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Massachusetts License Plate Search: License Plate Lookup in Massachusetts
Approximately 80% of license plates in the United States are manufactured in eight jails.
For example, all Massachusetts license plates are created by inmates at the MCI-Cedar Junction prison in Walpole. They've been made there since 1920.
It is estimated that around 4,8 million Massachusetts license plates are currently in use. The Massachusetts Registry of Motor Vehicles (RMV) issues license plates to vehicle owners in Massachusetts.
Until 2019, all vehicle owners were mandated to have license plates in Massachusetts, but from 2019 the state started issuing temporary license plates to vehicle owners that fulfill the required conditions.
According to Chapter 90 of the Massachusetts Law, every vehicle is required to register under the Massachusetts Registry of Motor Vehicles.
A regular License plate in Massachusetts comprises the license plate registration number, issuance state (Massachusetts), and expiry date.
Other information might be on the license plate based on the type of license plate issued.
The RMV issues license plates for various vehicles, such as cars, trailers, motorcycles, and recreational trucks.
The RMV has a fee schedule for the different categories of motor vehicle licenses in Massachusetts.
How Can I Get a Massachusetts License Plate?
Massachusetts License plates offer you the full guarantee needed to drive on state roads and highways.
Therefore, getting your license plates as a vehicle owner is essential.
This is done by registering your vehicle appropriately and displaying the license plate every time you are on the road.
For your vehicle registration, you are required to provide the following document:
* Duly completed Registration and Title Application Forms
* Odometer Readings Statement
* Proof of state residency
* Evidence of ownership
* Proof of Insurance for the vehicle obtained from a licensed agent within the state
* Vehicle title
Then, submit the documents personally at any local Registry of Motor Vehicle Office nearby.
The registration fees differ depending on the type of vehicle to be registered and the type of license plate to be issued. These fees have been made available in the RMV Registration Fees Schedule.
The vehicle's certificate of title costs about $75, after which you will be required to pay a 6.25% sales tax, depending on the cost of the vehicle.
Successful applicants will receive their registration certificates, license plates, and a year expiration decal for the rear plates between 6 to 8 weeks of applying through their emails.
Also, all registered vehicles in Massachusetts must pass a yearly vehicle inspection as mandated by the state.
How Can I Replace a Massachusetts License plate?
If you accidentally misplace your license plate, or it got damaged or stolen at one point or another, be rest assured, as you can easily have it replaced.
According to state laws, you are eligible to request a replacement plate as the one you lost or got damaged.
The new plate will also bear the same license plate number and be the same type as the previous one.
You can apply for a replacement plate in two forms:
In-Person: You can visit the nearest RMV branch office to apply physically for a replacement plate. You will need a completed form RMV-3, detailed information on the vehicle owner, and the registration number.
By Phone: Also, you can easily place a call to the RMV at (800) 858-3926, informing the agency of your intention to replace your lost or damaged license plates. For this method, you will need to provide the vehicle registration number, critical information regarding the vehicle, and detailed information about the vehicle owner.
For both approaches, a replacement fee of $10 is required for the replacement fee to be processed.
How to Lookup a Massachusetts License Plate?
License plate lookup services in Massachusetts allow the retrieval of information associated with car license plate numbers registered in the state.
In addition, a Massachusetts license plate lookup gives official records and Massachusetts traffic records on a vehicle, which is extremely useful when buying a used car in the state.
For example, a license plate lookup may yield the following results:
* Accident records of the vehicle
* Recall and repossession records
* Mileage record
* General vehicle history
* Other relevant registration issues associated with the vehicle
Interested individuals can obtain the required information on a vehicle through a license plate lookup from the Massachusetts Registry of Motor Vehicles.
This can be done online using the Massachusetts Vehicle Records Request form or by visiting the local RMV office closest to you.
Another alternative is to use a third-party public website specializing in keeping a database of vehicle records.
All you need to do is visit these websites, enter the license plate number of the vehicle and search for necessary vehicle records as desired.
Some of these websites can be free or paid, depending on the kind of database they keep. These public websites include License Plate Look Up, VIN Check, and License Search.
In conclusion, the Vehicle Identification Number (VIN) can also be used to look up a license plate in Massachusetts.
With this, you will provide the distinct 17-character VIN as this is linked to the records of vehicles at the RMV.
Missouri Mugshots Search Guide
Arizona Death Records: How to perform a Arizona Death Records Search
Unclaimed Money Texas: How to Find Unclaimed Money in Texas


There are several ways to honor or commemorate the life of a loved one, or to mark a special occasion.
Chancel Flowers – Almost every Sunday, year-round, family members and friends arrange for flower arrangements to be placed near the pulpit, choir pews or the Lord's Table. We list the honorees and givers in the Sunday bulletin. For information, contact Anne at anne@reformedchurch.org, ext. 116.
Christmas Poinsettias – Each Advent, anyone interested may arrange for a poinsettia to be placed on the Chancel steps on Christmas Eve. Forms are included in the bulletins in the weeks prior, as well as in the Messenger newsletter. All givers and honorees are listed in the Christmas Eve bulletin.
Easter Lilies – During Lent, anyone interested may arrange for Easter lilies to be placed on the Chancel steps on Easter morning. Forms are included in the bulletins in the weeks prior, as well as in the Messenger newsletter. All givers and honorees are listed in the Easter bulletin.


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Tango Health Selected by Sanders Lead For Affordable Care Act Compliance Services
Tango Health announced today that they have been chosen to provide software and services for Patient Protection Affordable Care Act (PPACA) compliance by Sanders Lead Company, Inc., a manufacturing and metal recycling company that includes multiple ancillary ventures.
The privately held company based in Troy, Alabama has approximately 2,200 employees and wanted to address the requirements of the PPACA in order to ensure that the combined organizations were in compliance with reporting regulations for health care benefits, including affordability and eligibility.
With a range of employee types across the Sanders Lead company portfolio, tracking the health care benefits data needed to ensure compliance was definitely a challenge. Different payroll processes and tracking were in place for Sanders Lead office or manufacturing employees than for truck drivers for the company, who are paid by the mile rather than on a standard hourly basis. After evaluating various vendors, Sanders Lead chose Tango to provide a comprehensive level of Affordable Care Act compliance. "Tango's ACA Compliance Concierge service will be vital to our organizations," said Russ Cash, Sanders Lead's MIS Director. "Our current payroll and HR systems give us some of the data we need, but we're relying on Tango to help us make sense of the data and meet the requirements needed for IRS reporting."
Sanders Lead joins other Tango clients in the manufacturing industry tasked with managing complicated, varied workforces who see PPACA compliance as a particular challenge. "With multiple organizations and a range of HR and payroll applications, making sense of the data can be very complicated," said Tango CEO Todd Praisner. "Tango software and services provide solutions for these very complex scenarios, and our ACA Compliance Concierge service adds expertise and value that other vendors can't match."
To find out more about the ACA Compliance Suite from Tango, visit http://www.tangohealth.com/services/aca-compliance.
About the Sanders and KW Companies
Wiley Sanders began his trucking company in 1959 with one truck. Since then, Wiley Sanders Truck Lines has grown to become one of the nation's leading common and contract motor carriers. But one thing has never changed: Wiley Sanders Truck Lines has never lost sight of the fact that service and performance are measured one load at a time. Operating in 48 states, Canada and Mexico, Sanders Truck Lines maintains mutually profitable relationships with hundreds of the nation's most demanding shippers. Sanders' reputation for reliability, on-time delivery and flexibility is attributed to its large, company owned fleet. For more about the Sanders and KW Companies, see the links below.
http://www.wileysanders.com/about-us
http://kwplastics.com/about-us/
http://www.kwcontainer.com/
http://www.kwrecycling.com/kwrecycling/recyc.html
http://www.recyclingtoday.com/rt1014-kw-plastics-profile.aspx
Tango Health Benefits Optimization saves organizations money, makes employees happy, and ensures regulatory compliance with the Patient Protection Affordable Care Act (PPACA). Comparison tools help employees choose plans based on their needs, and provide savings for both the employee and the employer. Education keeps employees engaged, and Tango experts simplify and manage regulatory compliance to minimize risk.
Kami Haynes, 855-468-2646 x870
khaynes@tangohealth.com

redpajama_set_name: RedPajamaCommonCrawl


In an attempt to bolster its mobile messaging package, Google is planning to buy WhatsApp. Word is that Google will offer around $1 billion (roughly £650 million) for WhatsApp. The team behind the messaging app, however, are said to be holding out for more cash. Negotiations about a sale are said to be five weeks old.
WhatsApp has become a huge success since its inception in 2009 and is now the number one paid app in over 100 countries. Allowing users to send messages for free across continents has seen it become every bit as successful as BlackBerry's similar BBM platform.
With gossip about a new, unified Google messaging service, called Babble, doing the rounds, this acquisition makes perfect sense. Google wants to bring together its Google Talk, Voice and Hangouts together under one name. Currently, though, it lacks a mobile messaging service to rival the likes of Apple's iMessage and the aforementioned BBM.
There are rumors that Google Babble will combine Google's disparate communication services under one roof, but the platform still needs to do something to innovate in this space; mobile messaging has been taken over by smaller apps and Facebook has made a major push as well. Google hasn't given an answer to this competition. Even Google Product Manager Nikhyl Singhal confessed to GigaOM in June of last year that "We have done an incredibly poor job of servicing our users here." Messaging is a huge, gaping hole in Google's mobile strategy.
Communication services are the pillar to any connected device; knowing this, if Google wants to be taken seriously on mobile, it'll need a standout like WhatsApp to take under its wing, and it needs to work fast.
By all regards, the acquisition is a no-brainer. Apps like LINE, WeChat, Nimbuzz, Tango, KakaoTalk, and of course WhatsApp, are making a splash on mobile (and as social apps) in record time. LINE has gone from zero to 130 million users in just under two years. Even new entrant MessageMe has rocketed from zero to one million users in just 12 days.
Google can't afford the time to rebrand and rebuild a competitive messaging app at the risk of entering the game too late – or, it needs to be able to work off the platform WhatsApp has already established and use this technology (and sensically, the user base) to fill out the purported Babble.


