If you're looking for the best restaurants in Minneapolis and St. Paul, get your appetite ready and read on!
Our great state of Minnesota, and especially the Twin Cities metro area are expecting a HUGE influx of football fans waiting to see the #MinnesotaMiracle in action. Even if the Vikings aren't in the Super Bowl, the entire metro area is going to be crawling with football fans in town for the Super Bowl and all the related festivities.
Whether you're in town for the Super Bowl, or coming to Minnesota any time of year as a tourist, to visit family, or just to explore, there's one thing we have lots of here in Minneapolis: great restaurants!
The following are the best restaurants in Minneapolis! I use the "Minneapolis" term loosely here, because some of these are actually in St. Paul or the greater metro area, but they are close enough to Minneapolis that if you are in town for any reason, you can easily get to these places.
These are some of the best places to eat in Minneapolis based on opinions from not only myself, but friends, family and readers who have contributed to this conversation a few months back. Get your appetite ready, and let's talk about the best restaurants in Minneapolis!
A small place downtown that has earned it's spot on this list from it's fancy fare like duck terrine and rabbit plate, foie gras and sweetbread gratin. Might not be the place you'd think of post-Super Bowl, but is a popular date night spot.
This place was delish, though I found it to be a bit expensive. It's a smallish place and insanely popular so expect there to be a wait. They feature craft bourbon and beer along side simple locally sourced food. If you're a carnivore, this is a good place to go.
Arguably some of the best pizza in Minnesota, not to mention the incredible Italian food. Mangia in the eatery, then browse the Italian market to make some incredible stuff when you get back home. This is a favorite whenever we're in St. Paul, although we haven't been in forever and it looks like they've expanded since we've been there last to include Louis Ristorante and a patisserie as well! This one's located in downtown St. Paul by the Xcel Energy Center, but it might be nice to get away from the Super Bowl crowds in Minneapolis!
Inexpensive, no frills breakfast food that ( I have been told) is a perfect hangover cure. Maybe save this one for post-game day. But whatever you do, don't ask for the specialties to be made any way other than how they're written. NO substitutions on those. Oh, and don't hog the table when you're done. Be on your way. Don't say we didn't warn you.
The Hi-Lo Diner has some serious fans. And with good reason. This authentic diner actually was shipped to Minnesota from Pennsylvania! The servers are incredible, the food just as good. When it's patio season, the patio welcomes leashed dogs as well!
A true dive bar, this cash-only hole in the wall is the original home of the Jucy Lucy (a fact hotly debated by rival 5-8 Club, which was not mentioned by anyone therefore not included on this list, so…you but the judge). Featured on Food Wars, Man V. Food, Delicious Destinations and oh…did I mention Obama ate there and loved it?
Steaming hot bowls of pho, ramen and other delights are served up in this French-Vietnamese infusion restaurant in St. Paul Definitely a local fave!
No one thinks of the northern states when they think of fried chicken or southern comfort food, but Revival might just get you to change your mind. We Minnesotans aren't known for our sophisticated palette, nor for being able to tolerate spicy. We've even been accused of having food that's bland. Fortunately there's places on this list of best restaurants in Minneapolis like Revival who don't stop at "Minnesota spicy".
When you think about landlocked Minneapolis, you probably don't think "coastal seafood" but it turns out one of the best places to eat in Minneapolis is in fact a coastal seafood joint. I don't know how they do it, but it's crazy popular. Check out their Maine LOBSTAH, the fried walleye po'boy or a LOBSTAH roll.
Another downtown choice that offers French inspired plates with a local twist, housed in a building that was once a horse stable. Choices range from Bison Tartare to Venison and Grilled Pheasant. For when you feel like being fancy.
Smoked daily, and with a "when it's gone, it's gone" mantra, you'll never get yesterday's barbecue here, only the best, freshest smoked meats around. This counter service/takeout joint is some of the best barbecue in the north.
If Irish fare is your cup of tea, be sure to check out local favorite spot, The Local. It's one of my dad's favorite places, you'll often find him there before or after a game or concert downtown sipping on a Guiness or a Jamison on the rocks. Here you'll find a warm atmosphere and upscale pub food.
This one is expensive, and you have to reserve a spot in advance, but the food and atmosphere is the stuff of legends. An open kitchen concept and a 20+ course chef's tasting menu has earned this place a spot in the list of best restaurants in Minneapolis. It's full of surprises and is all but guaranteed to be pretty much the best night of your life. At least food-wise.
Think of a food truck without the truck. This neighborhood favorite came to be as a year-round offshoot of the popular food truck by the same name. Find all your food truck favorites here in one spot. Everything from tacos and burritos, to Korean BBQ, to sandwiches and rice bowls. A casual, fun place to eat some really tasty food truck fare without waiting out in the snow.
So there ya have it. These are 15 of my top picks for the best restaurants in Minneapolis. I would love to hear from you if you try any of these places. Which ones would you add to this list? I need to get myself out there to try some of these as well! If you're coming to Minneapolis for the Super Bowl or whatever reason your travels send you this way, I hope you enjoy your stay! Don't forget to check out my post on popular Minnesota road trip destinations as well if you're looking for fun sights to see and things to do while you're here!
What do you think of my picks for best restaurants in Minneapolis?


Grew Up... lonely, on Earth in the 21st century. Despite living in England with her aunt for most of her life, Amy stubbornly refuses to lose her Scottish accent. It's the one connection she has with her long-lost parents.
Living... without any particular direction in life in the boring, sleepy town of Leadworth, England.
Visiting... all of time and space. After being whisked away by an alien called the Doctor in his TARDIS time machine, Amy is able to visit everywhere from ancient Venice to a space station in the distant future. Life with the Doctor is like something out of a fairy tale – he's Peter Pan and she's Wendy Darling.
Profession... occasional "Kissogram." Amy dresses up in cute outfits to deliver messages and a kiss. It's probably not a long-term profession, but it's something to jazz up her otherwise mundane life. Once she gets an invitation onto the TARDIS, however, Amy throws herself into the life of a full-time time traveler.
Interests... the Roman military, powerful women in history, and her "Raggedy Man." Amy loves learning about attractive men and powerful women in history, and she spent a lot of her childhood researching the Roman occupation of Britain. But Amy's biggest childhood obsession was the Doctor, whom she first met when she was a little girl called Amelia. Her family assumed she was telling stories about an imaginary friend, and young Amelia spent years creating stories, dolls, and comics about the "Raggedy Doctor" whom only she believed in. Of course, she has had the last laugh.
Relationship Status... engaged to Rory Williams. Amy's known Rory since childhood, but she's also "the girl who waited" 14 years for the Doctor to return. Perhaps that explains why she runs away with the Doctor the night before her wedding.
Challenge... growing up. Though Amy may now be an adult, at least technically, she would much rather run away from her problems than face them. But while she at first uses the Doctor and his TARDIS as a way to escape her boring life and fulfill her childhood dreams, she slowly learns that traveling with the Doctor comes with its own set of responsibilities – like regularly saving the world.
Personality... fiery, brave, adventurous, and confident. In other words: Nobody puts Amy Pond in the corner, and she's happy to tell them so herself. Amy leaps first and looks later. She once bragged, "I never could resist a 'Keep Out' sign." Her bold love of adventure makes her an ideal time-traveling companion, although she sometimes puts on a brave face to hide her vulnerabilities.
Amy Pond's popularity ranking on CharacTour is #669 out of 5,000+ characters. See our top-ranked characters and read their profiles.


Apparently I have been neglecting my Blog! So here is a quick update for May. As many of you already know, I started my new Job at Llandegfedd at the start of May and have been pretty busy as a result. The Job is going great! and it's so good to be close to home and recording wildlife sightings on my patch again. Today was a perfect example of how great it is working on your birding patch as I came across my first Hummingbird Hawkmoth! Not the best photograph as it disappeared just as quick as it appeared alongside a stream feeding on Red Campions. While we're on the flower subject, I've been keeping an eye on the wild flower meadows at Llandegfedd this year as I have some Orchid tours todo in work in June. So far we have a decent show of both Common Spotted Orchid and Southern Marsh Orchid with the meadows being covered in Yellow Rattle and Bird's foot Trefoil. Hopefully this year we'll get a good show of Butterflies but so far the Dragonflies are really showing well, especially the Beautiful Demoiselles at Sor Brook.


