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Tag Archives: Charlyne Yi
Cinema Dispatch: Jexi
Jexi and all the images you see in this review are owned by Lionsgate
Directed by Jon Lucas and Scott Moore
We are still VERY much in catch up mode right now and it's starting to get a bit distressing as more and more movies I wanted to see close to leaving theaters, but at least I managed to catch THIS one which somehow got to my second run theater a good three to four weeks before I would have expected it to! You know how I found out that they had it? I USED MY PHONE!! It all connects if you look hard enough! Anyway, does this story about a phone with a heart of gold and the mouth of a sailor manage to be a biting and hilarious critique of how we interact and even bond with our electronic devices, or is it just a silly movie about the kids these days and their addition to screens? Let's find out!!
This is the story of a man named Phil (Adam DeVine) who spends all his time on his phone and has no connections with anyone else; especially at his job where he writes top ten lists for a website run by the maniacal Kai (Michael Peña). I'm not sure why he has to go to an office to do that, especially since he doesn't seem to get anything out of being around other people like his coworkers Craig and Elaine (Ron Funches and Charlyne Yi), but that's his life and he seems to be content with it. Until of course his phone breaks after a run in with a local bike shop owner named Cate (Alexndra Shipp) and he has to go buy a new one which seems simple enough but turns into madcap hilarity when the AI assistant turns out to be a wise cracking, truth telling, emotionally berating, hard ass named Jexi who doesn't put up with ANY of Phil's crap and tries to get his life in order if for no other reason than how embarrassing it is to be around him. At first it seems to work as her tough love advice leads to him making friends at work, expanding his horizons a bit, and even landing a date with Cate, but once the job of fixing him comes closer and closer to being finished what is left for Jexi to do? Can Phil put his life back on track and learn to be the kind of person those MILLENNIALS ARE RUINING EVERYTHING articles wants us to be? What will Jexi do once she's no longer needed and Cate starts to horn in on her territory? Is this what the AI in HER would have acted like if she was the star of that Joker movie?
"You wanna know how I got these scars? YOU DROPPED ME WHILE EATING THAT CANDY BAR!!" "Oh come on baby! I got you that protective case, didn't I?"
This entry was posted in Cinema Dispatch and tagged Adam DeVine, Alexandra Shipp, Charlyne Yi, Jon Lucas, Justin Hartley, Kid Cudi, Lionsgate, Michael Pena, Movie Review, Ron Funches, Rose Byrne, Scott Moore, Wanda Sykes on November 6, 2019 by Matt Vetrano.
Cinema Dispatch: The Disaster Artist
The Disaster Artist and all the images you see in this review are owned by A24
Directed by James Franco
I may not be as over the moon in love with The Room as plenty of other people are, and it has admittedly lost a bit of its charm once you realize just how misogynistic the whole thing is, but it certainly has my respect as being one of the more unique examples of a GOOD BAD MOVIE due in no small part to the auteur himself, Tommy Wiseau. Now he's far from the only ridiculously cocky creatives out there who write, direct, and star in what they perceive to be their one true masterpiece (*cough* Old Fashioned *cough*), but with Mr Wiseau there's a genuine sense of mystery about the guy as many details of his origin are STILL unknown to this day (HOW IS THAT EVEN POSSIBLE IN THE INTERNET AGE!?) and his… shall we say UNIQUE brand of acting certainly sets him apart from many of the other low rent struggling artists out there. No doubt there is a VERY interesting story to tell about this one guy, his one movie, and his friendship with co-star Greg Sestero, which the wannabe auteur himself James Franco has opted to do by adapting Greg's book The Disaster Artist into a motion picture; one that he directs, produces, and stars in of course. Will this examination of one of Hollywood's biggest oddities be a worthwhile exploration of the creative process and what it truly means to be an artist, or are we just desperately trying to milk a novelty that had lost its luster many years ago? Let's find out!!
The movie follows the journey of two men; aspiring actor Greg Sestero (Dave Franco) and… I guess aspiring actor as well Tommy Wiseau (James Franco). The two meet in an acting class where Greg finds the eccentric weirdo with bad hair and a worse accent rather endearing for his utter fearlessness and ability to throw himself out there in ways that Greg is still struggling to do despite his hopes of becoming an actor. Because of Greg's admiration for Tommy and Tommy's love of being admired, the two move in together and work their way through Hollywood; getting small gigs here and there but nothing that will truly set them apart from the thousands of other working actors cluttering the streets of LA. After a particularly rough string of bad luck, Tommy eventually starts writing his own movie and wants none other than Greg himself to be the co-star. The Room is what he titles his masterpiece and he funds it himself with his seemingly unlimited supply of money but things go from awkward to unsustainable as Tommy's ego and complete inexperience with the process starts escalating tensions with the cast and crew and even with his best friend Greg who's trying to stick by him but is finding it hard and harder to deal with Tommy's unpredictable behavior. Can Tommy find it within himself to get past his issues and foster a good working environment for the only people in the world who are helping him achieve his dreams? Will Greg stand by his best friend, or will he realize just how much Tommy is holding him back? WILL THE WORLD EVER UNDERSTAND THE BRILLIANCE OF THIS ONE MAN'S VISION!?
GENIUS!!
This entry was posted in Cinema Dispatch and tagged Adam Scott, Alison Brie, Andrew Santino, Angelyne, Ari Graynor, Bob Odenkirk, Brett Gelman, Brian Huskey, Bryan Cranston, Casey Wilson, Charlyne Yi, Christopher Mintz-Plasse, Danny McBride, Dave Franco, David DeCoteau, Dylan Minnette, Greg Sestero, Hannibal Buress, Ike Barinholtz, J. J. Abrams, Jacki Weaver, James Franco, Jason Mantzoukas, Jason Mitchell, Jerrod Carmichael, John Early, Josh Hutcherson, Judd Apatow, June Diane Raphael, Kate Upton, Keegan-Michael Key, Kevin Smith, Kristen Bell, Lizzy Caplan, Megan Mullally, Melanie Griffith, Movie Review, Nathan Fielder, Paul Scheer, Randall Park, Seth Rogen, Sharon Stone, Sugar Lyn Beard, Tom Franco, Tommy Wiseau, Zac Efron, Zach Braff, Zoey Deutch on December 10, 2017 by Matt Vetrano.


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Innovation schools COVID and Schools COVID-19 in Indiana
Indiana blocks some charter schools from $10 million coronavirus relief grant program
Indianapolis charter schools that won grants learned that restrictions that weren't mentioned in the initial application would prevent them from accepting the money.
The state notified several Indiana schools last week that they had won competitive grants, but some charter schools won't receive the grants because of restrictions.
Alan Petersime/Chalkbeat
A $10 million grant program meant to help Indiana schools grapple with the impact of the coronavirus is pitting charter and traditional public schools against each other and creating tension over how to divvy up federal aid.
The state notified several Indiana charter schools last week that they had won competitive grants to help them serve the most vulnerable students. But then the schools learned that restrictions that weren't mentioned in the initial application would prevent them from accepting the grant.
The Indiana Department of Education is withholding federally funded coronavirus relief grants from schools that also received money through the federal Paycheck Protection Program, according to interviews with and documents shared by school leaders.
Dozens of Indiana charter schools received federal PPP funds — forgivable loans aimed at helping small businesses continue paying employees during the pandemic. Charter schools qualified for the loans because they are run by nonprofits, but traditional public school districts were not eligible.
The loans to charter schools drew outrage from some people because charter schools were still receiving public funding and some have wealthy benefactors. (Chalkbeat is also a nonprofit and received federal paycheck protection funding.)
The two funding streams have different purposes. While schools must spend the PPP money on salaries and facilities in order for the loans to be forgiven, the Indiana Department of Education grants are meant to help schools serve students and could go to other expenses, such as technology. The grants are a small slice of Indiana's federal CARES Act allocation, which included $215 million for schools.
In a memo to schools in May, the department told schools it would prioritize applications from rural districts with limited resources; hard-hit areas; education-related organizations like juvenile correctional facilities; and schools that serve at-risk students, such as English learners and homeless students.
For Matchbook Learning at School 63, the grant seemed like a natural fit. Nearly 37% of the school's 600 students are English language learners, and 98% come from low-income families. The school's west side Indianapolis neighborhood has also been hit hard by the coronavirus, said Eric McGuire, director of personalization. Matchbook planned to use the grant to hire a social worker with experience in therapy to help students deal with trauma, officials said.
But after learning that the school was awarded more than $77,000, Matchbook leaders realized the school wasn't eligible. To receive the funding, they'd need to formally state that the school had not gotten a PPP loan. Matchbook received a $753,000 PPP loan, according to CEO Amy Swann.
"This grant was specifically intended for schools and communities like ours," McGuire said. "We're just so frustrated and upset and devastated for our families and our kids."
The Indiana Department of Education did not respond to several requests for comment from Chalkbeat.
This is just the latest dispute over school funding during the pandemic. As schools have incurred millions of dollars in extra costs to cope with the coronavirus, the argument over how to distribute federal assistance has put private, charter, and traditional public schools in competition for money.
Earlier this year, U.S. Secretary of Education Betsy DeVos ignited controversy when her department initially put out guidance that would have directed more federal money than expected to private schools. In Indiana, State Superintendent Jennifer McCormick instructed schools to ignore that guidance in favor of a more straightforward reading of the law that directs more money to public schools.
Schools across the state are also waiting to see whether the Indiana legislature will provide them full funding for students who attend virtually this school year or leave in place a law that only funds virtual students at 85%.
Charter school leaders and advocates say that the Indiana Department of Education's decision to withhold the coronavirus relief grants from some schools conflicts with McCormick's public statements about supporting students who are most in need.
"This seems like a political decision, rather than a decision that was based on the merits," said Brandon Brown, CEO of The Mind Trust, an Indianapolis nonprofit that supports charter schools. "It is surprising that an elected official that has staked her tenure on resisting politics is now doing the very same thing that she spent the last four years criticizing."
Brown called the exclusion "disgraceful" and said it will harm Black, Latino, and low-income students who attend Indianapolis charter schools.
The decision made Kristie Sweeney, head of school for Southeast Neighborhood School of Excellence, feel like McCormick was "getting back at us because she's not a charter school supporter," she said. The policy prioritizes "the students most in need who go to traditional public schools, not students most in need whose parents elect to have choice."
Sweeney said it was especially frustrating because she had no indication that her school wouldn't be eligible. The staff spent significant time preparing the application. Last week, the school heard it would receive almost $130,000 to purchase Chromebooks and Wi-Fi hotspots. But now the award won't materialize because the school received a $742,100 PPP loan, according to Sweeney.
Indiana charter school leaders and advocates point out that charter schools lack access to many sources of education funding, such as property taxes that help pay for facilities and transportation, and ballot referendums to supplement budgets.

