the accused must normally apply for this screening before trial, the court left the door open for an accused to surprise the complainant by introducing this evidence midtrial, after she has given her evidence and before cross-examination, if doing otherwise would "negate the efficacy of cross-examination."
Parliament and the Supreme Court have taken a vital step to protect complainants. It is now up to Canada's trial judges to apply the amendments, respecting the spirit of the Supreme Court's endorsement of principles of fairness and non-discrimination in sexual assault trials.
Elizabeth Sheehy is professor emerita at the University of Ottawa.


text:
Capcom Confirms PC Release for Monster Hunter Rise Next Year
PC gamers will have to wait until early 2022 to play the game, while Switch owners get it March 26.
https://www.pcmag.com/news/capcom-confirms-pc-release-for-monster-hunter-rise-next-year
(Photo: Capcom)
One of the key titles for the Nintendo Switch this year is Monster Hunter Rise, which is set to launch on March 26. However, Capcom just confirmed that the game will also be released on PC early in 2022.
As IGN reports, confirmation of a PC release comes courtesy of the game's producer Royozo Tsujimoto, who said, "We received a lot of requests for a PC version of Monster Hunter Rise, particularly from overseas players, and so we have decided to develop a version for PC, which we aim to release in early 2022." Anyone looking for further details is going to have to wait a bit longer, though, with Tsujimoto adding, "This is still under development, so I'd like to share more detailed information when the time is right."
A PC release and at least another 10 months of development time gives Capcom ample opportunity to make the game, which already looks stunning on Switch, really shine using the latest graphics cards on PC. As to why Capcom has decided on a PC release, it's most likely due to how well the previous Monster Hunter game sold. Monster Hunter World launched in 2018 for the PS4, Xbox One, and PC, and managed to shift 16.8 million copies followed by the Iceborne expansion pack selling a further 7.2 million copies.
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Monster Hunter Rise counts as the sixth main installment of the series and uses the RE Engine Capcom developed for Resident Evil 7 and subsequently used for Devil May Cry 5 and the Resident Evil 2 remake. Previously, Capcom relied on the MT Framework game engine, which has been around since 2004 and used for game releases across 13 different platforms ranging from the Wii and 3DS to the PS4 and Xbox One.
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By Ben Moore & Gabriel Zamora
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By Benj Edwards & Jordan Minor


