CubeNet.com custom web design & programming for all platforms, mobile, table and desktop.
This is at the heart of sites like Facebook, Amazon or eBay--programs running that interact with the website & surfer to read a database, send an email, process a credit card charge, or save a calendar appointment. These are often beyond the skills of many typical web developers, it takes years of schooling and experience to become proficient at it. However, what we discovered is that our customers often like their web developers but need programming skills.
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We develop in C / C# / C++, ASP / ASPX / ASP.NET, VB, PHP, Perl, JQuery, and other languages.
Whether you need a program written from scratch, an existing program modified to do something differently or aren't sure, we can probably help.
Websites reside on web servers, highly available computers that respond to requests from people, services or third parties. They can also send information, email blasts, reports, analytical information, or status information such as orders unfulfilled or shipping status. These cases warrant having the server do more than respond to an inquiry, they are designed to "wake up" at specified times and perform scheduled tasks.
Rather than have a reminder go off to perform some manual task, the server that is already available can be made to perform those tasks for you. They don't mind and will not forget.
As software continues to move to the web or cloud, the location of the application itself is moving. Rather than installing software locally, it may be distributed or executed on the web or in the cloud. Depending on the type of application, it may need to be rewritten or adapted to present information differently.
This is not necessarily new, but has recently become more common given the lack of resources available by the client; a mobile device or tablet.
Adapt or die. Contact us for options.
Migration can include moving a site from one platform to another (ie from Linux to Windows), from a non-web platform to the web or from one host to another. Also common is the retirement of support for older operating systems and software. Minor adjustments or complete rewrites may be needed to maintain compatability.
We take a proactive approach and notify customers prior to systems going down, outline their options and provide support throughout the upgrade process.
CubeNet is an official U.S. Goverment veteran-owned registered contractor.