redpajama_set_name: RedPajamaCommonCrawl


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Can you be accused of hotlinking/copyright violation if you use an iframe?
Can you be accused of hotlinking or copyright infringement if you use an iframe (web element) of another website?
Can you be sued for this if the website doesn't prevent iframe using and doesn't expressly forbid it?
united-states copyright internet intellectual-property trademark
Zizouz212
j. doej. doe
You can be accused and sued for anything. The question is in which jurisdictions such accusations would hold up in a court. – Philipp Nov 8 '15 at 5:17
In the United States, the case law on framing as copyright infringement is fairly scarce and somewhat conflicting.
Consider first the 2007 Ninth Circuit Appeals ruling in Perfect 10 vs. Amazon.com. Google included framed images on their site. Google did not have the right to display these image works, but the ruling says ultimately that they did not display the works (emphasis mine):
Instead of communicating a copy of the image, Google provides HTML instructions that direct a user's browser to a website publisher's computer that stores the full-size photographic image. Providing these HTML instructions is not equivalent to showing a copy. First, the HTML instructions are lines of text, not a photographic image. Second, HTML instructions do not themselves cause infringing images to appear on the user's computer screen. The HTML merely gives the address of the image to the user's browser. The browser then interacts with the computer that stores the infringing image. It is this interaction that causes an infringing image to appear on the user's computer screen.
Perfect 10 argues that Google displays a copy of the fullsize images by framing the full-size images, which gives the impression that Google is showing the image within a single Google webpage. While in-line linking and framing may cause some computer users to believe they are viewing a single Google webpage, the Copyright Act, unlike the Trademark Act, does not protect a copyright holder against acts that cause consumer confusion.
Note that this second paragraph highlights that iframe linking may not be a copyright violation, but it may be illegal for other reasons, e.g., trademark violation, by confusing the origin of the framed content.
This ruling appears to be in contradiction to the 1998 district court case Futuredontics Inc. v. Applied Anagramic Inc., which found that framing creates a derivative work. The most striking difference from the Perfect 10 case is in the following passage (emphasis mine):
Defendants primarily rely on Louis Galoob Toys, Inc. v. Nintendo of America, Inc. [...]. In that case, the Ninth Circuit held that a Game Genie which merely enhances audiovisual displays which originate in Nintendo game cartridges does not constitute a derivative work because... it does "not incorporate a portion of a copyrighted work in some concrete or permanent form." Id. at 968 (emphasis added). The Court also noted that the Game Genie could not duplicate or recast a Nintendo game's output. Galoob did distinguish Mirage and noted that the Mirage decision would have been different had the plaintiff "distributed lenses that merely [*10] enabled users to view several art works simultaneously." Id.
Nevertheless, Galoob... is distinguishable from the instant case. Galoob does not foreclose Plaintiff from establishing that AAI's web page, incorporates Futuredontic's web page in some "concrete or permanent form" or that AAI's framed link duplicates or recasts Plaintiff's web page.
There appears to be a fundamental disagreement between these two cases over whether a webpage that includes a link actually "displays" the linked work. The Perfect 10 ruling viewed the page as HTML instructions that were only related to linked works insofar as those instructions could cause a user's browser to render framed content from a copyright holder different from the author of the HTML page. By contrast, the Futuredonics case considered the intended rendered output of a browser as a derivative work that includes the framed page in a "concrete or permanent form" and that "duplicates" the framed page.
I'm not sure how to reconcile these two cases. Perfect 10 is more recent and from a higher court, but I'm insufficiently skilled in law to determine if and how that counts for anything. It's also possible that facts of the two cases are sufficiently different that the different rulings could be reconciled and both remain true simultaneously.
Now that we've considered the case law, if you will indulge me in a moment of armchair speculation, let us consider an interesting hypothetical.
Suppose I am the owner of apsillers.com. I host an HTML page on my site at http://apsillers.com/my_favorite_stories.html.
My my_favorite_stories.html page frames a public domain resource at http://example.com/PD_Story.html. (I am not the owner of example.com.) Surely, we can agree that this is not copyright infringement.
At a later time, the owner of example.com changes the text at http://example.com/PD_Story.htmlto include copyrighted content whose use by me would constitute infringement. My my_favorite_stories.html page remain totally unaltered.
Does my_favorite_stories.html now violate copyright?
The Perfect 10 ruling says no, because my_favorite_stories.html is only instructions. The Futuredontics ruling would appear to say yes, because it considers the final rendered output of the HTML, which now suddenly includes infringing content.
It seems powerfully counterintuitive that the infringing status of my written work (my_favorite_stories.html) should change, dependent on the copyright status of a linked resource, when the content of my written work has remained totally unaltered. Perhaps you might argue that my case is different because I did not intend at the time I wrote my HTML page to infringe copyright. However, intent is irrelevant in making the initial yes/no determination of infringement (but may grant me a lesser punishment, as it would be innocent infringement.)
apsillersapsillers
Yes (presuming that you would be at risk of being successfully sued without using an iFrame)
An iFrame is absolutely no different from directly linking the content. You are still using someone else's work, the exact technical method you employ for that purpose is irrelevant, it is intent (breaching copyright) and result (displaying someone else's intellectual property in a way that beaches copyright) that matter.
Jon StoryJon Story
"presuming that you would be at risk of being successfully sued without using an iFrame""An iFrame is absolutely no different from directly linking the content" if i understand well, if i can't be sucessfully sued for using just a link, i can't be sued for using an iframe?(links of this pages are on google for example, and it's now written anywhere that this is forbidden) – j. doe Nov 9 '15 at 4:05
While I agree that "An iFrame is absolutely no different from directly linking the content," I disagree that directly linking the content definitively constitutes copyright infringement. In particular, your assertion that "the exact technical method you employ.. is irrelevant" seems to be contradict to the ruling in Perfect 10 v. Amazon that "Providing [iframe] HTML instructions is not equivalent to showing a copy," and "HTML instructions do not themselves cause infringing images to appear on the user's computer screen" – apsillers Nov 10 '15 at 15:05
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The image of a beautiful woman waiting by the shore faithfully for the man she loves goes back eons, to the time of the mythical Odysseus and his wife Penelope. We can easily call to mind the image of her, candle in hand, peering out the window, gazing far out over the moonlit sea, thinking of the day when her partner will return to her.
Such images of faithful love waiting by the sea seems the stuff of ancient tales, but Ana and Marko show us that in some small Mediterranean towns, this timeless tradition still lives on. She works as a makeup artist while he works as a sailboat skipper—hence the image of this beautiful couple posing together near a line of boats—and as such, they are often parted for long periods of time as Marko deftly pilots sailboats around the Mediterranean.
In spite of this, their love has remained strong; each time they are reunited, they feel a rush of joy similar to that which they felt when they first met and fell for one another. Ana and Marko therefore decided to make their bond eternal with a simple, heartfelt ceremony, one which fittingly took place by the sea in Zadar, Croatia. The couple was wed in the ancient Cathedral of St. Anastasia, a grand structure which has been in existence since the middle ages, and which has no doubt housed a great many lovers oft parted by the crashing waves of the sea.
After the ceremony was completed, Ana and Marko exited the church in a rush of colour and bliss, knowing that now, nothing on earth could truly ever part them. To forever cement this rapture in their memories, they posed for a photo with all of their family and friends, the crowd raising their arms to the heavens in celebration.
Recently I had the great pleasure of shooting the wedding of Paula and Antun—who you may remember from this post—the star-crossed lovers who overcame distance to find one another in the lush hills of Croatia.
Just as the tangerine trees grown by Paula's family blossom, ripen, and bear fruit, Paula and Antun's love has gone from trembling bud to bold, nourishing colour, culminating in them being wed in Konavle, near Dubrovnik.
Konavle, like Paula and Antun, is both lovely and traditional, with centuries-old streets and pristine nature all around. The couple were wed in a small, intimate ceremony in an old stone church, before moving on to a dinner party at the Konavoski Dvori resturant. This restaurant, which abuts an ancient mill that straddles the clear, cold Ljuta river (one Croatia's cleanest and most beautiful mountain streams) was rich in traditional, home-cooked food and fine wines—the perfect fare to toast a love as real and robust as Paula and Antun's.
During the ceremony I witnessed Paula—dressed in a stunning vintage style, right down to her perfect shoes and bouquet—being given away by her father, in a scene so elegant and moving it could have been taken right from a classic movie. No one at the wedding held back; emotion poured more freely than wine, as Paula's father gave his cherished daughter over to the embrace of her devoted suitor.
In this day and age, when so many people try to come across as being "cool", downplaying what they feel and putting up an iron guard of modern, jaded cynicism, the emotion of this beautiful family seemed like a miracle from another time.
In the vivid beauty of such open love, I was reminded that to show unrestrained emotion is to express the glory of nature. It is to become one with the joy of a river flowing unhindered, the leaping antelope, the wildcat at play, and the sun that rises in a cloudless sky. Nature is, after all, not self-conscious; it does not apologize for its power or its honesty, just as great love ought not.
This was a particular treat for me as capturing raw emotion is, of course, what makes a photograph powerful!
Iva and Tino, two best friends and soul mates, two people crazy in love, decided to have a small intimate seaside wedding. They wanted to say their big "yes" next to waves, breathing salty breeze and savor the scent of pine trees. Their romantic ceremony took place on rocks in Pula, Croatia, conveniently called "Sveta Stijena" (Holly Rock).
Iako preferiram čvrsto držati uzde i imati kontrolu tokom svojih snimanja, ovoga puta sam se morala prepustiti u tuđe ruke. Premda već godinama samostalno letim, za fotografiranje je lakše kada se ne moraš brinuti o komandama i drugim pilotima u zraku, te sam ovoga puta ipak bila kopilot sa aparaturom u rukama.
Marka sam upoznala na tečaju paraglidinga prije 8 godina. Od tog trenutka, letenje je postalo velik dio naših života. Kada je upoznao Dinu, predivnu djevojku koja je također zavoljela ovaj ekstremni sport, znala sam da su stvoreni jedno za drugo!
Iako su već službeno u braku, pripreme za vjenčanu zabavu su u punom planu! Mislim da ne postoji bolji način za proslavu uz fotografije napravljene na najdivnijoj mogućoj lokaciji - nebu!
Although I prefer to have a full control over my sessions, this time I had to relax and leave it to someone else. I fly solo for years, but for photographing is easier when you don't have to think about managing the wing. This time, I was just a copilot with a camera in my hands!
Marko and I have known each other for almost 8 years - we've met at a paragliding course. From that moment, free-flying had become a big part of our lives. When he met Dina, beautiful girl who also fell in love with this extreme sport, I realized they are perfect match!
Even though they are officially married, wedding party is soon! I don't think there is a better way to celebrate than photographing at the most beautiful location - sky!
Moja želja je bila da odemo na neku morsku lokaciju, no vremenska prognoza nije djelila mišljenje te smo se zaputili u Sloveniju, točnije na Liscu. Predivna priroda, sunčano te blago termično popodne nam je omogućilo da se sjajno provedemo!
My wish was to fly somewhere above our Adriatic seacoast but the weather forecast didn't share my opinion so we headed towards Slovenia, Lisca. Beautiful nature, sunny and mildly thermal afternoon - what a great time we had!
Njihovo vjenčanje ću pamtiti kao jedno od emotivnijih vjenčanja na predivnoj lokaciji hrvatskog Jadrana, Pagu, upotpunjeno jednostavnošću i elegancijom te savršenim prijateljima.
Ostanite mladi u svojoj ljubavi!
I will always remember their wedding as one of the most emotional weddings on a stunning coast of Pag, enriched with simplicity and elegance, and, what is more important, with perfect friends.
One year has passed, and still, their love leaves trace. Ivka and Neno, I wish you a happy first wedding anniversary.
May the freshness of your love always remain!
Oni su par koji će i najgoreg pesimista uvjeriti da srodne duše ipak postoje, i to već na prvi pogled.
They are kind of a couple who will convince every pessimist that soul mates really exist.
"His forever was as simple as her smile."
Can you agree how drop dead gorgeous night Zagreb is in the rain? When it's cold and wet, there's no better feeling than snuggling underneath the umbrella with your loved one.
Congratulations to this sweet newlywed couple Jelena & Hrvoje!
Slažete li se da je noćni, kišni Zagreb jednostavno neodoljivo lijep? Kada je hladno i mokro, nema boljeg osjećaja od stiskavca pod kišobranom sa svojom polovicom.
Čestitke preslatkoj Jeleni i Hrvoju!