Poland plans to implement ID cards in smartphones in 2017. The application will be available as part of the mobile version of the government portal for citizens, obywatel.gov.pl, which gradually integrates all procedures of e-administration in Poland.
As the minister of digitalisation Anna Strezynska told the Polish press agency PAP, there are 19 million smartphones in Poland and an average Pole uses his mobile device three hours a day, and this trend is growing.
The government plans to create both an ID card with a chip and a mobile application for flexible usage of the ID card. According to Strezynska, the new system of e-administration will be based on the portal obywatel.gov.pl, integrated with the platform ePUAP.


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Charles Symonds Leaf (ur. 13 listopada 1895 w Marylebone, zm. 19 lutego 1947 w Reading) – brytyjski żeglarz sportowy, medalista olimpijski.

Podczas letnich igrzysk olimpijskich w Berlinie (1936) zdobył, wspólnie z Christopherem Boardmanem, Milesem Bellville'em, Russellem Harmerem i Leonardem Martinem, złoty medal w żeglarskiej klasie 6 metrów.

Charles Leaf był właścicielem jachtu Lalage, który wygrał klasę 6 metrów na igrzyskach olimpijskich w 1936. Leaf uczył się w Harrow and Trinity College w Cambridge, gdzie był kolegą Christophera Boardmana, który dowodził Lalage w zawodach olimpijskich. W 1922 Leaf był kapitanem drużyny Cambridge w corocznych zawodach The Boat Race z Oksfordem. Później był członkiem wielu znanych klubów jachtowych, w tym Royal Corinthian w Burnham. Leaf był człowiekiem zamożnym i był archeologiem amatorem; napisał wiele artykułów na ten temat, a większość swoich znalezisk przekazał muzeum sztuki i starożytności Fitzwilliam Museum w Cambridge. W 1917 ożenił się z Catherine Blanche, czwartą córką Lorda Shuttlewortha, z którą utrzymywał wystawne domy w Londynie i Suffolk. Podczas I wojny światowej Leaf służył jako porucznik w 3. Pułku Piechoty The Buffs, natomiast podczas II wojny światowej początkowo służył w dowództwie RAF (RAF Balloon Command), a następnie został porucznikiem w Royal Marines w wieku 47 lat.

Bibliografia
 Olympedia – Charles Leaf

Brytyjscy żeglarze sportowi
Brytyjscy medaliści olimpijscy
Brytyjscy oficerowie
Medaliści Letnich Igrzysk Olimpijskich 1936
Uczestnicy I wojny światowej (Imperium brytyjskie)
Uczestnicy II wojny światowej
Urodzeni w 1895
Zmarli w 1947

redpajama_set_name: RedPajamaWikipedia


The Artful Maven: A Very Strict Challenge!
It's Monday, and time for a new challenge at Simon Says Stamp & Show, but sadly, we need to clarify some stuff on our challenges to those of you who are just not playing along correctly. It's time for us to be a little more strict with the rules crafters! First of all, APRIL FOOLS!!! (Did I sound mean? Hehehehe! That was hard to do, and I couldn't even go longer than three lines!) We could not do a regular challenge on April Fool's Day. There is no fun in that! So this week it is absolutely "Anything Goes", and if that includes a joke or two, great!
Wendy Vecchi puts a lot of humorous quotes and sentiments on her stamp sets along with her fabulous images from Stamper's Anonymous. I thought it would be fun to make a birthday card using one of them, which would be perfect for April Fool's Day, but then I had this little canvas journal from Maya Road, so I thought why not make a whole journal type card using several of her funnies and images?!? Tim's Mini Birthday Blueprints worked perfectly here as well, and I've used lots of his Distress Paint by Ranger to color things up.
I used a jumbo sized #10 Manila tag From Ranger. First, I folded it into the shape I wanted, then came stripes of Distress Paint and water to blend it in for side 1.
Side 2 received a layer of SAntique Linen Distress Stain first then it was pressed into dots of beautiful colors of Distress Paints. I loved the dots so much, that I went back to Side 1 and gave it some dots. It looks like confetti...very party ready!
This was going to be the cover of the card/journal so I wanted it to be tough, so out came the Ink Refresher. I misted both sides liberally.
I waded it up, unfolded it, and gave it a good drying. I love it! The texture is very much like leather, and super soft too!
I coated the spine areas with Glue N Seal just to reinforce them and make sure I wouldn't get any tears along the way. BUT then, I decided I didn't want the fold over cover like I had planned, and I cut the portion off with the tag hole and converted this into pockets for the inside, to be seen further down. I wanted them to hold coupon tickets for the birthday recipient.
I misted the canvas pages with water first and began adding paint and misting. I added more dots to the craft sheet and dipped the journal in. I tried to color each page different, except for one 2 page spread. The paints and the canvas work perfect together.
I sewed on some trim to each page, and then found the center of the journal and stitched it directly onto the cover, right down the middle of the spine.
The Glue N Seal helped to keep this nice and tough...no big holes here.
I was given a package of My Little Yellow Bicycle Canvas Shapes, and I decided to stamp Wendy's images onto them, as well as on the journal for a 3D look. The white makes them pop. I glued them onto the pages to match the images up. I stamped the sentiments and quotes right onto the pages in Jet Black Archival, which I used for the images as well.
I added Blueprint images to the front, first on the cover itself, then the label piece, then the canvas flower piece to match up when I layer them.
I added more color with Distress Markers, in a few choice areas to bring some things to life.
Do you like jokes or joking around? Is humor your thing? If not it doesn't matter this April Fool's week, because anything goes! Create any ol' type of Art you wish enter it into our challenge. You just might be the lucky winner of a $50 voucher to Simon Says Stamp. You can also be named as one of the "Top Three Picks" for this challenge. Good luck, and please visit the other DT member's blogs for some fun, laughs, and entertaining Art!
Anita, Anita, Anita! Be still my heart! This is simply amazing. So many details to absorb. Especially love the zippers and other chunky trims. Bravo!
Such a cool project... and a great read too - you did have me with the telling-off at the beginning! Completely love your funky tag booklet - amazing binding, and those retro images are so much fun. Fantastic dotty cover, so much colour and life - another absolute knockout!
How fun! I have a bottle of refresher and only used it on my ink pads. I have to try that technique! How fun your piece turned out! So funny and love the fun trim too. Someone is going to love to receive this!
Awesome!!! Thank you so much for the fabulous tutorial. It makes one very motivated. So inspiring. Thank you for sharing.
Awesome tutorial and project. So inspiring. Thank you for sharing.
Wowwww, how unique Anita! Great from the start to the end...lovely!
Love that book! Actually love all your stuff so much you now have your own board on my Pinterest site. You never cease to amaze me with your creativity! Hugs!!
Totally blown me away with that Renee! I don't know what to say but thanks....blushing! Big bear hug!!!
Hi Anita.....fabulous project you have created here and so perfect for the first of April too!!
I love it!! It's beautiful!!!
This is so awesome and fun! I love how you used the zipper as a boarder!
Oh, Anita! What charm ...-this notebook! You did it for yourself or donate to someone?
yeah, you're not very good at being mean. love this book. the images are wonderful but the background pages really make this special!
Very fun! The jokes and how it is put together is just perfect for April fools!
Anita I always enjoy your projects and really appreciate that you tell us your process. This little book is so wonderful - full of color and fun. Thanks for sharing!
Anita your such a good blogger. I love how you take the time to show up how you create your art work!
What a fun little book. I had to giggle a bit reading some of the quotes!
Such a great project Anita! Love the little book you created and the canvas looks wonderful here. Great colours and those paint dots are so cool. Awesome combination of stamps and words.
oh wow.. always breathtakink designs on your blog.
Great little book here with lots of fun things to try!
Wow, I'm missing words, it's a breathtaking project. So many fantastic details.
You did have me convinced at the get-go! I thought "Uh oh, trouble at SSS&S!". I love your birthday mini-book! What a great idea to use the ink refresher to strengthen the paper tag. Never would have thought of that!
Gorgeous, Anita!! Wow, I love stamping on canvas....so cool & great texture!!
This is SO. MUCH. FUN!!!! Love the trims on the edges of the pages...love the confetti effect...love the sassy sentiments and I double love your creative mind. The zippers really made me smile. You are one of a kind, girl...my kind!
This would be such a fun little card to receive, Anita. It's really cleverly made too. Blessings!
Such gorgeous colours and images. Love this one Anita.
This is so fun! Love how you have constructed this birthday book. Great step by step. The colours and texture are wonderful. Love, love the choice of stamps and sayings. What an awesome gift this would be. The choice of trims and stitching are fabulous (fab, fabby, fabuloso...all of the above). Great make!
Love the Retro feel in your little book! Such fun and gorgeous colors! You always do such a great jobs with tutorials! Hope you are having a great week!
What a fabulous project and a great way to use that giant tag :) Thanks for some awesome inspiration!!!
Super! Love all the pockets and tucks. This week got away from me and I am glad to have a catch up tonight on all your fab creations, hon.
I love every single page! Its amazing, Anita.