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Tag Archives: play selection
The FPI Files: Nevertheless, Echo Persists in Giving Women a Voice
August 18, 2017 Female Artists, playwritingAhmed Best, Calamity West, Charlotte Miller, Chris Fields, Echo Theater, female playwrights, gender parity, Jacqueline Wright, Los Angeles, Mary Laws, new play, play selection, playwriting, Sharon Yablon, Tara Karsian, Teagan Rose, theaterJennie Webb
Damn them! Just when we're looking the other way, yet another woman playwright is getting a premiere at The Echo Theater Company, now in residence at Atwater Village Theatre. Over the past three seasons, over 50% of The Echo's productions have been written by women. And this time out, it's five women at once.
Nevertheless, She Persisted is an evening of short plays by female writers that explore the treatment of women in today's political climate. Well. With a kick-ass title and logline like that, we thought it was about time we reach out to The Echo's Artistic Artistic Director, Chris Fields, and playwright Mary Laws (whose Blueberry Toast premiered with the company last year, and has a piece in the evening) to see just what trouble this femme-friendly company is getting up to, now.
LA FPI: So… Which came first: the title or the plays?
Chris Fields: The title. All the plays were commissioned expressly for this evening. The writers were simply told the title of the night. These are playwrights who we've worked with before in different ways and/or wanted to work with. Basically, "on our radar." We were also aware of how different they are which we welcomed.
LA FPI: Five playwrights–Mary Laws, Charlotte Miller, Calamity West, Jacqueline Wright and Sharon Yablon. How did they each interpret the title?
Chris: We gave the playwrights the title of the evening and, of course, it was very provocative. We said that we weren't asking for overtly political plays but to please let that phrase percolate. Subsequently, the plays are very diverse in subject, tone, and world, but do consistently reflect some aspect of today's feminine experience. (You'll see!)
LA FPI: Which direction did you go in writing your play, Mary?
Playwright Mary Laws
Mary Laws: I am a thirty-one year old woman, and this is the first time in my life that I have seen our country so divided. I think if we can agree on one thing, we can agree that a lot of people are afraid: of the current administration, of the safety and security of our country, and of the dissolution of our basic human rights. As a woman, the latter is particularly troubling. When organizations like Planned Parenthood are attacked, our reproductive rights are threatened, and The President of the United States makes openly sexist and degrading comments about our female bodies, it's hard not to ask yourself: who is looking out for me? It's a scary time, and I wrote my play, yajū, as a response to these fears.
LA FPI: Not only are the plays written by women, but four of the five have female directors. Mary and Sharon are directing their own plays, but how were the other directors chosen?
Echo Theater Company Artistic Director Chris Fields
Chris: I engaged the directors from the company I thought would best serve the plays, basically. [Associate Artistic Director] Tara Karsian directs Charlotte's play and Ahmed Best, Calamity's. Teagan Rose had expressed a desire to direct and I thought this program, the play, etc. was the ideal opportunity for her to get started, and Jacquie is wonderful to work with.
Mary: I've long wanted to direct my own plays, but in the past when I've asked for this opportunity at other theaters or events, I've been given a simple and easy no. The reasons have always varied, but none of them ever seemed valid to me. When I told Chris of this desire, he was quick to invite me to direct my own play, once again demonstrating that The Echo is the kind of theater that takes risks on new artists and affords equal opportunity to those who seek it.
LA FPI: How has it been–a room full of women, working together?
Mary: I love working with women. I want to work with women until I die. Women are wickedly smart and unapologetically brave and infinitely strong. Women can do anything.
Chris: Sharon and Jacquie are old colleagues and collaborators, artists I see as very special to the Los Angeles theater community. Mary became part of our "family" last year–Sarah Ruhl sent her to us. Calamity lives in Chicago and is an old friend of Jesse Cannady, our new Producing Director, and we've been reading her stuff this year. Charlotte came to us a number of years ago through our connections at the Labyrinth in New York and we've been waiting to work with her. And she just moved out to LA.
LA FPI: We love that The Echo seems to have quite the open door policy when it comes to women playwrights! How are you fitting in, Mary?
Mary: The Echo has kept me in the business of writing new plays (which is no small feat in the land of film and television). Not only are they excited to tell my dark and twisted stories, but they've done much to support the work of other incredible female writers: Sheila Callaghan, Bekah Brunstetter, Ruby Spiegel, Jessica Goldberg, and Sarah Ruhl, to name just a few. Even more, the majority of the theater's leadership is comprised of women, from the mainstage directors and producers to the literary manager, Alana Dietze, to the inimitable Jen Chambers who runs the Playwright's Lab. The Echo is not only "female friendly" but female driven… which is smart, because if you ask me, today's most thoughtful and provocative theatermakers are women.
LA FPI: Okay, Chris. Are you afraid of getting a rep for staging, god forbid, "women's plays?"
Chris: Any institution or person who ghetto-izes plays by women is dumb. I revere and cherish talent, no matter who or how it comes.
Nevertheless, She Persisted —An evening of five world-premiere short plays by female writers that explore the treatment of women in today's political climate, plays from August 24 – September 4.
• yajū, written and directed by Mary Laws
• Sherry and Vince, written by Charlotte Miller, directed by Tara Karsian
• At Dawn, written by Calamity West, directed by Ahmed Best
• Violet, written by Jacqueline Wright, directed by Teagan Rose
• Do You See, written and directed by Sharon Yablon
For information and tickets, visit www.echotheatercompany.com.
Know a female or FPI-friendly theater, company or artist? Contact us at lafpi.updates@gmail.com & check out The FPI Files for more stories.
Want to hear from more women artists? Make a Tax-Deductible Donation to LA FPI!
Los Angeles Female Playwrights Initiative is a sponsored project of Fractured Atlas, a non‐profit arts service organization. Contributions for the charitable purposes of LA FPI must be made payable to "Fractured Atlas" only and are tax‐deductible to the extent permitted by law.
Creating an Awesome Festival Line-up
May 19, 2015 playwriting, Production, TheatreFemale Playwrights ONSTAGE project, Little Black Dress INK, play selection, producing, Tiffany AntoneTiffanyAntone
By Tiffany Antone
I got started in theatre as an actress. I loved being on stage, but I hated auditioning because that very necessary internal confidence that keeps a persom from being a neurotic mess was rarely in full bloom for me. Instead, I'd pretend I felt confident at auditions and then quietly go home where I could pick apart every choice I'd made and obsess in peace.
Then I directed my first show, which meant I was casting a show for the first time, and in so doing, I had a revelation: for the first time, I understood just how much time I had wasted locked in actor anxiety about things I had very little control over. After that experience, I auditioned with a lot more boldness, confidence, and less personal worth on the line. It was freeing.
I woke up this morning reflecting on this, because we at Little Black Dress INK recently announced our ONSTAGE Finalists and I thought it might be interesting to know how I came to narrow down what was a very awesome list of 36 plays to just 15.
First, it's important to know that we use a peer review process to select our initial semi-finalists, so all of our participating playwrights are responsible for determining the first cut. After that, I consider peer-review scores and Partner Producer nominations along with the points I'm outlining below to create what I hope will be an awesome and successful line-up.
So, in the interest of helping alleviate some writerly anxieties, I'd like to talk today about what I've learned—as a playwright—in the five years I've been producing new plays:
First, proofing your work is important, but a typo here or there won't sink the ship! I can't believe how many playwrights send in work that just looks like a hot mess. If you don't take my time as a reader seriously, why should I take your play seriously? Make your plays easy to read – format it in a way that is friendly to the eye and go over it for typos and grammar! BUT, that said, if a play is truly unusual, gripping, or awesome, I'm much more likely to excuse a few formatting hiccups. That's just the way it is. I would never not-produce a piece that I loved just because there were a few misspelled words. On the other hand, most of the time, the work that is the most compelling is usually also in top readable shape.
Contrary to popular belief, we don't just select the "very best" pieces. If I'm creating a festival line-up, I've got to build a satisfying one – and that means a mix of genres and topics and tones… I may have nine FABULOUS dramas, but if I produce an entire evening of dramas, my audience is going to be exhausted. The same holds true if I have multiple pieces that tackle the same subject: even if they're fantastic, I'm only going to put one of those in the line-up because including too many similar pieces in one night can feel redundant.
I like to use monologues in my fest, so I do. Monologues have been a really nice addition to our festivals – they are perfect curtain pieces that keep the audience engaged while we set the stage for the next piece. So, when I select my final line-up, monologues are something I put a lot of energy into. The other fabulous discovery I've made as a producer is how incorporating short scenelets (a 10-minute play comprised of several mini-scenes) into our fest between plays can provide a delightful through line in what is usually a fractured event. This is just my own preference – and other producers will have theirs. The reason I mention it is that if I'm selecting 5 monologues to help cover set changes, I might not be able to include that 9th totally awesome play in the line-up.
"Best" is relative. This one is a no-brainer, but I still mention it because I think even though we all know it, it helps to be reminded once in a while. Personally, I like plays that feel like they can only live on the stage. I like plays that challenge or delight me, plays that feel fresh and unique and unlike anything I've seen or read before… But what's the common thread in all that? Me, myself, and I. What's "fresh" to me isn't guaranteed to feel fresh to she/he/you – so it's an unpredictable factor that a playwright can't control and shouldn't fret over. What I like about our peer-review process is that it identifies a broad spectrum of work that is outstanding – not just from my own personal perspective, but from a variety of eyes – but as I winnow that list down to the final selection, my perspective comes back to fore. You could take our same group of 2015 semi-finalists and create a multitude of awesome festival line-ups, each uniquely reflective of what different producers were looking for… and there's just nothing a writer can do to change that. Which is why the best thing a writer can do is write work they believe in, send that work out in the best shape they can get it into, and repeat. Meanwhile, we'll be here sifting through the incredible amount of awesome work, trying our best to create a line-up that we feel best matches our mission, our audience, and—sometimes—our own personal aesthetic.
And there it is – my ten cents on festival selection. I hope it's of interest and of help to you, my fellow writers!
Same Shoe, Different Foot
December 27, 2011 LAFPIA Shayna Maidel, Brian Norris, Changing perspective, community theatre, Don't Dress for Dinner, Eurydice, God of Carnage, Harvey, play selection, Plays we love, Sarah Ruhl, The Pain and the Itch, Tiffany Antone, why do we write what we do?, Yasmina RezaTiffanyAntone
I've been reading a lot of plays lately – some current, most not – and I'm starting to see double, hate Neil Simon, and long for a new reading list…
You see, I'm part of the play selection committee at our community theater, and we've had a number of plays submitted for consideration in the 2012-13 season. It's an interesting position to be in, as the community I'm currently a part of isn't likely to take to something like Bruce Norris' The Pain and the Itch (although I love it), Sarah Ruhl's Eurydice (does it get more visually poetic than that?) or even Yasmina Reza's God of Carnage (though it is under consideration with a bevy of voiced hesitancies – hesitancies even though it won the Olivier and Tony and makes me pee my pants with writerly joy! Ack!)
So instead I'm re-reading The Rainmaker, A Shayna Maidel, and meeting Harvey and other plays I might not normally pick up (like Don't Dress for Dinner, which is pee-your-pants funny!) And each of these plays, while interesting or moving in their own right, have been pretty outside my "cup of tea" as a reader, and as a writer…
So I have to step out of the "What does Tiffany like" comfort zone and into the "What would this community like" (not-as-comfortable) zone. It's a super strange position to occupy, but I've found that (while frustrating at times) being forced to shift one's artistic POV like this can be enlightening, educational, and overall good for the writer's soul…
Because it forces you to thing commercially.
It forces you to think about the community you're living in/hoping to work in.
It forces you to think like anything but a writer.