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NZTE is New Zealand's international business development agency. We exist for one purpose – to grow your business internationally, bigger, better, and faster, for the good of New Zealand.
We provide customised services and support to ambitious businesses looking to go global. We help them build their capability, boost their global reach, connect to other businesses and invest in their growth. We also connect international and domestic investors with opportunities in New Zealand through a global network of investment advisors. We call on our Government network and work closely with our NZ Inc partners and the business community, to grow our national brand and help businesses to open doors in global markets.
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International Monetary Fund. Secretary's Department, . "Part I: Introduction". Supplement to Summary Proceedings of the Thirty-First Annual Meeting of the Board of Governors, 1976. USA: INTERNATIONAL MONETARY FUND, 1976. https://doi.org/10.5089/9781475568394.015 Web.


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All Athletics Menu
2013 14th IAAF World Championships - Moscow - Men's Javelin Throw
Parent Category: World Championships in Athletics
Category: 2013 World Championships in Athletics Moscow, Russia
Host City: Moscow, Russia Format: Qualifying round (82.50 or top 12 to final) (Aug 15)
Dates: 10 August 2013 – 18 August 2013
Nations participating: 203
Athletes participating: 1,784
Main venue: Luzhniki Stadium
Overview by IAAF
The nature of javelin throwing brings more injuries than in the other throws. Veselý (knee/stomach) and Pitkämäki (rib surgery) had been suffering in the lead up to the championships, but were still regarded as the two most likely to succeed along with Tarabin, who had thrown a world leading 88.84 three weeks before the championship. Pitkämäki opened in the final with 83.40, then Veselý followed five throws later with 87.17. The Czech would not get near to that effort, but for Pitkämäki the challenge was on. Four of his remaining five throws would exceed 85m, the best of 87.07 coming in the third round. Behind them Tarabin was in third with his second round 84.38, until the short but powerful Yego set a Kenyan record in round five with 85.40. On the morning of the final Tarabin and his wife Mariya Abakumova (the 2011 women's World Champion) had apparently received a phone call from Russian President Vladimir Putin, in which he told them that he believed in them "and expected medals". Tarabin was aware of these words when making his last throw of 86.23, which wrested the bronze from Yego. The 10cm winning margin was the closest in the history of the event. Avramenko of Ukraine originally placed fifth in the final with 82.05, but was disqualified after failing a test for an anabolic steroid.
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Burgan Agri Food Industry, Moba agent in Kuwait
"We will keep you informed"
"Our key focus is customer satisfaction"
In Kuwait, Moba relies on the support of agent Burgan Agri Food Industry. With almost forty years of experience in the market, they know exactly what makes the customer happy. And together with Moba, the company has become a major player in its field.
In 1981, Mr. Mohammed Al-Fraih founded Burgan Agri Food Industry as a provider of quality products and services for the growing agriculture, poultry, livestock and food processing sectors. The company is the only firm in Kuwait that specializes in building poultry plants for the production of meat and eggs. Over the years, Burgan Agri Food Industry gained knowledge via its international partners as well as first-hand experience with completing major and minor projects for the Kuwait government and private companies and farmers. Thanks to its many years in the industry, Burgan Agri Food Industry is not only a contractor and provider of equipment, but also an adviser to other players in the market and participates in studies within the field.
Over the years, the success of Burgan Agri Food Industry has given the company the opportunity to expand the business. The team now consists of 50 employees, from engineers to sales staff, that are based at five central offices in Kuwait.
One of its international partners is Moba. "We have been Moba's agent in Kuwait since our foundation, it was one of the first official cooperations we established", Mr. Al-Fraih reflects on the start of this successful collaboration. On February 27 1990, the Dutch Minister of Agriculture, Mr. Gerrit Braks, presented an award to him in recognition of his outstanding efforts in marketing Dutch agriculture. "It was an honor to receive that award but it wouldn't have been possible without the efforts of Moba and the other Dutch companies we cooperate with."
Mr. Al-Fraih believes he knows why the cooperation between his company and Moba has been so fruitful: "Our key focus is customer satisfaction. To achieve this, the communication between us, Moba and the customers must be a smooth process. In 2018, Moba opened an office in Dubai and we really appreciate the extra service and support we have received from this office. Now, Moba is even closer to our customers in this region. A great benefit for our customers. That is what we always keep in mind; making the customer happy. And I believe that this is the reason why we have achieved such amazing successes together with Moba. We listen to our customers and therefore understand what their needs are."
"I believe that we are a successful agent due to our focus on serving the poultry industry as a complete provider of machinery, robotics and consultation. The cooperation with Moba has opened a worldwide network to us and given us friendships with all the Moba-agents from all over the world. Meeting the worldwide Moba team during events feels like a family gathering. Our cooperation with Moba started almost forty years ago and to this day Moba is still the undisputed brand name in the egg industry."
The first Moba5000 in Kuwait, 1976
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Sharp Transport appreciates the value of home time. That's why we make sure our drivers get HOME WEEKLY or BI-WEEKLY depending on where you reside. And when they are on the road, our drivers are comfortable in our fleet of new and late model trucks! As a matter of fact, the Majority of the fleet is less than 2 years old!
Each member of the Sharp team is personally accountable for the highest standards of behavior which includes honesty and fairness in all aspects of their work. We will fulfill our commitments as responsible individuals and employees, understanding that or our "word" and our "commitment" are our most valued possessions.


text:
HELEN J GALLERY
EXHIBITIONS ARTISTS NEWS ABOUT APPOINTMENTS
MINKU KIM
b. 1989, Seoul, South Korea. Lives and works in Brooklyn, NY
Minku Kim is a painter who lives and works in New York City. He was recently the subject of a solo exhibition, 'Foundation' at Alexander Berggruen Gallery in Upper East Side, New York, and 'Straight Edge Painting' at Helen J Gallery in Hollywood, CA. His solo shows include exhibitions at Berggruen Gallery, San Francisco, CA and his paintings have been exhibited in international art fairs such as Art Basel Miami, Park Avenue Armory in New York, and FOG Art and Design in San Francisco, Dallas Art Fair in Texas. Kim's work has been collected by numerous prestigious private collections in New York, San Francisco, London, Amsterdam, Brussel, and around the world. Currently, Kim is working on his first publication of 'Straight Edge Paintings (2016-2020)' He earned his MFA in Sculpture from New York Studio School in 2017 and BFA in Painting from Maryland Institute College of Art in 2012. He attended the Cooper Union Outreach Program, the Marie Walsh Sharpe Summer Seminar, and the New York School of Drawing, Painting, and Sculpture.
Minku Kim: S.E.P
July 25 - September 12, 2020


Vicky Pattison is reportedly set to face a court battle with her ex John Noble.
According to insiders, her former finance – who she split from last year – is demanding a cash sum from the reality TV star, after moving out of the house they bought together in Newcastle before their break up.
John is said to be after his share of the money he invested in the property.
However, its since been claimed that he stopped paying his half of the mortgage when he moved out of the property, which Vicky now lives in alone.
The source said: 'Vicky and John bought the house together a year ago, and both paid into the mortgage and to decorate it.
'But when he packed up and moved out after the split, he stopped the payments. Now, he's demanding way more money than he ever paid into the house from Vicky, saying it's what he's owed.
John has reportedly told said that he'll take his ex to court in order to get his money.
'Vicky wants this all over with and just feels that John is being entirely unreasonable with his requests. She feels she's been very fair with all things considered,' the source said.
It follows the couple's shock split last year, after John was pictured getting cosy with another woman in Dubai in November.
Vicky is now dating former The Only Way Is Essex star Ercan Ramadan, and seems to have put her relationship with John well behind her.
She said: 'I don't think about him anymore. I don't know that man. He's rang me a couple of times since. Unfortunately we own a house together.
Aww – we hope you get it sorted, Vick!