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Michael Vey
Battle of the Ampere
Rise of the Elgen
The Prisoner of Cell 25
Richard Paul Evans
Hunt for Jade Dragon
Fall of Hades
Storm of Lightning
Taylor Ridley
Torstyn
Character Photos
Carl T. Vey
Elgen
Cell 25
Dr. Hatch
Character, Electroclan(Ally), Spoilers, Nonelectric
Comments (140) Share
The Voice is an anonymous helper of the Electroclan. The Voice made their debut in Rise of the Elgen. In Fall of Hades the voice is revealed to be Dr. Coonradt.
Alive (in hiding)
Powers:
Alliances:
Electroclan, Resistance, Elgen (Former)
Rise of the Elgen Edit
The Voice is mentioned in the beginning of book two at Jack's sisters tanning salon, when a mysterious woman dropped a cell phone. (It's specifically designed for him because the phone runs on Michael's electricity, meaning only he can answer it.) Michael picked up the phone for her and asked the woman if it was hers. She answered, "No, Michael, I think it's yours" and gave him instructions on what to do. Michael goes to the back room of the salon and receives a call on the cell phone, from what they begin to call 'the Voice'. He tells Michael they- their organization has been following their progress and that they're going to need help if they want to stand up to Hatch. Michael decides to (vaguely) trust the Voice and do as he says. The Voice tells him that the police are on they're way to arrest Michael for burning Jack's house down, even though in reality it was the Elgen.
Michael tells the others what the Voice said and also that they left cars for them at a different spot. The Voice had also mentioned to Michael that in the salon they were trapped and they had to leave, as there was only one exit. Michael follows his instructions until they find the Safe House the Voice left for them along with wads of money.
Later, when the Elgen find their Safe House and kidnap the teens back, they escape and manage to blow up two of the three vans. They miss the third van but somehow it blows up on it's own. The Voice tells Michael that it was their organization helping, discreetly so the Elgen would think that the teens had just blown that one up as well on their escape. It is said that the Voice wants to keep an anonymous cover so the Elgen cannot trace them.
Near the middle of the book, the Voice calls Michael again when they are at Jack's friend Mitchell's house, for a rest. He tells Michael that he has a van parked on their street and they spotted the Elgen coming down under the false pretense that they are checking for radiation in the neighborhood. They go from door to door with scanners hoping to read that electric children are inside. The Voice also tells Michael that if they have any GP's with them (Jack and Wade) to get rid of them or get the tracking devices out of their arms that the Elgen implanted. .
Near the end of the book, the Voice gives Michael an iPod Nano so that when they play a certain song by Colby Cross they will come to pick them up once they've escaped the Elgen compound. Tanner and the rest of Electroclan make it out but Michael is separated from the rest of the group
Battle of the Ampere Edit
The Voice then sends one of their agents, Jaime, to pick up Michael and get the newly-discovered glow Tessa to safety. The rest of the Electroclan were captured by the Peruvian government. Michael wishes to rescue them, against the Voice's wishes. The Voice eventually comes around though, and arranges passage for the complete Electroclan to Cuzco, and then Lima. There Abigail, Zeus, Tessa, and Ian make a decision- they are leaving the Electroclan. The Voice flies them out to one of their bases in Nicaragua, officially giving The Voice custody of six different glows. Though, the number drops back to two when they decide to return to Peru to help in the sinking of the Ampere. At the end of the book, the Voice gives Michael and the rest of the Electroclan a new mission- find and rescue Chinese child prodigy Lin Yulong, who who has been captured by the Elgen, because she has the smarts to figure out how the MEI works.
Hunt for Jade Dragon Edit
The Voice is not directly heard from in this book, but Joel and Ben, two of their agents, guide the Electroclan through their mission to rescue Jade Dragon. It is mentioned that most of the agents of the Voice have never seen the Voice in person. When their ranch is destroyed, The Voice goes even deeper into hiding than they were before, and refuses further contact with the Electroclan.
Storm of Lightning Edit
The Voice was in hiding for most of this book. Although he is guarded by the 16th Glow Cassy, whom he orders to retrieve Schema to talk directly to the voice. Schema knew who the Voice was, but said, "Impossible. This is impossible. How could it be you?"
Fall of Hades Edit
The Voice is Identified as Dr. Coonradt. However Cassy lets it slip that there may be someone in a higher position than The Voice.
The Final Spark Edit
Hatch uses Zara, the 17th glow to read Cassy's mind to see where the Voice was located. Hatch later captured the Voice and found out where Carl T. Vey was. Then he killed himself
Retrieved from "https://michaelvey.fandom.com/wiki/The_Voice?oldid=12160"
Electroclan(Ally)
Nonelectric
More Michael Vey Books Series Wiki
1 Michael Vey
2 Taylor Ridley
3 Electroclan
Michael Vey Books Series Wiki is a FANDOM Books Community.


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Buffalo Soldiers es una película satírica sobre el ejército de EE.UU. protagonizada por Joaquin Phoenix, Ed Harris y Anna Paquin

Trama

1989. El muro de Berlín está a punto de caer y el planeta va a convertirse en un lugar seguro según un nuevo orden mundial. Sin embargo, en las afueras de Stuttgart, en Alemania Occidental, el especialista Ray Elwood (Joaquin Phoenix) del batallón 317 de intendencia, en la base del ejército norteamericano Theodore Roosevelt, está a punto de comprobar cómo su particular guerra fría se pone al rojo vivo. Elwood es un granuja encantador, un soldado condenado por el juez a cumplir servicio militar obligatorio que se las ha arreglado para hacer de éste un floreciente mercado negro, en mayor medida para matar el aburrimiento que por ambición. Oficialmente, atiende su trabajo diario como secretario del batallón para el inepto aunque bondadoso coronel Wallace Berman (Ed Harris). Extraoficialmente, se dedica a todo, desde la venta de artículos de limpieza robados a la fabricación de heroína para el implacable jefe de la policía militar de la base, el sargento Saad. Cuando llega a la base un nuevo sargento primero (Scott Glenn) con la decidida intención de limpiarla de arriba abajo, Elwood cree que va a poder manejar la nueva situación sin problemas, particularmente desde que le echa el ojo a su hija, la díscola Robyn (Anna Paquin). Pero eso era antes de que se encontrara en el mismo saco con 5 millones de dólares en armas robadas que caen en sus manos, con la esposa de Berman que se ha puesto celosa, con un traficante de droga turco que está loco y, por supuesto, con el asesinato, la traición y la lascivia que se desatan en consecuencia.

Reparto


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Home Chevron icon It indicates an expandable section or menu, or sometimes previous / next navigation options. Sports
The Sports Betting World Says The Star Of CNBC's New Reality Show Is A Total Fraud
Tony Manfred
Steve Stevens, the star of an upcoming CNBC reality show called "Money Talks," is being called a fraud and an ex-convict by some of the most prominent people in the sports betting world today.
Stevens has a business where he sells sports betting picks called VIP Sports Las Vegas.
The CNBC press release for the show calls him "a well-known handicapper," and a promo video on his company's website claims he has a winning percentage of 71.5%. The show is a "docu-soap," and it's set to air Sept. 10.
But apparently no one in Vegas has heard of Stevens, and his 70% winning percentage is considered impossible.
Stevens' office
Even worse, a damning report from WagerMinds lays out evidence alleging that his name is actually Darin Notaro, and he has been arrested multiple times for telemarketing fraud.
Todd Fuhrman, a former oddsmaker at Caesar's Palace, wrote in a blog post yesterday, "No one, and I mean no one, in the sports betting community I speak with daily knows who this guy is."
Bob Voulgaris, a popular sharp NBA bettor, said on Twitter last night that he'd never heard of Stevens either, calling him "a complete scam artist" for the 70% claim.
WagerMinds — a sports betting website that is focused on transparency in the industry — also said they've never heard of him in their article.
The 70% claim was a red flag for a lot of sports betting folks. Voulgaris, whom Nate Silver called the best sports bettor in the world, only wins about 57% of his NBA bets. SportsInsights ran the numbers in June and found that your chances of winning 70% of bets against the spread are about one in one trillion.
It's basically impossible to win 70%, but the VIP Sports Las Vegas website is using that claim to sell its picks to customers. Here's the promo video from the website (with NSFW language):
A CNBC spokesman told us in a statement that viewers will have to draw their own conclusions about Stevens' business, adding, "We are merely betting that viewers will be interested in the world of touts and handicappers and in no way endorse either Stevens' picks or his business model."
While CNBC says it doesn't endorse his business, there's a website called CNBCvipsports.com that directs readers to the VIP Sports Las Vegas site and asks readers for their email addresses and phone numbers.
A CNBC spokesman told us, "He is not authorized to use the CNBC name or logo." CNBC declined comment on whether or not they're taking steps to remove the association on the website.
The website boasts, "You may have seen VIP Sports on the new CNBC show Money Talks. If so you know Steve Stevens is the real deal."
Before we jump on CNBC, there's a big difference between Stevens being a fraud and the show itself being a fraud. We'll have to wait to see how he is portrayed.
But that's not all.
This morning, WagerMinds reported that the domain name for Stevens' business VIP Sports Las Vegas was only registered eight months ago. It was registered under the name Darin Notaro.
According to WagerMinds, Notaro has been arrested and convicted in telemarketing scams going back to 1999. He was sentenced to a year in prison at age 25 for a scheme that "bilked elderly citizens across the nation out of at least $234,000," according to the Las Vegas Sun.
Judging by this screenshot from WagerMinds, they look alike:
Courtesy of WagerMinds
According to WagerMinds, it appears that Notaro also rents the office space where VIP Sports Las Vegas is housed.
A CNBC spokesman said they are aware of the 1999 conviction. Here's the full statement:
"We are aware of Steve Stevens' 1999 conviction and while we are very clear in the press release that VIP Sports clients risk big dollars in the hopes that Stevens and his agents have the expertise to consistently deliver winners, viewers should tune in on September 10th at 10pm ET/PT to draw their own conclusions about VIP Sports. We are merely betting that viewers will be interested in the world of touts and handicappers and in no way endorse either Stevens' picks or his business model."
We called the number provided on the VIP Sports Las Vegas website and left a message. We are waiting a response.
Again, we'll have to wait until the show airs to see if he is portrayed as what he claims to be (a big-shot sports bettor) or what many in the betting community see him as (a shady figure).
Sports Media Sports Betting Reality TV


text:
package entities.abstracts;

import entities.interfaces.Vehicle;

import javax.persistence.*;
import java.math.BigDecimal;