Finally! As promised in my February 12th entry about Art's Alternate recordings, it's now time to examine the differences between Aaron's recordings and their alternate versions.
The alternate version is the same take as the original version except for two significant differences. It is missing a vibraphone* overdub, which features prominently on the original version. Also, the alternate, undubbed version features an extra 12 seconds during which the vocal "choir" (sans Aaron) sings a final "show me the way" at a much slower speed than the rest of the song, followed by a loud piano chord and softer, single bass note.
* If you are not familiar with it, a vibraphone (also called a vibraharp) is a xylophone-like percussion instrument, with metal keys. Here is a video, featuring a vibraphone solo so you'll know what sound to be listening for.
Despite the timing difference, the two versions are the same take except that the alternate version is missing vibraphone overdubs, which are found on the original version. It appears as though the timing difference is the result of the alternate version's running a hair faster.
A couple significant differences make these two versions very easy to differentiate. The original version features a melodic piano introduction with a predominant vibraphone part throughout the recording. The alternate version starts with triplet arpeggios on piano and the entire track is vibraphone-free.
The two versions are identical through the first 2:17 of the track. At that point, the single version features a prominent piano part with the backing vocalists repeating the song's title, "humdinger" until the song fades out. On the alternate (unedited master) take, the verse which begins "I bought my baby child a diamond ring. It was a humdinger" is repeated and faded out.
This one is the trickiest to differentiate and some discs incorrectly identify which version they contain. Aaron's phrasing is different between the two versions (and the backing vocals are mixed lower on the alternate take.) The only lyrical differences are: (1) a single word during the first verse and (2) the improvised singing at the end, during the song's fade-out.
During the first verse ("Every time the telephone rings I hold my breath. Hoping that it's you, I'm scared to death. [The] phone went ring, my crippled heart cried. Let it be you, on the line") the word "the" preceding the word "phone" exists in the alternate version but NOT in the original, single version.
A somewhat more obvious clue can be heard during the song's fade-out (following the lyrics "Hold on baby, 'til I tell these blues goodbye. 'Til I tell these blues goodbye.") On the original, single version, Aaron hums ("mm-mm-mm") while he SINGS "whoa whoa yeahhh" on the alternate version.
To my ears, the two versions sound like variations of the same recording. Besides the significant timing difference, the original version (again) features a flute overdub that is missing from the alternate version. While the flute part on "For Every Boy…" is at least tolerable to my ears, it sticks out like a sore thumb here. The entire song has a swinging feel to it, while the flute is played straight, making it sound all the more like it was an afterthought. The original version is so much longer because it features an instrumental solo (again marred by the flute part) and a repeat of the song's bridge ("I've been in love before. I've been hurt before. I thought I was through with being a fool, but I ended up in the same shoes once more.") The verse, which immediately follows the bridge the first time around ("Once again I sit alone, wondering and worrying all night long over you.
I've done it again") is also repeated.
This one is tricky. Not so much because the three versions are hard to differentiate, but because various sources describe certain versions differently. Ignore the weak liner notes and trust your ears!
According to some sources, a version of this song was released on the "Art and Aaron Neville" LP (Bandy 70013,) a "fact" which I reproduced on the NevilleTracks discography. The song does NOT appear on my copy of that LP, nor on any copy I've ever encountered, so I can't say for sure that it really exists. I have found three versions of this song.
Version 1 (probably the closest thing to a "single version" that we have) seems to be nothing more than Version 2, faded out five seconds early. Version 2 has a cold ending, rather than a fade out. It ends with a "campy" piano/drum/sax tag. The sax solo on both sound the same, but I suspect that's because the sax player played the solo the same way both times. The "tick tock" effect on this version sounds very different. It sounds more like "tock tock" than "tick tock" because the pitch doesn't vary the way it does on the "single version." This "tock tock" slows down a hair at the end and comes to a dead stop, rather than being faded out.
Lyrically, there are a couple significant differences to help the listener spot which version s/he is listening to.
On the original Parlo recording, the piano arpeggio at the very beginning is much slower than that on the remake. The piano provides the rhythm on the Parlo version, with the guitar accenting the off-beats (2 and 4.) On the remake, the guitar is not just providing accents; it is the prominent rhythm instrument.
Lyrically, Aaron takes a lot of liberties on the remake. During the second verse, ("If you are serious, then don't play with my heart, it makes me furious") Aaron sings the lyrics as "If you are serious little girl, little girl, little girl, then don't play with my heart, it makes me furious." There are several of these lyrical improvisations throughout the song.
The original 45 version is a half minute shorter than the alternate version. On most unauthorized reissues, it is the alternate version that is included and NOT the original single version. The single version features string overdubs & double-tracked vocals, neither of which is on the alternate version.
How many of us have purchased an entire album, just to possess a single track from that album? I'd dare bet that anyone who seriously collects the recordings of any musician or band has done this (and probably more than once.) I can't even count the number of discs in my collection, which I would never own otherwise, if not for that one track… the one, which features a contribution from some musician I really like. And the Nevilles alone are responsible for a significant number of these "never would have had them if not for that one track" discs.
Of course, this has happened less over recent years, thanks to many album tracks being made available individually via legal download services like Rhapsody, i-Tunes and Amazon's mp3 store. We can now fill in the holes in our collections more easily (and cheaply) these days, as long as we are willing to accept the lesser sound quality of the recordings available from these sources.
This list does not include contributions made by the Brothers individually. I am listing ONLY those tracks which feature at least three of them!
Track 1 released in the UK only. Track 2 was released on a German CD single. Tracks 3 and 4 can be found on the "Konbit: Burning Rhythms of Haiti" LP. Track 5 is on Daniel Lanois's "Acadie" LP.
Track 1 on the "Red Hot + Blue" compilation. Track 2 on a German CD single and on a US promo CD. Track 3 on an American promotional CD. Tracks 4-6 on the Japanese "Fearless" EP.
Track 1 on the "Austin City Limits: Big Blues Extravaganza" compilation. Track 2 on the "ONXRT-Live from the Archives Volume 3" CD.
Track 1 from the "Austin City Limits Music Festival: 2004" compilation. Track 2 from the "Hurricane Relief: Come Together Now" compilation. Track 3 from KBCO radio's "Studio C – Volume 17" cd.
Tracks 1-4 from the "From the Big Apple to the Big Easy" DVD. Tracks 5-7 fro the "New Orleans Concert – The Music Of America's Soul" DVD. Track 8 from the "KGSR Broadcasts – Vol. 13" CD.
While the NevilleTracks discography focused primarily on recordings, which were released to the general public at one time or another, I have always wondered just how many songs were written but never recorded. Or, better yet, how many were recorded but not released? I recall once reading in a record collector's magazine that A&M Records alone had enough unreleased Neville recordings to fill a 2-CD set! There is a disc circulating among collectors, which includes the unreleased song "Louisiana Woman" (from the band's debut LP on Capitol Records.) In the early '90s, Ivan recorded a follow up CD to "If My Ancestors Could See Me Now" for Polygram Records, which was scrapped at the last minute (and some – but not all – of which ended up on his "Thanks" CD.) And these were just the handful about which I already knew; presumably, there were others as well.
The Copyright Office's site is not without its flaws, but it's still a great place to start. And, as such, that's where I decided to start my exploration of "Great Lost Neville Tracks." A second installment, which focuses on the information available on the ASCAP and BMI web sites (and which was also written back in 2008) will be posted here in the very near future.
Please note that I have added two entries (2010 & 2011) since the original appearance of this article. I have NOT made any other changes although I do plan to review the Copyright Office's web site eventually to see if there have been any additions since I did my initial research.
On September 25, 1978, three songs were copyrighted, which have never appeared on any Neville LP (although one of those tracks has made it into collectors' hands, along with rough mixes of a half dozen of the songs on the "Neville Brothers" LP.) "Louisiana Woman," the one song that has leaked out, was written by brother Charles. "I'm Burning Up" and "I'm Calling Your Bluff" are registered to "Neville Productions, Inc., employer for hire." As such, we are unsure if either song was composed by one (or more) of the Nevilles, or if some outsider wrote them on behalf of Neville Productions. Nor are we sure if the songs were ever recorded.
On August 20, 1979, "Cradle Days" (music by Tony Berg and Aaron Neville – lyrics by Aaron Neville) was registered. The song has never been released by any of the Nevilles although it was recorded and released by Bette Midler on her "Thighs and Whispers" LP in 1979.
In May of 1980, a song titled "If You Want It" was registered to Ivan Neville, Cyril Neville and Nick Daniels. (The song is alternatively known as "If You Want It, You Can Get It.") In July of 1980, Ivan and Reginald Cummings (who had written the classic Neville song "Dance Your Blues Away" a few months earlier, copyrighted their composition, "Let's Get To It." In August, brother Charles copyrighted his "Music from Shangri-la," (which was written in 1979.) According to Charles's biography on the official Neville Brothers web site, "…Drawing from his experiences at the Dew Drop Inn, Charles conceived and arranged the music for a musical called Shangri-La." In late September, Aaron copyrighted a collection of his poetic works! Presumably, some of these poems have been used as song lyrics.
"I'm A Big Boy Now" was registered on February 15, 1983 and was written by Aaron and Ivan. It appears as if the song was later recorded for "If My Ancestors Could See Me Now," as it was reregistered at that time. "I Can See It In Your Eyes" (which would be recorded in the 90's for the Brothers' "Family Groove" LP) was registered at the same time. In mid-September of the same year, "All Day, All Night" (Ivan Neville, Ronald Jones) was copyrighted.
1984 saw Ivan and Cyril registering several tracks each, which have never been released (if they were recorded at all.) First up was "Get You Tonight" (Paul Robert Walsh, Ivan Neville, James B. Hutchinson,) which had been written the year before and was finally copyrighted on March 16th. On April 10th, the songwriting team of Ivan Neville, Paul Robert Walsh & Leo Nocentelli registered two songs, "Slapjack" and "Breakout." In late August, brother Cyril registered two compositions. The first of these, "Take a Chance on Love," was penned solely by him, whereas "I'm Saving My Love For You" (aka "I'm Savin' My Love For You") was the work of Cyril, Brian Stoltz, Darryl Johnson and "Mean" Willie Green. Mid-October saw the registration of three more Ivan Neville-Leo Nocentelli collaborations: "Love in China," "Tell Me How You Feel" and "You Are The One." (Paul Robert Walsh also contributed to the last two songs.) On November 20th, "Just Around the Block" (words & music: Brian Herbert Stoltz; music: Darryl Johnson & Cyril G. Neville) was copyrighted.
1987 saw more unissued songs registered than any other year. On March 31, "African American" (a song which we remember hearing the Uptown Allstars perform) was written by Cyril G. Neville, Sr., Daryl Johnson, Kenric Neville and Lyryca Neville. In mid-May, "Losing You" (a song which had been written the year before) was registered to "Ivan Neville; words & music (as employer for hire of Nicholas Tremulis & Roger Reupert.)" In September, Ivan registered three more compositions. "The Hype and the Hoopla" was written with Leo Nocentelli and Nick Daniels. "She's Too Much" and "What Money Can By" (sic) were written with Steven Stewart. Most likely, the latter tune is the same as "Money Talks" (which was released on Ivan's "If My Ancestors Could See Me Now" LP.
In contrast, 1988 was a very lean year. "All in Good Time" (words & music: Daryl Johnson, Ivan Neville, Nick Daniels) was registered on May 2 and "Funky Promiseland" (words & music by Cyril Neville, Sr., Austin Tony Hall, Willie Green, Aaron Neville & Brian Stoltz) was registered on September 1st.
On August 27, 1991, a song titled "Mind Games" was registered to Cyril Neville, Jr., Norman Caesar, Perry Dominguez, et al. / Deff Generation Music, Inc. In December of that year, "Terry Manuel Originals, '91 (collection)" was also registered (Terrence A. Manuel, Mark Dubuleclet, Charles Moore, Willie Green, George Sartin, Cyril Neville & Vernon Phillip Manuel. These were previously registered in 1979.
On March 5, 1992, a song written by Ivan Neville and Hawk Wolinski in 1990 (titled "Sound of Love") was registered. In October 1992, the team of Art Neville, Eric Kolb, Chuck Sheefel & Dwayne Saint Romaine (who, along with Ron Cuccia, penned the Nevilles' song "Line of Fire") registered three compositions: "When the Boogie Comes Down," "Funk 'em up!" and "On Your Own." Doctor Charles registered some of his compositions in early November of that year. "She Loves the Clave" which was a staple at Neville Brothers shows for many years, has (unfortunately) never been commercially released. Fans of Charles's solo work are familiar with his composition, "The Painter." On November 6, Charles registered two similarly-titled songs, "The Painter (Her)" and "The Painter (Him)." It is unknown if either of these is the song included on the CD of the same name.
There were two other very interesting registrations made in 1992. They appear to be retroactive registrations for the compositions on "If My Ancestors Could See Me Now" and on Ivan's second CD, which was slated for release in the early 90s but cancelled. Ivan has said that the best of the songs from that unreleased LP were rerecorded for his "Thanks" LP, but it sure would be fun to hear the unissued LP. On February 7, "After All This Time & 10 Other Titles" was registered and included 10 songs from the "Ancestors…" LP and one unissued song, "I'm a Big Boy Now" (written by Ivan Neville and Aaron Neville and previously registered on February 15, 1983.) As stated previously, it's possible that this is the same song registered as "Big Boy" on November 6, 1987.
March 5, 1992 saw the registration of "Before My Time & 8 Other Titles" (which is presumed to be the unreleased LP, although we recall Ivan's mentioning that the LP was to include some classic New Orleans R&B tunes in addition to his original compositions.) Rather than list only the songs, which were never released, we are listing all of the songs registered that day, hoping to give an idea what the track listing on the aborted LP might have been like.
On June 27, 1997 "As the Sun Goes Down" was registered by Aaron. This appears to be poetry or lyrics, not a song.
On July 2, 2004, a song titled "Itty Bitty's" was registered to Melanie Bliden & Charles B. Neville.) "Why You Wanna Kill Your Brother?: A Stage Play" was copyrighted by Cyril's wife, Gaynielle Housey-Neville.
On February 18, 2005, "Fight (Ain't Gonna Lose No More)" (by Malcolm Rebennack, Cyril Neville, D. Lee Carson) was registered and a collection of songs by the same three composers, "Tango: Ton Gris" was registered on September 26 of the same year.
"Gaynielle Neville's Book of Poetry" was copyrighted on June 19, 2006.
In March 2008, "The Bachelor Club" (a play by Cyril G. Neville, Jr., and Patrick John Marrero) was registered.
The Rarest Neville Brothers 45 ???
I'm sure no one could have predicted how much record collectors would be paying for hard-to-find soul and R&B 45s, just a few decades after their original release. Original copies of Aaron's "Hercules" single from 1973 often sell for at least $150 in near-mint condition (even though both sides of the disc are readily available on CD.) And, certainly, Art's "My Babe" and "Little Liza Jane" singles on the Cinderella label (1963) are nearly impossible to find. (The former seems a bit easier to find and sells for around $25. The latter seems much rarer – I have only seen one copy ever – so I can't even venture a guess as to its value.) And Cyril's awesome "Gossip"/"Tell Me What's On Your Mind" single from 1970 fetches $25 or $30 as well.
However, for the purpose of this discussion, I would like to ignore solo outings and discuss what is probably the rarest of all GROUP singles… the Brothers' self-produced single from 1979 on their own Cookie imprint!
As the Neville-ization albums suggest, the Nevilles never exactly sat around waiting for the phone to ring during those fallow periods when major labels didn't have enough smarts to offer them a contract. The late '70s period following the Capitol album was no exception – the Nevilles formed their own Cookie label and released the "Sweet Honey Dripper" / "Dance Your Blues Away" single. It marked the beginning of the period, circa 1980, when Aaron's son Ivan played a key role in the band's fortunes and pushed the sound more toward the dance floor.
In the past few years, copies of the 45 have popped up sporadically on various internet auction sites such as eBay. Of course, the final selling prices have varied depending on condition and on the way the disc was described. Strangely, when sold as a Neville Brothers 45, it seems to fetch significantly less than when it is described as an Ivan Neville 45. I saw one copy (in fair condition, and credited to the Neville Brothers) sell for $30, while mint-minus copies credited to Ivan fetch over $200 fairly regularly.
Back in late 2005, I corresponded with some individuals in the UK and learned a bit about their "Northern Soul" scene.
According to the on-line encyclopedia, Wikipedia … Northern Soul is a style of music with associated dance styles and fashions that developed in the north of England in the late 1960s. In the beginning the dancing was athletic, featuring spins, flips, and drops. The music originally consisted of obscure American soul recordings with an uptempo beat, very similar to and including Tamla Motown, plus more obscure labels (e.g. Okeh) from northern cities like Detroit and Chicago (in contrast to southern styles like Memphis soul). By 1970 British performers were recording numbers for this market, and the scarcity of soul records with the required beat led to the playing of stompers, or records by any artist which featured the right beat. The phrase 'Northern Soul' was coined by journalist Dave Godin sometime around 1971 when writing his column in Blues and Soul magazine.
So, it seems that the source of confusion is DJs relying on the info printed on the 45 (which, in fact, does NOT have the name "The Neville Brothers" printed on it!) So why doesn't the record sleeve set things straight? Perhaps because the "company sleeve" (as Andy described it) is even rarer than the 45 itself.
In fact, before speaking with Andy, I was unaware that a company sleeve even existed. The only copies I had ever seen (including my own) came in plain white sleeves. Very likely, those 80s DJs who erroneously credited the single first to Art (and later to Ivan) never saw the company sleeve either.
Honestly, I haven't been watching the auction sites as much as I used to, so I haven't kept up on the going price of this rare 45 in a while. In June 2011, a mint minus copy sold for $260.00 through eBay. If you find a copy of this little piece of the Nevilles' musical history at a price you feel is reasonable, I highly recommend you grab it (regardless of its condition.) Not only is it a sought-after collectable, but it's truly excellent music as well.
Whether on authorized or unauthorized discs, almost all of Art and Aaron's early releases have been made available on compact disc by this time. Multiple versions of a handful of songs have been released as well, giving the listener a chance to hear different variations on some of these classic tracks. Sometimes, the differences between the different versions are very obvious; sometimes they are much harder to detect.
Of course, the differences would be much easier to illustrate if I were to post audio clips; but, due to the current legal climate with regard to on-line audio sharing, I'm going to hope that my descriptions are explicit enough to make the differences clear.
In addition to being significantly longer, the demo is much slower in tempo. It opens with piano, drums, guitar and (probably) bass accompanying Art's vocals. It includes a piano solo and very subdued horns play throughout the majority of the recording.
The single version opens with much more prominent saxophones playing a triplet pattern. These saxes remain more prominent throughout the single and one of them performs a solo, beginning at approximately 1:05 into the song.
The original version is slightly faster (and 25 seconds shorter) than the alternate take.
The two versions are almost identical in length and distinguishing between the two is somewhat tricky. The sax solo differs between the two and Art enunciates many words more clearly on the alternate version, but these things only help if you have two versions on hand to compare.
The most obvious lyrical difference occurs during the last verse of the song, which begins at 1:32… "She finally gave in and she came through nice. Now we're living in paradise. And you can hear both of our hearts sing. You know that I love you, you fine, fine thing." The last line is sung as "Yes, I love you, you fine, fine thing" on the alternate version.
Again, both versions are the same duration, so we can't distinguish between the two versions based on their length.
And, while the two versions are very similar, Art DOES take a fair amount of liberties with the melody, so the melodic differences can help us distinguish between the two. During the opening two lines of the song ("Well you can talk about the seven wonders of the world. You haven't seen nothin' till you see my girl") the pitch of the words "till you see my girl" goes up dramatically on Version 2.
Also, after the saxophone solo, the first line of lyrics ("She can't last much longer, that's without any doubt") is slightly different between the two versions. The word "that's" is omitted on version 1.
Another easily detected difference is the very ending which is much tighter on version one, where the snare drum and saxophone play the same rhythm (straight quarter notes) during the final word of the song.
The vocals on version 1 feature a subtle reverb (or delay) effect. The vocals on version 2 are completely "dry" (meaning that there has been no delay or reverb effect applied to them.) (For a description of the difference between reverb and delay (aka echo,) there is an excellent one at http://makeshiftmusician.blogspot.com/2008/05/difference-between-reverb-and-echo.html. And, even though this definition makes sense on paper, I still can't HEAR the difference myself!
Again, the differences between these two takes are quite subtle. The sax solo on Version 1 is better (in my opinion.) The one on version 2 sounds slightly out of tune at first and squeaks a bit on the highest notes.
The lyrics are mostly the same until the final chorus (around 1:48 into the song.) Version 1 features the lyrics "Belle amie, belle amie. Can't you see can't you see" while Art sings, "Belle amie, belle amie. Come over here by me" on version 2.
On version 2, the guitar and bass are louder than on version 1. Also, during the song's intro, the guitar and drums sound tighter (more together) on version 2.
If you missed those differences, he sings "yeah yeah now" after the final "Everything's gonna be real cool" on version 1 but NOT on version 2.


