Hacker obtains subscriber's IMSI and VMSC number. The hacker will then overwrite the subcriber information in VMSC to render call control of mobile originated call to a hacker node. VMSC could not tell if this is malicious or not as this is a normal operation.
Hacker node connect the call to the B-number as intended while eavesdropping the voice conversation at the same time.
Problem: Subscriber's voice call could be listened or recorded.
Solution: SS7 Firewall can prevent the eavesdropping.
Hacker obtains subscriber's IMSI and VMSC number. Then the hacker will request current location information from VMSC. The VMSC will oblige as no authentication can be performed.
Hacker obtains the location information of the subscriber to the cell level.
Problem: Subscriber's location made known to potentially ill-intention party.
Solution: SS7 Firewall can prevent the tracking of location.
Hacker obtains subscriber's IMSI and VMSC number. Then tampers with the subscriber's information in VMSC so that all calls originated are barred.
This will result in subscriber to not be able to make any outgoing calls.
Problem: Subcriber unable to make potentially important phone call. The mobile operator gets blamed.
Solution: SS7 Firewall can prevent the denying of making voice call.
Hacker obtains subscriber's IMSI and VMSC number. Then tampers subscriber's information in VMSC so that all calls originated are bearing the identity of another caller(victim).
B-party sees call from viction and call charged to victim as well.
Problem: Subscriber made to pay for the usage of hackers. The hacker also managed to impersonate as another subscriber.
Solution: SS7 Firewall can prevent the spoofing.


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Thomas Webb
July 2, 1942–Nov. 22, 2021,
Thomas Curtis Webb, 79, of Ironton, passed away peacefully at his residence, Monday, Nov. 22, 2021, surrounded by his family.
Mr. Webb was born July 2, 1942, in Ironton, a son of the late Curtis and Earley (Chapman) Webb.
He is survived by his wife, Janet (Lavender) Webb, whom he married July 5, 2003.
Thomas was a 1960 graduate of Coal Grove High School and attended DeVry Electronic's School in Chicago.
He retired from AK Steel/Armco after 37-plus years as an electronics technician.
Thomas was a member of the Ironton Masonic Lodge #198; and attended Mamre Baptist Church.
In addition to his parents, he was preceded in death by first wife, Mary Phyllis Torgrimson Webb, whom he married May 28, 1960; son, Curtis Webb; brother, Teddy Webb; and sisters, Edna Ashworth and Mary Jane Nixon.
In addition to his wife, those left to cherish his memory are four children, Sherrill (Tom) Twiss, Marta (Brian) Taylor, Bridgette (Bernard) Wallace and Bethany (Raymond) Justice; 16 grandchildren, 20 great grandchildren; sister, Karen Delaney; as well as many nieces, nephews, family and friends who will miss him dearly.
Funeral service will be 1 p.m. Monday at Phillips Funeral Home, 1004 S. Seventh St., Ironton, with Pastor Brian Taylor officiating. Burial will follow in Highland Memorial Garden in South Point.
Visitation for family and friends will be Monday, 11 a.m. until time of the service at the funeral home.
In lieu of flowers, donations may be made in Thomas' name to Shriners Hospitals for Children,
2900 Rocky Point Dr., Tampa, Florida 33607.
The family request if you would like to order flowers, please contact Fields Flower Shop, 1516 Central Ave., Ashland, Kentucky, 41101, 800-233-3826 or 606-324-2184.
To offer online condolences, please visit www.phillipsfuneralhome.net.

redpajama_set_name: RedPajamaCommonCrawl


text:
Author Spotlight with Author Luna St. Claire
Sylvia Stein, Contributor
Published Indie Author
Hello this is Indie Author Sylvia Stein and I am so happy to bring you another Author Spotlight post on debut author Luna St. Claire and her latest release, A compelled Novel: The Sleeping Serpent: A woman's struggle to break an obsessive bond with her yoga master.