Which then makes you turn around and look at your own work with a clearer eye to what a theatre might need/want vs. what your little muse thinks is pretty.
When's the last time you can say you looked at your own work like that? Don't we usually sit down with some characters/a story idea/whatever form your genesis usually tends to be, and a heart full of blood-pumping enthusiasm with very little thought of what a theatre needs?
I'd like to think that all the producing and committee-sitting I've done this past year is going to help me ask that question next time the story romance hits me… not so I can bury my idea in the "Nobody gives a shit" box (maybe I'll write about that tomorrow) but so that as I cook and scheme and start to work, I can think more realistically about how to develop my idea to be produceable…
After all, I'm not writing for my drawer, am I?
~Tiffany
April 10, 2011 Audience, Playwright, playwritingan artist's life, art, college, FPI, Kitty Felde, play selection, studentsKitty Felde
I'm looking forward to Tuesday. That's when I'm stepping on a plane to Rhode Island where yet another college is producing my war crimes play "A Patch of Earth." I'm looking forward to the talkback session with the students. They always ask the hard questions.
I've been very fortunate with this particular play to find exactly the right audience. It premiered at the Alleyway Theatre in Buffalo, where it won the Maxim Mazumdar New Play Competition. But it's not exactly the most commercial thing I've ever written. As my pal who runs MetroStage in Alexandria puts it, "it's hard to sell tickets to a show about slaughtering Bosnians at Srebrenica."
But it's exactly the right play for colleges, a place where young people spend hours debating moral questions. The play is the true story of Drazen Erdemovic, a Bosnian Croat who ended up fighting for all three sides during the Yugoslav war. He says he never killed anybody until his unit was sent to a farm outside of Srebrenica where they were instructed to kill busloads of men. He said he didn't want to shoot, but was told if he felt so sorry for the victims he could stand up there with them and be shot himself. And then his compadres would go back to his village and shoot his wife and child.
It's a story with characters around the age of college students, a story that happened in most of these students' lifetime. The play has a big cast (at least 9, as many as 30) with lots of good female roles. Perfect for college productions.
And it's had those college productions in Detroit, Pretoria, Costa Mesa, New Jersey, and now Rhode Island. (It even had one high school production last year in England!) "A Patch of Earth" was even published by the University of Wisconsin Press.
I don't write all this to brag on myself, but to remind myself that not everything I write is destined for the Taper. Or the Geffen. Or the Pasadena Playhouse. That doesn't mean the script doesn't have value. In fact, it might affect more lives by being the perfect script for colleges. Or for community theatres. Or for young audiences.
Write the play that's calling you to be written today. Worry about the audience it's written for after you're done. Because plays that need to be written seem to find their own audiences.
When Did You Know…?
October 7, 2010 LAFPI, Playwright, playwritingplay selection, playwriting, voice, writingRobin Byrd
At what point did you know that you were a playwright? When was the first time you said, "I'm a playwright" or "I write plays" and it sounded right. Was there some other career you were headed toward; where did you detour? Or, were you always on track?
Did you study playwriting or learn by trial and error? When did you find out that you were good at writing plays? Was it by osmosis or did you get an "A" on a writing assignment or some serious clapping at the end of one of your plays? What was the play?
When did you determine your voice as a writer? Did it catch you by surprise? What were you writing?
When did you know that life without writing was not an option…?
Part 4 (or) In Which we Juggle…
September 23, 2010 LAFPI, playwritingan artist's life, gender and ethnicity in play selection, LAFPI, Los Angeles, play selection, playwriting, support, theater, Tiffany Antone, Work Play and Authenticity, writingTiffanyAntone
I've always been a big advocate of "Competition of Self" – what I mean by this is that as I navigate the playwright's landscape, I may see many people winning accolades that I myself covet, but I truly believe that the only course of action from such observations is to learn from these talented writers as I myself strive to top my last work with the new. I may feel a flash of jealousy or of heartache, but I never think to myself "They won! They beat me!" Instead, I think to myself "DAMNIT! (sigh) Alright… well, what can I learn from this writer so that I can do better next time?"
It's one of the things that keep me sane.
But, in exploring this week's train of thought, I have to ask myself who my scripts are in competition with… It's certainly not the brain-child of Sarah Ruhl or Martin McDonough! While I like to think I write on par with them (don't we all) and while I have been influenced by both, no theater in their right mind is currently weighing my playscript and one of, oh, say David Lindsay-Abaire's, in their hands wondering "Gee, I wonder which we should go with." Because I'm simply not a big enough fish yet to be part of that kind of decision. Instead, my scripts are sitting in piles with other "emerging" playwrights – those that have a few awards under their belts, but no BIG productions… yet. We are engaged in silent battle for desk space and shelf space… We go head-to-head for literary manager's time and interest…
We playwrights just aren't present to witness the literary carnage.
And so, we send out scripts to various competitions, hoping that we'll win a reading or a ribbon, or, if we're lucky, some kind of travel or monetary prize… OR, if we're really lucky, an airline ticket stuffed with cash all wrapped in ribbons and trade magazine announcements exclaiming our brain-child a total GENIUS…
Yeah, that happens.
But the point is, we hope we will win accolades so that we can use the 5-seconds of fame to edge out the other scripts in that "emerging" pile to the left of the Lit Manager's elbow. (The pile that sits depressingly close to the lip of the desk and the gaping mouth of the trashcan…)
So what happens when a theatre company run by someone like that first artistic director endeavors to fill slots according to a cross-cultural quota? Does such thinking narrow the question from "Who's the best playwright?" to "Who's the best Latino playwright? Who's the best Woman playwright?" or "Who's the best transgender-African -American-who-walks-with-a-limp playwright?"
And is it helpful?
I don't know the answer… I wear enough hats to recognize that it's overly complicated. There have been times when, in reading a winning script, I've scratched my head and thought to myself "Jesus, I wish I had thought of this!" And there have been times when I've looked over lists of contest winners that read like a United Nations meeting, but included plays that I had actually turned away for (what I perceived to be) poor writing. I've been on both sides of the selecting and entering… and I still don't have an answer.
Because I want to believe that the best man or woman will reach the stage. I want to believe that if I keep growing as an artist, if I keep writing and dreaming and running this race, that my work will be recognized, produced, and applauded regardless of my gender or (lack of) ethnicity. I want to believe that I will get there on merit…
But as a woman playwright who is all-to-aware of the numbers before her, I will also take any advantage I can get.
I will enter contests designed to honor female playwrights, and I will challenge any contest or theatre company that seems to eschew balance in (perceived) favor to male playwrights over female. I will also look at a list like that one from the "UN" and sigh with frustration – What were the parameters of their evaluation if not totally and irritatingly PC?
Because I want it both ways.
And it all speaks to the one achingly human truth – no matter the rules or the designations, we are all of us reaching and scraping for the finish line. It's a business, it's a dream, it's a damned difficult trail. We try to find the best shoes to get us there… sometimes they're ugly, but if they get us there…
Well, more often than not (and no matter their "how") we will defend those shoe's merits to the death.
Because that goal, that gold, that rising above the tides to be seen, heard, my GOD, produced? Doesn't it seem built on a lot of hard spilt blood and tears all the same? Isn't it the mountain we look down on, and not our feet, even as we focus our eyes on the next looming peak?
(Tomorrow: Part 5 (or) Some and Summation )
Part 3, or The Angry White Woman…
September 22, 2010 LAFPI, playwritinggender and ethnicity in play selection, LAFPI, Los Angeles, play selection, playwriting, theater, Tiffany AntoneTiffanyAntone
Fast forward 6 years to yet another literary job, wherein I'm actually the person in charge this time – Yes, I reported to an artistic director, but this time I was running the literary department, which consisted of… oh… wait a minute, it was just me again.
Hmmm, maybe "being in charge" was really just a nice way of dressing up an otherwise low paying pile of responsibility 🙂
In any case, I was a woman on a mission!
This theatre company was also dedicated to Los Angeles writers, but specifically plays by, for, and about culturally diverse peoples. This time it was written into the mission statement, I had a very clear understanding of what they wanted and I loved the energy and the people responsible for this theatre.
I read a ton of beautiful plays (and not-so beautiful, of course) in my time there; all written by playwrights with something to say and with dreams of being heard. I learned a great deal about the art of the submission, I also learned a little bit more about those who submit… Particularly in the case of my first nasty email; a vociferous letter written to me by a white female playwright who had read over our submission guidelines and found them lacking.
Among it's many blistering accusations, the following stood out as the writer's main beef with me and the theater: "How nice of you to support female playwrights of color… what a shame the rest of us are left out in the cold."
I sat in shock for a good 10 minutes after I read the thing, wondering how in the world I would respond… Wasn't it the theatre company's prerogative to decide what its mission would be? And had they really denied "white women" a slot in its mission anyway? In their drive to represent diversity in LA, surely women as a whole were included as an under-represented people… or were we?
I wrote back to this woman in the kindest words possible "Thank you for your interest in our company, and for sharing your heartfelt opinions. While I, a female playwright as well, hear your frustrations, I encourage you to seek out more opportunities for women playwrights on the web, as there are quite a few…"
What else could I say? I certainly wasn't going to ask her for her script- she had been ridiculously spiteful. She had also signed her email anonymously as "an angry female playwright" or something like that, perhaps forgetting in the heat of the moment that her name would be clear as day in the "from" field of the email. (Note to all: if you're going to send an anonymous email, make sure it is, indeed, anonymous.)
In any case, it was an awkward exchange, but one I remembered well… And one that begged the question – Is polarity healthy? Are the limited support resources that exist fractured and specific for greater purpose? In creating our own sort of theatrical "Affirmative Action", are we creating better theater? And is this system breeding resentment among the very playwrights it is designed to help?
(Tomorrow – Part 4, or, In Which we Juggle…)
Asking the Tough Questions…
September 20, 2010 LAFPI, playwritingemerging playwrights, Equal Opportunity, play selection, playwriting, production challenges, theatre responsibility, Tiffany AntoneTiffanyAntone
I'm going to dedicate this week's blog to a sensitive subject – and I do so in the interest of stirring a discussion. I don't propose to have developed a hard and callused opinion on the matter, but I do, as a writer and literary manager, find myself asking these questions on occasion.
I think we all must.
A few weeks ago a submission announcement went around the web, which included a call to female playwrights and my personal email address.
While I worked to furiously track down the source of this submission call and staunch the flow of scripts steadily flooding my inbox, I also fielded submission after submission. Most of my responses were a polite "Sorry for the confusion, but here's our official submission language and the correct email address to submit to", but a few I could tell right off the bat weren't for us. One in particular was written in Spanish, and I wrote a very polite letter telling the playwright that we didn't do foreign language plays, but also included a list of theatre companies who might. She responded with a terse "So much for your mission of working with LA female playwrights, then, huh?"
Whoa. Hold your horses, lady!
What had just happened?
She went on to say that to claim our theatre company was interested in LA was a joke, that LA wasn't just "White."
Now, if she had done any research at all, she would know that our company is comprised of many different shades of people, and that yes, while we do have a large Caucasian population, we certainly don't only do plays by/for/or about them.
But facts are rarely an issue to those who have been hit by a nerve… This woman was angry not just at me, but at all the other literary managers or contest readers, or agents, who had (for one reason or another) not responded favorably to her material.
She was frustrated that her work further marginalized her from "Female Playwright" to "Female Foreign Language Playwright"
It threw me back into a familiar and sensitive loop…
(Tomorrow: Part 2, or, Rewind!)