Board of Governors of the Federal Reserve System (U.S.), 1935- and Federal Reserve Board, 1914-1935.	"November 1991," Federal Reserve Bulletin (November 1991). https://fraser.stlouisfed.org/title/62/item/20834, accessed on April 18, 2019.


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An interactive storytelling experience for four to seven-year-olds – in schools, libraries and other community learning spaces.
Once upon a time there was a band of swashbuckling pirates, a dark forest of tall trees and a captured princess… Suddenly the characters break free from their pages. What happens next?
Books are one of our favourite things. Escaping into another world – into the extraordinary – thrills us every time we pick one up. So when we were first asked to put together a show that would quite literally bring a school library to life, we jumped at the chance.
In an afternoon or even whole day, we bring to life the pages and characters of well-known stories – and invite the kids, and teachers, to play along. We tailor our sessions to each school and number of children, often performing simultaneously across three classrooms, which really makes things interesting.
We'd love to bring the Book Project to your school. To find out how, send us a message or call Simon, our artistic director, on 07772 661839.
Bring the kids to see us perform the Book Project at Your Place – this year's free community arts spaces. We'll be on at Hangleton on 14 May and at Whitehawk on 21 May. See the Your Place website for more info.
We'll be adapting the Book Project into a walking show around the wards at Great Ormond Street Children's Hospital this Christmas.
Join our mailing list and we'll let you know what we're up to, and where, so you can join in the fun.


In the past year, there has been much debate over the government's role in public health issues such as smoking and obesity.
Is government intervention in these areas an example of 'nanny statism' – an unnecessary intrusion into people's lives? Or is it a form of 'stewardship' – part of government's responsibility to protect national health?
This paper looks at the options open to governments that want to influence individual and collective behaviour to reduce health risks. It also examines historical and contemporary evidence on the impact of state intervention on public health.


Summer is the perfect time for picnics. I love going to the park and bringing along some sandwiches and some little finger foods for a nice lunch. Naumes Fruit Gifts offered me this opportunity!
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Naumes cares about the communities where we live and work and believe everyone should have access to fresh fruit, a vital part of a nutritious diet. That's why we are doing our part to fight hunger with our Donate Fruit program that matches every gift you purchase, pound for pound, with a donation of fresh fruit to food banks that feed hungry families.
Naumes's new Donate Fruit program offers delicious and beautifully made gift sets to buy and enjoy. I think it's very important and also very generous that for every gift set that someone purchases, a food bank receives a donation of fresh fruit to feed hungry families. Fruit is something that we take for granted, but it may bring great happiness to a lower-income family who wants something healthy in their diets.
I was sent the "Suncrest Appetizer."
Spread some toasted baguette slices with all-natural Artichoke Piquillo Bruschetta, made with flame-roasted red piquillo peppers. For those who love pesto with zest, the Artichoke Lemon Pesto on innovative hand-made focaccia crackers is irresistible. Pre-sliced Beef Sausage kicks in some hickory smoked flavor to your party, and fresh-roasted mixed gourmet nuts add in the crunchy factor. And with the included mini wood cutting board and cheese knife, these tasty treats can go straight to your outdoor concerts and picnics!
11. Follow Naumes on Facebook for one additional entry.
Winner will be chosen on July 29, 2010 at 10 pm and then will be emailed.
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I'd choose the Pacific NW Brewed Awakenings.
I like the Suncrest Appetizers selection best!
My favorite is the Suncrest Appetizers but I also liked the Rogue Gourmet grill and BBq set.
I would pick the Foothills Tapas - Gourmet Gift Box.
I would love to get the Foothills Tapas - Gourmet Gift Box, thanks!
I like the Pacific NW Coffee Gift Set.
Rogue Gourmet Grill & BBQ set looks awesome!
I would get the Rogue Gourmet Grill & BBQ!
Although the Foothills Tapas set looks yummy, I'd have to choose the Suncrest Appetizer set that you got!