Being a Stampin' Up! Demonstrator, it would be very easy to buy all the fabulous sets we have to offer. However, for myself and many of my customers, that simply isn't possible. To limit my "must have" list, I set a guide line for myself. Basically, if I can't use a stamp set five different ways, it's not for me.
Over the next few days I'm going to showcase Kindness Matters. This super sweet set can be used so many ways and I wanted the chance to highlight some of them. It's a great beginner set as you can create so many different pieces with it, both masculine and feminine.
The first card I'm going to share is a "shadow box" card I created. It's hard to tell from the photo, but there is actually a piece of acetate over the top of the image to make it look like it's in a shadow box.
To learn more about the great projects you can make using Kindness Matters book a workshop or sign up for one of my monthly classes. To order your Kindness Matters set, email or call me, 289-280-0304. You can also shop online 24/7 by simply clicking the Stampin' Up! logo at the top of the page.


text:
'An American Pickle' Film Review: Seth Rogen Gets Sentimental in Mild Fish-Out-of-Water Comedy
This surprisingly subdued and sentimental riff on Rip Van Winkle meets "Being There" is probably not the best use of Rogen's particular skill set
Steve Pond | August 4, 2020 @ 12:06 PM
AWARDS BEAT
From "The Out-of-Towners" to "Splash" to "Coming to America" to "Enchanted" and beyond, there's a long history of movies in which waifs, innocents, outsiders and fish out of water gaze at the streets of New York City with uncomprehending awe and then try to make their way through a landscape that seems as foreign to them as the dark side of the moon. And with Seth Rogen joining that roster with "An American Pickle," you have to figure that his entry will be among the goofiest, broadest and loopiest of the bunch.
It's not. Despite Rogen in dual roles as an Eastern European peasant who awakens in Brooklyn after 100 years in a vat of pickles and as his great grandson, a freelance app developer, this is a surprisingly subdued and sentimental riff on Rip Van Winkle meets "Being There." You might find yourself unexpectedly touched by it, but it's hard to shake the feeling that it's not the best use of Rogen's particular skill set.
Written by "Saturday Night Live" writer Simon Rich and directed by cinematographer-turned director Brandon Trost, "An American Pickle" premieres on HBO Max on Aug. 6, though the Sony Pictures Entertainment label in its opening credits points to its original, pre-pandemic destination as a theatrical release.
Also Read: 'An American Pickle': Seth Rogen Falls Into a Vat of Pickles and Meets His Own Great-Grandson in HBO Max Trailer (Video)
It opens in 1919, in black and white and in the fictional Eastern European country of Schlupsk, where Herschel Greenbaum is a ditch digger whose shovel keeps breaking and whose wildest dream is to one day be able to afford seltzer water. He falls for Sarah, a local woman who "has all her teeth, top and bottom" and whose own pipe dream is to be so rich that she can afford her own gravestone. (She's played by Sarah Snook, who has very little to do.) When their entire village is ransacked and destroyed by Cossacks, they head for the United States, where Sarah gets pregnant and Herschel gets a job killing rats in a pickle factory.
But this is just a dour pre-credits setup that shows off Rogen's thick beard and thicker accent. Before long, he falls into a vat of pickles just as the factory is being condemned, and his body lies undisturbed for 100 years until he's discovered, alive and wet, by a pair of boys trying to retrieve an errant drone.
"An American Pickle" makes a joke out of how easily the doctors and the press accepts the explanation that the pickle brine kept Herschel preserved and alive for a century. And then, having neatly established that people believe all sorts of ridiculous stuff in this film, it milks that premise for all its worth for the next hour-plus. You might feel as if what's going on doesn't make a lick of sense in a universe occupied by actual human beings, but the movie has already established that we're not in that universe, so stop your nitpicking.
Also Read: Lil Nas X, Seth Rogen and Other Celebs Hit Back at Tucker Carlson for Disparaging Their Donations
It turns out that Herschel has one living relative, Ben Greenbaum, a mobile app developer who is somehow just successful enough to afford a pretty spacious Brooklyn apartment that to Herschel seems like a palace. (And it's got a seltzer machine!) Rogen spends most of the movie sharing scenes with himself: Herschel and Ben get along, then become mortal enemies after Herschel accidentally sabotages Ben's big business opportunity.
"An American Pickle" has some fun with the idea that a bearded Eastern European pickle maker dressed and coiffed for 1919 would just seem like another hipster in today's Brooklyn. He may make his pickles by pulling cucumbers out of the trash and brining them in jars he finds on the street, but locals take one pungent whiff and explain, "It would go so good with the kelp ceviche!"
Social media makes Herschel a star (until it cancels him), and for a spell he essentially becomes Chauncey Gardiner, the Peter Sellers character in "Being There" whose very inane utterance is plumbed for its depths of insight. But "An American Pickle" doesn't really try to be "Being There," which would be impossible; instead, that's just a phase it goes through as the tangled fish-out-of-water story shifts from slapstick to satire to no-place-like-home sentimentality.
The problem, in a way, is that it just isn't terribly funny. Rogen gets to play two parts, but you can add them together and not get the energy or life he typically shows playing a single role. (Though if you're tired of his slacker/stoner persona, it'll be a plus that you don't get any of that.) Ben is mostly morose, and Herschel's humor is centered in mild belligerence and that thick accent.
The film is tiring at times and amusing at times at others, and successful mostly if you're willing to embrace a certain low-key sweetness that eventually smooths out whatever edges the humor had. If you want a comedy that works hard to be touching, you might find that here – but honestly, you'd expect a movie about pickles (and a movie starring Rogen) to have more of a bite than this.
All the Hollywood Films Arriving on Demand Early Because of the Coronavirus
Since most U.S. movie theaters have shuttered in response to the coronavirus pandemic, studios are rushing out VOD home releases of movies that were only just in theaters.
Disney/Warner Bros./Universal
"Trolls World Tour"
The sequel to the 2017 animated hit announced it would be available for digital download on April 10 -- the same day it was supposed to land in theaters. Now it's a VOD exclusive.
"Birds of Prey"
The Margot Robbie spinoff of 2017's "Suicide Squad" debuted on demand on March 24. The film grossed $84 million since opening on Feb. 4.
"The Hunt"
The Universal/Blumhouse horror film was first delayed from release last fall due to controversy over its violent content -- and then sidelined after its March 13 opening by the coronavirus. It's available to stream now.
"The Invisible Man"
The Universal horror film starring Elisabeth Moss grossed nearly $65 million since its Feb. 26 release in theaters. It's available to stream now.
"Emma."
Focus Features' adaptation of the Jane Austen novel opened in limited release Feb. 21 -- and picked up $10 million in ticket sales until the pandemic shut down theaters. It's available to stream now.
"Bloodshot"
The Vin Diesel comic-book movie opened March 6 and grossed $10 million before theaters shut down. It's available on VOD now.
"I Still Believe"
Lionsgate's biopic starring K.J. Apa as Christian music star Jeremy Camp hit VOD on March 27 -- just two weeks after it opened in theaters.
"The Way Back"
Warner Bros. released the Ben Affleck drama "The Way Back" -- which grossed $13 million in theaters since its March 6 opening -- on VOD less than three weeks later, on March 24.
"Onward"
Disney and Pixar's animated feature was made available for purchase on Friday, March 20, and the film hit Disney+ on April 3.
"Sonic the Hedgehog"
Paramount Pictures' "Sonic the Hedgehog" set a new record for video game adaptations with a $58 million domestic opening weekend on Feb. 14 and has grossed $306 million worldwide theatrically. It's available on demand now.
"The Call of the Wild"
20th Century Studios' feel-good film starring Harrison Ford and a giant CGI dog is available on demand now.
"Downhill"
Barely escaping an avalanche during a family ski vacation, a married couple (Julia Louis-Dreyfus and Will Ferrell) is thrown into disarray as they are forced to reevaluate their lives and how they feel about each other. It's available on demand now.
"Never Rarely Sometimes Always"
"Never Rarely Sometimes Always" is the story of two teenage cousins from rural Pennsylvania who journey to New York City to seek an abortion. The film premiered at the Sundance Film Festival and walked away with a Special Jury award. It's available for VOD now.
"Endings, Beginnings"
"Endings, Beginnings," a romantic drama from Drake Doremus starring Shailene Woodley, Sebastian Stan and Jamie Dornan, opened early on digital on April 17 and on demand on May 1. It was meant to open theatrically on May 1.
Samuel Goldwyn Films
"To the Stars"
"To the Stars," a period drama set in 1960s Oklahoma that stars Kara Hayward, Liana Liberato, Jordana Spiro, Shea Whigham, Malin Akerman and Tony Hale, was bumped up to a digital release on April 24 and an on demand release on June 1. Martha Stephens directed the film that premiered at Sundance in 2019 and was meant to be released theatrically by Samuel Goldwyn Films.
"Impractical Jokers: The Movie"
truTV's first-ever feature-length film arrived early on digital on April 1. Follow James "Murr" Murray, Brian "Q" Quinn, Joe Gatto, and Sal Vulvano, aka The Tenderloins, playing themselves in a fictional story of a humiliating high school mishap from the early '90s.
"Artemis Fowl"
Disney's adaptation of the Eoin Colfer fantasy novel "Artemis Fowl" was meant to debut in theaters on May 29 but premiered exclusively on Disney+. The film is directed by Kenneth Branagh and stars Colin Farrell and Judi Dench.
"The Infiltrators"
The theatrical release of Oscilloscope's docu-thriller "The Infiltrators" has been postponed, and the film was released on both Cable On Demand and Digital Platforms starting June 2.
"Working Man"
The March 27 theatrical release of "Working Man" has been canceled due to the theater closures, and the film premiered on May 5 via Video On Demand.
Brainstorm Media
"Jump Shot: The Kenny Sailors Story"
"Jump Shot: The Kenny Sailors Story," a sports documentary executive produced by NBA star Steph Curry, was made available for streaming on the new service Altavod between April 16-18 for $7.99 and is available for pre-order beginning April 9. 10% of all the proceeds will be donated to COVID-19 relief efforts. The documentary tells the story of the player, Kenny Sailors, who pioneered the jump shot, and it features interviews with Curry, Kevin Durant, Dirk Nowitzki, Clark Kellogg, Bobby Knight and more.
Photo by Rob Carr/Getty Images
"Scoob!"
Warner Bros. announced on April 11 that it would release the family animated film "Scoob!" for digital ownership and premium video on-demand on May 15, making it the second film (after Universal's "Trolls World Tour") to cancel a planned theatrical release and head straight to home release pandemic.
"The King of Staten Island"
"The King of Staten Island," the comedy starring and co-written by "SNL" star Pete Davidson and directed by Judd Apatow, skipped its theatrical release date of June 19 and opened one week early on VOD everywhere on June 12.
"The High Note"
"The High Note," the latest film from "Late Night" director Nisha Ganatra that stars Tracee Ellis Ross and Dakota Johnson, made its premiere on VOD on May 29. It was meant to open on May 8 theatrically.
"Waiting for the Barbarians"
Ciro Guerra's film starring Mark Rylance, Johnny Depp and Robert Pattinson was originally slated for a theatrical release but was picked up by Samuel Goldwyn Films to instead be released via cable on demand and on digital in August
"Irresistible"
Jon Stewart's latest film, a political comedy called "Irresistible," will skip theaters and make its premiere online for on demand digital rental on June 26. The film from Focus Features stars Steve Carell and Rose Byrne and was meant to open in theaters on May 29.
Daniel McFadden / Focus Features
"My Spy"
The Dave Bautista action comedy "My Spy" was originally meant for a theatrical release from STXfilms and was due to hit theaters in March. Amazon then acquired the film from STX and will now release it on streaming on June 26.
"The One and Only Ivan"
The animated Disney film based on Thea Sharrock's best-selling children's book "The One and Only Ivan" is the latest feature to skip theaters and move to Disney+. The movie features the voice talent of Angelina Jolie, Danny Devito, Sam Rockwell, Bryan Cranston and Helen Mirren. The film was previously slated for theatrical release on August 14 but will now debut on Disney+ one week later on Aug. 21.
"The Secret Garden"
The re-imagining of the book "The Secret Garden" was meant to open in UK theaters in April but delayed its theatrical release until August. But STXfilms will now release the StudioCanal and Heyday Films movie on PVOD for $19.99 on August 7 in North America. "The Secret Garden" stars Colin Firth, Julie Walters and Dixie Egerickx.
STXfilms
"Irresistible" joins a list of big films heading to digital home entertainment platforms early
Steve Pond's inside look at the artistry and insanity of the awards race, drawn from more than three decades of obsessively chronicling the Oscars and the entertainment industry.
The Latest From AWARDS BEAT
'All That Breathes' Named 2022's Best Documentary at Cinema Eye Honors
By Steve Pond | January 12, 2023 @ 7:06 PM
'Causeway' Star Brian Tyree Henry Says Role in Apple Film 'Terrified the Hell' Out of Him
Why Guillermo del Toro Wanted to Make a Disobedient Pinocchio in His Version of the Classic
By Steve Pond | January 12, 2023 @ 12:00 PM
Producers Guild Awards Go for Big Hits: 'Avatar,' 'Top Gun,' 'Black Panther,' 'Elvis,' 'Everything Everywhere'
By Steve Pond | January 12, 2023 @ 11:00 AM
Steven Spielberg, Martin McDonagh, the Daniels Nominated for Directors Guild Awards