text:
Meet your Registered Animal Medicines Advisor (RAMA) – Stella Kendall
Pets at Home York store manager Stella Kendall elected to council of national regulatory body, AMTRA
In a career that has gone full-circle, with plenty of milestones along the way, the latest highlight for Stella Kendall, manager of Pets at Home's York store, has seen her elected on to the council of the regulatory body for animal medicines advisors, AMTRA.
Stella has been a qualified Registered Animal Medicines Advisor (RAMA) since 2008, this being the new title adopted by the animal healthcare sector to better reflect the qualified skills of these registered animal medicines advisors, also known as SQPs.
Her election to the council as companion animal RAMA representative, not only gives Stella the opportunity to represent her fellow professionals, numbering some 2082 RAMAs across Pets at Home alone, but also to help raise awareness amongst pet owners of this valuable resource for advice, guidance and access to animal medicines.
So how did Stella get here, and what are her aims and aspirations for the future?
Q – So how did it all start for you, following a career focused on animal healthcare?
It was a convoluted approach for me, and one that has turned full circle, returning to my initial Pets at Home store here in York.
In fact, my original career was as a chef, a vocation I moved into as there was not space for me in the family business, with my brother and sister being twins! The family wheelwright business, with its many arms, including an undertakers, joiners and gun-shop, was closely aligned to the local rural community.
So, my background was rooted in the countryside and rural pursuits, and my love and passion for animals developed from there. I did work experience in kennels, but initially it was my training as a chef that brought in the money.
The pull of animals eventually won, resulting in a drastic change as I applied for a new career at the Pets at Home store in York. Back then, it was just store number 11 of the growing Pets at Home portfolio, and in fact I was interviewed by founder Anthony Preston.
So, 11th November 1994 was the start of my Pets at Home journey, starting as assistant manager and then moving up to manager of the York store. I oversaw a major refit during this period, we were the first store to have marine fish brought in, with our own aquatic team working alongside pet colleagues.
I then moved onto the Colton store, then store number 10, before being offered the brand-new Leeds Crown Point store. Here, I started from a blank canvass, recruiting and training all colleagues before the store launch. Next step was the flagship Birstall store in Leeds, were I spent seven years, working alongside in-store vets and colleagues in the Groom Room.
25 years on, the journey has gone full circle as I have returned to York, although in what is now also effectively a brand-new store, following a major refit. Sadly, the opening date coincided with lockdown, so we have had to curtail some of the major launch plans, but we have been able to operate under the government guidelines and with Pets at Home support.
Q – What does a typical day involve for you, appreciating of course these are not 'normal times'
No, these are not normal times, but we have had great guidance and been able to provide essential services to our customers (detailed below), and for me, much of the core activities do continue.
As a senior manager, one step down from area manager, my key responsibility is to manage the store and stock, organise and facilitate all training and basically ensure everything is legal. There are 23 stores in my area, and I am responsible for the training and disciplinary procedures across all these stores, so rely heavily on the support of my teams.
I do have to take a step back and share responsibilities, enabling my deputy manager to run the York store and help develop management progression. Delegation engenders greater team effort, and I feel colleagues benefit from that added responsibility.
My career path shows the opportunities available, and the support of colleagues also helps me to move forward. Being elected as a RAMA representative on the AMTRA council also enables me to further support my colleagues, as well as being the voice for Pets at Home, so I have received a lot of support internally to pursue this role.
Q – What is the most important aspect of your role as a RAMA?
The most important thing to understand is that customers are very different. Understanding and assessing the customer will ultimately be key to providing the best service for the pet, so it is crucial to talk, but even more so to listen.
You need to consider budgets and affordability, and having a full and thorough knowledge of the products is essential.
There really is such as huge number of different products out there, and my AMTRA training and RAMA qualification has always been key for me. So much so, that in January 2019 I became Pets at Home's first Gold standard RAMA/SQP. This standard recognises an elite group of RAMAs committed to furthering their knowledge and expertise, and I am now supporting two other Pets at Home colleagues to achieve the standard.
Q – How has the COVID-19 pandemic impacted upon your work?
Of course, as I have alluded to earlier, the coronavirus outbreak and subsequent lockdown has had a specific impact on our launch plans for the new look store here in York, but across the entire Pets at Home family, the situation changed very rapidly.
While stores remained open, it was essential items only so huge restrictions on stock. We followed all the guidelines, with limited numbers in the store, managers at the door to oversee this, and requesting payments by card whenever possible.
We had lots of support, our Group Chief Executive Officer Peter Pritchard posted daily video updates and thanked colleagues for their efforts, and there was a clear focus on colleague support and mental health awareness throughout.
From a practical point of view, we provided specific opening times for our vulnerable customers and for NHS personnel, also putting in place a 10% discount for NHS workers.
We were very grateful of the information from AMTRA and others, particularly the decision of Veterinary Medicines Directorate (VMD) to temporarily enable remote prescribing, following strict guidelines. Pets at Home also prepared documentation for our RAMAs to make this happen effectively, meeting all requirements.
Our vets also undertook video calls, and while our trading hours were adjusted to 9am to 6pm, the vets were still providing a service through until 7pm.
Q – What is next for you on your Pets at Home journey?
We are all starting to see some return to normality, and as restrictions ease, I am very excited for the future at our new look York store. Apart from anything else, it is great to be able to just walk to work!
I am very proud to have achieved my Gold RAMA/SQP standard, and am keen to encourage others within Pets at Home to follow and further develop the ever-evolving skills that enable us to provide the right medicines and the best treatment advice, specifically tailored for that customer and that pet.
Being elected on to the AMTRA council as a representative for my fellow companion animal RAMAs, both within Pets at Home and other premises around the country, is also a great responsibility.
I am particularly keen to work with AMTRA to help raise public awareness of what we can do as animal medicines advisors. The move to change the name from SQP to RAMA is certainly a great start, and really helps the customers to understand more about our training and qualification.
We are Registered Animal Medicines Advisors, we have worked hard to achieve that status, we follow CPD (continuing professional development) to keep up-to-date with a constantly changing industry, so it is important our customers understand that, and have even greater reassurance that their pets are in safe hands!


Wayne Rooney insists that he will not be satisfied solely with breaking England's scoring record against Switzerland on Tuesday, and says that the country should "get behind" team-mate Harry Kane.
The Manchester United and England captain moved level with Bobby Charlton on 49 goals for the national side during Saturday's 6-0 Euro 2016 qualifying win over San Marino and could break new ground against Switzerland at Wembley.
With the issue having dominated discussion in recent weeks, Rooney is eager to break the record as soon as possible but insists that he plans on passing the 50-mark.
"Of course it would be nice to do it at Wembley, it's an iconic stadium both in England and around the world so it'd be nice to do it there," explained the 29-year-old.
"Then we can move on and concentrate on the team. That's the most important thing – to try to win the game and finish top.
"If it happens tomorrow then great, but if not it won't concern me.
"I feel I've got a lot of games left to play for England and if I was saying I just wanted 50 goals I'd be lying and disappointed.
"I want to try to score as many goals as possible and I've got plenty of games left to do that.
"Hopefully it'll be more than 50 by the time I've finished playing."
Tottenham striker Kane was also on target at the weekend – scoring his first competitive goal for club or country since May after a breakthrough season last term.
Despite struggling to replicate last season's form - when he scored 31 goals in all competitions - Rooney believes that Kane will soon rediscover his scoring touch.
"He's a great player, he had a fantastic season last season and everyone needs to slow down with the criticism or pressure they've tried to put him under," he added.
"You can see the talent he has and we need to get behind him as a country because he's a special player who scores goals.
"The goal against San Marino will give him confidence, he just has to keep doing what he's doing and I'm sure the goals will come."