SS: First can you tell us something about yourself?
For all of my adult life I have been a costume designer on film and television. I moved out to Los Angeles in my early twenties and soon after met my husband who is a philosophy professor. Back then we enjoyed attending the opera and the ballet. I had studied ballet for many years and had been an amateur dancer throughout my youth. My husband and I still have 'date night' on Friday nights. I usually make pasta and we drink red wine, listen to Blues BBQ Radio on Pandora and dance around the living room. I always enjoyed putting pen to paper, and in college I toyed with songwriting. One of my favorite songwriters of today is Damien Rice. As a fashion designer I love putting clothes together. When you are setting the look for a character you consider their personality as well as the story. My personal style is influenced by my youth going to music festivals. I often mix vintage pieces with current trends by contemporary designers—I call it eclectic bohemian. I gave up studying ballet a long time ago, and I now enjoy running and yoga for exercise and to clear my mind. I was adopted as an infant from the Mohawk Nation that straddles New York and Canada; one of the tribes of the Haudenosaunee, commonly called the Iroquois. Being of Native American heritage has influenced my spiritual beliefs as well as informing my work as a designer and storyteller.
SS: When did you begin on writing?
The Sleeping Serpent is my debut novel. I wrote the story that compelled me. It had been trying to escape for several years. I wasn't ready to allow it to emerge until January 2013 and then I wrote unwaveringly for three years until publishing The Sleeping Serpent in October of 2015. It is a psychological erotic thriller about a narcissistic abusive yoga guru who seduces women for his personal gain.
The story flowed out of me without any obstacles. Then it was easy to go back and work on making beautiful sentences, and tweaking structure. I love richly written detail that describes place and enhances the character development. I consider myself a Creator. In my life I have been a ballet dancer, painter, interior design, and made a living creating the wardrobe looks for characters. I feel that writing The Sleeping Serpent has stretched me creatively. This has been probably the most creative process I have experienced.
SS: What can you tell us about your latest work?
The Sleeping Serpent is a fictionalized account of what I experienced after I became embroiled in the lives of a spellbinding yoga guru and his stable of beautiful, intelligent, successful women in Hollywood. Luckily I remained on the fringes because I wasn't in a romantic relationship with him. Yet, he still had influence over me. Nico, the main character of this story is a gifted healer, but he has an inner wound, an emptiness inside him that left him without empathy. We expect healers to be spiritual good souls, but he uses his power for the dark side of self-interest—to acquire wealth and fame. Many people don't know that there are seductive, manipulative people that target others and use them for their purposes. When we point to them in the news, or as characters on television shows, we recognize them as sociopaths. But we don't think it can happen to us. Luna believes she can heal Nico because he has awakened something inside her she thought was lost. He has made her feel that anything is possible. Whether by free will or fate, Luna's encounter with Nico provokes a storm that shatters her perceptions of identity, duty, morality, and self-worth. The storm didn't blow in from the outside. She was the storm. Its turbulence within her, forcing her to confront the darkness, uncovers her secrets and her pain. Like Dorothy in the Wizard of OZ, Luna ultimately discovers she had been searching for something she had always possessed. And, the man behind the curtain was an imposter.
SS: What was the inspiration behind it?
I think at some point in our lives we have crossed paths with a narcissist or a sociopath. It may happen when you meet someone who you connect with that seems to know who you are, and what you need. If you are compassionate and nurturing, they will appeal to your gratification for feeling needed and wanted. If you possess something they want, it will be difficult to escape their seduction. They are charismatic and magnetic. They draw you in by offering you something you desire. During my involvement with this sort of 'cult', I began to research the yoga master's behavior and effect on all of us. He was manipulative and controlling. Filled with anxiety and erratic, he would often fly into a rage. But, he was brilliant, and charming. A quote from the book reads, "She realized in an instant that being around him awakened her, stirring the sediment that had long ago settled at the bottom of her well. He made her feel a part of him--of something larger, and somehow more alive." What is both sad and dangerous is people with this disorder have no empathy, and no capacity to love. Their affliction is the cruelest inhumanity and their pain and suffering will never be assuaged. They operate on instinct to procure what they need, though it can never be gratified. The extreme drama they create provides them a euphoric high. Their punishments make them feel empowered in the face of feeling worthless. Just like in a vampire story, a narcissist drains another's life force in the attempt to fill the echoing emptiness within. Friends and family encouraged me to write about my experience. I also felt it would be a gripping masterful account of the seductive manipulations of a sociopath as well as an exploration of love and humanity.