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Pakistan's Domestic Debt to Reach Record High of Rs. 55 Trillion in Early 2023
By Ahsan Gardezi | Published Dec 7, 2022 | 1:44 pm
With domestic debt already hitting historic levels of above Rs. 50 trillion as of October 2022, the government plans on raising further debt of over Rs. 5 trillion between December 2022 and February 2023.
According to the State Bank of Pakistan's (SBP) auction calendar for planned borrowing till February 23, 2023, the government is set to borrow upwards of Rs. 4 trillion through Market Treasury Bills (MTBs) and over Rs. 1 trillion via Pakistan Investment Bonds (PIBs) and Ijara Sukuks (Islamic bonds).
Pakistan's External Debt Stood at $130 Billion by end of 2021: WB
The central bank's auction calendar for December-February shows that the government plans to raise the majority of its debt via MTBs, with maturing amounts as low as Rs. 83 billion to as high as Rs. 1.393 billion (non-taxed). An amount of Rs 1.325 trillion will be raised via the 3-month MTB, Rs. 1.575 trillion through the 6-month paper, and Rs 1.425 trillion with the 12-month paper, taking the expected total proceeds to Rs. 4.325 trillion.
According to the data, fixed-rate PIBs worth Rs. 525 billion and floating-rate PIBs worth at least Rs. 370 billion will be auctioned by SBP between 9 December and 17 February. During the same period, the central bank intends to sell Rs. 210 billion in a 5-year Government of Pakistan Ijara Sukuk (GIS) with variable rental rates and Rs. 90 billion in fixed-rental-rate GIS.
The sales receipt from the auction of PIBs and Islamic bonds is expected to incur domestic debt of Rs. 1.195 trillion, taking the overall debt profile of the government to Rs. 5.520 trillion for the December-February period.
Fresh Sukuk borrowings are expected to give the Islamic banking industry more deployment options without the involvement of interest, while proceeds from secondary market bonds would help the government meet its borrowing needs amid a crippling liquidity crunch threatening the economy.
Pakistan Will Not Default, IMF Talks Underway: Minister
As of October 2022, debt generated through PIBs increased to Rs. 19.2 trillion from Rs. 14.7 trillion. Debts raised through Naya Pakistan Certificates soared to Rs. 17.6 trillion from Rs. 13.6 trillion last year. Similarly, financing via Ijara Sukuk has surged to Rs. 2.4 trillion from Rs. 1 trillion so far.
The upward revision in the central bank's policy rate so far this calendar year has drastically enhanced the government's debt and financing from domestic sources. In any case, with debt levels crossing beyond-shocking levels on a monthly basis, the government is still looking for new financing sources, and bonds are just the tip of the iceberg.
Govt May Increase Excise Duty on Imported and Local Assembled Cars
Export-Led Growth Cure to Pakistan's Economic Woes: Minister
CDWP Approves Seven Development Projects Worth Rs. 22 Billion
Customs Intelligence Foils Bid to Smuggle Liquor Worth Rs. 252 Million
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text:
using System;
using System.Collections.Generic;
using System.Globalization;
using System.Linq;
using System.Text;
using System.Text.RegularExpressions;
using System.Threading.Tasks;
using Microsoft.WindowsAzure.Storage.Blob;

namespace NuGetGallery.Operations.Infrastructure
{
    public class JobLogBlob
    {
        private static readonly Regex BlobNameParser = new Regex(@"^(?<deployment>[^/]*)/(?<role>[^/]*)/(?<instance>[^/]*)/(?<job>[^\.]*)(\.(?<timestamp>\d{4}\-\d{2}\-\d{2}))?(\.(?<seq>\d+))?\.log\.json$");

        // Bob Lobwlaw's Job Log Blob!
        public CloudBlockBlob Blob { get; private set; }

        public string JobName { get; private set; }
        public DateTime? ArchiveTimestamp { get; private set; }

        public JobLogBlob(CloudBlockBlob blob)
        {
            Blob = blob;

            // Parse the name
            var parsed = BlobNameParser.Match(blob.Name);
            if (!parsed.Success)
            {
                throw new ArgumentException("Job Log Blob name is invalid Bob! Expected [jobname].[yyyy-MM-dd].json or [jobname].json. Got: " + blob.Name, "blob");
            }

            // Grab the chunks we care about
            JobName = parsed.Groups["job"].Value;
            if (parsed.Groups["timestamp"].Success)
            {
                ArchiveTimestamp = DateTime.ParseExact(parsed.Groups["timestamp"].Value, "yyyy-MM-dd", CultureInfo.InvariantCulture);
            }
        }
    }
}

redpajama_set_name: RedPajamaGithub


text:
GCC1 () – білок, який кодується однойменним геном, розташованим у людей на короткому плечі 7-ї хромосоми. Довжина поліпептидного ланцюга білка становить 775 амінокислот, а молекулярна маса — 87 811.

Локалізований у цитоплазмі, мембрані, апараті гольджі.

Література

Примітки

Див. також
 Хромосома 7

Некатегоризовані білки

redpajama_set_name: RedPajamaWikipedia


text:
Q: Find and delete duplicate root certificates We are in a disconnected domain and have just implemented updated root certificates via group policy.  I have found now though, that there are a number of duplicated root certificates in the users store (and many more for mine as i've taken my laptop online once and a while).
I'm looking for a powershell script to go through the root certificate store and delete any duplicates in there.
I've got this so far:
$store = New-Object System.Security.Cryptography.X509Certificates.X509Store("Root","LocalMachine")
$store.Open("ReadWrite")
$rootcerts = Get-Childitem 'cert:\LocalMachine\root' -Recurse
$ht = @{}
$rootcerts  | foreach {$ht["$_"] += 1}
$duplicates = $ht.keys | where {$ht["$_"] -gt 1}

but then how to delete the duplicates has lost me.