@Entity
@Table(name = "motor_vehicles")
@Inheritance(strategy = InheritanceType.JOINED)
@DiscriminatorColumn(name = "vehicle_type")
public abstract class MotorVehicle implements Vehicle{

    @Id
    @GeneratedValue(strategy = GenerationType.IDENTITY)
    private Long id;

    @Column(name = "engines_count")
    private Integer enginesCount;

    @Column(name = "tank_capacity")
    private Double tankCapacity;

    private String manufacturer;

    private String model;

    private BigDecimal price;

    private Double maxSpeed;

    public MotorVehicle(Integer enginesCount, Double tankCapacity, String manufacturer,
                        String model, BigDecimal price, Double maxSpeed) {
        this.enginesCount = enginesCount;
        this.tankCapacity = tankCapacity;
        this.manufacturer = manufacturer;
        this.model = model;
        this.price = price;
        this.maxSpeed = maxSpeed;
    }

    public MotorVehicle() {
    }

    public Long getId() {
        return id;
    }

    public void setId(Long id) {
        this.id = id;
    }

    public Integer getEnginesCount() {
        return enginesCount;
    }

    public void setEnginesCount(Integer enginesCount) {
        this.enginesCount = enginesCount;
    }

    public Double getTankCapacity() {
        return tankCapacity;
    }

    public void setTankCapacity(Double tankCapacity) {
        this.tankCapacity = tankCapacity;
    }

    @Override
    public String getManufacturer() {
        return manufacturer;
    }

    public void setManufacturer(String manufacturer) {
        this.manufacturer = manufacturer;
    }

    @Override
    public String getModel() {
        return model;
    }

    public void setModel(String model) {
        this.model = model;
    }

    @Override
    public BigDecimal getPrice() {
        return price;
    }

    public void setPrice(BigDecimal price) {
        this.price = price;
    }

    public void setMaxSpeed(Double maxSpeed) {
        this.maxSpeed = maxSpeed;
    }

    @Override
    public Double maxSpeed() {
        return this.maxSpeed;
    }
}

redpajama_set_name: RedPajamaGithub


2nd Annual Craft Beer Festival at Devil's Lake.
Join us for the 3rd Annual Rockin' the Hills Craft Beer Festival at Devils Lake in the Irish Hills featuring over 30 Michigan breweries, with a couple of wines and ciders too! Our unique selection of the best of the craft beers, great live music with an amazing location makes this a festival you don't want to miss! At Manitou Beach Village on Devils Lake in the Irish Hills.


text:
Interiors Upgrade Your Home Decor with Sculpture
Upgrade Your Home Decor with Sculpture
When you think about sculpture, Michelangelo and Auguste Rodin probably come to mind. In home decor, however, sculptures are a great way to express your style and to display forms that fit your personality. Sculpture is not limited to the classical styles. Options include modern, whimsical, realist and minimalist works that artists have created and that you can feature in your home as focal points and accents. Another important point is to not feel constrained by style labels. Blending modern with classical is common as in this dining room setting, which features a classic torso sculpture.
Another important point is to not feel constrained by style labels. Blending modern with classical is common as in this dining room, which features a classic torso sculpture. In this case, the piece serves as an accent, beautifully complementing the dining set and lighting.
Adding a different decor style as an accent adds personality to a room.
A similar sculpture of a torso has an entirely different vibe, thanks to the nature of the stone and minimalist form that does not accent the muscles as a classical sculpture does. Another mixing of styles, the pairing of the torso with a rustic set of accessories demonstrates how you can make the piece work in a less formal space. It's an unexpected and design-forward combination.
Don't be afraid to move a sculpture around your house to find the best location.
If an eastern flair or rustic chic style is what you're looking for, Asian sculptures can work well. This white bust is an appropriate addition to a tableful of eclectic accessories, including cloches, candles and vessels. The rustic wall art also goes with the bust and would be equally nice with a more modern sculpture as well.
The neutral color of the sculpture is key in making it work in a busier setting.
There's a reason that classical forms have endured and still play a role in home decor. Their detail and drama make them the perfect piece to serve as a focal point, whether you choose a piece in stone, clay, metal or another material. When it comes to a classic bust, if you're going to choose one for your home, go big in terms of making a statement. It's an attention-getting piece and will be the star of the room or area where you place it. A very small bust will serve more as an accent and is a good way to try out the sculptural form in your interior decorating before making a bigger commitment.
A bust this large will definitely be the centerpiece of a room.
Cherubs — called putti in Italian — have been depicted in art and sculpture for centuries. According to art history texts, the little chubby, naked male babies often have wings and in the bible are scared because they were thought to attend to God. The putti are secular, although they still became associated with God during the Baroque period. Sometimes the figures are also meant to represent cupid.
These celestial babies have waxed and waned in popularity throughout the eras of history and still have a place in today's decor styles. As displayed here, they work well tropical and floral patterns and add a light feminine touch to a space. They are a classic form, but with a less solemn feel than a classical torso form
In a group, cherub sculptures add a big touch of the classic to a gentler space.
In contrast, a serious classical sculpture like these wrestlers in the Italian style is a sober and weighty sculpture that immediately draws attention. The rippling muscles on the figures and the feeling of strength that comes from the expert carving demand a central location to be appreciated.
A piece like this must be placed front and center, with few if any other accessories.
More delicate and smooth, this bust may have a classic shape but the style is decidedly more modern. The Asian visage is paired with a traditional neckline. A sculpture like this adds a feminine touch to a space and is a softer addition than a classic bust done in a rougher finish. The luxe urn behind the bust is another example of a sculptural piece that adds interest to a room
The gold drape on the bust adds an element of luxury, making it perfect for a formal space.
In contrast to the stone and porcelain sculptures, pieces done in a metal have an entirely different feel. This all, commanding woman is done in bronze, the most popular metal for cast sculptures. The lines and details have a different feel from the ones that are carved from stone. Because of its size, a sculpture like this will need a proper space in the home to command attention.
Feminine sculptures convey a softer emotion than muscular, imposing pieces and can help soften a harsh space.
Classic forms are not for everyone and pieces that are in the genre of realism appeal to a wide audience. According to Britannica, the definition of realism in art is "the accurate, detailed, unembellished depiction of nature or of contemporary life. Realism rejects imaginative idealization in favor of a close observation of outward appearances." So, rather than focusing on an ideal form, sculptors try to depict what they really see as in the statue of this girl. Her features, clothing and the grapevines in her hair and in her hand are very realistic. While some of this can be found in ancient sculptures, the genre became much more popular in later centuries, particularly in painting. Now, there are many examples of sculpture you can incorporate in your home that are realistic, featuring people, animals and other objects.
Life-like forms have gained popularity for sculptures that you can use in interior design.
Sculpture in your home is also a great way to introduce a little whimsy. Fun or fantastical, small or large, they make you look twice or smile every time you look at them. Pieces that are provocative can be a real conversation piece and a source of entertainment for guests. Sometimes, they simply reflect something from your childhood or life that is meaningful. Whatever the reason you choose it, a sculpture can do more than just enhance a room. It is a piece of art and should speak to you in some way, whether that is for happiness, nostalgia or a more intellectual reason.
Funky fish sculptures have realistic forms but the embellishments are a little off-beat.
These hippos by sculptor and illustrator Bjorn Skaarup are a collision of nature and culture — the concept that drives the artist's creations. Skaarup's statement says that his works meld "the gracious and exclusive with the communicative, distorted and humorous." It's a perfect example of how a piece can be refined and funny at the same time. Either standing guard in the entryway or keeping you company in the living room, these sculptures take center stage without overwhelming a space.
The human characterization of the hippos is lighthearted and fun.
The irony of a hippo as a ballerina adds to the whimsy — and the social commentary surrounding the idea.
A hippo as a harlequin is very humorous.
What used to be a symbol of schlocky backyard decor is now a hot image in home interiors. Flamingos have evolved from a plastic atrocity to a popular image now used for everything from understated neutral renderings in wallpaper to more vivid representations in accessories. A sculpture is another way to include this icon of camp in your home decor. The vivid color and recognizable silhouette are a great accent for any room, from a bathroom or dining room, to a bedroom or your living room.
This realistic representation is more refined than retro versions.
Realistic renditions of animals are also delightful sculptures.
Common barnyard animals gussied up in metallics or graphics immediately lend a bit of fun to an interior. This chubby little pig painted in silver may be a small sculpture but it adds a big punch of interest. There isn't a person who could walk by this sculpture in your home without commenting — or at least noticing.
Definitely not whimsical, this panther sculpture is dramatic and commanding. Put this in your living room and
Minimalist versions of common animals are also popular subjects for sculptures and can even be used in groups for a statement-making arrangement. Mixing finishes creates more depth and interest than if all the owls in this grouping were the same.
Metallic and neutral tones are in keeping with the quiet color palette of the room.
A gilded beak brings a minimal toucan sculpture to another level.
Of course, minimalism is not for everyone and many people prefer to create an opulent home interior. A wide range of luxury sculptures with animals as subjects is available, which keeps the pieces from being too serious. Detailed elephant figures that are adorned with extravagant Indian hathi howdah — the carriage on top — and headdresses are a good example. These sculptures are gilded and opulent, adding a high-end touch to any space.
Plenty of gold and vivid colors transform these sculptures from plain to posh.
Of course, magnificent carving and exceptional detailing can make even plain porcelain far from boring. This elephant sculpture, without fancy carriages and accessories, is an elegant and sophisticated sculpture for any space and would work with several decor styles.
Life-like features make sculptures of all sizes stand out.
Fans of rococo styles can incorporate a variety of sculptural styles, including sculptural furniture. The decor of that design period features lots of flower and leaf motifs, and has a light and feminine feel, compared to the heavier looks of the baroque era that preceded it. Regardless, these pieces feature plenty of gold, flowers and figures that add sculptural style to any lavish space.
With the figuring serving as the base, this piece is more sculpture than lamp.
This setting combines a sculptural console base with smaller animal sculptures as accents on the lucite tables and the console. Small bird sculptures also adorn the wall sconces in this setting. It a colorful, print-happy and over-the-top combination of decor elements that come together in a grand space.
This floral paradise suits those who like accessories, particularly those with flora and fauna.
Sculptures of all styles can be mixed with current decor styles, as long as the result suits your personality. The old rules about being matchy-matchy in your interior decorating are passe and fortunately new, fresh ideas about styling a space are popular. Just remember, a sculpture is a piece of art that reflects your tastes and sensibilities. Upgrade your space — choose something fun and enjoy it in your home!
Posted in Interiors on June 14, 2017
Vera Dordick
Vera Dordick is a global communicator, and creative provocateur. She holds degrees in Journalism/Russian and Pastry and has had a life-long affair with creativity. Her dabbling focuses on interior design, including DIY, jewelry, cakes, sugar flowers, and fiber arts of all kinds.
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A small sandwich shop sat adjoined to the large whitewashed resort whose locale hosted a beach, a greyish combined mixture of pebbles intertwined with a softer sand that faced onto the sun sparkled rippled water calmed by a barrier of coral reefs.
Good simplicity. Easy and quick to prepare, Tuna Melts provide a nice little dinner, especially on any busy days transcending into evening activities from sports practice to a board meeting.