SS How would you describe your characters?
The characters in my novel are all fictional and have been inspired by people I have met in my lifetime, including the yoga studio tribe. Nico is needy, manipulative, abusive and cursed by a crippling personality disorder that compels him with a desperate need to fill the emptiness inside him. He is not unlike the character of Heathcliff, in Wuthering Heights whose attachment disorder, fear of abandonment and uncontrollable rage inspired me when developing the Nico character. Nico offends our sensibilities, yet stirs our compassion for the afflicted. We are driven to heal him, yet we are repelled by him.
The main character, Luna Saint Claire, has a loving husband, social status, and an enviable career as a Hollywood costume designer. Still, something is gnawing at her. Bored with her conventional and circumscribed existence, she feels herself becoming invisible. I found a similar character in Tolstoy's Anna Karenina whose boredom and desire for passion in her life inspired similar feelings that Luna experiences. When Tolstoy wrote his epic novel readers could never forgive Anna, she had to perish. And only through her own self-destruction could she be redeemed. Readers get angry and frustrated with Luna for not appreciating her fortune. I wanted Luna to find her way back home, like Dorothy from Oz, and reclaim her life.
SS: Is there a message you would like to convey?
There is a thrill that comes with a relationship with a narcissistic sociopath. Passion. Seduction. Excitement. Danger, but not enough to frighten you. Initially, they give you what you think you want and need—and the addiction is as real as one to any opiate. It hits you hard when you realize that you aren't the same, that you have become a remnant of who you once were—it takes time to recover. What you know for certain in your heart, but has fallen into shadow, your suffering reveals in perfect clarity. Weathering this kind of internal personal storm—the pain and suffering is a valuable experience that makes you stronger and wiser. It is only through such a devastating experience that one can transform. Learning to love yourself, forgive yourself, and heal the inner wound is everything. If you allow it, this personal storm will provoke the self-reflection you need to discover what called the relationship to you. Everything will have changed, but nothing will have changed. What you thought you desired, you no longer need. My novel, The Sleeping Serpent, asks us, "What do we really want?"
SS: I know you are also a part of the Anthology that Author Angel L. Woodz began with other authors to bring awareness to Domestic Violence right?
Yes, I am honored to be part of this amazing group of authors and to share a chapter from my novel, The Sleeping Serpent. Domestic Violence is more prevalent that many are aware—crossing all socio-economic lines. Many people think that abusive narcissistic sociopaths are low-life drug addled sociopaths, like Charles Manson, who seduce young, homeless women tripping on acid. I wanted to expose how easily sophisticated professional women can become enmeshed in an exorable bond—caught in the spider's web, struggling for survival.
SS: What can you share about this project?
100% of the profitable (royalties accrued after production costs) proceeds from Black, Blue & Purple Pain will be directly donated to victims of domestic violence. I would like to emphasize that women who attempt to extract themselves from an abusive relationship often put themselves in danger. Our aim is to enlighten readers on the numbers of women living in fear. Explain how women are ensnared into abusive relationships believing they are loved. And, help victims get away, and start over. Many women in this situation have been shattered. Most are afraid to leave or feel incapable of leaving. Some may have nowhere to go. Many have children and no income. We want to do what we can to help them start over, and at the same time raise awareness.