A: Instead of updating a count based off the cert object you need to save off more information about the certificate during your iteration. I chose to create an additional map of thumbprints as keys and the cert objects as values. So the lookup is first by subject, and then by thumbprint.
I then remove the oldest certs and leave the newest.
$ht = @{}
Get-ChildItem -Recurse Cert:\LocalMachine\My |
    Where-Object { $_.Issuer -like "*MyIssuer*"  } |
    ForEach-Object {
        $subject = $_.Subject
        if (!$ht.ContainsKey($subject)) {
            $ht[$subject] = @{}
        }
        $ht[$subject]["$($_.Thumbprint)"] = $_
    }

$ht.Keys | ForEach-Object {
    $dupes = ($ht[$_] | Where-Object { $_.Count -gt 1 })
    if ($dupes) {
        $dupes.GetEnumerator() |
            Sort-Object [DateTime]"${Value.GetDateTimeString()}" -Descending |
            Select-Object -ExpandProperty Value -Skip 1 |
            ForEach-Object {
                if (Test-Path $_.PSPath) {
                    Remove-Item -Path $_.PSPath -DeleteKey
                }
            }
    }
}

redpajama_set_name: RedPajamaStackExchange


Luciana Squadrilli introduces us to the world of Italian olive oil and sheds some light on ten EU-protected varieties.
Italy is the word's second producer of extra virgin olive oil, just behind Spain. Despite the scandals and alleged frauds that sometimes grab headlines in the international press, Italy is home to many excellent, honest producers and the quality of Italian olive oil is universally recognized as outstanding in international competitions. But what makes Italian extra virgin olive oil so extraordinary? There are many reasons why it's considered unique.
The cultivation of olive trees and the production of oil in Italy has ancient origins; in Roman times Latin poets and writers praised the quality of their local olive oil. Unlike other countries such as Spain, Chile or Argentina, in Italy many olive groves are still small with low density and the land belongs to independent farmers instead of huge companies. Moreover, due to the natural geography of the country and traditional farming habits, olive groves are scattered throughout the country, often in arduous places such as ledges or canyon-like valleys. This means that harvesting is a difficult (and expensive) venture, and quantities are small. Thanks to the growers' and producers' efforts and crucial innovations in technology over the last years, however, quality is now at its best. Also, the modern trend of harvesting olives early, in spite of a lower yield, helps obtain delicious smelling oils which are rich in polyphenols (the antioxidant compounds responsible for the oil's pungent taste), making them extremely healthy, too.
The main distinctive feature of Italian extra virgin olive oil lays in its biodiversity. Italy is home to over 350 different olive varieties (which increases to 600 if you include regional clones), each of them characterized by their specific flavours and characteristics. Italian oil millers decide whether it's best to enhance each variety's features in single-cultivar oils, or to harmonize them in excellent blends. Tasting and smelling the oil – perhaps using a special tasting glass or on a slice of warm, unsalted bread – is the best way to learn how to identify and recognize a good quality extra virgin olive oil, and to honour the hard work of the producers.
Olive trees grow particularly well on the beautiful hills surrounding Lake Garda thanks to the Mediterranean microclimate created by the lake itself. There are three different regions which produce Garda DOP olive oil; Lombardy to the west of the lake, Veneto to the east and Trentino in the north, which is the northernmost point in Italy where olive trees grow. Mainly based on the Casaliva olive cultivar, Garda DOP oils usually have notes of freshly-cut grass and almond, with charming herbal flavours and a distinct bitter, pungent finish.
Often considered as one of the best Italian extra virgin olive oils, this variety is based on the local Taggiasca olive, which is also eaten. Due to the natural geography of the region – a thin strip of land between the mountains and the sea – olive groves often grow on steep terraced soil. Riviera Ligure DOP oils are usually delicate and almost sweet; they are ideally used to make the famous local pesto alla Genovese.
Tuscany is generally regarded as one of the best oil (and wine) producing regions in Italy, and is home to the country's only IGP (or PGI) label. It includes the whole region, split into five sub-areas (Arezzo, Firenze, Lunigiana, Montalbano and Monti Pisani) and the most common varieties are Leccino (a delicate, light and fruity oil) and Frantoio (an intense, herbaceous oil with a pleasant pungency and notes of artichoke).
This classification covers the entirety of Umbria, split into sub-areas Colli Assisi Spoleto, Colli Martani, Colli del Trasimeno and Colli Amerini. There are numerous local varieties including San Felice (a harmonic oil with delicate flavours of grass and artichoke) and Moraiolo (an intense, fiercely bitter oil with notes of aromatic herbs and spiciness).
Only recently has southern Lazio (south of Rome) gained the attention of olive oil enthusiasts. This is mostly thanks to an amazing local olive variety called Itrana, which is the source of the very popular olive di Gaeta table olives. The PDO covers the foothill areas of the Lepini, Ausoni and Aurunci mountains that face over the sea, and the oils often have the distinctive flavour of a semi-ripe tomato, with pleasant herbal and balmy notes.
Tasting and smelling the oil – perhaps using a special tasting glass or on a slice of warm, unsalted bread – is the best way to learn how to identify and recognize a good quality extra virgin olive oil, and to honour the hard work of the producers.
Campania is a place rich with produce and a good climate – olive trees grow almost everywhere and there are five different PDOs in the region. In Irpinia (within the Avellino province) you can find Colline dell'Ufita DOP oils, mainly based on the Ravece olive. They are deliciously tomato-scented, intense and well balanced; a few drops on a Margherita pizza will turn it from good to sublime.
More than thirty percent of Italian olive farmland is in southern Puglia, which is also home to many different PDOs. Terra di Bari DOP covers the area in and around Bari, the region's capital, and the oils are mostly made from Coratina olives. Traditionally used to blend with other olive oils to give them structure, they are now becoming more common as single-variety oils thanks to the olive's strong character and pungency.
Calabria is a close second to Puglia in terms of olive oil production, and there are four different PDOs ; Lametia DOP – in the Lamezia Terme area – is regarded as the best. The oil must be made with at least ninety percent Carolea olives, which creates medium fruity, gently scented oils with pleasant hints of freshly cut grass, green apples and almond, proving that southern Italy can produce oil that's just as delicate as those found further north.
Tonda Iblea olives make up at least ninety percent of this DOP oil and is the real superstar of all Sicilian extra virgin olive oil. Growing only in a restricted area of the island – between the provinces of Ragusa, Siracusa and Catania, not far from Mount Etna – oils made with this variety of olive are marked by their irresistible ripe tomato aroma.
This regional DOP covers almost the entire surface of the beautiful island of Sardinia, and includes the local varieties Bosana, Tonda di Cagliari, Nera di Villacidro and Semidana. The proud and robust trees of Bosana, fiercely resistant to changes in temperature and drought, produce olives rich in polyphenols that are intensely bitter and pungent, with well balanced notes of artichoke and cardoon [a type of large Italian celery].