It's Wednesday lunchtime and I'm strolling to the Post Office with an envelope full of brevet cards and receipts. It seems a bit anachronistic in these days of gps recording and email but it feels like the proper way to prove that we completed our first permanent audax the previous Sunday.
The audax in question is The Reliable, and because it's a permanent it can be ridden any time with commercial and info controls as proof of passage. It also qualifies for the Brevet Des Grimpeurs Du Sud which Jo and I are aiming for, an award for completing five audaxes of at least 100km with AAA (Audax Altitude Award) points, in the south east of England in a calendar year. This is our third qualifying ride, with the Hills and Mills, and Mad Jack's already completed. Basically we can get a badge. It's a nice badge. Nick is coming along for the ride as he's never done an audax before. Plus it all seems like good training for the Ronde Van Vlaanderen sportive that we're all doing in a couple of weeks time.
In Bill's cafe surrounded by families out for Mothering Sunday breakfast I hand out bagged brevet cards and route sheets, whilst Nick distributes foil wrapped chocolate brownies. It looks a bit odd, suspect even, like audax drug dealing. Once our teas and coffees are consumed and chat is chatted we cause trouble by asking for individual receipts. The computer can't cope with this so we end up with three copies of the joint receipt as proof of our start time.
The official route is 100km with almost 1700m of climbing, with options to start in Ripe or Crowborough. We started and finished in Lewes adding a few kilometres but giving us more options for gathering receipts on a Sunday than Ripe. Heading out through Ringmer we picked up the route sheet on Harvey's Lane out towards Bentley. Because we did it properly we followed the route sheet which was in a sandwich bag taped to my stem rather than using a Garmin. Nothing against gps devices but audaxing is about following coded instructions and signposts as far as I'm concerned. We zigzagged across to Black Boys where the climbing started in earnest as we worked our way up and down across the weald towards Crowborough on lanes of varying gradients and surfaces. My relaxed angled steel Thorn was relatively comfortable but Nick and Jo got a bit bashed about on their race bred carbon Bianchis. Served them right for turning up on audax illegal plastic bikes with no mudgaurds. Every time there was a bit of smooth tarmac you could almost hear sighs of relief mixed with excitement…they'd also whizz off into the distance for a bit.
Once in Crowborough we located the Sainsbury's Local in order to buy snacks for the receipts. Disappointingly there were no scotch eggs or pork pies (you know, proper audax food) so we have to make do with sausage rolls (me and Jo) and Fizzy Fangs (Nick). Heading north east from Crowborough we turned under a railway bridge and Jo and I both exclaimed "Oh, we're here!" recognising the lane from the Hills and Mills ride back in January, but riding it the opposite way. We slowly climb up onto the high ridge of the High Weald north of Mayfield which we can see silhouetted to the south.
At Etchingham we shouldered the bikes over the station footbridge due to works on the level crossing. More ups and downs follow until again we pop out of a junction and go "Oh, we're here!" (again) as we realise we're near Burwash, from Mad Jack's ride last month. Instead of heading into Burwash we turn towards Brightling, included in both the previous Grimpeurs rides. We clamber over the steep climbs of the High Weald until the final info control. From here we know most of the lanes back towards Lewes but somehow the route sheet finds loads of lanes we've never ridden before.
The best thing about riding these local Sussex audaxes is that we're being introduced to new lanes and routes in parts of the county we don't know so well. Each one so far has really shown the varying landscape of East Sussex, running from the low weald up onto the high weald, from the fields and drove roads to the holloways and ghylls of the high weald, all moss covered rocks, exposed tree roots, and filthy lanes. From the flat lands in the shadows of chalk hills of the south to the sandstone ridges in the north. The next one, in April, The Hell of the Sussex Hills will take in the chalk and bostals of South Downs. Eventually we'll work out how it all joins up so there'll be fewer "Oh, we're here!" moments.
From Horam the route is pretty much flat all the way back so we make good time through Chiddingly to Golden Cross. From here we could have blasted down the Laughton road back through Ringmer into Lewes, as we'd done all the climbs and would have easily covered the required 100km, but we continue following the route sheet into Ripe. It's just as well we hadn't started here as the pub has shut down again and the village shop was closed. From here we divert from the route sheet and head back via Glynde as it'll drop us into Lewes by our chosen finishing point, the Snow Drop pub. Pies and pints are ordered for the necessary receipts to show our finishing time. We found a table for a well deserved sit down and info control answers are copied between brevets and receipts collated ready to be taken to the Post Office.
Thanks to Nick for the photo of me.