redpajama_set_name: RedPajamaCommonCrawl


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Salmon is such a pretty fish to look at before you eat it. The color is just outstanding and almost unreal, that rather someone painted a square on my plate with acrylics or watercolors, not that a piece of fish is lying before me.
That's the wondrous science of food. It comes in all shapes and sizes and the most vibrant colors that even our minds couldn't fathom. I think that's one reason why food fascinates me. Not only does it come in so many shapes and forms, various cooking methods can transform it yet again. We are not cooks or chefs, we are inventors and scientists.
I've been wanting to enjoy fresh salmon at home for a while, but Rahul's not a huge fan of it and with it being so expensive, I haven't made the commitment – until now. Did I figure why not? I won't quit craving it until I have it, so I decided to try my hand at cooking salmon at home.
The butcher at Fresh Market persuaded me to try the wild Alaskan salmon versus the conventional salmon in their counter. The "regular" salmon was much lighter in color than the wild Alaskan salmon. It was almost comical to put them up against each other, but funny enough, it was the wild Alaskan salmon that was cheaper than the "normal" salmon.
From there, I took the salmon home and decided to bake it in a somewhat traditional way with lemon and dill. I opened the fridge and spotted the Maille Honey Dijon Mustard which I had used previously for my Grilled Cod Filets with Honey Dijon Mustard Glaze recipe.
Dill, lemon, and mustard work well together. The sauce is slightly sweet but also tangy and earthy, which paired well with the salmon without covering up its own distinct flavor.
I've attempted to create a few lighter meals recently, using chicken or fish or focusing on vegetables. The carbs don't always have to be the center of the meal, right? In reality, we've had a lot of heavy meals (or meals accompanied by a pint of beer) in which the next day I still feel a bit of that meal hanging out with me. The nice thing about salmon or fish, in general, is that I can eat a lot of it without feeling like I just ate a pound of beef.
Enjoy this salmon over a bed of lettuce with your favorite salad fixings or simply eat it as is! Above you can see the salmon filets and below you can see how I flaked the salmon to create smaller bites for the salad.
Grab a baking dish large enough to lay the salmon down flat. Run your fingers across the fish and remove any bones you may find.
Pat dry and set aside at room temperature for 10 minutes before baking.
Slice one lemon in 1/4″ or fewer slices. Layer the baking dish with lemon slices. Place the salmon skin side down on the lemon slices.
Create the sauce by whisking honey mustard, dried dill, salt and black pepper together. Using the remaining lemon, squeeze the juice into the mustard. Whisk together and spread it on the salmon. I used about 1/4 cups worth of sauce.
Bake for 12-15 minutes or until salmon is flaky and comes away from the skin easily. It will lighten up in color slightly and turn more pink than red.
Flake the salmon and layer on a bed of greens and vegetables or serve alongside rice. Or just eat it as is. Serve immediately.


text:
Jacques Labertonnière, né le  à Blois et mort le  à Vierzon, est un coureur cycliste français, professionnel de 1951 à 1955.