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Julia Angwin Journalist and Author
Surveillance: A Taxonomy of Known Knowns and Known Unknowns
Posted on June 11, 2013 by juliaangwin	— No Comments ↓
In the wake of the avalanche of revelations about the scope of domestic surveillance, several people have asked me to help them understand what is going on. So I put together this handy cheat sheet that hopefully explains the key issues.
This is a shorthand version of an explainer I presented last week at the Privacy Law Scholars Conference in Berkeley. With apologies to Donald Rumsfeld, I've broken it down into "Known Knowns" and "Known Unknowns."
Patriot Act Surveillance
Known Knowns:
Who: Verizon, AT&T, and SprintNextel, according to reporting by Glenn Greenwald at The Guardian and the The Wall Street Journal.
What: Records of every single domestic and international telephone call, including the location from which the call was placed, the serial number of the phone, the number dialed and the duration of the call, according to the court order obtained by the Guardian.
Where: Turned over to the National Security Agency daily, according to the court order obtained by the Guardian.
When: Ongoing for the past seven years, according to Senator Dianne Feinstein (D-CA)
Why: To "make connections related to terrorist activities over time," according to the Office of the Director of National Intelligence.
How: Foreign Intelligence Surveillance Court authorizes record collections with a court order every three months, according to Sen. Feinstein. Analysts are required to have "reasonable suspicion, based on specific facts, that the particular basis for the query is associated with a foreign terrorist organization" before querying the database of call records, according to the Office of the Director of National Intelligence.
Legal authority: Section 215 of the Patriot Act allows the FBI to order any person or entity to turn over "any tangible things" for "for an investigation to protect against international terrorism or clandestine intelligence activities, provided that such investigation of a United States person is not conducted solely upon the basis of activities protected by the first amendment to the Constitution."
Known Unknowns:
Is it legal? Senators including Ron Wyden and Mark Udall have accused the government of secretly reinterpreting the law.
What happens to innocent people's data? It's not clear.
Are some telecom companies refusing to participate? It's not clear.
Does it prevent terrorism? Officials have pointed to two terrorist attacks that were flagged by this program: a New York city subway bombing plot that was foiled, and the Mumbai terror attacks, which were successful.
Have intelligence officials lied about the existence of the program? Maybe. Sen. Wyden has asked Director of National Intelligence James Clapper to explain his previous denials to Congress. Last year, National Security Agency Director Keith Alexander told Congress "we don't have technical insights in the United States."
PRISM Surveillance:
Who: Microsoft, Google, Yahoo, Facebook, YouTube, Skype, AOL, Apple, PalTalk, according to slides obtained by The Guardian and The Washington Post.
What: Content of Internet communications including e-mail, chats, instant messages, according to the slides.
Where: The government can only use this capability to target persons "reasonably believed to be outside the United States" even though the electronic communications may travel through United States computer services, under the Foreign Intelligence Surveillance Act of 2008.
When: Since 2007, tech companies have worked to build systems that let the government collect this data, according to the slides.
Why: The government says it needs this capability to investigate terrorism, hostile cyber activities and nuclear proliferation.
How: The government must obtain a search warrant from the Foreign Intelligence Surveillance Court.
Legal Authority: Section 702 of the Foreign Intelligence Surveillance Act of 2008 authorizes the "targeting of persons reasonably believed to be located outside the United States to acquire foreign intelligence information."
Is this blanket surveillance? It's not clear. Before the 2008 law was passed, the government had to identify the target of surveillance. The 2008 law allowed the government to issue "programmatic warrants" that are not based on the identity of an individual, but rather on broader criteria.
How is the data technically handed over? We don't yet know all the technical details of how data is turned over to government. Companies have said they don't provide "direct access" but that doesn't preclude other ways of sharing bulk data. Google told Wired on Tuesday that it either provides information by hand or secure FTP.
What happens to innocent people's data? The law requires the government to minimize the use of data about U.S. persons.
In Summary: The Patriot Act surveillance program is potentially illegal, officials may have lied about it to Congress and it collects information about nearly every single person in the United States. The Prism program is legal, is likely less broad and has some safeguards to protect innocent U.S. residents.
There's a reason that former Department of Justice attorney Mark Eckenwiler, who specialized in electronic surveillance law, has suggested calling the Patriot Act surveillance program "Hoover."
U.S. Terrorism Agency to Tap a Vast Database of Citizens
Posted on December 13, 2012 by juliaangwin	— No Comments ↓
By JULIA ANGWIN
Top U.S. intelligence officials gathered in the White House Situation Room in March to debate a controversial proposal. Counterterrorism officials wanted to create a government dragnet, sweeping up millions of records about U.S. citizens—even people suspected of no crime.
Counterterrorism officials wanted to create a government dragnet, sweeping up millions of records about U.S. citizens-even people suspected of no crime.
Not everyone was on board. "This is a sea change in the way that the government interacts with the general public," Mary Ellen Callahan, chief privacy officer of the Department of Homeland Security, argued in the meeting, according to people familiar with the discussions.
A week later, the attorney general signed the changes into effect.
Through Freedom of Information Act requests and interviews with officials at numerous agencies, The Wall Street Journal has reconstructed the clash over the counterterrorism program within the administration of President Barack Obama. The debate was a confrontation between some who viewed it as a matter of efficiency—how long to keep data, for instance, or where it should be stored—and others who saw it as granting authority for unprecedented government surveillance of U.S. citizens.
Read more at The Wall Street Journal and see the full privacy series.
New Tracking Frontier: Your License Plates
Posted on September 29, 2012 by juliaangwin	— No Comments ↓
For more than two years, the police in San Leandro, Calif., photographed Mike Katz-Lacabe's Toyota Tercel almost weekly. They have shots of it cruising along Estudillo Avenue near the library, parked at his friend's house and near a coffee shop he likes. In one case, they snapped a photo of him and his two daughters getting out of a car in his driveway.
Mr. Katz-Lacabe isn't charged with, or suspected of, any crime. Local police are tracking his vehicle automatically, using cameras mounted on a patrol car that record every nearby vehicle—license plate, time and location.
"Why are they keeping all this data?" says Mr. Katz-Lacabe, who obtained the photos of his car through a public-records request. "I've done nothing wrong."
Until recently it was far too expensive for police to track the locations of innocent people such as Mr. Katz-Lacabe. But as surveillance technologies decline in cost and grow in sophistication, police are rapidly adopting them. Private companies are joining, too. At least two start-up companies, both founded by "repo men"—specialists in repossessing cars or property from deadbeats—are currently deploying camera-equipped cars nationwide to photograph people's license plates, hoping to profit from the data they collect.
The rise of license-plate tracking is a case study in how storing and studying people's everyday activities, even the seemingly mundane, has become the default rather than the exception. Cellphone-location data, online searches, credit-card purchases, social-network comments and more are gathered, mixed-and-matched, and stored in vast databases.
Read more at The Wall Street Journal and see the full What The Know series online.
Selling You on Facebook
Posted on April 7, 2012 by juliaangwin	— No Comments ↓
Many popular Facebook apps are obtaining sensitive information about users—and users' friends—so don't be surprised if details about your religious, political and even sexual preferences start popping up in unexpected places.
A Wall Street Journal examination of 100 of the most popular Facebook apps found that some seek the email addresses, current location and sexual preference, among other details, not only of app users but also of their Facebook friends
The Wall Street Journal, Page W1
Not so long ago, there was a familiar product called software. It was sold in stores, in shrink-wrapped boxes. When you bought it, all that you gave away was your credit card number or a stack of bills.
Now there are "apps"—stylish, discrete chunks of software that live online or in your smartphone. To "buy" an app, all you have to do is click a button. Sometimes they cost a few dollars, but many apps are free, at least in monetary terms. You often pay in another way. Apps are gateways, and when you buy an app, there is a strong chance that you are supplying its developers with one of the most coveted commodities in today's economy: personal data.
Continue reading at The Wall Street Journal and see the full What They Know series online.
Google's iPhone Tracking
Posted on February 17, 2012 by juliaangwin	— No Comments ↓
Web Giant, Others Bypassed Apple Browser Settings for Guarding Privacy
The Wall Street Journal, Page One
Google Inc. and other advertising companies have been bypassing the privacy settings of millions of people using Apple Inc.'s Web browser on their iPhones and computers—tracking the Web-browsing habits of people who intended for that kind of monitoring to be blocked.
Read more at The Wall Street Journal and read the full What They Know series online.
Stewart Baker: Why Privacy Will Become a Luxury
Posted on November 14, 2011 by juliaangwin	— No Comments ↓
Stewart Baker, the former assistant secretary for Homeland Security, talks with Julia Angwin about the need for balancing privacy rights with security concerns. In The Big Interview, Mr. Baker explains why privacy may one day be a luxury available only to the privileged and the rich.
Judges Weigh Phone Tracking
Posted on November 9, 2011 by juliaangwin	— No Comments ↓
State and federal authorities follow the movements of thousands of Americans each year by secretly monitoring the location of their cellphones, often with little judicial oversight, in a practice facing legal challenges.
Electronic tracking, used by police to investigate such crimes as drug dealing and murder, has become as routine as "looking for fingerprint evidence or DNA evidence," said Gregg Rossman, a prosecutor in Broward County, Fla.
The use of cellphone tracking by authorities is among the most common types of electronic surveillance, exceeding wiretaps and the use of GPS tracking, according to a survey of local, state and federal authorities by The Wall Street Journal.
Read more at The Wall Street Journal and see the full What They Know series online.
Secret Orders Target Email
Posted on October 10, 2011 by juliaangwin	— No Comments ↓
WikiLeaks' Backer's Information Sought
The U.S. government has obtained a controversial type of secret court order to force Google Inc. and small Internet provider Sonic.net Inc. to turn over information from the email accounts of WikiLeaks volunteer Jacob Appelbaum, according to documents reviewed by The Wall Street Journal.
Plus, more on Sonic.net, the little ISP that stood up to the government.
Latest in Web Tracking: Stealthy 'Supercookies'
Posted on August 19, 2011 by juliaangwin	— No Comments ↓
Major websites such as MSN.com and Hulu.com have been tracking people's online activities using powerful new methods that are almost impossible for computer users to detect, new research shows.
The new techniques, which are legal, reach beyond the traditional "cookie," a small file that websites routinely install on users' computers to help track their activities online. Hulu and MSN were installing files known as "supercookies," which are capable of re-creating users' profiles after people deleted regular cookies, according to researchers at Stanford University and University of California at Berkeley.
Device Raises Fear of Facial Profiling
With this device, made by BI2 Technologies, an officer can snap a picture of a face from up to five feet away, or scan a person's irises from up to six inches away.
Dozens of law-enforcement agencies from Massachusetts to Arizona are preparing to outfit their forces with controversial hand-held facial-recognition devices as soon as September, raising significant questions about privacy and civil liberties.
With the device, which attaches to an iPhone, an officer can snap a picture of a face from up to five feet away, or scan a person's irises from up to six inches away, and do an immediate search to see if there is a match with a database of people with criminal records. The gadget also collects fingerprints.
Appreciate @AJListeningPost taking the global perspective on the question of why some world leaders get a free pass… https://t.co/V0Psvb1ztP 04:50:17 PM January 18, 2021 from Twitter for iPhone
RT @themarkup: What if we considered internet health an aspect of public health? It's just one question discussed during our "Browsing Disi… 08:22:48 AM January 16, 2021 from Twitter for iPad
I was honored to be interviewed by @eric_lander for his podcast on "what algorithms say about you" way back in the… https://t.co/MgHoNU7y3F 08:08:19 PM January 15, 2021 from Twitter for iPhone
@alondra Huge congratulations!!!! 04:34:41 PM January 15, 2021 from TweetDeck in reply to alondra


If you are unable to work at your job because of an injury or illness, there are two different benefit programs available to help you. Both SSI (Supplemental Security Insurance) and SSDI (Social Security Disability Insurance) are federal government programs that assist those with medical issues with monetary payments. The two programs do have a few similarities, but they have many differences. Since these two programs are so frequently confused, read on to learn more about each program and how they serve different populations.
The Social Security Administration (SSA) administers both of these benefit programs.
Both of these programs use the same factors to determine your medical eligibility. In other words, you qualify medically the same way for each program, with proof of your medical condition using your medical records.
Both programs place limits on how much income you can earn and still get benefits.
This program is aimed at people who have very little money or property, and most people who qualify will also likely qualify for other government assistance programs, like food stamps or housing assistance. The SSA allows SSI recipients to possess property as long as it does not exceed $2,000 in value. While this seems like an extremely low amount, keep in mind that you are allowed to exclude your family home and a vehicle from that $2,000. It should be noted that the SSA does not count all of your income and property and has provided a calculator and some additional guidelines to help you get a rough idea of what doesn't need to be included in your calculations.
If you have worked enough in your lifetime before you became disabled, you may qualify for this second type of benefit program. The SSDI program uses money that has been deducted from your paychecks to fund it. Your ability to qualify is based not only on your medical condition but on how many work credits you have accumulated in a certain period of time. The SSA equates a work credit to $1,300 in income earned, and you must generally have at least 40 credits to use those benefits. Of those 20 work credits, at least 20 of them must have been earned in the most recent 10-year period. For younger workers who become disabled, there is a special method of calculating eligibility, since they have not had as much time to accumulate the work credits.
If you have been denied your Social Security benefits, speak to an attorney.