text:
Balázs Bodó: 'Digital commons are actually reproducing existing power inequalities'
100+Conversations
January 11, 2023, by Lucas Pretti and Sara Petti
It's 2023 already, and for us, at the Open Knowledge Foundation, it really means new times. Last year, soon after the incorporation of Renata Ávila as our CEO, we announced a joint strategy of our advocacy and communications arms called 100+ Conversations to Inspire Our New Direction (#OKFN100).
Today, we are happy to announce the kick-off of this project.
We are meeting 100+ people to discuss the future of open knowledge, shaped by a diverse set of visions from artists, activists, academics, archivists, thinkers, policymakers, data scientists, educators and community leaders from all over the world.
Our team wants to identify and debate issues sensitive to our movement and use this effort to constantly shape our actions and business strategies to deliver in the best possible way what the community expects from us and from our Network, a pioneering organization that has been defining the standards of the open movement for two decades.
Another objective is to include the perspectives of people from diverse backgrounds, especially those from marginalised communities, from dissident identities, and whose geographic location is outside the world's major financial powers.
How openness can speed up and strengthen the fights for the complex challenges of our times? This is the key question behind conversations like the one you can read below.
This release is not happening on any given day. Not coincidentally, today is the 10th anniversary of the death of Aaron Swartz, an iconic political organizer and internet hacktivist whose struggle for open knowledge continues to inspire our generation of activists. Keeping this agenda active and refreshed is our humble posthumous tribute to him.
We are kicking off #OKF100 today with a conversation with Dr. Balázs Bodó, economist, and researcher at the Institute for Information Law (IViR) at the University of Amsterdam.
Bodó is a recurrent voice in the intellectual property field and an expert in the legal discussions and social implications of access to knowledge, and consequently the barriers created to prevent it. Among several important articles and conferences in recent times, he contributed to the book Shadow Libraries: Access to Knowledge in Global Higher Education (edited by Joe Karaganis, MIT Press, 2018).
Before moving to the Netherlands, he was deeply involved in the development of the Hungarian internet culture. He was the project lead for Creative Commons Hungary and a member of the National Copyright Expert Group. In 2018 he received an ERC Starting Grant to study the legal, and political implications of blockchain based technologies, and started the Blockchain & Society Policy Research Lab. He has been invited by the European Commission to serve as an expert for various blockchain-related projects.
We spoke with Bodó at the end of November 2022, a few days after the arrest of the Z-Library creators in Argentina, and this was the topic from which we started to build a broader view around the recent threats to knowledge sharing on a global scale.
We hope you enjoy the read.
OKFN: What does the process of chasing and taking down Z-Library mean for the concept of open knowledge?
Balázs Bodó: When I read the news that these two Russian individuals have been detained, I thought, well, history has come to a full circle. I don't know these people, how old they are, I assume they are in their thirties. But certainly, their parents or their grandparents may have been or could have easily been detained by the Soviet authorities for sharing books that they were not supposed to share. And now, 30 years after the fall of the Berlin Wall, people are again detained for sharing books. For a different reason, but it's the same threat, 'You're gonna lose your freedom if you share knowledge'.
The freedom to access and share knowledge was one of the reasons why people were willing to risk their lives in the pre-1990s era in Central and Eastern Europe. People were risking going to jail, losing their jobs, their livelihoods, and sometimes their lives because of they wanted to know, and wanted to share knowledge through writing samizdat, printing, distributing samizdat editions of –among others– banned western books. And now the Western or liberal or democratic political system is jailing people for – on the surface – very similar acts. The history of copyright (the control of the flow of knowledge through the exclusive economic rights of authors) and the history of censorship (the control of the same flow due to political considerations) have been closely entwined from the very beginning, and apparently, it is sometimes hard to disentangle them even today. In Belarus, the law now permits the digital piracy of works from unfriendly countries, a move quite similar to old, Soviet-era authors' rights rules.
Z-Library is certainly far from being a clear-cut case because it is a hybrid library that offered both scholarly and commercial works, both literary and academic literature. It's easier to make a case for shadow libraries and book piracy when it is limited to publicly funded research, academic articles published in scholarly journals, or exorbitantly priced text-books. Piracy is way less defendable and a much more contentious issue when we talk about the piracy of widely available commercial works, such as books as the Harry Potter series. But there is an immense grey zone between these two extremes: in copyright but out-of-print works, books that are hard to buy legally, which do not have electronic versions, which cannot be borrowed from a library nearby, etc, etc.
I think it's never nice to see a library burn down. And this is what a burning down of a library looks like in the digital space. It's never nice to see books being made inaccessible for one reason or another. And this is what is happening. Books are highly symbolic objects and their disappearance, them being forced to be inaccessible, is never a good sign.
When talking about shadow libraries, the first thing that comes to mind is Sci-Hub or Alexandra Elbakyan. It is very curious that many of these initiatives and also some shadow libraries themselves started in Russia somehow. Do you think there's a sort of historical link, more sensitivity to censorship or historical heritage around that?
Absolutely. I've written about that in my research. Yes, there is a very clear link between current digital shadow libraries and the Russian legal, economic, social, cultural, historic contexts. In Russia, there is a history of how to circulate knowledge under the conditions of oppression, and how to build shadow networks of knowledge when political oppression tries to curtail the accessibility of certain forms of information. When in the 1990's political censorship ended, but the post-Soviet economies collapsed, these networks and practices could find a second life in the digital space. In that era of societal, economic turmoil and hardship, digitising books and building shadow libraries become a form of agency – cultural agency, economic agency, and institutional agency in the hands of a highly literate, economically deprived cultural elite.
Also, it certainly helps that Russia and many of the post-Soviet republics are at the peripheries of legal enforcement, so they are not fully incorporated into the Western cooperating enforcement regimes, which makes it easier for shadow libraries to survive. Apparently, these individuals were never detained in Russia, but somewhere in South America.
What is the exact crime that Z-Library is committing? What is the legal argument behind the shutdown?
I think there are at least four different discourses and languages through which this whole phenomenon is being discussed, and they are not communicating with each other at all. But they are used very strategically by most people, including myself, who participate in this debate.
One first language is the law, of course. 'What does the law says about someone releasing an ebook without the authorization or license from the rights holder?' The law is very clear on that: this is a copyright infringement. You cannot do that without the permission of the rights holder, and they were doing it without such permission, so there is not much debate or uncertainty about the legal status of Z-Library. There are some legal fights, for example, in India, regarding educational materials. Library Genesis and Sci-Hub are being litigated in India, and the question is whether the educational exceptions within the Indian law would cover such a practice. But yes, it's certainly a copyright-infringing practice, everywhere in the West, and in almost all other jurisdictions as well. Rights holders certainly have a very good legal case there.
The second language in which piracy is usually discussed in is the economic discourse. What is the relationship between the grey markets and the legal markets? What kind of economic harm piracy causes? As an economist, my argument is that black markets arise when legal markets fail. They emerge when and where the legal markets do not deliver what customers want. There is extensive, but inconclusive research on the economic impact of digital piracy. Some works some creators do suffer losses due to piracy. For others it makes little difference. For some it may even have some beneficial effects.
With regards to books, we've measured the economic impact of the Library Genesis catalogue. We asked the following questions: 'If I wanted to buy this book from the LibGen catalogue, could I buy this? Where? For how much? In what format? Is it available on the secondhand market? If I wanted to read this book online, would I be able to buy or rent this book as an e-book? Could I lend this book from a library?' In 2015 what we found is that around 80% of the titles were available in print, but 20% were not. For four out of five books there customers could buy a copy if they wanted to. But very few of these titles were actually available digitally.
So there was a clear argument at that point, that these shadow libraries were serving a demand for books for which there was no legal supply. In the last decade, a lot has changed in the ebook marketplace, so it is quite possible that most of the Z-Library supply is somehow available online now. But the question is still there: is the legal online access evenly distributed? Only if we compare legal access alternatives to illegal downloads, only then we can say something empirically about the true economic impact of piracy.
But this type of economic or market discussion is tricky because it gives you hard numbers. It gives you very clear evidence of whether the price is good or bad, whether there are unserved customers, lost sales, etc. In my experience, rights holders are not always happy to have such numbers out in the public because it highlights all the things that they could do to avoid the piracy of their products: 'Hey, you have to lower your price', or, 'Hey, you could make better deals with libraries around e-landing, because your customers are going elsewhere.'
But economic arguments don't always sit well, because with regards to piracy there is a third discourse, and that is about control. If the economic arguments are favourable to the rights holders' position, then they use the economic arguments. But if the economic arguments suggest that making more money is only possible if rights holders are willing to give up control of the circulation of works, or if the economic arguments show that there is no substitution effect, and thus no economic harm, then the debate tends to switch arguments about control. These arguments emphasize that no matter what, rights holders can do whatever with their works, including making bad decisions. Both the law, and good philosophical arguments support the idea that they should have (almost) exclusive and absolute control over the life and death of the works thy created, and so they are not bound by the economic wisdom of their decisions.
And there is a fourth line of argument, which focuses on the role of creative works in culture. These arguments are often abstract and symbolic, and focus on such value laden ideals such as access to knowledge, common cultural heritage, cultural participation, free circulation of ideas, and the public domain. These are often seen as utopia, naive or incorrigible humanist ways of discussing what books are and how they should live with us.
I think these arguments are as important as the legal, or economic ones. If you talk to, for example, librarians, they're going to agree with this approach. But the world of books is not curtailed to libraries and librarians. This world also consists of a few gigantic publishing corporations and those are organized around profit margins, investors returns, and control, and for them these arguments are more important than the books-are-culture approach.
Today shadow libraries serve a role of an almost permanent repository of works that are out of the digital space in a way, a role that a National Library would have for physical books, let's say. We've seen cases of initiatives by the open access movement in Europe, like in Sweden or Switzerland, where a model of subscription to journals is being tested as an alternative. Do you think that shadow libraries will keep on being there because they fill that gap, or do you think that once this gap is solved through some market alternative, then their role will be maybe redundant and a bit less useful?
I think cultural black markets play other important role beyond providing immediate access to a wide range of works, and that is that they can shape the development of the legal alternatives. What they say to rights holders is the following: 'If you don't adjust your business models, if you don't improve your legal offering, then we will stay here threatening you'. This is what has happened in the digital music space. They managed to sue Napster, and then Kazaa, and so on, into oblivion but what ultimately put an end to music piracy was Spotify. But Spotify would've never happened without the credible threat of music piracy. If there was no music piracy, we would be still buying DRMs and MP3s from the Apple Music Store, because that was at the time the preferred business model for rights holders. Only the threat of piracy shifted the calculus, where they said, 'Hey, an all-you-can-eat subscription service may not be our preferred way of making music accessible, but it's still better than losing all our business to the pirates'.
I think this is also the role of shadow libraries. They managed to shut down Z-Library for now, but there are already gazillions of copies out there. They exist on IPFS, on bittorrent, on various private repositories, therefore they cannot fully get rid of this threat. The only way to suppress piracy is to actually serve the demand, which is now being served by the pirates, and offer comparable, equally favourable conditions. We've seen with all the subscription services that people are very happy to pay a monthly fee for having no-question-asked access to movies, music, series, whatever.
We have done a survey a couple of years ago where we asked people if would they be willing to pay some money on top of their internet subscription, for a file-sharing licence. We found that they were very happy to actually pay around 10 euros per month for not having to think twice about the legality of what they are downloading. What we've shown is that, if you have every internet subscriber paying 5 to 10 euros extra per month on their subscription to not be bothered by legality, then this would actually make many times more money for rights holders than what they're making now. It seemed like a match made in heaven. People would be happy to pay. Rights holder would be better off. Win-win, right? But when we approached them, they said they were not really interested in that proposition because it would have meant that they had to give up control.
On the question of shadow libraries, well, they will never be legal, but they might be irrelevant if there are good legal alternatives. But there are no good legal alternatives…
But, this also reminds me to stress that we mustn't talk about Z-Library in and by itself. They are just one puzzle piece in a much larger picture, with a number of other players. There's the Internet Archive. In COVID times they set up what they called "the emergency lending library", and they are now fighting in court to defend the legality of lending out digital copies of books they have a physical copy of. There is also a conflict between publishers and libraries about the terms and conditions of digital lending. There is also Amazon with their business and services, like text-book and e-book rentals. There are also all those regional and national funding agencies that buy access to electronic databases for local research and education institutions. This is the big picture that Z-Library is also part of.
What are the more immediate impacts of shutting down Z-Library? To what extent shadow libraries are an intrinsic part of the academic world today?
Well, people find their way. It's not that difficult. If you are a user, you can go to Reddit and then find the alternatives. It's not rocket science. The academic scholarly networks are aware of what's happening. There are lots of substitutes for Z-Library. I don't think that, in general, there's a great loss, and that's the whole point.
Paying a small fee for services that today are illegal is something that has been mentioned also in some corners of the discussions in the open movement, with people saying maybe open doesn't always mean that it's free, and maybe you can have like small subscriptions that would allow maybe a fair remuneration of authors, for example. Do you think that's a direction a service like this would take, or should it stay in the rebellion activist space?
I'm pretty sure you know Alek Tarkovsky and Paul Keller, who run Open Future. They had an essay on the Paradox of Open and they are launching a series of essays in response to that. I've written one, and all these essays are asking what is open, how is open, and what is the use of usefulness of open? My argument is that the particular form of openness that was promoted by Benkler, Lessig, all these Creative Commons types in the US, was a very particular and misleading understanding of what open is and what open could be. They have been referring to the ideas of Elinor Ostrom about commons, and suggested that in the digital space we can organize resources as open commons. In that discourse this has meant that anyone can come and take whatever they need from the commons, because digital resources are infinitely copyable
This was a rather stark departure from the way the Ostromian commons are organised, because these are closed, not open. You cannot just go to a common fishery and start fishing, or go into the common forest and cut down a tree. You cannot go into a community and start to extract resources without permission. So they are more like clubs – if you're part of the club, then you can extract, if you're not part of the club, then you can take a walk but you cannot extract resources. My understanding is that this whole creative / open / digital commons movement uses the commons as a term, but what they meant was public domain, where you don't need to ask permission for taking. You can just go in and take whatever you see. It's okay because it's digital, you take and it's left and then it's no problem, right?
My impression is that, for a number of reasons, digital knowledge or knowledge commons or digital commons are only inexhaustible in one narrow sense, and if you look beyond that, there are a number of really good ideas why access to these resources should be thought about. For example, freely accessible digital resources are not inexhaustible are actually reproducing existing power inequalities. We found this effect also in relation to shadow libraries. When looked at who uses shadow libraries the most, it's highly developed countries. Why? Because though the knowledge resource is openly accessible to everyone, the other resources that would actually allow you to make use of this free resource are not evenly distributed. I can speak as a Hungarian. I know all my Hungarian academic colleagues, who are using shadow libraries. They are using it, but they also have to juggle one, two, often more jobs to make a living in academia because an assistant professor makes 700€ gross, and a full professor salary is 1400€ gross per month. With such salaries, they cannot make a living working only in academia. People who have to have other jobs cannot make the same use of the same pirate library as someone who can dedicate their full time and attention to teaching, and research. The more of these other elements are missing, the bigger these problems get in terms of the use of free resources.
We have a similar problem with Creative Commons licenced images. Creative Commons is great, it's very nice if I, as a blogger, can use a Creative Common licenced image to illustrate my blogpost, but the true values of this resource is being captured by Google and Facebook and all the other players who use it to train their AI models.
So there are good reasons to put fences around open resources and let someone say under what conditions you have access to these -otherwise free- resources. I think fences make a lot of sense if they enable you to say: 'Hey, Google, you cannot just come in and extract value from these resources'. They also help you answer another question about the production of common resources, because they can offer a way to consider the following challenge: 'Okay, we pulled this resource together', but then how do we actually make sure that whoever contributed to this resource has a chance to actually benefit from it one way or another? The fences can also make sure that those who worked on a resource can charge for it if they wish.
Well, you can say at this point that what I'm proposing is not that different from what the rights holders have been saying with regards to Z-Library. And this is indeed true, to a certain extent. But what the (close) commons enable are also more models than what came to dominate the copyright-based approaches.
Take, for example, K, an arthouse bittorrent tracker. They managed to build an extremely comprehensive archive of arthouse cinema. They also put up a fence. They don't chargefor access, so making money is not their point. They put up a fence so they can make sure people don't take content without contributing something to the community. They also take down content if the rights holders demand it. Many members of the community are from the film industry: directors, producers, creatives, as well as film distributors, people who are actually trying to make money by selling those films that are also available freely on the tracker. The reason they don't see K as a threat is twofold. First, they know that it is not an open resource: there is some control over who can access that archive. Also, the tracker policy clearly states that they are going to remove content if the rights holder requests it, because they are not running the archive to hurt arthouse moviemakers.
So the fence is there to protect the resource. A fence can solve lots of problems, so openness is not always the best approach. In other cases, for example science, I think a resource could be radically open.
We're glad you brought up the meaning of openness because that was one of the questions. But we wanted to dig deeper there. Access was maybe the main pillar of the movement 15 years ago, but now after the ontological turn in social sciences, and all discussions around intersectionality, it appears that there are many other layers to be considered. So what are we talking about when we talk about open today? Do you think access is still the point?
Of course, open access resources are just one infrastructure, which is good if it's there. But we need a number of other infrastructures as well, and they need to be able to work together if we want to have an impact. One of the questions is what kind of other infrastructures or elements we can identify. If you are in the Open Knowledge Foundation, what kind of other players do you need to talk to in order to make sure that your work has as much impact as it could have and just doesn't evaporate because some infrastructural elements are missing.
I give you an example. The academic knowledge market has been operating under a business model where publishers have been charging for access. Now the biggest firms in the industry are slowly moving towards another business model. And this means more than just supporting golden open access and charging article processing fees. These firms have also invested quite a lot in the infrastructural elements of knowledge production, like citation management, software, institutional archive, and science metrics. The new business model is based on collecting data at every step of knowledge production, from citation via publishing and archiving to distribution. They take all the information from academic knowledge production, package it into various metrics and sell these back to the universities. 'This is how many papers have been published by your department, how many times they were cited, their impact, this is the score of your individual researcher, how good they are compared to all the others, their worth in the academic market'. What started with academic publishing is not turning into something akin to what credit rating agencies are doing. It's the same business model. And, for that business model, if you're in the business of metrics, of selling creditworthiness information to the market, you need circulation, the circulation of the knowledge that you are trying to measure and turn into a product. You cannot put up artificial, legal or technological barriers that limit the circulation of the knowledge that you want to measure and then repackage.
So I see that there is a shift from a business model which made money out of limiting circulation to business models which tries to profit from circulation. If that is indeed the case, then in this new model you have to let circulation take place, and the traditional barriers to such free circulation through DRM or subscriptions must go down.
This transformation of how knowledge production is organized in society brings forward the question of infrastructure. In order for publishers to create the new metrics-based products and services, they need to control the infrastructure of the workflow where the data is generated: the systems of archiving, publishing, citation management, and search. This then raises the question of sovereign technology infrastructures, not just for the EU, or on the national level, but for the institutions, universities, research institutes, and for the whole societal activity of knowledge production. What is technological sovereignty? What is the infrastructure of knowledge? Where does it start? Where does it end? Does it include cloud computing infrastructure? Does it include archival library infrastructures? Does it include Microsoft 365? And what are the right responses to the concentration of power and the emergence of new business models in the private sector which try to serve/capture this market? Should all do as the French did, for example, who just banned Microsoft and Google cloud services from their schools? Should we build our own infrastructures to have some form of sovereignty not just over content, but also in terms of hardware and software?
We as the Open Knowledge Foundation have been thinking about this a lot. How do we use the open definition or the open movement to fight not only with our peers for the things we've been historically advocating for but actually tackle the most pressing problems of our times, such as climate change? Maybe you have some input, or want to share a final comment regarding our role as an organisation, or the roles of organisations like ours.
My impression is that there is always some kind of cautious distance between mainstream open access / open culture advocates, and people who try to address open knowledge and open access through confrontational pirate ways. The relationship to legality has been a gap between these two communities. My impression is that there is still a lot of hope in various advocacy groups that it is possible to achieve change through advocacy or lobbying or working with policymakers. I don't know whether those hopes are justified, but I think pirates have long been part, and oftentimes a positive force in these struggles, maybe there is now a historic moment where these two approaches need to work together more strategically. Piracy is far from the ideal solution, but currently it is the only one which is able to provide access to science and overwhelmingly publicly funded research published in books and journals. As long as someone else, preferably us, the academic community, or the businesses in this market are not providing legally something as comprehensive as the shadow libraries, we need them, we rely on them. We might as well do that openly and consciously, as part of a push for better legal alternatives, and as a pushback against the privatization of both knowledge and the infrastructures of knowledge production which is taking place today.
Lucas Pretti
Lucas is a journalist, artist and researcher working in the intersections of digital culture, politics and humanities. For the last 17 years, he has been a free culture advocate and part of a wide range of commons-based initiatives fighting for power distribution and people's participation in decision-making. He is currently the Communications Lead at the Open Knowledge Foundation, and a PhD candidate in the Autonomous University of Madrid in the topics of the aesthetics of the commons.
Sara Petti
Sara works with communities. She leads the Open Knowledge Network and manages the Frictionless Data community. Before joining Open Knowledge Foundation, she has worked on free access to information and quality education for all with public libraries from all across Europe.
https://blog.okfn.org/author/sarapetti/
Better together than alone: say hello again to the Open Knowledge Network
csv,conf,v7 is going to Buenos Aires!
Posted in: 100+Conversations, Featured, Interviews, News, OKI Projects, Open Knowledge Foundation, Our Work
About Lucas Pretti and Sara Petti
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Quality music is a vital part of every worship service because God is the audience and God deserves our very best! At Eastminster, our music is wide-ranging in style. In addition to singing traditional and contemporary hymns each week, our Adult, or Handbell Choir offers an anthem that enhances the season of the year or the theme of the worship service.
The Adult Choir, directed by Chelsea Berner, sings a variety of traditional and ethnic music, including anthems from Iona Community in Scotland and a variety of old and new favorites. The choir sings from September to June three Sundays a month. They practice Thursdays at 7:00 p.m. New members are always welcome to join the choir. All you need is a love of singing!
The Eastminster Hand Bell Choir is a group of adult ringers which meets for weekly rehearsals on Tuesday evenings at 7:00-8:30 p.m. in the Green Room. The group, directed by Heather Myer, provides music for the 10:30 AM worship service one Sunday a month from September through May. The Hand Bell Choir rings on Eastminster's four-octave set of Schulmerich hand bells. New ringers are welcome to join. Bell choir is an enjoyable way to praise God!
Tamar Mikeladze provides beautiful sacred or classical music during the Prelude, Offertory and Postlude. Guest vocalists or instrumentalists are frequent additions especially at Christmas and Easter and during the summer.
In December, 1995, the firm of Lynn Dobson (Lake City, IA) installed a two-manual tracker pipe organ in the sanctuary. This small but versatile organ has mechanical key action and a natural style of voicing, which makes it a perfect fit for the intimate setting of the sanctuary. The organ is a regular part of our musical expressions in worship.