Biographie

En 1953, il termine deuxième d'une étape de Paris-Nice. La même année, il participe au Tour de France 1953 avec l'équipe régionale du Sud-Est, où il se classe cinquième d'une étape.

Palmarès

Par année
 1953
 Champion d'Auvergne de cyclo-cross
 1955
 Champion d'Auvergne de cyclo-cross

Résultats sur les grands tours

Tour de France
1 participation
 1953 : abandon ()

Notes et références

Liens externes

Musée du cyclisme

Coureur cycliste français
Naissance en janvier 1927
Naissance à Blois
Décès à Vierzon
Décès en février 2019
Décès à 92 ans

redpajama_set_name: RedPajamaWikipedia


A disgusting case of child abuse is a reminder of parents to be ever vigilant.
Sean Challe was a professional photographer who abused very young children in Kennewick and was given 30 years in prison this week.
Under the pretense of taking portraits Challe gained access to children too young to communicate effectively. Lucky for us, he took pictures of some acts aiding his prosecution. The courts gave him the maximum sentence and called it potentially the worst case of child abuse in Tri-Cities history.
Court records reveal parents were nearby during nearly every episode. The abuse was committed under their noses, so to speak. It's a disturbing reminder for all parents to exercise excellent judgment when leaving children alone with other adults.


We're launching something awesome – Story Supply Co.
I'd like to tell you about a new adventure I am embarking on.
Sometimes, we get an idea that feels like it could become something big. These ideas come at seemingly random times, like while you're driving or waiting in line to pay for groceries. You may worry that idea in your hand like a stone for a day or two, and then, it simply fades away. Writers and artists have these moments all the time. I suspect people in other fields do as well. But sometimes, you get an idea that seems to capture who you really are. It's an idea that keeps you up at night. It's an idea that gets you scribbling in a notebook, or making notes on a napkin or the back of your hand. It's an idea you know you have to pursue, even if it scares you.
A few years ago an idea such as this one came to me. In my case, the idea brought together a few of my creative and civic impulses—my love for stories, my near obsession for productivity tools (namely stationery), and my desire to make the world, even if just a little, a better place. So, I did what I imagine many people probably do, and I ignored the impulse to act. I made excuses. "It's not the right time." "I don't know where to begin." "I don't have the time or resources." And instead of the idea fading away on its own, I threw a blanket over it, kicked it under the bed and pretended it wasn't constantly floating around above my head until finally, well, that's why I'm writing this letter.
I'd like to introduce you to Story Supply Co.
Story Supply Company is a brand devoted to creating and selling analog tools that help people tell their story. Think notebooks, paper pads, postcards, posters, pens, pencils. Design and craft is at the heart of our products. We want products that look and feel good. We want products that inspire artists and makers to capture their ideas, design beautiful things, and share their stories. The products will also focus on sustainable manufacturing right here in the U.S. For example, many of our paper-based products will use companies like French Paper Company, a family-owned and operated mill that makes quality papers using 100% fully renewable hydro power they create on site. Pretty cool, right?
For every product you purchase, we send a Story Supply Kit to a kid with a story to tell.
In addition to well-made, useful and inspiring products, Story Supply Co. is driven to helping build stronger communities, and we think stories can help do just that. Stories matter. They help us connect and empathize with others. They make us a little bit more human. But most of all, stories, and the ability to tell and share those stories, give us a voice. And that's some pretty powerful stuff. Currently, many amazing organizations are empowering youth in under-served communities by teaching them writing skills and helping them find their voice. The ability to write, and the confidence to tell their stories, is making a lasting impact in these kids' lives. Story Supply Co. is partnering with organizations like 826 Valencia, 826 Boston, 826 D.C., and 826 LA, with many others in the works. For every Story Supply Co. product sold, we'll donate a Story Supply Kit to a kid in one of our partner organizations. Story Supply Kits will include items like notebooks, pencils, pens, looseleaf paper or other items that will directly support the creative learning endeavors of those students.
Help us build something awesome.
Please follow this link to the Story Supply Co. site.
Sign up using your email. Signing up guarantees you'll be the first to know about any new products, partnerships, or other adventures. You'll also be the first to know about our Kickstarter presale and product launch, which should be happening within the next few weeks. When you sign up, you'll receive a referral link to share with your friends and family.
Refer people who may be interested in what Story Supply Co. is doing.
Receive free products by getting your friends to sign up.
We've got lots of exciting plans for Story Supply Co., and they all start right here. We appreciate your help and can't wait to share the things we make with all of you.
Vito @ Story Supply Co.


Lemala Mara is the ultimate seasonal camp in Serengeti, within touching distance of the Mara River and set under large Euclea trees in the heart of the best game viewing area of the Northern Serengeti. Here, in this immense remote wilderness, almost double the size of the Masai Mara, guests can enjoy fabulous landscapes and terrific game viewing with practically no crowds. Resident wildlife numbers are exceptionally high, with prides of lion up to 30 strong, but nothing compared to when the migration starts arriving from June onwards. The area then turns into a wildlife paradise par excellence. Through June, July and August the wildebeest continue moving through the area, crossing and re-crossing the Mara River before heading north towards the Masai Mara. Several large herds remain behind and weather changes could easily bring the vast herds flooding back into the area from the Mara. Migration and predator action lasts up to the end of October, assuring this area's reputation as one of the finest wildlife areas in Africa.
At the camp's superb location, Lemala guests will be amongst the vast herds of migrating wildebeest and zebra. Two of the largest crossing points on the river are nearby and occasionally guests may observe the exciting crossings from the comfort of the camp. The spectacular Lamai triangle, Wogakuria kopjes and Kogatende airstrip are all very easily accessible.
Lemala Mara's naturalists/guides have exceptional local knowledge, enabling them to take guests to where the action is, in open 4x4 vehicles, away from the crowds. Lemala's vehicles are specifically designed for long game drives and come equipped with comfortable seats, charging units and a large refrigerator. The camp organizes great picnic breakfasts and lunches for those who want to go on full day game drives. Private vehicles can be booked in advance at extra cost and are subject to availability.
The camp is open from 23 June to 31 October and has 11 luxury tents (accommodating 22 to 26 guests). The new high specification tents are some of the most spacious and comfortable seasonal tents in Tanzania. Each tent is fitted with 2 double beds or 1 king size leather bed, warm duvets, flush toilet, large safari shower, running water, wooden cabinets and flooring, 24-hour solar lighting, outside lounger, games table and much more.
The mess tent offers separate living and dining areas with a central bar area and is beautifully decorated with leather sofas, chandeliers, side cabinets, rugs and chests. In the evening, guests gather around the campfire for sundowners before dining under chandeliers hosted by the camp manager. House alcoholic and non-alcoholic drinks are included at meal time.
Without a doubt, Lemala Mara is an exceptional camp with an beautiful location offering a high quality safari experience with superb local guides. The camp can be booked on a private basis. Guests arriving in their own vehicles should also ideally spend 2 nights at Lemala Ewanjan Seronera Valley, a beautiful camp with stunning views.
George Adamson, co-raiser of Elsa the lioness, and husband of "Born Free" author Joy Adamson, visited the Serengeti in the early sixties and describes the experience in "Pride and Joy", his autobiography. At this time he considered it probably the greatest of all game reserves in Africa and one man was mainly responsible - Bernhardt Grzimek, Director of Frankfurt Zoo. The Serengeti had suffered terribly from over-zealous hunting in the 1930's and from large-scale killing of game during the war. Grzimek applied himself to the tensions between Maasai need for grazing and the indigenous wildlife. He and his son carried out a massive survey, using planes to quantify the game, and identifying and logging the plantlife. He used his best-seller "Serengeti Shall Not Die" to raise funds and publicise the exercise. Thanks to the Grzimeks, and to John Owen who established a renowned scientific research establishment there, the Serengeti still has an amazing concentration of wildlife.
The 14,763 square kilometres of the Serengeti are probably most famous for being the southern end of the Great Migration. Every year over 1.5 million animals, mostly wildebeest but also zebra and Thompson's gazelle, follow their instincts and move through the western corridor on their 1000 kilometre journey to the fresh grazing of the Masai Mara. Predators pick off the weak, the laggardly and the young and crocodiles feast as the vast herd crosses the rivers but they continue their trek, as they have done since time immemorial. This is one of the earth's great sights - but it is by no means all the Serengeti has to offer.
The vast, flat central plains, made fertile by the ashes of the none volcanos of the Ngongoro highlands, are places of huge skies, of shimmering heat hazes, yet also of delicate wild flowers blooming after the rains. The savannah, sprinkled with Acacia Tortilis, has majestic termite mounds and rock formations called kopjes which make great vantage points for predators. The lion are abundant, the leopard are plentiful (yet still secretive) and black rhino and cheetah both breed here. There are more than 500 species of bird and, interestingly, 100 sub-species of dung beetle - a sign of a varied animal population! Ndutu, in the south, has small lakes where you may see hippo and water birds. Perhaps one of the best ways to see the Serengeti is a hot air balloon ride when, in the cool of the early morning, you may admire the grandeur, the vastness and the stunning landscape.