A combination of pungent chopped kimchi, toasted scallions and ginger, and rice that's been bolstered with a hit of kimchi brine, this porridge is fiery and sinus-clearing. The rice isn't perfectly fluffy; instead, leftover rice simmers until it breaks down from kernel to stew. (You can, of course, use raw rice, too: Cook it in Step 2 for about an hour, partly covered and stirring occasionally.) You'll want to cook the scallions and ginger until nearly burned, and top the whole thing with a fried egg (or make it soft-boiled). Take note that most kimchi gets its funk from shrimp, anchovies and-or fish sauce, so if you'd like to make this dish vegetarian, make sure to use a vegetarian kimchi.
In a saucepan, heat the oil over medium-high heat. Once shimmering, add the scallions and ginger and sauté until soft and toasted in spots, about 2 minutes.
Add the kimchi, the rice, and 3 cups of water. Bring to a boil, then reduce heat and simmer, adding more water if necessary, until the rice is broken down and the porridge is the desired consistency (some like their porridge soupy, others thicker with most of the liquid absorbed), 15 to 20 minutes.
Turn off the heat and stir in the kimchi brine. Season with salt and more kimchi brine to taste.
To serve, fry eggs to your liking. Top each bowl of porridge with an egg, chopped scallions and a drizzle of sesame oil.
Make porridge up to three days in advance. Reheat over a low heat on the stove, covered. Add more water to return to desired consistency.


President Donald Trump has created quite the controversy on social media in the past week over certain NFL players decision to kneel during the national anthem before their games to protest racial oppression and inequality in the United States. Former San Francisco 49ers quarterback Colin Kaepernick was the first player to protest the national anthem last season by sitting down during a preseason game, and then kneeling during week one.
Since the start of the 2017 season, players from several NFL teams have chosen to protest by kneeling, sitting, raising their fists, placing their hands on teammates' shoulders and locking arms during the national anthem.
The morning of Sunday, Sept. 24, Patriots quarterback Tom Brady posted an Instagram picture with James White with the caption "Strength. Passion. Love. Brotherhood. Team. Unity. Commitment. Dedication. Determination. Respect. Loyalty. Work. #nflplayer." Shortly after, Green Bay Packers quarterback posted a similar picture on his Instagram of himself and teammates Davante Adams, Randall Cobb and Jordy Nelson. The caption included five hashtags: unity, brotherhood, family, dedication and love.
At a rally Friday night in Alabama, Trump demanded that players be suspended or "fired" by the NFL for disrespecting the flag. In a New York Times article posted on Sunday morning, Trump called for NFL fans to boycott games until the league suspends or fires players who refuse to stand for the national anthem.
"If NFL fans refuse to go to games until players stop disrespecting our Flag & Country, you will see change take place fast. Fire or suspend!" Trump wrote in a tweet on Sunday morning.
Robert Kraft, owner of the New England Patriots, is a close friend of Trump's; he has spent the night at the White House and ridden with the president in Air Force One. He also donated $1 million to Trump's inaugural campaign and presented him with a Super Bowl LI ring. He issued a statement Sunday morning in which he said he was "deeply disappointed with the tone of the comments made by the president" at the Alabama rally. "Our players are intelligent, thoughtful and care deeply about their community, and I support their right to peacefully effect social change and raise awareness in a manner they feel is most impactful," Kraft said.
White House officials fired back, stating that "this is a job," and that players have the right to have their First Amendment rights off the field.
Week three started off Sunday morning in London at 9:30 a.m. local time with some of the members of the Baltimore Ravens and Jacksonville Jaguars standing and linking arms during the ceremony, and others kneeling in response to Trump's tweets the past several days. The Pittsburgh Steelers stayed in the locker room for the national anthem during their 1 p.m. game Sunday afternoon against the Chicago Bears. Steelers Coach Mike Tomlin reportedly informed CBS Sunday morning of their decision to do so.