Dropbox beat earnings expectations for its third-quarter results.
Dropbox Inc. earned more cash from each user and grew its paying-customer base in the third quarter, according to a Thursday earnings report, as the company continued to narrow its losses and grow sales faster than Wall Street's expectations.
Shares of Dropbox DBX, +0.47% closed down 1.1% in Thursday trading and gained between 5% and 9% in immediate after-hours trading following the release of the report. After the company issued its fourth-quarter and full-year guidance on the earnings call the stock was trading up roughly 8%.
Third-quarter net losses were $5.8 million, which amounts to 1 cent a share, narrowing from losses of $14.1 million, or 7 cents a share, in the year-ago quarter. Adjusted for items such as stock-based compensation, Dropbox reported profit of $45 million, or 11 cents a share, compared with adjusted net income of $23.5 million, or 7 cents a share, in the year-earlier period. Wall Street analysts expected adjusted earnings of 6 cents a share, according to FactSet.
"[Third quarter] was another strong quarter of revenue growth and margin expansion," Dropbox Chief Financial Officer Ajay Vashee said to MarketWatch after the company released earnings.
The San Francisco-based company's revenue grew to $360.3 million, 26% growth compared with the year-ago quarter and ahead of the average analyst estimate of $352.8 million, according to FactSet. Vashee said the top-line growth was driven by continued paid-user conversions and the additional revenue it was able to generate from each customer.
On the earnings conference call, Dropbox said it expects fourth-quarter sales of $367 million to $370 million. According to FactSet, Wall Street expected revenue of $363.7 million. Dropbox said it was raising its full-year guidance from a range of $1.36 billion to $1.37 billion, to $1.38 billion to $1.39 billion. The FactSet consensus for was full-year sales of $1.37 billion.
On the earnings conference call, Dropbox said it was increasing its free cash flow guidance for the full year to $350 million to $360 million.
"We're fully funding all the initiatives across marketing, all the initiatives across research and development and all of the initiatives across product that we believe are important to drive long-term growth for the business," Vashee said to MarketWatch over the phone.
By the end of the September quarter, Dropbox had 12.3 million paying customers, an 18% increase from the year-earlier quarter. Vashee said its paying customer base is driven by conversions to its individual and team plans. "It's driven by investments in that data-science-driven conversion engine and by investments in our go-to-market efforts with [sales channels]," he said.
Unlike many of its peers, Dropbox attracts new customers through its self-serve products that rely on word of mouth, among other things to draw in new customers. The company then determines whether or not — via data science and other techniques — the self-serve accounts merit a direct sales call to an organization that has reached a critical mass of users.
Dropbox said that each customer was worth more, as average revenue per customer was up to $118.60 from $112.05 in the same quarter last year. In the past, the company has said it has over 500 million registered users and about 300 million of those are potential paying customers.
Vashee says there are three things that kept per-user revenue ticking up during the quarter: More people are paying for the company's premium products, customers have been grandfathered into some of the company's advanced plan offerings are now renewing their subscriptions, and the company is selling more team-type licenses.
"They have been the drivers over the past couple of quarters and they continue to the be drivers now, as well," Vashee said.
During the last quarter, Dropbox launched an updated search engine it calls Nautilus, which takes advantage of machine learning. It also introduced technology it calls optical character recognition that lets users search scanned or saved images for text.
Dropbox went public earlier this year and priced its stock at $21, above the expected range. It raised more than $750 million at an initial market valuation of $8.24 billion. The company was founded in 2007 and raised more than $600 million in private cash. Prior to Dropbox's initial public offering, it moved its cloud storage from Amazon.com Inc.'s AMZN, -0.17% AWS to a system of its own design, which has benefited the company's bottom line.
In the past three months, Dropbox shares have fallen 21% as the S&P 500 index SPX, +0.16% fell 1.5%.