text:
Debarshi's den
Toolbox — After a gap of 15 months
with one comment
We just released version 0.0.99, and I realized that it's been a while since I blogged about Toolbox. So it's time to address that.
Rewritten in Go
About a year ago, Ondřej Míchal single-handedly rewrote Toolbox in Go, making it massively easier to work on the code compared to the previous POSIX shell implementation. Go comes with much nicer facilities for command line parsing, error handling, logging, parsing JSON, and in general is a lot more pleasant to program in. Plus all the container tools in the OCI ecosystem are written in Go anyway, so it was a natural fit.
Other than the obvious benefits of Go, the rewrite immediately fixed a few bugs that were inherently very cumbersome to fix in the POSIX shell implementation. Something as simple as offering a –version option, or avoiding duplicate entries when listing containers or images was surprisingly difficult to achieve in the past.
What's more, we managed to pull this off by retaining full compatibility with the previous code. So users and distributors should have no hesitation to update.
Towards version 0.1.0
We have been very conservative about our versioning scheme so far due to the inherently prototype nature of Toolbox. All our release numbers have followed the 0.0.x format. We thought that the move to Go deserves at least a minor version bump, but we also wanted to give it some time to shake out any bugs that might have crept in; and implement the features and fix the bugs that have been on our short-term wish list before putting a 0.1.0 stamp on it.
Therefore, we started a series of 0.0.9x releases to work our way towards version 0.1.0. The first one was 0.0.90 which shipped the Go code in March 2020, and we are currently at 0.0.99. Suffice to say that we are very close to the objective.
Rootful Toolboxes
Sometimes a rootless OCI container just isn't enough because it can't do things that require privilege escalation beyond the user's current user ID on the host. This means that various debugging tools, such as Nmap, don't work.
Therefore, we added support for running toolbox as root in version 0.0.98.1. This should hopefully unlock various new use-cases that were so far not possible when running rootless.
When running as root, Toolbox cannot rely on things like the user's session D-Bus instance or the XDG_RUNTIME_DIR environment variable, because sudo doesn't create a full-fledged user session that offers them. This means that graphical applications can only work by connecting to a X11 server, but then again running graphical applications as root is never a good idea to begin with.
Red Hat Universal Base Image (or UBI)
We recently took the first step towards supporting operating system distributions other than Fedora as first class citizens. From version 0.0.99 onwards, Toolbox supports Red Hat Enterprise Linux hosts where it will create containers based on the Red Hat Universal Base Image by default.
On hosts that aren't running RHEL, one can still create UBI containers as:
$ toolbox create --distro rhel --release 8.3
Those were some of the big things that have happened in Toolbox land since my last update. If you are interested in more details, then you can read Ondřej's posts where he writes at length about the port to Go and the changes in each of the releases since then.
Written by Debarshi Ray
14 January, 2021 at 22:49
Posted in Blogroll
Tagged with Blogroll, Buildah, Containers, CoreOS, Fedora, OSTree, Podman, Silverblue, Toolbox
Toolbox — A fall 2019 update
Things have been moving fast in Toolbox land, and it's time to talk about what we have been doing lately.
Toolbox is now part of the containers organization on GitHub. We felt that the project had outgrown the prototype stage — going by the activity on the GitHub project it's safe to say that there are at least a few thousand users who rely on it to get their work done; and we are increasingly working towards expanding the scope of the project to go beyond just setting up a development environment.
Housing the project in my personal GitHub namespace meant that I couldn't share admin access with other contributors, and this was a problem we had to address as more and more people keep joining the project. Over the past year, we have developed a really good working relationship with the Podman team and other members of the containers organization, without whom Toolbox wouldn't exist, so moving in under the same umbrella felt like a natural next step towards growing the project.
Migration to cgroups v2
Fedora 31 ships with cgroups v2 by default. The major blocker for cgroups v2 adoption so far was the lack of support in the various container and virtualization tools, including the Podman stack. Since Toolbox containers are just OCI containers managed with Podman, we saw some action too.
After updating the host operating system to Fedora 31, Toolbox will try to migrate your existing containers to work with cgroups v2. Sadly, this is a somewhat complicated move, and in theory it's possible that the migration might break some containers depending on how they were configured. So far, as per our testing, it seems that containers created by Toolbox do get smoothly migrated, so hopefully you won't notice.
However, if things go wrong, barring a delicate surgery on the container requiring some pretty arcane knowledge, your only option might be to do a factory reset of your local Podman installation. As factory resets go, you will lose all your existing OCI containers and images on your local system. This is a sad outcome for those unfortunate enough to encounter it. However, if you do find yourself in this quagmire then take a look at the toolbox reset command.
Note that you need to have podman-1.6.2 and toolbox-0.0.16 for the above to work.
Also, this is one of those changes where it bears repeating that online RPM package updates are fragile. They are officially unsupported on Fedora Workstation, and variants like CoreOS and Silverblue make it even harder. A cgroups v2 migration is only expected to work on a freshly booted system.
The last six months have seen a whole boatload of new features and improvements. Here are some highlights.
On Fedora Silverblue and Workstation, GNOME Terminal keeps track of the current Toolbox container, and just like it preserves the current working directory when opening a new terminal, it's also able to preserve the Toolbox environment. This is quite convenient when hacking on a Silverblue system, because it removes the extra step of entering a toolbox after opening a new tab or window.
The integration with the host operating system has been deepened. Toolbox containers can now access virtual machines managed by the host's system libvirt instance, and the host's ulimits are preserved. The entirety of /dev is made available inside the toolbox as a step towards supporting the proprietary Nvidia driver to enable CUDA for AI/ML frameworks like TensorFlow.
The container's /run/host now has big chunks of the host's file hierarchy. This is handy for one-off use-cases which require access to parts of the host that aren't covered by Toolbox by default.
Last but not the least, Kerberos now works inside Toolbox containers. This will make it easier to contribute to Fedora itself from inside a toolbox.
1 November, 2019 at 21:53
Posted in Blogroll, Buildah, Containers, CoreOS, Fedora, OSTree, Podman, Silverblue
Fedora Toolbox is now just Toolbox
Fedora Toolbox has been renamed to just Toolbox. Even though the project is obviously driven by the needs of Fedora Silverblue and uses technologies like Buildah and Podman that are driven by members of the wider Fedora project, it was felt that a toolbox container is a generic concept that appeals to a lot many more communities than just Fedora. You can also think of it as a nod to coreos/toolbox which served as the original inspiration for the project, and there are plans to use it in Fedora CoreOS too.
If you're curious, here's a subset of the discussion that drove the renaming.
There have already been two releases with the new name, so I assume that almost all users have been migrated.
Note that the name of the base OCI image for creating Fedora toolbox containers is still fedora-toolbox for obvious namespacing reasons, but the names of the client-side command line tool, and the overall project itself have changed. That way you could have a debian-toolbox, a centos-toolbox and so on.
It should be obvious, but the Toolbox logo was designed and created by Jakub Steiner.
Posted in Buildah, Containers, Fedora, Flatpak, OSTree, Podman, Silverblue
About -Wextra and -Wcast-function-type
About eight months ago, around the time when GCC 8.x started showing up on my computers, I started moving my code away from using -Wextra. This aligns nicely with the move to the Meson build system, which is nice; but went against the flow of Autotools' AX_COMPILER_FLAGS, which isn't ideal but is an acceptable trade-off.
GCC 8.x added a warning called -Wcast-function-type to the -Wextra umbrella. It warns when a function pointer is cast to an incompatible function. At a glance, this seems desirable, but it isn't. It runs contrary to one of the widely used C idioms in GNOME. For example, it's triggered by this text book use of g_list_copy_deep to copy a list of reference counted objects:
another_list = g_list_copy_deep (list, (GCopyFunc) g_object_ref, NULL);
Note that this is different from -Wincompatible-pointer-types, which would've triggered if the cast to GCopyFunc was missing:
another_list = g_list_copy_deep (list, g_object_ref, NULL);
It's easy to imagine similar examples with uses of gtk_container_forall or gtk_container_foreach with gtk_widget_destroy, and so on.
The C standard (eg., see article 6.5.2.2 of the C11 standard) steps around the issue of passing more arguments to a function than it actually has parameters for by calling it undefined behaviour. However, the calling conventions of all the platforms supported by GLib are defined in a way to make this work.
So how do we disable -Wcast-function-type?
One option is to use a compiler directive with #pragma as suggested by AX_COMPILER_FLAGS. However, attempts to ignore it through a #pragma on older versions of GCC that didn't have this specific warning will trigger -Wpragmas, and, ironically, using G_GNUC_CHECK_VERSION to conditionally disable it on newer compilers will trigger -Wexpansion-to-defined, again, because of -Wextra and the fact that the implementation of the macro has a #ifdef around __GNUC__. Regardless, for a warning that gets triggered by such a widely used programming construct, it would lead to a ton of boilerplate all over the codebase, instead of being a solitary exception tucked away in one corner of the project.
Therefore, my preference has been to append -Wno-cast-function-type and -Wno-error=cast-function-type to the list of compiler flags of modules using -Wextra. This avoids almost all of the above problems. One small wrinkle is that if a translation unit or file does trigger some other unrelated diagnostic, then an older compiler will also emit -Wunknown-warning for the presence of the unknown -Wno-cast-function-type flag. I find this acceptable because, in the first place, a file shouldn't trigger any other diagnostic, especially on an older compiler, and if there does happen to be something, say a deprecation warning, then it's likely something that needs to be fixed anyway.
Given that this can repeat with future versions of GCC, it seems wiser to avoid -Wextra and instead explicitly list out the desired compiler warnings. This isn't hard to do because the GCC documentation clearly marks which warnings are turned on by -Wextra, -Wpedantic, etc..
Posted in C, GNOME, GNU
GNOME Photos: an overview of zooming
I was recently asked about how zooming works in GNOME Photos, and given that I spent an inordinate amount of time getting the details right, I thought I should write it down. Feel free to read and comment, or you can also happily ignore it.
Smooth zooming
One thing that I really wanted from the beginning was smooth zooming. When the user clicks one of the zoom buttons or presses a keyboard shortcut, the displayed image should smoothly flow in and out instead of jumping to the final zoom level — similar to the way the image smoothly shrinks in to make way for the palette when editing, and expands outwords once done. See this animated mock-up from Jimmac to get an idea.
For the zooming to be smooth, we need to generate a number of intermediate zoom levels to fill out the frames in the animation. We have to dish out something in the ballpark of sixty different levels every second to be perceived as smooth because that's the rate at which most displays refresh their screens. This would have been easier with the 5 to 20 megapixel images generated by smart-phones and consumer-grade digital SLRs; but just because we want things to be sleek, it doesn't mean we want to limit ourselves to the ordinary! There is high-end equipment out there producing images in excess of a hundred megapixels and we want to robustly handle those too.
Downscaling by large factors is tricky. When we are aiming to generate sixty frames per second, there's less than 16.67 milliseconds for each intermediate zoom level. All we need is a slightly big zoom factor that stresses the CPU and main memory just enough to exceed our budget and break the animation. It's a lot more likely to happen than a pathological case that crashes the process or brings the system to a halt.
Mipmaps to the rescue!
https://rishi.fedorapeople.org/blog/miscellaneous/gnome-photos-zooming-smooth.webm
A 112.5 megapixel or 12500×9000 image being smoothly zoomed in and out on an Intel Kaby Lake i7 with a HiDPI display. At the given window size, the best fit zoom level is approximately 10%. On a LoDPI display it would've been 5%. Note that simultaneously encoding the screencast consumes enough extra resources to make it stutter a bit. That's not the case otherwise.
Photos uses GEGL to deal with images, and image pixels are held in GeglBuffers. Each GeglBuffer implicitly supports 8 mipmap levels. In other words, a GeglBuffer not only has the image pixels at the original resolution, or level zero, at which they were fed into the buffer, but it also caches progressively lower resolution representations of it. For example, at 50% or level one, at 25% or level two, and so on.
This means that we never downscale by more than a factor of two during an animation. If we want to zoom an image down to 30%, we take the first mipmap level, which is already cached at 50%, and from there on it's just another 60% to reach the originally intended zoom target of 30%. Knowing that we won't ever have to downscale by more than a factor of two in a sensitive code path is a relief.
But that's still not enough.
It doesn't take long to realize that the user barely catches a fleeting glimpse of the intermediate zoom levels. So, we cut corners by using the fast but low quality nearest neighbour sampler for those; and only use a higher quality box or bilinear sampler, depending on the specific zoom level, for the final image that the user will actually see.
With this set-up in place, on the Intel Kaby Lake i7 machine used in the above video, it consistently takes less than 10 milliseconds for the intermediate frames, and less than 26 milliseconds for the final high quality frame. On an Intel Sandybridge i7 with a LoDPI display it takes less than 5 and 15 milliseconds respectively, because there are less pixels to pump. On average it's a lot more faster than these worst case figures. You can measure for yourselves using the GNOME_PHOTOS_DEBUG environment variable.
A lot of the above was enabled by Øyvind Kolås' work on GEGL. Donate to his fund-raiser if you want to see more of this.
There's some work to do for the HiDPI case, but it's already fast enough to be perceived as smooth by a human. Look at the PhotosImageView widget if you are further interested.
An elastic zoom gesture
While GTK already comes with a gesture for recognizing pinch-to-zoom, it doesn't exactly match the way we handle keyboard, mouse and touch pad events for zooming. Specifically, I wanted the image to snap back to its best fit size if the user tried to downscale beyond it using a touch screen. You can't do that with any other input device, so it makes sense that it shouldn't be possible with a touch screen either. The rationale being that Photos is optimized for photographic content, which are best viewed at their best fit or natural sizes.
For this elastic behaviour to work, the semantics of how GtkGestureZoom calculates the zoom delta had to be reworked. Every time the direction of the fingers changed, the reference separation between the touch points relative to which the delta is computed must be reset to the current distance between them. Otherwise, if the fingers change direction after having moved past the snapping point, the image will abruptly jump instead of sticking to the fingers.
https://rishi.fedorapeople.org/blog/miscellaneous/gnome-photos-zooming-elastic.webm
The image refuses to become smaller than the best fit zoom level and snaps back. Note that simultaneously encoding the screencast consumes enough extra resources to make it stutter a bit. That's not the case otherwise.
With some help from Carlos Garnacho, we have a custom gesture that hooks into GtkGestureZoom's begin and update signals to implement the above. The custom gesture is slightly awkward because GtkGestureZoom is a final class and can't be derived, but it's not too bad for a prototype. It's called PhotosGestureZoom, in case you want to look it up.
The screencasts feature a 112.5 megapixel or 12500×9000 photo of hot air balloons at ClovisFest taken by Soulmates Photography / Daniel Street available under the Creative Commons Attribution-Share Alike 3.0 Unported license.
The touch points were recorded in an X session with a tool written by Carlos Garnacho.
8 February, 2019 at 18:36
Posted in C, Fedora, GEGL, GNOME, GTK+, Photos
Fedora Toolbox — Under the hood
A few months ago, we had a glimpse at Fedora Toolbox setting up a seamlessly integrated RPM based environment, complete with dnf, on Fedora Silverblue. But isn't dnf considered a persona non grata on Silverblue? How is this any different from using the existing Fedora Workstation then? What's going on here?
Today we shall look under the covers to answer some of these questions.
The immutable nature of Silverblue makes it difficult to install arbitrary RPMs on the operating system. It's designed to install graphical applications as Flatpaks, and that's it. This has many advantages. For example, robust upgrades.
However, there are legitimate cases when one does want to install some random RPMs. For example, when you need things like *-devel packages, documentation, GCC, gofmt, strace, valgrind or whatever else is necessary for your development workflow. While rpm-ostree does offer a way around this, it's painful to have to reboot every time you change the set of packages on the system, and it negates the advantages of immutability in the first place.
By this time some of you are surely thinking that containers ought to solve this somehow; and you'd be right. Fedora Toolbox uses containers to set up an elaborate chroot-like environment that's separate from the immutable OSTree based operating system.
And once you are down to containers, Docker isn't far away — surely this can be hacked together with Docker; and you'd be right again. Almost. You can hack it up with Docker but it wouldn't be ideal.
The problem with Docker is that it requires root privileges. Every time you invoke the docker command, it has to be prefixed with sudo or be run as root. That's fine if you all you want is a place to install some RPMs. It would've required root anyway. However, it's annoying if you want GNOME Terminal to default to running a shell inside your RPM based development environment. You'd have to enter the root password to even get to an unprivileged shell prompt.
So, instead of using Docker, Fedora Toolbox uses something called Podman. Podman is a fully-featured container engine that aims to be a drop-in replacement for Docker. Thanks to the Open Container Initiative (or OCI) standardizing the interfaces to Docker images and runtimes, every OCI container and image can be used with either Docker or Podman.
The good thing about Podman is that can be used rootless — that is, without root privileges. So, that's great.
Containers are weird, though
Containers are pretty widely popular these days, but not everybody who is transitioning from the current RPM based Fedora Workstation to Silverblue can be expected to set things up from first principles using nothing but the podman command line. It will surely increase the cognitive load of undergoing the transition, hindering Silverblue adoption.
Even if someone familiar with the technology is able to set things up, pitfalls abound. For example, why is the display server not working, why is the SSH agent not working, why are OpenGL and Vulkan programs not working, or why is sshfs not working, or why LLVM and LibreOffice are failing to build, etc..
Let's be honest. The number of people who understand both container technology and the workings of a modern graphical operating system well enough to sort these problems in a jiffy is vanishingly small. I know that at least I don't belong to that group.
Container images are optimized for non-interactive use and size, whereas we are talking about the interactive shell running in your virtual terminal emulator. For example the fedora OCI image comes with the coreutils-single RPM, which doesn't have the same user experience as the coreutils package that we are all familiar with.
So, it's clear that we need a pre-configured, and at times, opinionated, solution on top of Podman.
Fedora Toolbox starts with the similarly named fedora-toolbox OCI image hosted on the Fedora Container Registry. There's one for every Fedora branch. Currently those are Fedoras 28, 29 and 30. These images are based on the fedora image, with an altered package set to offer an interactive user experience that's similar to the one on Silverblue.
When you invoke the fedora-toolbox create command, it pulls the image from the registry, and then tailors it to the local user. It creates a user with a UID matching $UID, a home directory matching $HOME and the right group memberships; and it ensures that various bits and pieces from the host, such as the home directory, the display server, the D-Bus instances, various pieces of hardware, etc. are available inside the container. These customizations are saved as another image named fedora-toolbox-user. Finally, an OCI container, also named fedora-toolbox-user, is created out of this image.
If you are curious, run podman images and podman ps –all to verify the above.
Once the toolbox container has been created, subsequent fedora-toolbox enter commands execute the users preferred shell inside it, giving the impression of being in an alternate RPM flavoured reality on a Silverblue system.
If you are still curious, then open /usr/bin/fedora-toolbox and have a peek. It's just a shell script, after all.
Fedora Toolbox — Hacking on Fedora Silverblue
Fedora Silverblue is a modern and graphical operating system targeted at laptops, tablets and desktop computers. It is the next-generation Fedora Workstation that promises painless upgrades, clear separation between the OS and applications, and secure and cross-platform applications. The basic operating system is an immutable OSTree image, and all the applications are Flatpaks.
It's great!
However, if you are a hacker and decide to set up a development environment, you immediately run into the immutable OS image and the absence of dnf. You can't install your favourite tools, editors and SDKs the way you'd normally do on Fedora Workstation. You can either unlock your immutable OS image to install RPMs through rpm-ostree and give up the benefit of painless upgrades; or create a Docker container to get an RPM-based toolbox but be prepared to mess around with root permissions and having to figure out why your SSH agent or display server isn't working.
Enter Fedora Toolbox.
It makes it trivial to get a mutable development environment on Silverblue:
[rishi@bollard ~]$ fedora-toolbox create
[rishi@bollard ~]$ fedora-toolbox enter
🔹[rishi@toolbox ~]$
It uses OCI containers underneath, but takes away the cognitive overhead of thinking about containers by providing a seamless integration with the host environment. It uses rootless podman and buildah, so there's no root in the picture either.
If you are going to try it out, make sure that you have the runc-1.0.0-56.dev.git78ef28e package in your Silverblue image. There's also an ongoing review to get fedora-toolbox added to Fedora. If you don't feel comfortable mucking around with rpm-ostree on the command-line, then fear not. Very soon all the necessary pieces will be part of the OS image, making it that much easier to start hacking on your Silverblue.
22 October, 2018 at 20:07
GNOME Terminal: a little something for Fedora 29
Can you spot what that is?
Posted in Fedora, GNOME, GTK+, Terminal, VTE
GNOME Terminal: separate menu items for opening tabs and windows
Astute users might have noticed that the GNOME Terminal binary distributed by Fedora has separate menu items for opening new tabs and windows, while the vanilla version available from GNOME doesn't.
With separate menu items
This has been the case since Fedora 25 and was achieved by a downstream patch that reverted two upstream commits.
Without separate menu items
I am happy to say that since version 3.28 GNOME Terminal has regained the ability to have separate menu items as a compile time option. The gnome-terminal-server binary needs to be built with the DISUNIFY_NEW_TERMINAL_SECTION pre-processor macro defined. Here's one way to do so.
Libre Graphics Meeting 2018
I spent the last seven days attending Libre Graphics Meeting in sunny and beautiful Seville. This was my second LGM, the first being six years ago in Vienna, so it was refreshing to be back. I stayed in one of the GIMP apartments near the Alameda de Hércules garden square. Being right in the middle of the city meant that everything of interest was either within walking distance or a short bus ride away.
Unlike other conferences that I have been to, LGM 2018 started at six o'clock in the evening. That was good because one didn't have to worry about waking up in time not to miss the opening keynote; and you haven't attended LGM if you haven't been to the State of Libre Graphics. Other than that I went to Øyvind's presentation on colour; saw Nara describe her last ten years with Estúdio Gunga; and listened to Dave Crossland and Nathan Willis talk about fonts. There was a lot of live coding based music and algorave going on this year. My favourite was Neil C. Smith's performance using Praxis LIVE.
All said and done, the highlight of this LGM had to be the GIMP 2.10.0 release at the beginning of the conference. GEGL 0.4.0 was also rolled out to celebrate the occasion. Much happiness and rejoicing ensued.
I spent my time at LGM alternating between delicious tapas, strolling down the narrow and colourful alleys of Seville, sight-seeing, and hacking on GEGL. I started sketching out a proper codec API for GeglBuffer modelled on GdkPixbuf, and continued to performance tune babl, but those are topics for later blog posts.
Posted in GEGL, GIMP, Libre Graphics Meeting, Photos