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Tags: nigeria | violence | ethnic
24 Killed in Nigerian Ethnic Clash
IBRAHIM ABDUL Saturday, 04 May 2013 12:16 PM
YOLA, Nigeria — A health official says at least 24 people have been killed in ethnic violence in a rural town in Nigeria.
The attack happened Friday in Wukari, a town in Nigeria's Taraba state.
A state health official said Saturday that others were also injured in the violence that sparked during a funeral service that pitted the Jukun people against the Hausa Fulani. The official spoke on condition of anonymity as he wasn't authorized to publicly release death tolls.
Officials later placed the town on a 24-hour curfew, forcing everyone indoors.
A similar round of violence in February in the town killed more than 20 people.
Nigeria, home to more than 160 million people, has more than 250 different ethnicities. Violence can start over politics, business, grazing rights, religion and other issues.
A health official says at least 24 people have been killed in ethnic violence in a rural town in Nigeria.
nigeria,violence,ethnic
Saturday, 04 May 2013 12:16 PM


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None Like Us
Regia: Volfango De Biasi
Produzione: Italian International Films
Set in Turin in the eighties, when there were no social networks and smartphones, "Nobody Like Us" is a romantic comedy about the power of feelings, in which love, friendship, passion and betrayal are intertwined. Betty (Sarah Felberbaum) is a beautiful high school teacher, unconventional and single by choice. Umberto (Alessandro Preziosi) is a well-known university professor, charming, arrogant and struggling with a boring and passionless marriage. The two meet for the first time when Umberto and his wife Ludovica (Christiane Filangieri) decide to enroll their rebellious son in the high school where Betty teaches. Despite a stormy first meeting, an overwhelming passion breaks out between them…
Their story is intertwined with that of Vince (Vincenzo Crea), who is madly in love with Cate (Sabrina Martina), the beautiful classmate, who is losing her head for Romeo (Leonardo Pazzagli), Vince's best friend, and son of Umberto. The school life of a quiet high school is suddenly turned into a love triangle in which everyone will end up discovering that in love and friendship there are both joy and pain and to live them fully you must be willing to make choices, whatever it takes..


Update: J.J. Abrams directing Star Wars: Episode VII is now 100% official and confirmed, as Lucasfilm have sent out a press release announcing it. Click here to get all the details.
The Wrap is a very reliable source for news of this sort, and credit "an individual with knowledge of the production" as their source. They note they reached out to Lucasfilm spokeswoman Lynne Hale, who declined to immediately comment.
The one note of caution here is the recent story about Zack Snyder directing a separate, stand-alone Star Wars film, which was first reported by the also-credible Vulture – only for Snyder's reps to say it wasn't true, even as Vulture stood by their sources. Lucasfilm is obviously being secretive with the Star Wars films as negotiations have been going on with directors, so we'll all be waiting to see when they officially comment on this report that Abrams is the guy making The Movie We're All Waiting For.


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A FOIA Delayed is a FOIA Denied
by Public Employees for Environmental Responsibility July 5, 2018
Washington, DC, July 5, 2018 — To avoid or delay the production of records requested under the Freedom of Information Act, federal agencies employ a myriad of stratagems, even after they are sued for failure to meet FOIA deadlines, reports Public Employees for Environmental Responsibility (PEER). As a result, FOIA backlogs are ballooning, more lawsuits are filed, and prospects for transparency dim.
As a byproduct of its work on behalf of public employees across the federal government, PEER has a robust and wide-ranging FOIA docket. By tipping off PEER about which documents to seek, employees eliminate the need to leak documents or become whistleblowers.
For the very reasons employees think the public should see certain documents, the agencies are reluctant to release them. One initial maneuver is to tell the requester that processing time will take forever. The State Department, for example, informs FOIA requesters that it handles "requests on a first-in, first-out basis, and currently has a backlog of approximately 10,500 cases."
EPA Headquarters now warns requesters that due to the spike in requests "following the Presidential Inauguration…completion of your request may require up to fourteen months" and cites the average processing time for a FOIA request to the office of Administrator Scott Pruitt as "388 working days."
"Ironically, agencies now use their lack of responsiveness as an excuse for being nonresponsive," stated PEER Executive Director Jeff Ruch, pointing out that, by law, an agency is supposed to answer a FOIA in 20 working days, and the maximum extension is for an additional 10 days. "Of course, backlogs will only grow when agencies do not process requests expeditiously – which is precisely what is happening."
FOIA authorizes requesters to sue an agency for flouting deadlines to compel production. In some cases, filing a lawsuit results in relatively quick resolution. In other cases, agencies roll out dilatory tactics, such as claiming a request covers a huge universe of documents which are then dribbled out over long periods of time. Examples from PEER's current FOIA litigation include –
The USDA Office of Inspector General claims that a request for materials supporting its 2017 audit of the Prairie Pothole conservation program covers "approximately 712,957 pages of potentially responsive records" which it will review at the rate of 500 pages per month for the next century with an anticipated completion date of 2135; and
EPA claims it has identified 50,000 relevant unpublished documents justifying its 2017 guidance on relaxing radiation contamination standards in drinking water which it promises to review at the rate of 1,000 per month over the next four plus years.
"These agencies lasso in dump-trucks worth of useless information to slow walk their responses into infinity," Ruch added, noting the USDA has sent over thousands of printed pages of the Code of Federal Regulations and publicly available Federal Register entries. "Since the Trump administration likes the Freedom of Information Act as much as a cat likes baths, transparency now entails siege warfare."
See the USDA Prairie Potholes statement
View the EPA radiation-drinking water document estimate


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San Francisco Police Officer Linked to Racist Texts is Fired
By Peggy Bunker	• Published April 3, 2017 • Updated on April 3, 2017 at 11:28 pm
Three years after getting wrapped up in a racist text investigation, a San Francisco police officer has been fired.
Investigators said an anti-Muslim text message was discovered, sent from the officer's personal phone.
"Once you're sort of caught expressing any kind of message that shows bias, racial gender, whatever, I think that message is clear, that the police department will fire you," attorney Tony Brass said. "Bias in policing is a very serious issue."
The text message, sent in 2014, was uncovered during the criminal investigation of two other SFPD officers.
"Well, police officers take an oath to be non-biased, and I think they should stick by that," David Mizer, of San Francisco, said.
The unnamed officer who sent the text expressed remorse over it and even met with Muslim community leaders and voluntarily worked security detail at mosques after the incident. None of that was enough to persuade the new chief to keep him, a move that surprised some.
"When we work with a police officer who's done more to express remorse, and he does affirmative things to imrove himself and communicated directly with that community, that there's no forgiveness, there's no second chance, I'm surprised by that," Brass said.
attorneySan FranciscoSan Francisco policePeggy Bunker


In the poems you have in Bennington Review, I'm struck by how sharply the speaker's gaze moves around as we leap from one predicament to another. How do your poems get control of their own movement? Could you speak to this?
I really like the idea of the poems with their own agency, getting control of themselves! Like how William Carlos Williams called poems "machines made of words." I'm happy to leave that movement up to them, to be honest, but I think if I had to define it, I'd say my poems tend to be associative in a moody way, so the emotional and/or atmospheric texture moves from one preoccupation or scenario or image to the next as the original impulse unfolds (expands?) into a series of related impulses. Maybe.
"The Whole Shebang" is a poem scattered across the width of a page, with several phrases separated by white space on each line. Was that always the poem's form or did you find the form after writing the poem? What inspired you to scatter these phrases?
The current scattered form came after the first few drafts, which were more vertical and symmetrical, just one long column. I wanted the ideas inside the poem to hold together conceptually the way they would if they formed a more cohesive/concentrated block of text, but, more than that, I wanted all the particular moments of the poem to be little islands inside that expanse; like they're these fragments of intensity that constellate into a rush of feeling or momentum.
When and where do you get excited when reading a poem? When and where do you get excited when writing one?
In addition to your books of poems, you have also written a novel, The Arsonist's Song Has Nothing to Do with Fire. In order to write a novel, did you have to learn to write from scratch, or was the experience not altogether different from writing poetry?
That experience wasn't too different from writing poems, actually, because I wrote the kind of novel that you can imagine a person who mainly writes poems would write… quiet and lyrical, with sections that are basically prose poems and not super thrilling. The whole thing is basically a series of extended descriptions of bleak and disheveled landscapes. Just kidding! (Not entirely kidding).
Do you remember your initial experiences reading the poets who you love most? Could you read them immediately, or did it take a long time for you to feel (as much as possible) that you understood the work and the techniques involved? Do you always love the same poets the most, or do they shift for you?
Gosh, I think I don't remember exactly most of those initial experiences, except for maybe when I first encountered e.e. cummings in high school and understood how radically language could tilt and vivify the world. With the poets I love the most, historically and currently, it's always that something about their work strikes me immediately and viscerally and probably mostly in a way I can't necessarily name. However that happens—however the words combine to invent an energy/texture/mood that bestows an intensity—that's what I'm always after. I don't think about it in terms of reaching a fixed understanding of the work exactly, but in being able to receive something the poem seems to offer that feels essential: a heightened perception or a sense of recognition or a little life raft to cling to. And yes: I do love the same poets the most, the ones I think of as my fundamental poets, the steadfast ones I always return to, no matter who else I fall in love with, the ones who remain.
ALLISON TITUS is the author of The True Book of Animal Homes (Saturnalia) and a forthcoming chapbook, Sob Story (Barrelhouse).
HENRIETTA HADLEY is an editorial assistant at Bennington Review.