This guest post is written by Lance M. Goolsby, who originates from Seattle, Washington. However, he spent 15 years in the U.S. Army, serving in the city of Schweinfurt, Germany for four of them. He says he is married to the most wonderful woman, Antje (Pronounced: Auntie-A), a local Schweinfurter. After leaving the army, he decided to settle down in Schweinfurt and place his roots in this beautiful small city. This is what he has to share with us.
A couple days ago, I was searching the internet to get some source photos for a renovation project I am conducting and came across Maria's blog.
I had heard of a local castle, but had never gone. Many times the unit would hold a party in the castle, but somehow I was either deployed to some foreign country, or on duty. So I was always otherwise occupied.
A few months ago I was invited to a birthday party being held in the castle, and I thought it would be my chance to see it first hand. Somehow I met the manager, and we started talking. He was in the works of finalizing the plans for the renovations of the castle with the owner. Hours passed with him telling me stories of the history of the building, from its major involvement in the German Peasants war of the 1500s, to the unsavory occupation of the castle during the second world war by generals Hermann Goering, and Heinrich Himmler.
One thing led to another, and I was hired as the groundskeeper of the castle. My dream job. Bringing the long unattended gardens back to their former glory, which had not been seen by visitors since the renovations of the castle in 1924.
The castle name is Schloss Mainberg, located around 3 kilometers, or about 2 miles outside Schweinfurt.
The tower of the castle was the first thing built, in around the year 980 to 1005. In the late 1300s and early 1400s, the local duke built the original castle. The castle was mostly destroyed in the Peasants War in the 1520s. Twenty years later, the castle that stands now, was built. The only thing original to the castle prior is the tower, which only lost around 30 feet from its top in the war.
After the Second World War, the entire contents of the castle were either carted off under orders of General Goering, or looted by the American soldiers or the local towns people. All statues with the exception of one, were used by various soldiers as target practice or targeted by vandals, and all heads are missing. Later the castle was shortly used as a factory for a hair care products company. After that, it passed through a few hands, but never was renovated or repaired.
In the last 60 years, the castle has slowly fallen into ruin. Cracks are allowing water to seep into the building, staining and ruining many murals painted on the walls and ceilings. Vines, crawling up the walls, are undermining the concrete and pieces are falling to the ground. Eventually without the proper care, the castle would fall to the ground.
My job will be to bring the grounds to the quality they were in after the 1822 renovations. In one author's writings, he described the gardens as an almost heavenly walk. Looking right, the view over the local Bavarian valley afforded him the possibility to see for miles on end. Three fountains adorned with mythological creatures gave the area an ethereal sound and the flowers planted gave the garden a scent that he couldn't forget for several years before he wrote the book.
Further investigation into the grounds has recently produced a second garden from the same era, which it seems no visitors has ever seen. It's a garden for the woman of the house at the time to retreat to with one of her favorite books, to relax and read. We now refer to this one as the secret garden. It was built in the rear of the castle, which is on the uphill side. It was made up of one main terrace, and three others, adorned with flowers, and rock walls. They had in effect carved 4 level areas out of the castle, adorned them with flowers, benches, and tables, then fenced it off from the main castle garden for privacy. It must have been a vision in itself and to me was much more beautiful than the main garden.
I thought for the readers of Maria's blog it would be cool to see some recent photos of the same castle, of which she shared photos taken by Russell Satterthwait in the 60s and to compare how the castle has slowly fallen into almost ruin.
With luck, in the next two years, the castle will be back to its regal status. I also invite all readers to come by and take a tour with me when it is completed. You will not be disappointed. We will be able to have some coffee in its café, or if you like, spend the night in the castle hotel.
Mainberg Castle is one of the regions most important and beautiful castles. Soon it will be open to the public again.
Thanks for reading my long winded article.