redpajama_set_name: RedPajamaCommonCrawl


text:
Otto Friedrich (Boston, 1929 - Manhasset (New York), 26 april 1995) was een Amerikaanse journalist, schrijver en historicus.

Als zoon van de politiek theoreticus en Harvard-hoogleraar Carl Joachim Friedrich, behaalde Otto Friedrich in 1948 aan de Harvard-universiteit een academische graad in geschiedenis. Na zijn afstuderen werd hij journalist en uiteindelijk in 1965 chef-redacteur bij de The Saturday Evening Post in 1965.
Nadat de Post werd opgeheven, besteedde hij de rest van zijn carrière bij Time, waar hij meer dan 40 omslag-artikelen schreef.
Gedurende deze tijd, schreef hij ook meer dan 14 boeken over diverse onderwerpen, variërend van de opbloei van Hollywood tot de opkomst van het Derde Rijk.

Zijn succesrijke boek, Before the Deluge (1972) werd in 1978 in het Nederlands vertaald onder de titel Vóór de Zondvloed, Berlijn in de jaren twintig.

In 1970 werd hij onderscheiden met de George Polk Award voor zijn boek Decline and Fall.

Otto Friedrich was gehuwd met Priscilla Boughton, met wie hij vijf kinderen had. Hij stierf in 1995 aan longkanker in het North Shore University Hospital in Manhasset (staat New York).