Registering for college courses doesn't have to be complicated.
At MCC, we make it easy to sign up for classes, see course descriptions, get course credit, and more. Plus, our advisors can guide you through any bumps in the registration process.
You can order a transcript 24 hours/day, 7 days/week. This service is provided by our partner, Credentials Solutions.
Check out the important dates and deadlines for the upcoming semester.
If you're registering in person or by mail.
Join the line before you arrive.
Brighton Campus: Sign up online or text "monroe brighton" to (585) 270-6691.
Downtown Campus: Sign up online or text "monroe downtown" to (585) 270-6691.
If you do not have access to MyMCC, click here to log in through Banner Self-Service.


John Toker, M.Ed. LD K-12, M.A. offers writing mentorship and author coaching for people who want to write books. John is an award-winning author; he wrote the acclaimed novels, "Conflicting Sanity", "LD Just Means Learn Differently" and soon to be published "Red Grows Green".
Screenplay query letter submission to over 300 Screenplay Agents and Managers instantly via email with Equery Direct.
Screenwriting directory containing over 2000 screenwriting industry contacts including agents, managers, film producers and production companies.
Thoughts about writing a novel from someone who's written three, had one published by a traditional publisher. Tips, techniques & theories.
Services include screenplay/TV script and treatment analysis, ghostwriting, rewriting and adaptation of novel to screenplay. Over 18 years helping individual writers, screenwriting contests, agents, studios and producers.


text:
Q: Logrotate behaving unexpectedly Find below the logrotate configuration that I'm using
/usr/local/nagios/var/nagios.log {
    copytruncate
    daily
    rotate 7
    compress
    missingok
    size 100M
}

And I could notice that the status file /var/lib/logrotate.status is getting updated with current date daily but the log file is not getting rotated and it's growing in GB's until the disk get filled.
What would be the problem?

A: The problem is likely that Nagios is never killed/restarted so that it starts logging to a new log file. Here are a couple examples that show how you'd go about doing the postrotate action.
/var/log/nagios/nagios.log {
daily
rotate 180
compress
dateext
missingok
notifempty
sharedscripts
postrotate
        /sbin/service nagios reload > /dev/null 2>/dev/null || true
endscript
}

Or something more direct:
/var/log/nagios/nagios.log {
    missingok
    postrotate
        /bin/kill -HUP `cat /var/run/nagios.pid 2> /dev/null` 2> /dev/null || true
    endscript
}

Letting Nagios do it
However in newer versions of Nagios it actually will rotate its own log files. The included logrotate configuration file even states as much.
On a Fedora 19 install of Nagios version 3.5.1-1:
$ more /etc/logrotate.d/nagios
# Important!  Nagios rotates its own logs.  Only enable this logrotate if you
# know what you are doing!

# For more information please see "log_rotate_method" in:
# /etc/nagios/nagios.cfg

# ----- logrotate config -------------
#/var/log/nagios/*.log {
#       missingok
#       weekly
#       notifempty
#       nocompress
#       create 644 nagios nagios
#}

redpajama_set_name: RedPajamaStackExchange


NEW YORK (IDN) - As part of the U.S. "rebalance to the Pacific", the growing convergence of their respective countries' interests in the Indo-Pacific region, and with an eye on China's increasing assertiveness in the South China Sea, Washington has initiated a trilateral dialogue involving both India and Japan.
U.S. Secretary of State John Kerry hosted the first session of the trilateral dialogue on September 29 with Indian External Affairs Minister Sushma Swaraj and Japanese Foreign Minister Fumio Kishida on the sidelines of the 70th United Nations General Assembly in New York.
Stressing the importance of the trilateral dialogue, the first of its kind, the U.S. State Department said in a media note that the United States, India and Japan together represent a quarter of the world's population and economic production power.
"The three Ministers highlighted the growing convergence of their respective countries' interests in the Indo-Pacific region. They also underscored the importance of international law and peaceful settlement of disputes; freedom of navigation and overflight; and unimpeded lawful commerce, including in the South China Sea," the media note said.
The State Department informed in a media note: The three foreign ministers reiterated their support for the Association of South-East Asian Nations (ASEAN) centrality in the multilateral political and security architecture in the Asia-Pacific region and emphasized the importance of the East Asia Summit as the premier leaders-level forum for addressing key political and security issues of the region.
The three countries agreed to work together to maintain maritime security through greater collaboration, the State Department said, adding that the United States and India welcome Japan's participation in the 2015 MALABAR exercise, held in the Bay of Bengal.
Since 2007, India has only hosted Exercise Malabar when the U.S. and India are the two participating parties. Malabar 2009, 2011, and 2014 all took place off the coast of Japan and included the Japanese Maritime Self-Defense Forces.
The State Department further informed that recognizing the three countries' extensive disaster response capabilities and converging interests, the three sides agreed to convene an experts-level group on humanitarian assistance and disaster relief to enhance ability to respond jointly to complex disasters.
"In an effort to capitalize on collective capacities in promoting regional economic linkages, the three Ministers launched an experts-level group on regional connectivity to identify collaborative efforts that can help strengthen regional connectivity, including between South and Southeast Asia," the media note added.
The three foreign ministers expressed interest in exploring trilateral cooperation on women's skill enhancement and economic empowerment to further social and economic development.
"All three welcomed the inaugural Trilateral Ministerial as a platform for strengthening cooperation and noted their interest in meeting again," the State Department said.


A hacker group called the Shadow Brokers leaked the NSA exploit EternalBlue (yes, that NSA – the US National Security Agency) to spread WannaCry across file mounts used by Windows systems.
So what's the new threat?
There is a new malware written using this method of spreading, dubbed WannaMine. The good news is that if you've patched your Microsoft systems with MS17-010 for WannaCry, you should be protected. But with this new malware popping up, I always recommend a thorough double check to make sure you are not vulnerable to other EternalBlue exploits.
It only takes one end user clicking a phishing email or with an easy to guess password to put your entire network at risk.
How is WannaMine different than WannaCry?
It doesn't encrypt your disk, but it will steal your CPU and slow your system down. It uses the computing resources on infected systems to mine cryptocurrency (for example Bitcoin).
Cyptocoin mining isn't new—people have been doing it from home to make a few dollars on the side for a while now. The WannaMine malware is now just doing it on a large scale using your CPU's. They are building a huge farm of infected systems to do the cryptocoin mining instead of using their own resources.
Below I've put together a quick Q&A to get you up to speed and discuss how to protect your company's infrastructure from the malware.
A: WannaMine steals the CPU cycles of an infected computer to do cryptocurrency mining on behalf of the malware owner. This will slow down your systems, as processing resources are being rerouted to serve the malware owners instead.
Q: Can this damage my computers?
A: In its purist form WannaMine will only take your CPU's and isn't written to destroy data or steal it. But once the malicious software is running on your computer, it's not a far leap for the hacker to start using it to steal your critical data and intellectual property, spread ransomware or use your computer to attack other systems in your network or someone else's.
Q: If I don't own any cryptocurrency, am I still susceptible to this attack?
A: Yes, you are. The hackers are using your CPU to earn their own cryptocurrency, not steal any you may or may not have yourself.
Q: Can defensive software prevent WannaMine attacks?
A: Yes, security software like network and endpoint defense systems, network breach detection and vulnerability management can all form protective layers around your systems.
A: Confirm that you have MS17-010 installed on all of your Microsoft systems (servers and desktops). Then, ensure your end users are up-to-date on training so they don't click on any phishing emails trying to spread this malware.
If you want to refresh your users on how to spot phishing emails (these emails can look incredibly authentic!), Lewan has developed a training module that can be delivered to your company. to schedule a session and find out more about the entire suite of infrastructure security solutions we offer our clients.


text:
Q: Passing CSRF token in Alamofire request parameters I want to log a user on my website which has a CSRF token in his login form. I'm using Alamofire with Swift on IOS.
Here is the form code:
                   <form id="login-form" class="body" action="login" method="post">

                                    Identifiant
                                    <input id="username" type="text" name="username" class="form-control" required/>

                                    Mot de passe
                                    <input id="password" type="password" name="password" class="form-control"
                                           required/>

                                        <input type="hidden" id="csrf_token" name="_csrf"
                                               value="7cf3b95d-1310-4d00-b1b2-7040340b12e6"/>
                                        <button type="submit" class="btn btn-lg btn-primary btn-block">
                                            Connexion
                                        </button>

                            </form>

I created a function which returns the CSRF token. Then I call another function which logs the user with his credentials and the CSRF token.
Here is this function:
func login(token: String, completion: @escaping (_ success: Bool) -> Void) {

        let customerURL = "https://mywebsite.com/uaa/login"
        let user = "username"
        let password = "password"
        let parameters = [ "username" : user, "password" : password, "Authorization" : token]

        Alamofire.request(customerURL, method: .post, parameters: parameters, encoding: JSONEncoding.default)

            .responseString { response in

                switch response.result {
                case .success:
                    print("Validation Successful")
                    if let JSON = response.result.value {
                        print(JSON)
                    }
                case .failure(let error):
                    print(error)

                }
        }
    }

But when I run my app, here is what I get:
{"timestamp":1510425797543,"status":403,"error":"Forbidden","message":"Invalid CSRF Token 'null' was found on the request parameter '_csrf' or header 'X-XSRF-TOKEN'.","path":"/uaa/login"}

Any idea? Thanks in advance for your help!