text:
Verse of the Day ▼
Devotions ▼
◄ What Does Revelation 1:15 Mean? ►
His feet were like burnished bronze, when it has been made to glow in a furnace, and His voice was like the sound of many waters.
Revelation 1:15(NASB)
Verse Thoughts
The most astonishing description of the Lord Jesus Christ is given in this first chapter of Revelation. Having appeared as the suffering Servant, Who was sent by the Father to expiate sin, once and for all, through the sacrificial offering of Himself on the cross, He is revealed in the book of Revelation as the risen, ascended, glorified Son of the most High God.
He is the Alpha and Omega; the First and the Last - the Beginning and the End, Who has become the First-fruit from the dead and the Federal Head of a new Creation. He is the Faithful Witness, Who has been uniquely appointed King of kings and Ruler of the ends of the earth. He is the Man Whom God has ordained to Judge the world in righteousness, justice and truth.
It is the apostle John who bears witness of this most staggering vision of Christ. It came while he was incarcerated on the Isle of Patmos for his faith. Our heavenly Lord was clad in judicial robes of righteousness and the sight of Him was so majestic and awe-inspiring that it caused this faithful disciple to fall at His feet as if he were dead.
John gives the most disconcerting description of the Lord Jesus - from the top of His head to the sole of His feet, and each aspect of His appearance spoke of His might; majesty; dominion; glory and power. His white hair pictured His dignified office as the Ancient of Days, and evinced His wisdom; knowledge; discernment and judgement. His flaming eyes spoke of His supernatural understanding - His infallible insight; inescapable scrutiny and inexorable power.
It is in verse 15 that we read that "His feet were like burnished bronze... when made to glow in a furnace, and His voice was like the sound of many waters". Both His feet and His voice spoke of righteous judgement, impending justice and immense authority.
Jesus is the Word made flesh, and throughout His earthly ministry His humanity was the important focus of the gospel writings. John had spent three precious years, walking and talking with the Lord. But the startling vision he received on Patmos was very different from the gentle Carpenter from Nazareth, Who knelt before him in that upper room to wash his dirty feet or Who had called him to "follow Me" on the banks of the Galilee.
In these last days God is speaking through His Son, and the book of Revelation is the full and final unveiling of the Lord Jesus Christ - the Creator and Sustainer of the Universe - the risen, glorified and highly exalted Son of the True and Living God.
ALL judgement has been given into His hands and while the robes He wore designated His authority as God's appointed Judge of the living and the dead, His feet - which were like burnished bronze, emphasised His strong, enduring authority as the supreme Judge before Whom every knee will one day bow.
Judgement begins at the house of God and in the first few chapters of Revelation, Christ is extending a warning to Christians in this age of grace, to ensure that our consciences are right with the Lord; that we wake up and return to our first love; that we eschew every kind of evil and hold fast to His Word of truth.. and that we listen to all that the Holy Spirit says to the churches.
The bronze serpent raised up by Moses in the wilderness typifies the Lord Jesus, Who was made sin for us and took the terrible punishment for our sin on the cross - during the days of His humiliation. We will never be judged for our sin, because Christ took the punishment on our behalf. However, every one of us will stand before the risen, ascended, glorified Son of the most High God - to be judged for our works - whether they are good or evil.
May we earnestly contend for the faith, knowing the day is fast approaching when all these things will come to pass.
Heavenly Father, thank You for the revelation of Jesus Christ, which You gave to your servant John to show us all that must come to pass in the not too distant future. Thank You that Christ took the terrible punishment for my sin and that I have been clothed in His righteousness robes... by faith in His death and resurrection. I pray that my life would be a faithful and true witness of Your goodness and grace to me and that I will hear Him say well done, good and faithful servant. May I eschew every kind of evil; hold fast to His Word of truth and listen carefully to all that the Holy Spirit says to the churches - for Your greater honour and glory. This I ask in Jesus' name, AMEN.
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text:
// Copyright 2022 Google LLC. All Rights Reserved.
//
// Licensed under the Apache License, Version 2.0 (the "License");
// you may not use this file except in compliance with the License.
// You may obtain a copy of the License at
//
//     http://www.apache.org/licenses/LICENSE-2.0
//
// Unless required by applicable law or agreed to in writing, software
// distributed under the License is distributed on an "AS IS" BASIS,
// WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
// See the License for the specific language governing permissions and
// limitations under the License.
package beta

import (
	"github.com/GoogleCloudPlatform/declarative-resource-client-library/dcl"
)

func DCLKeyRingSchema() *dcl.Schema {
	return &dcl.Schema{
		Info: &dcl.Info{
			Title:       "Cloudkms/KeyRing",
			Description: "The Cloudkms KeyRing resource",
			StructName:  "KeyRing",
		},
		Paths: &dcl.Paths{
			Get: &dcl.Path{
				Description: "The function used to get information about a KeyRing",
				Parameters: []dcl.PathParameters{
					dcl.PathParameters{
						Name:        "keyRing",
						Required:    true,
						Description: "A full instance of a KeyRing",
					},
				},
			},
			Apply: &dcl.Path{
				Description: "The function used to apply information about a KeyRing",
				Parameters: []dcl.PathParameters{
					dcl.PathParameters{
						Name:        "keyRing",
						Required:    true,
						Description: "A full instance of a KeyRing",
					},
				},
			},
			List: &dcl.Path{
				Description: "The function used to list information about many KeyRing",
				Parameters: []dcl.PathParameters{
					dcl.PathParameters{
						Name:     "project",
						Required: true,
						Schema: &dcl.PathParametersSchema{
							Type: "string",
						},
					},
					dcl.PathParameters{
						Name:     "location",
						Required: true,
						Schema: &dcl.PathParametersSchema{
							Type: "string",
						},
					},
				},
			},
		},
		Components: &dcl.Components{
			Schemas: map[string]*dcl.Component{
				"KeyRing": &dcl.Component{
					Title:           "KeyRing",
					ID:              "projects/{{project}}/locations/{{location}}/keyRings/{{name}}",
					ParentContainer: "project",
					HasCreate:       true,
					SchemaProperty: dcl.Property{
						Type: "object",
						Required: []string{
							"name",
							"project",
							"location",
						},
						Properties: map[string]*dcl.Property{
							"createTime": &dcl.Property{
								Type:        "string",
								Format:      "date-time",
								GoName:      "CreateTime",
								ReadOnly:    true,
								Description: "Output only. The time at which this KeyRing was created.",
								Immutable:   true,
							},
							"location": &dcl.Property{
								Type:        "string",
								GoName:      "Location",
								Description: "The location for the resource",
								Immutable:   true,
							},
							"name": &dcl.Property{
								Type:        "string",
								GoName:      "Name",
								Description: "The resource name for the KeyRing in the format `projects/*/locations/*/keyRings/*`.",
								Immutable:   true,
							},
							"project": &dcl.Property{
								Type:        "string",
								GoName:      "Project",
								Description: "The project for the resource",
								Immutable:   true,
								ResourceReferences: []*dcl.PropertyResourceReference{
									&dcl.PropertyResourceReference{
										Resource: "Cloudresourcemanager/Project",
										Field:    "name",
										Parent:   true,
									},
								},
							},
						},
					},
				},
			},
		},
	}
}