Amerikaans journalist

redpajama_set_name: RedPajamaWikipedia


text:
Academic Discovery
Passionate Truth Explorations
Academic Explanations 101
Serious Academic
Studying For Life
John Thelin History Of Higher Education
College tuition in the U.S. College tuition has never been set on a nationwide basis, said John R. Thelin, professor at the University of Kentucky and author of A History of American Higher Education.
Cultural Studies Association Of Australia Michael Scott Gentleman And A Scholar "A gentleman by definition is a man who makes everyone around him feel comfortable. Arrogance who only thinks of himself without considering the needs of others is the opposite of a gentleman. They can both be wealthy, they don't have to be, but they cannot both be gentlemen." ―
"Honoring the Past. history. The event officially begins April 22 with a keynote address at 9 a.m. by John R. Thelin, University Research Professor at the University of Kentucky. Thelin, whose.
John Thelin is a professor at the University of Kentucky. (2018) and a new third edition of "A History of American Higher Education" (2019) — both published by.
Bridging the chasm between educational and social history, this book was one of the first. Surveying higher education from the colonial era through the mid- twentieth. John Thelin assesses the impact that Rudolph's work has had on higher.
The story of higher education in the United States begins with Harvard College and continues. John D. Rockefeller funded the University of Chicago without imposing his name on it. The American College and University: A History ( 1962), a standard survey; Thelin, John R. A History of American Higher Education.
Federal loans for students with financial need started with the Higher Education Act of 1965. Those who couldn't pay out-of-pocket didn't go, says John Thelin, a University of Kentucky professor.
Still, AAC&U has worked closely with several states' higher-education departments. But not pressing for federal legislation has its minuses, says John R Thelin, a professor of the history of higher.
John R. Thelin, University of Kentucky. Amy S. Hirschy. we enhance the current history of American higher. on Higher Education in a Democracy" (General.
Journal of College Student Development 47.1 (2006) 122 A History of American Higher Education by John R. Thelin is destined to be the standard work in this.
Mar 19, 2019. John Thelin '69, author of the new book Going to College in the. Instead, he was drawn to the history of higher education, which he now.
John R. Thelin, Richard W. Trollinger. Pages 1-7. PDF · Connecting Past and Present: Historical Background on Philanthropy and American Higher Education.
Higher Education and the American Civil War. Michael. Linda Eisenmann Prize, History of Education Society (2014); Critics Choice Book Award, American Educational Studies Association (2012). John R. Thelin, University of Kentucky.
and John Thelin, professor of education at the University of Kentucky and author of "A History of American Higher Education" (The Johns Hopkins University Press/2004).
Nov 19, 2015. Books On Higher Education That I Own But Have Not Yet Read: (Which one. A History of American Higher Education by John R. Thelin.
Michael Scott Gentleman And A Scholar "A gentleman by definition is a man who makes everyone around him feel comfortable. Arrogance who only thinks of himself without considering the needs of others is the opposite of a gentleman. They can both be wealthy, they don't have to be, but they cannot both be gentlemen." ― Oliver Oyanadel, The Fruit of the
An elevated ranking for UF is not impossible, said John Thelin, professor at the University of Kentucky, and author of A History of American Higher Education. "But who in the list ahead of it is going.
What Are Predatory Open Access Journals Dec 13, 2012 · Beall's List of Predatory Publishers or Beall's Predatory Business at the expenses of Publishers. December 13, 2012 Etiquetas: Growth of Open Access, Situation. Now a days anyone can open a blog and start doing things like Jeffrey Beall which is harmful for science and open access journals. Nature should also be very
"If you go back to the pre-Revolutionary period, it was just remarkable how engaged some of the college students were in taking politics seriously," said John Thelin, a historian of higher. history.
John R. Thelin, A History of American Higher Education (Baltimore & London: Johns Hopkins University, 2004). Pp. xxii+362. 0 8018 7855 1 (hbk.) 0 8018 8004.
Mar 28, 2019. Lennard Davis on a study of a decade of managerial evolution rather than student revolution.
Higher education expert John Thelin said many community colleges started expanding. educational policy professor at the University of Kentucky and author of the book "A History of American Higher.
Education's Past. A Review of. Essential Documents in the History of American Higher Education by John R. Thelin. Baltimore, MD: Johns Hopkins University.
Javits Lecture Hall Stony Brook Mark Bond of Stony Brook University will give. reef sharks and southern stingrays" at Stony Brook University's Southampton campus. This lecture will take place at 7:30pm in Duke Lecture Hall in. Collins regularly leads summer poetry workshops at Stony Brook Southampton and Rosenblatt is a distinguished. on the MFA in Creative Writing and Literature program
Paul Tontz review of the book A History of American Higher Education by John R. Thelin. A Johns Hopkins University Press publication.
Explore data and create reports on higher education spending, performance, and. John R. Thelin's book, a compendium of key documents in the history of.
john thelin. Professor of Higher Education, University of Kentucky. Verified email at uky. A history of American higher education. JR Thelin. JHU Press, 2011.
Scholars such as John R. Thelin, Patricia Albjerg Graham, and Roger L. Geiger have. Geiger's book The History of American Higher Education: Learning and.
Liberal Arts Degree On Line The basic premise, which is, of course, catnip to those of us with "useless" liberal arts degrees: that Slack. inventive, ambitious work online would hire my wife. It wasn't an out-there bet — it. Higher Education Statistics Agency Why Liberal Arts Education Is Important Oct 09, 2014 · "A liberal education makes you a good citizen.
American Higher Education: Issues and Institutions – CRC Press Book. Written by renowned author John R. Thelin, each chapter bridges research, theory, and.
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Academic Discovery © 2020


At EverClear Windows & Doors, we supply and install the Vantage and Elevate™ brand of aluminium windows and doors. These brands are respected in the industry for their robustness and sleek appearance.
Aside from supplying and installing aluminium windows and doors, we provide advice and solutions to ensure you select the right product for your home.


text:
var argv = require('optimist').argv;

var request = require('request');
var URI = require('URIjs');

var unexplored = [];    // list of catalogues URLs to expand
var explored = [];      // list of expanded catalogue URLs
var facts = [];         // array of facts [{subject, predicate, object},...]

function storeFact(o) {
    // only store unique facts
    for (var i=0;i<facts.length;i++) {
        if (facts[i].subject == o.subject &&
            facts[i].predicate == o.predicate &&
            facts[i].object == o.object)
                return;
    }
    facts.push(o);
}

function fetch(root, cb) {
    //console.log("FETCH "+root);
    //request(root, function (err, rsp, body) {

    var h = {};
    if (argv.key !== undefined)
        h.Authorization = 'Basic ' + new Buffer(argv.key + ':').toString('base64')

    request.get({
        url: root,
        headers: h
    }, function(err, rsp, body) {
        if (!err && rsp.statusCode == 200) {
            if (cb !== undefined) {
                try {
                    cb(null, JSON.parse(body));
                } catch(e) {
                    console.error("Error parsing "+root+" "+body);
                    cb("err parsing", null);
                }
            }
        } else {
            if (rsp)
                cb("Status code " + rsp.statusCode, null);
            else
                cb("Fetch error "+err, null);
        }
    });
}

function expandCatalogue(url, doc) {
    var i;
    try {
        // store metadata for catalogue
        for (i=0;i<doc['item-metadata'].length;i++) {
            //console.log("CATL-FACT "+url+" "+doc['item-metadata'][i].rel+" "+doc['item-metadata'][i].val);
            storeFact({
                subject: url,
                predicate: doc['item-metadata'][i].rel,
                object: doc['item-metadata'][i].val,
                context: url
            });
        }
    } catch(e) {
        console.error(e);
    }

    try {
        // store metadata for items and expand any catalogues
        for (i=0;i<doc.items.length;i++) {
            var item = doc.items[i];
            item.href = URI(item.href).absoluteTo(url).toString();    // fixup relative URL
            // store that catalogue has an item
            storeFact({
                subject: url,
                predicate: "urn:X-tsbiot:rels:hasResource",
                object: item.href,
                context: url
            });
            for (var j=0;j<item['i-object-metadata'].length;j++) {
                var mdata = item['i-object-metadata'][j];
                //console.log("ITEM-FACT "+item.href+" "+mdata.rel+" "+mdata.val);
                storeFact({
                    subject: item.href,
                    predicate: mdata.rel,
                    object: mdata.val,
                    context: url
                });

                // if we find a link to a catalogue, follow it
                if (mdata.rel == "urn:X-tsbiot:rels:isContentType" &&
                    mdata.val == "application/vnd.tsbiot.catalogue+json") {
                        //unexplored.push(item.href);
                        unexplored.push(item.href);
                }
            }
        }
    } catch(e) {
        console.error(e);
    }
}

function crawl(cb) {
    if (unexplored.length > 0) {    // something to explore
        var url = unexplored.pop();

        if (explored.indexOf(url) == -1) {   // not seen before
            fetch(url, function(err, doc) {
                if (err) {
                    console.error("Error in "+url+" ("+err+")");
                    explored.push(url); // was bad, but explored
                    crawl(cb);
                } else {
                    explored.push(url);
                    expandCatalogue(url, doc);    // parse doc
                    crawl(cb);    // do some more work
                }
            });
        } else {
            crawl(cb);  // get next
        }
    } else {
        cb();   // done
    }
}

// dump a graph in dot/GraphViz format
function dumpGraph() {
    if (facts.length) {
        console.log("digraph {");
        for (var i=0;i<facts.length;i++) {
            console.log('    "'+facts[i].subject+'" -> "'+facts[i].object+'" [label="'+facts[i].predicate+'"];');
        }
        console.log("}");
    }
}

// dump a graph in N-Quads format
function dumpNQuads() {
    function f(s) { // FIXME, not a great way to detect URI
        if (s.match(/^http/) || s.match(/^mqtt/) || s.match(/^urn:/) || s.match(/^\//))
            return '<'+s+'>';
        else
            return '"'+s+'"';
    }
    for (var i=0;i<facts.length;i++) {
        console.log(f(facts[i].subject)+' '+f(facts[i].predicate)+' '+f(facts[i].object)+' '+f(facts[i].context)+' .');
    }
}

function help() {
    console.log(" --url <Catalogue to crawl> [--nquads]");
    console.log(" [--key <key to use>]");
}