A: 'null' was found on the request parameter '_csrf'

I see you are using 'Authorization' name for parameter while the API compline that it reads it from '_csrf' change the name of the parameter from 'Authorization' to '_csrf'
from
let parameters = [ "username" : user, "password" : password, "Authorization" : token]

to
let parameters = [ "username" : user, "password" : password, "_csrf" : token]


text:
Internet counterfeit: recent divergent decisions in France and the US suggest a need for cooperation between rights holders and service providers
France, USA September 4 2008
With the advent of the Internet, counterfeiting activities are thriving on a worldwide scale, in spite of efforts to combat such activities made by global online service providers and rights holders. Balancing the interests of every party involved is a daunting task.
Courts in the U.S. and France recently issued decisions in cases involving trademark infringement and other claims made by Tiffany (in the U.S.) and general French tort law claims made by Louis Vuitton and Christian Dior Couture (in France) against eBay. In each instance, the rights holder sued solely eBay, not the individual sellers, with the aim of halting the increase of counterfeiting activities on the prominent online marketplace. The District Court for the Southern District of New York found for eBay in a decision dated July 14, 2008. The Paris Commercial Court found for Louis Vuitton and Christian Dior Couture in two identical decisions (except for the amount of damages granted), both dated June 30, 2008.
The facts in the cases at hand were similar. In each instance, the owner of a trademark for luxury products of worldwide renown, with closely-controlled distribution channels, objected to the allegedly rampant sales of counterfeit goods on eBay. To support their claims, the rights holders conducted surveys that concluded that a high portion of products bearing the respective plaintiffs' marks sold on eBay were counterfeit. For its defense, eBay submitted evidence regarding the significant measures initiated by the company to curtail and prevent counterfeiting activities. The U.S. decision offers a comprehensive description of eBay's anti-fraud efforts. First, eBay developed a fraud engine to detect indicia of counterfeiting apparent on the face of listings. Second, eBay created a Verified Rights Owner ("VeRO") program, pursuant to which rights holders are provided with tools to police their trademarks and alert eBay through a form of notice-and-takedown procedure. eBay also allowed rights holders to create an "About Me" page to inform eBay users about their products and intellectual property rights.
Balancing the interests of eBay and rights holders requires courts to decide whether the ability of the trademark owner to identify counterfeit goods and enforce its rights should prevail over the extent of eBay's control of its platform.
At first glance, the decisions appear to contradict one another. Despite the fact that they rest upon similar factual findings, the U.S. and French decisions significantly differ as to the standards of liability applied. Because the applicable standards of liability pervade the reasoning and the findings of both the district court and the French court, we will address this issue before discussing the facts themselves.
Who Should Bear the Burden of Policing Counterfeiting Activities?
The standards applied by the French and U.S. decisions differ not only in their substance but also in their subject matter. The French decisions discussed almost exclusively the applicability of the liability regime of Internet service providers (ISPs) and online hosting providers, whereas the U.S. decision focused on trademark infringement.
Tiffany: U.S. District Court Holds That Rights Holders Bear the Burden of Protecting Their Trademarks
As noted by the district court, "Tiffany's contributory trademark infringement claims dominated the trial testimony and the post-trial submissions." Nonetheless, we will briefly address Tiffany's direct trademark infringement, unfair competition, false advertising, and direct and contributory trademark dilution claims.
Direct Trademark Infringement, Unfair Competition, False Advertising, and Trademark Dilution
To support its direct trademark infringement claim, Tiffany submitted that eBay promoted the availability of Tiffany jewelry on eBay using the Tiffany name, in particular by advertising the sale of Tiffany jewelry on its home page, advertising to its sellers and buyers alike that "Tiffany" and "Tiffany & Co." are two of the top search terms in the Jewelry and Watch category, and providing a list of popular brand names, including "Tiffany," on its Web site that, when clicked on, bring a user directly to the listings offering Tiffany merchandise. Tiffany also submitted that eBay purchased sponsored links to advertise the availability of Tiffany goods on outside search engines such as Google or Yahoo! Tiffany contended that such acts demonstrated the participation of eBay in the sales of counterfeit merchandise on its Web site, and that eBay profited from this activity by taking a listing fee and a percentage of the sales prices of each item sold.
The court applied a two-pronged test pursuant to which Tiffany had to prove that it held a valid trademark entitled to protection, and that eBay's use of the trademark was likely to cause confusion as to the origin of the goods in order to succeed. The court concluded that Tiffany satisfied the first prong of the test; however, under the second prong, the court focused on the defense of nominative fair use. Because it is impossible for consumers to identify the source of Tiffany goods without using the Tiffany trademark, the court concluded that, even if eBay's use of the trademark met the second prong of the direct infringement analysis, such use was protected under the nominative fair use doctrine.
The statutory defense of nominative fair use also was pivotal to the dismissal of the claims of unfair competition, false advertising, and trademark dilution.
Contributory Trademark Infringement
The court held that rights holders bear the principal responsibility to police their trademarks. Consequently, for its contributory trademark infringement claim to succeed, Tiffany had to prove that eBay "continued to supply its service to those whom it knew or had reason to know were engaging in infringement" and did not take "appropriate steps to cease making its Web site available in those instances where Tiffany brought objectionable conduct to its attention." Absent such requisite knowledge, the court held that eBay was "under no affirmative duty to ferret out potential infringement."
In its discussion of knowledge, the court refused to endorse the "reasonable anticipation" standard as the appropriate standard for knowledge. Under the reasonable anticipation standard, a party may be found liable where "the actor fails to take reasonable precautions against the occurrence of the third person's infringing conduct in circumstances in which the infringing conduct can be reasonably anticipated." Relying on a Supreme Court precedent, the district court dismissed the "reasonable anticipation" standard as a "watered down standard."
The district court instead examined whether eBay's generalized knowledge of trademark infringement on its Web site was sufficient to meet the "knowledge or reason to know" prong of another case. The court decided as a matter of law that generalized knowledge of counterfeiting activities, rather than specific knowledge tied to particular instances of infringement, was insufficient to impose upon eBay an affirmative duty to take action to remedy the infringing activities.
hristian Dior Couture/Louis Vuitton: eBay is Not a Mere Hosting Provider
The main inquiry undertaken by the French court was to determine the status of eBay, i.e., to what extent eBay could rely on the safe harbor provided to hosting providers pursuant to French law.
The French act of June 21, 2004, on digital economy was enacted to implement the European Directive 2000/31/EC of June 8, 2000, on electronic commerce. It created a so-called "safe harbor," similar to the safe harbor of the U.S. Digital Millennium Copyright Act, pursuant to which Internet service providers and hosting providers are under no general obligation to monitor the information that they transmit or store. Hosting providers are liable only to the extent that they have knowledge of the existence of manifestly illegal content and do not take down this content. Hosting providers will be presumed to have knowledge if they are served with an appropriate notice, the so-called "notice-and-take-down procedure."
The applicability of the safe harbor provisions currently is highly debated before French courts. Case law is shifting as to whether such platforms are hosting providers protected by the safe harbor or publishers subject to stringent duties. Some decisions even departed from the regime provided under the act on digital economy and held that hosting providers, under certain circumstances, must take further steps to prevent copyright infringements.
In this case, the court held that eBay was not eligible for the safe harbor protection because eBay was not a mere technical intermediary hosting third-party classified advertisements, but instead acted as a facilitator that participated actively in the sale of products on its platform.
The court therefore applied general French tort law and held that eBay was under the obligation to ensure that its activities do not generate unlawful acts. The court ultimately decided that eBay failed to exercise the proper duty of care with regard to unlawful activities taking place on its platform.
The court determined that the activities of eBay facilitated and increased the selling of counterfeit goods and was wrongful.
Why Should One Bear Such a Burden?
The standard that each court deemed applicable to the case at hand deeply affected the findings and the reasoning applied.
eBay's Role
The Extent of eBay's Control
The French court stated that because eBay acts principally as a facilitator, it has knowledge and control over the information transmitted on its Web site. The court further stated that eBay's users were acting under the control or the authority of eBay.