SS: What can you tell us about your writing process?
For The Sleeping Serpent I first made an outline. I knew the direction I wanted to go in and how I wanted to get there. I wrote every day from morning till night. I was fortunate to be able to devote all my time and attention to writing. As I wrote I was continuously inspired. The characters would speak to me and their personalities took shape effortlessly. The story flowed out of me without any obstacles. Afterwards, it was easy to go back and work on making beautiful sentences, and tweaking structure. I love reading and writing descriptive passages that define place and enhance characters. I ended up writing enough for three volumes, but ended up dismantling it, and reassembling it after severe editing into one stand-alone novel. Quite a bit of research was needed for The Sleeping Serpent. I had to research the practice of kundalini yoga. Nico is also an initiated shaman and lived with the Q'ero tribe in the Andes Mountains of Peru. I did extensive research on the medicine men, and their sacred ceremonies. Nico is from Buenos Aires and I wrote descriptive scenes about the architecture, tango, music, and the foods he prepares in Los Angeles. Nico meets the character Elodie, an art dealer in Abu Dhabi at the Emirates Palace. And Maya, another character is a stunt performer which required research on martial arts.
SS: What are your favorite characters? Why do they stand out?
My favorite characters in novels most often have internal struggles. From a classic novel like Rebecca who suffers from insecurity that nearly destroys her to Anna Karenina who struggles to feel alive. I am mesmerized by the complexity of characters written by Ian McEwan in stories like Atonement, The Comfort of Strangers and Chesil Beach who suffer the consequences of their decisions. And there can be nothing better than the narcissism of Scarlett O'Hara in Gone with the Wind. In memoir, I have found nothing that compares to the sheer beauty of Out of Africa by Isak Dinesen writing about her life in Africa. I could go on…. But will stop there.
SS: Can you tell us about your books? How many have you written
My debut novel is The Sleeping Serpent. I am currently reading about affliction, inspired by an essay by the French philosopher Simone Weil. I am exploring the spiritual question why humans have hope or faith when suffering something internally painful. In the novel I am currently writing, the hero is deeply afflicted and goes on The Hero's Journey in a quest for redemption. These are iconic themes in mythology and literature from The Odyssey to Lord of the Rings. One of the greatest examples of a classic redemption story is the poem by Coleridge, The Rime of the Ancient Mariner which explores the themes of shame and guilt and the process of redemption. I am enjoying the process of reading these stories and allowing the spirit to move through me. This next novel may take some time to come to fruition.
SS: What is some piece of advice you found helpful when beginning to write?
Write for the sheer joy of creation. Allow the spirit to move freely within you. Allow your characters to talk to you. Write about what interests you. I find that putting too much pressure on myself blocks the inspiration. Most important, I write with no expectations of financial or even critical success. I am not writing to please others or have them validate me. I have come to define success by how much I have learned, experienced, and evolved spiritually.
SS: Thank you so much for being here today.
Thank you for inviting me. The opportunity was an honor and a pleasure.
Below are Links for Author Luna St. Claire.
Luna Saint Claire is a costume designer and author residing in Los Angeles with her husband, a philosophy professor. She loves blues rock and Indie music, often setting her Pandora station to Damien Rice. Her personal style can best be described as eclectic bohemian. Though she now enjoys running and yoga, she spent years of her youth in the ballet studio. Her part Native American heritage informs her work as a designer and influences her storytelling.
Immensely erotic and psychologically captivating, The Sleeping Serpent is the compelling story of a woman's obsession with a spellbinding guru and the struggle to reclaim her life. At its heart, it is a painfully beautiful exposition of unconditional love that makes us question what we truly want.
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Feature Packed
A look back at some of The Verge's most impactful longform stories from our first 10 years
By Kara Verlaney | Nov 1, 2021, 8:20am EDT
The Verge has been committed to longform journalism since our very first day. We launched with a story called "Condo at the End of the World," and we've been publishing deeply reported stories about the world technology has created ever since.