// get URL from command line
if (argv.url === undefined) {
    help();
    process.exit(1);
}
// add root catalogue URL to crawl list
unexplored.push(argv.url);

crawl(function() {
    if (argv.nquads)
        dumpNQuads();
    else
        dumpGraph();
});

redpajama_set_name: RedPajamaGithub


text:
A Mosque in Tiberius – Remnant of a Tolerant Era
A Tale of Two Rivers
The Other Tzfat
Things that You're Liable to Read in the Bible
Images in the Synagogue
Pagan Rites at Shuni
Pioneer Stockades
Jesus in the Synagogue of Nazareth
Banias – Beauty and Spirit
Prehistoric Temple at Ein Gedi
Five Days at Yad Mordechai
What if a tree falls and no one hears it ?
The Calendar of Ancient Gezer
Happy Birthday Tel Aviv
The Wall Built Through the Middle of the House
What's in a name ?
Hasmonean Aqueduct to Jerusalem
Constantine's Holy Sepulcher Church
The Third Wall of Jerusalem
Water for the Temple in Jerusalem
John the Baptist at Ein Karem
What's a 'Makhtesh' in Hebrew?
Who Worshipped in the Arad Temple?
The Scorpion's Ascent
London's Burning Brought Water to the Negev
Max's Book Reviews
A Jew Among Romans: The Life and Legacy of Flavius Josephus by Frederic Raphael
Dividing the Spoils – The War for Alexander the Great's Empire by Robin Waterfield
Imperialism and Jewish Society: 200 B.C.E. to 640 C.E. … by Seth Schwartz
Israel's Ethnogenesis: Settlement, Interaction, Expansion, and Resistance … by Avraham Faust
Petra and the Lost Kingdom of the Nabataeans by Jane Taylor
Roll Back the Stone: Death and Burial in the World of Jesus… by Byron R. McCane
Rome and Jerusalem:The clash of ancient civilizations by Martin Goodman
Roots of Rabbinic Judaism : an intellectual history, from Ezekiel to Daniel by Gabriele Boccaccini
The Beginnings of Jewishness: Boundaries, Varieties, Uncertainties … by Shaye J. D. Cohen
A Line in the Sand: The Anglo French Struggle for the Middle East, 1914-1948.
In the Shadow of the Sword: Global Empire and the Rise of a New Religion. by Tom Holland
About Max Blackston
Where did the ancients find the stone to build Jerusalem ? Sometimes, it was literally beneath their feet, in a cave below what is now the Muslim Quarter of the Old City. Before it became a quarry, "Zedekiah's Cave" started out as a small natural cave, hollowed out of the limestone by the water seeping through the rock. Although it is also known as "King Solomon's quarries", it is unlikely that it provided stones for the building of the First Temple. It was probably later – in the 7th or 8th century BCE – that it first began to be quarried to supply stone for the expansion of the city and of its fortifications. The name "Zedekiahs Cave", is based on the Biblical story, that Zedekiah, the last King of Judah, fled from Jerusalem to Jericho through this cave, when Jerusalem was under siege by the Babylonians in 586 BCE.
The cave – so conveniently situated under the city – was used extensively during the Second Temple period as a source of the white limestone, locally called "Melekeh", meaning Royal – much sought after for building, because it is not too hard and it does not flake off. It is estimated that about 350,000 tons of rock were quarried out of the cave – tripling its original natural size. Certainly, it is now the largest artificial cave in Israel; it extends 9,000 square meters underneath the houses of the Muslim quarter, with an average height of 15 meters.
The cave was known about in medievel times, but then was forgotten until its accidental discovery – by the dog of an American scholar, James Barclay – in 1854. Since then, it has served a variety of purposes – including as a banqueting hall for Freemasons !
The cave is well worth a visit today; The entrance is just under the northern wall of the Old City between the Damascus Gate and Herod's Gate. Inside, you can see the places in the walls where huge blocks of limestone were removed in antiquity – probably most of them for the immense building works of Herod the Great. Further inside, you will find Zedekiah's spring and, if you look hard, who knows, you may find the hidden passage through which king Zedekiah escaped to Jericho.


The Journal of Commerce has set up a special website section to alert JOC members on how Hurricane Sandy impacts supply chain infrastructure.
Complete coverage is available online at http://www.joc.com/speciapics/hurricane-sandy. Hurricane Sandy caused severe disruption supply chains following shutdowns of major ports and damage to key rail, road and air infrastructure.
Shippers should expect delays for air and ocean shipments to, from and within the U.S. in the wake of super-storm Sandy, which devastated parts of eastern U.S., including New York and New Jersey. Paul Tsui, chairman of the Hong Kong Association of Freight Forwarding and Logistics, said supply chain delays could drag out for a number of days.
"Most carriers canceled their flights yesterday (Monday), and weather conditions today will determine flight departures today," he said.
"I think there will be some delays due to backlogs at JFK, and everyone has to monitor very carefully their shipments, particularly those that are time sensitive."
The JOC is the leading information and marketing services provider for the domestic and international containerized cargo community. It delivers high-quality intelligence and expertise to help customers make better business decisions - in print, online and face-to-face at leading industry events.
In addition, the JOC provides best-in-breed marketing channels to help companies reach their target audience. JOC.com is the foremost industry Web site covering international and domestic logistics issues on a daily basis, and The Journal of Commerce is, and has been since 1827, the source for authoritative editorial content relied on by international logistics executives around the world.


WeLearn is a social enterprise committed to providing high quality, personalized educational experiences in a technology-enabled and creative learning environment. Our academic scholarships are intended to financially assist the enrollment of prospective students for full-time study at WeLearn. The scholarship may provide full or partial payment for tuition and administrative fees.
A limited number of Secondary school academic scholarships are available. Students from any nationality entering grade 9-12 and who are proficient in English may apply. Students who achieve above average scores in the English and Mathematics assessment tests and who show promise during an interview with the selection committee may be selected.
The Spring 2019 application period is now open. Applications will be accepted from now until 1 February 2019; however, it is advised that you submit your application as early as possible, as decisions will be made on a rolling basis. All applicants will be notified once a decision has been made.
Select three (3) people to complete the Scholarship Recommendation Form in support of your application. These individuals may be teachers, tutors, coaches, counselors, principals, or others. Please do not include family members. Download the Scholarship Recommendation Form here.
*If you have not taken any courses at the secondary level, please provide a transcript for the last year of completed coursework.


She's a gorgeous apple-red dutch oven, and I'm in love.
It was a birthday present from Momma B. I'm so excited!
I was so excited to have a dutch oven that I wanted to find a simple yummy recipe to try it out.
Pot roast was always a special meal during my childhood, so I decided to try my hand at it. The dutch oven made it so moist and flavorful! This recipe is the simplest thing in the world. If you don't have a dutch oven, try doing this in a slow cooker.
The most important part to making a pot roast is to sear in all of the juices before you get started. Turn the stove on to medium-high heat and sear each side for 4-6 minutes. It should come out a light brown, caramelly color.
Once the roast is nicely browned, remove from heat and season the top and sides with salt and pepper. Mix the onion soup mix with 1 cup of water, and pour it around (not on top of) the roast. Put it back on the stove and get it up to a simmer for two hours. Put your ear next to the pot to listen for a gentle simmering sound. Make sure it's not too hot--it will dry the poor thing out!
Ten minutes before the two-hour timer goes off, cut up your potatoes. There shouldn't be any pieces thicker than 1.5 inches. Add the potatoes and carrots to the pot and leave it alone for another hour.
Dinner is all set and ready once you turn that burner off an hour later. Serve with some salad, some bread rolls, and a homey dessert, and you've got yourself one of the easiest crowd pleasers you could come up with!


This handmade hanging lamp was constructed solely from sheet steel. Every piece was cut out by hand from a single plate of metal. Each corner was bent and with the final edge being welded on one seam. Creates beautiful shadows with different bulbs. Painted flat black this lamp is nice piece for your home or business. Dimensions 15"h x 15"w x 15"d.


text:
Caledonia a fost numele latin folosit de Imperiul Roman pentru a se referi la partea Marii Britanii (în latină: Britannia) care se află la nord de râul Forth, care include cea mai mare parte a suprafeței terestre a Scoției. Astăzi, este folosit ca nume romantic sau poetic pentru toată Scoția. În timpul ocupării Scoției de către Imperiul Roman, zona pe care o numeau Caledonia a fost separată fizic de restul insulei prin Zidul lui Antoninus. Romanii au invadat-o și au ocupat-o de mai multe ori, dar spre deosebire de restul insulei, a rămas în afara administrației Britaniei Romane.

Note

Vezi și
 Caledonieni

Istoria Regatului Unit
Britania Romană
Istoria Scoției


text:
Hubble Image of the Week – Approaching the Universe's Origins
TOPICS:AstronomyHubble Space Telescope
By Mathias Jäger, Hubble Space Telescope April 16, 2018
This intriguing image from the NASA/ESA Hubble Space Telescope shows a massive galaxy cluster called PSZ2 G138.61-10.84, about six billion light-years away. Galaxies are not randomly distributed in space, but rather aggregated in groups, clusters and superclusters. The latter span over hundreds of millions of light-years and contain billions of galaxies.
Our own galaxy, for example, is part of the Local Group, which in turn is part of the giant Laniakea Supercluster. It was thanks to Hubble that we were able to study massive galactic superstructures such as the Hercules-Corona Borealis Great Wall; a giant galaxy cluster that contains billions of galaxies and extends 10 billion light-years across — making it the biggest known structure in the Universe.
This image was taken by Hubble's Advanced Camera for Surveys and Wide-Field Camera 3 as part of an observing programme called RELICS (Reionization Lensing Cluster Survey). RELICS imaged 41 massive galaxy clusters with the aim of finding the brightest distant galaxies for the forthcoming NASA/ESA/CSA James Webb Space Telescope (JWST) to study.
Credit: ESA/Hubble & NASA, RELICS
NASA Releases 12 New Hubble Images from the Messier Catalog
Hubble Provides a New Perspective on the Remote Universe
Hubble Reveals Largest Known Group of Star Clusters, Clues to Dark Matter
Hubble Telescope Discovers Ancient "Relic Galaxy" In Our Cosmic Backyard
Hubble Data Reveals That Globular Clusters Age at Different Rates
The Newly Discovered Phoenix Cluster Is Breaking Cosmic Records
Witness the Spectacular and Mysterious Depths of the Cosmos Through Hubble's Eye
Hubble Spots Extremely Rare Gravitational Arc
Be the first to comment on "Hubble Image of the Week – Approaching the Universe's Origins"


text:
London Executive - this name is for sale
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