The district court, on the other hand, appeared more concerned about eBay's lack of physical control of the goods, noting on several occasions that eBay is never in possession of the goods sold on its Web site, than it was with the extent to which eBay could exert more control over listings. The district court clearly took into account the statement of eBay's Senior Vice President and Deputy General Counsel, who testified that eBay "reached the end of what is technically feasible to do." However, the district court also acknowledged that eBay "maintains significant control over the listings on its Web site" noting that "certain categories of items are entirely barred from the Web site."
The Extent of eBay's Participation
The district court acknowledged the participation of eBay in sales on the site, noting that eBay "takes an active role in supplying customers – namely, registered buyers – to registered sellers, and actively facilitates transactions between them," and "has actively promoted the sale of Tiffany jewelry items" by mentioning the term "Tiffany" to eBay sellers as one of the most effective keywords, and even by purchasing sponsored links for this term. The district court also acknowledged that eBay derived profits "from the listing of items and successful completion of sales, through insertion fees and final value fees." This analysis is similar to the findings of the French court.
However, the district court and the French court do not attribute the same effects to eBay's role. In the district court decision, eBay's active role merely justified the application to an online service provider of the above-mentioned contributory infringement standard used inter alia for flea markets, which retain physical control of the goods offered. Because "eBay exercises sufficient control and monitoring over its Web site," the court concluded that eBay was analogous to a flea market, rather than to a mere online classified ad service. With regard to the other claims, eBay was protected under the nominative fair use doctrine.
For the French court, the extent of eBay's participation provided nearly all of the justification for the denial of the safe harbor protection.
The Extent of Counterfeiting Activities on eBay
Both French decisions rested heavily upon the non-adversarial findings of the same "well-known" expert for both cases. This expert estimated the total percentage of counterfeit goods available on eBay at 90 percent in both cases, based on a three-month survey. The court dismissed eBay's challenge of the validity of this expertise and based the amount of damages to be granted solely on the estimates of the expert, which were based on an extrapolation of the actual survey and an increased license fee.
By contrast, the district court proved to be skeptical toward the evidence presented by Tiffany. Tiffany conducted two surveys on eBay, coined "Buying Programs," which determined respectively that 73.1 and 75.5 percent of the items purchased were counterfeit. The district court dismissed this initiative as flawed, stating among other things that "the Buying Programs provide limited evidence as to the total percentage of counterfeit goods available on eBay at any given time." While the surveys were being conducted, Tiffany suspended its reporting to eBay of infringements, which caused the court to criticize the results of the services because "the items identified by Tiffany during the Buying Programs would likely have been removed by eBay had they been reported." The district court also focused on the size of the legitimate secondary market in Tiffany goods, noting the absence of any element to appraise this market, and appeared mindful in its ruling to avoid stifling the sale of authentic Tiffany jewelry.
The Merits of the Decisions
These conflicting decisions demonstrate the challenges faced by judges when applying principles of liability to the economy of new media. The French decisions are predicated on the significant revenues that eBay derives from its activities. By contrast, the U.S. decision focused on the duty of the trademark owner to police its trademarks in electronic commerce.
The U.S. decision rested upon the traditional trademark liability scheme. As acknowledged by the court, "policymakers may yet decide that the law as it stands is inadequate to protect rights owners in light of the increasing scope of Internet commerce and the concomitant rise in potential trademark infringement." The French decision, on the other hand, contemplated the application of the existing legal framework applicable to electronic commerce, but decided against granting the safe harbor protection to eBay.
Regardless of the result, the U.S. decision deserves credit for clearly establishing the burden of policing counterfeiting activities. The French decisions are difficult to interpret to the extent that they did not address in detail the efforts made by eBay to combat counterfeiting activities on its Web site. The French court did not take into account efforts made by eBay, such as the VeRO program, because the claims were related to prior infringements. On the contrary, the court noted that such measures evidenced prior negligence and eBay's knowledge of its liability. It is therefore not possible to accurately assess the position of French courts regarding eBay's current anti-fraud efforts. It also should be noted that the French decisions were rendered by the Paris Commercial court, which is a system of special courts for litigation between merchants composed of lay judges with a simplified procedure. Commercial courts tend to be less sophisticated than the specialized divisions of French civil courts regarding intellectual property matters. Pursuant to a recent reform, commercial courts soon will no longer have a competing jurisdiction over intellectual property matters.
An eBay spokesperson announced that the company will appeal the French decisions, which will be reviewed by the Paris Court of Appeal, i.e., the regular French civil court of second instance. In addition, Tiffany has filed a notice of appeal to the 2nd Circuit.
Recommended Response to Counterfeiting Activities for Rights Holders and Service Providers
Notwithstanding the standard of liability applied, the district court clearly heeded eBay's anti-fraud efforts. The district court concluded that "it cannot be said that eBay failed to make reasonable inquiries or to take further steps to pursue counterfeiters." To reach this conclusion, the court took into account various measures implemented such as a delay in displaying certain listings or the prohibition of one-day to three-day auctions to enable rights holders to monitor eBay's Web site more effectively, the display of warning messages, and the implementation of Tiffany-specific filters, and Tiffany-specific manual searches. Conversely, the district court found that Tiffany invested "relatively modest resources" to combat counterfeiting, noting the existence of service providers or algorithm-based methods to address the issue. The court concluded that Tiffany made no effort to expedite or facilitate the process of policing counterfeiting activities.
Despite stringent applicable standards, both French and U.S. courts were mindful of the efforts and resources engaged by both parties. The issue of counterfeiting activities requires the diligence of every party involved. Consequently, rights holders should use all the tools and features available and dedicate a sufficient amount of resources to combat counterfeit sales. At the same time, service providers should continue to design and improve tools by exploiting emerging technologies in order to streamline their activities and facilitate monitoring by their internal services as well as by rights holders.
As explained by both courts, the issue is not whether counterfeit sales should flourish on eBay. In spite of opposing results, the district court and the French court were sympathetic to all parties affected by counterfeiting activities. Ultimately, the answer may lie in enhanced cooperation between rights holders and service providers.
Hogan Lovells - Xavier Buffet Delmas d'Autane and Thomas Zeggane
Online service provider
Related France articles
eBay wins some (in the US), loses some (in France) *
eBay's legal battles continue: a French victory and a prudent English test case *
Internet auction site off the hook: New York federal court finds Tiffany, not eBay, responsible for policing sales of counterfeit goods * - USA
Tiffany (NJ) Inc v eBay Inc * - USA
Tiffany loses suit against eBay over counterfeits * - USA
Bernd Schlenther
Senior Manager: Central Risk Unit
Customs Risk Management & Intelligence Division
"I use the newsfeeds to follow legislative changes and industry trends relevant to my division. I find the articles to be of a good quality and the topics are well researched and presented in a very user-friendly format."


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L'acétate de linalyle est un composé chimique de formule brute C12H20O2. C'est un ester de la famille des terpènes.

L'acétate de linalyle est l'un des principaux composés des huiles essentielles de lavande et de bergamote.

Structure et propriété

L'acétate de linalyle existe sous la forme de deux énantiomères, R et S, en fonction de la configuration du carbone 3.

C'est un liquide incolore, à l'odeur douceâtre, très peu inflammable, mais en cas de chauffage important, il s'enflamme sans source de flamme extérieure. Il est légèrement soluble dans l'eau et légèrement volatil.

Utilisation

L'acétate de linalyle est principalement utilisé en parfumerie. L'odeur de l'un de ses énantiomères est l'une des composantes de l'arôme de lavande.

En raison de sa relative stabilité en milieu basique, il est utilisé pour parfumer des savons ou des lessives.

Obtention

Présence dans la nature
L'acétate de linalyle se trouve en quantité importante dans l'huile essentielle de lavande (30 à 60 %), la sauge sclarée et l'huile de bergamote.

Synthèse
L'acétate de linalyle est obtenu par estérification de l'alcool correspondant, le linalol.

Notes et références

Arôme
Composant de parfum
Ester acétique
Monoterpène


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