As part of our look back at the last 10 years of The Verge, we wanted to highlight (and, in some cases, remaster) a number of those stories we're particularly proud of — pieces that had an outsized impact, exposed wrongdoing, or simply brought to life the complicated world behind our screens.
Making this list was both a delight — we have published a lot of terrific feature journalism in the past decade, and reading it all again brought back a flood of memories — and incredibly difficult, as we had to actually choose stories to put on the list. But as we looked back, it was striking to see how early we were to ideas that would go on to remake the world: the dilemma of social media moderation; online fandoms; politicians taking to platforms; the inner workings of our minds; the complicated relationship between our cameras and the social justice movement.
And, of course, Foxconn in Wisconsin. (It has been 934 days since Foxconn promised an update or correction to our story about its buildings in Wisconsin being empty, but we're not counting.)
Below, we've asked some of the people who worked on these stories to talk about them: where they came from, why they chased them down, the ideas that brought them to life. We're more inspired than ever to produce even more of this work in the future and to continue finding the big stories hiding just behind the obvious.
— Nilay Patel, editor-in-chief
Condo at the end of world
By Joseph L. Flatley | Nov 1, 2011, 10:00am EDT
It's 2021, and the world hasn't ended (yet), but I'm pleased to report that The Verge is still going strong 10 years after its launch. From the very beginning, we were thinking big. We wanted to tell big stories and make a big splash, which I think is exemplified by my feature "Condo at the End of the World." This look at doomsday bunker salespeople and other apocalyptic capitalists took me from the center of Ohio to the center of Kansas — two places I had never desired to visit — where I looked down into a 200-foot Atlas missile silo and asked myself, "Would I want to spend the rest of my life down there?" Of course I didn't. But the trip was well worth it. The story introduced readers to some far-out characters and presaged the very bizarre turn that American life would take with QAnon and COVID-19 a few short years later. I've been on that beat ever since, and I have to thank The Verge for giving me the opportunity.
Joseph L. Flatley — Journalist and publisher of Failed State Update
Fanboys
By Lessley Anderson January 21, 2014
I've been at Vox Media for almost 10 years, and to this day, this feature remains one of my favorite pieces of work I've done for this company. I don't remember much about the process of putting it together, but I do remember one of the earliest meetings we had about it. It was January 2014, and James Chae and I were in Las Vegas supporting The Verge at CES. Shortly before returning home, we met in the lobby of the hotel to discuss ideas for this feature with Josh Topolsky and a few other folks from the editorial team. At one point, James suggested having some sort of toggle so readers could choose the design they wanted, and I said, "What if, instead of a toggle, we do it automatically based on their OS, and more importantly, we don't tell anyone and let them figure it out in the comments?" I remember Josh's eyes immediately lit up and he was like, "Yes!" The next few weeks were a blur as James and I worked to put it together. I remember almost none of it, but I'll never forget how good it felt to see such a positive reaction to it, starting with The Verge editorial team that day in Vegas.
Guillermo Esteves — Senior Engineering Manager, Vox Media Product Team
The Internet is Fucked
By Nilay Patel Feb 25, 2014
I wrote "The Internet is Fucked" in a single burst after reading yet another judge's opinion about net neutrality that seemed utterly divorced from reality — more concerned with reciting magic legal phrases than the fact that most people didn't have real choices for internet access, allowing their ISPs to do all kinds of icky shit without any threat their customers would leave.
So I just wrote down the obvious things and said they were obvious. The piece blew up. It was one of the first Verge stories to get serious attention from policymakers on both sides of the aisle. The famous John Oliver segment came out a few months later, hitting many of the same notes. For a moment, net neutrality — broadband policy — was an actual political winner.
Lately, it's become fashionable to say that the net neutrality debate came to nothing — that the worst predictions of what broadband providers would do never came to pass after Trump FCC Chairman Ajit Pai rolled back net neutrality rules in a shady process that he almost certainly lied to Congress about. This take ignores the various state net neutrality laws on the books, most notably in California, and the lawsuits still underway.
But another big part of the reason the ISPs aren't trying harder to break the internet is because they know that people hate the idea of tiered internet pricing, and they know it because stories like "The Internet is Fucked" exploded. And when there is competition for internet access, it quickly leads to a situation that looks a lot like net neutrality: providers start giving certain services preferential treatment, then compete to add more and more preferred services, quickly arriving at the end state of giving every service the same treatment. The market works, when there's a market.
Nilay Patel — Editor-in-chief, The Verge
@MichelleObama
By Kwame Opam | March 14th, 2016
It was around the time of CES 2016 that I got tapped to write The Verge's Michelle Obama feature. I forget when exactly the discussions with her team in Washington started, but I distinctly remember sitting in that trailer in Las Vegas, going over what we could do, what we should do, how fast we needed to get it done, and how big of a deal it was.
If you can recall anything about 2016 other than that election, you'll remember that Vine was in full flower at that point. The former First Lady had made a splash on it — something about turnips — and her team was trying to attract youthful eyes to her initiatives. It was certainly a bit fluffy, but it mattered. After all, here was someone in the public eye trying to meet young people where they were and do some good.
We were going to blow the doors off the thing. I'd leave Vegas early and fly to DC to meet with her team. A week later, Nilay would interview her for the site's first 360-degree interview. James Bareham would conduct a photo shoot right there in the White House. It was all incredibly ambitious.
And I was not ready. Like, hilariously unready. I'd never written a 3,000-word feature before. Picture me standing in the East Wing in wide-eyed terror meeting functionaries of the Obama administration, not even Mrs. Obama herself. And when we did finally meet, my awestruck brain could only think, "Wow. She's really tall."
That line made it into an early draft of the piece. Nilay's note was something to the effect of, "Cut this. It's bad."
We got the thing where it needed to be. (Thank you, Nilay and Michael Zelenko, my editor at the time.) There were long, coffee-drenched weekends. Late nights. A few panicked texts and phone calls. By the time we hit publish two months later, I was at South by Southwest, an entirely different event. I don't think I ever slept quite as well as when it finally went live.
In the end, I'm proud to have my name on such a huge project. Up to that point, it was the hardest thing I'd ever attempted. It made me a better journalist. But honestly? Rest in peace, Vine. We didn't deserve you.
Kwame Opam — Senior Producer of Digital Strategy, The Problem with Jon Stewart
The Secret Rules of the Internet
By Catherine Buni & Soraya Chemaly | April 16th, 2016
Over the past five years, The Verge has established a great track record of platform moderation stories. These narratives often take us inside places like Cognizant, where we get a sense of what it's like to spend all day sanitizing the most rancid corners of platforms like Facebook and YouTube in the modern era. But when Catherine Buni and Soraya Chemaly — two journalists I've always admired — approached me with the pitch that would become "Secret Rules of the Internet," they proposed something I hadn't yet read: a vivid description of the very earliest days of the content moderation industry. We're talking untrained college grads in the mid-2000s, improvising rules as they saw fit, and who, through trial and error, would set the foundation for platform moderation as we know it today.
The story took more than a year to come together, but the result is one of my favorite pieces I commissioned for The Verge. It's jarring to read it now and see how so many of the challenges of the moderation industry — as well as the inhumane and harrowing working conditions of those doing the job — were baked in from the very start, back when YouTube was still run out of a small office above a pizza shop in San Mateo, California. I remember being concerned that the morose subject matter might turn off readers, but just the opposite — the story did well, and Catherine and Soraya won a Mirror Award to boot.
Michael Zelenko — Deputy Editor, Rest of World
Diary of a concussion
By Elizabeth Lopatto | Sep 27, 2017
I didn't really mean to write "Diary of a Concussion" at first. I just wanted to find something that would tell me what to expect; I'd seen a lot of clinical language about concussion symptoms — totally useless. I already knew what my symptoms were. I wanted to know what recovery was like.
Medicine does not rely on first-person reports, but if you are experiencing something, the first-person report is vital — it can also give you a guide to what to expect and how to understand your own experience. I found nothing. If you are a journalist, you know the sinking feeling: this story does not exist and therefore I guess I have to write it. But it was worse than that, because in order to write it, I was going to have to figure out how to write for more than 15 minutes without giving myself a headache.
Four years later, I have almost no lingering effects from the brain injury, except for one. My relationship with sound appears to have permanently changed. I listen to a lot less music and am still sensitive to loud noises.
Liz Lopatto — Deputy Editor, The Verge
The Internet of Garbage
By Sarah Jeong | Aug 28, 2018
I originally wrote The Internet of Garbage in 2015, when the issue of online content moderation was still a niche topic. The book is written mostly with an eye toward online harassment, since that was what the conversation around moderation and censorship was mostly centered around at the time. In a semi-ironic twist, when I was hired by The New York Times in 2018, some people (i.e., Fox News) became very mad about some old tweets of mine (i.e., about white people). I ended up receiving an onslaught of social media abuse, some fairly horrific emails, a lot of creepy calls to a phone number I promptly got rid of, and a few really weird messages from a guy who would later go on to mail bombs to Hillary Clinton, George Soros, and CNN. In the middle of all of this, my beloved colleagues at The Verge repackaged and republished The Internet of Garbage.
In many ways, 2015 was already a bygone era at the time, and even more so now. But to my regret, the book continues to be relevant. Although many things have changed — from the increasing prominence of fascism in American political life, to specific changes in the law such as the passage of SESTA-FOSTA in 2018 — the issues I tackle in the book have gone from niche to mainstream. My colleagues understood that — possibly because they themselves understood that The Verge, as a "tech" publication, had also gone from niche to mainstream.
Sarah Jeong — Journalist
The Trauma Floor
By Casey Newton | Feb 25, 2019
Finalist, Reporting, National Magazine Awards 2020
Longform, Best of 2019
"The Trauma Floor" started with a direct message on Twitter: A Facebook content moderator working for Cognizant in Phoenix asked if we could talk about some of the issues they had seen in the workplace. When we got on the phone, they told me about awful working conditions, the incredible difficulty of applying Facebook's ever-changing rules, and the long-term effects the work was having on their mental health. A few weeks later, I was in Phoenix meeting with a handful of moderators, huddled in my hotel room, piecing together what would come to feel like the most important story I covered at The Verge.
Two years later, Facebook reached a tentative $52 million settlement with its American content moderators. A similar settlement seems likely in Europe. Cognizant has gotten out of the content moderation business altogether. From far enough away, it looks like progress.
But despite some improvements to working conditions, the underlying issues remain the same. Repeated long-term exposure to violence, child exploitation, and other harmful content can lead to long-term mental health problems, including post-traumatic stress disorder. The moderators I wrote about in Phoenix have moved on with their lives. But I still hear from moderators working for various platforms all the time.
"The whole 2 year period was really traumatic," a former Facebook moderator who worked for a vendor in Greece wrote to me in August. She said that she had gone on anti-anxiety medication while on the job. "I'm really happy that I don't work for Facebook any longer. But I still feel sorry for those people who are stuck in that dreadful workplace!"
Casey Newton — Contributing Editor, The Verge and Editor of Platformer
Fearing for His Life
By Chloé Cooper Jones | March 13, 2019
Finalist, Feature Writing, Pulitzer Prize 2020
Ramsey Orta was waiting to get dinner with his friend Eric Garner when the police approached. Orta took out his cellphone and hit record. In the video, which has been seen by millions and sparked outrage across the country, Orta narrates what we see. We can hear his voice move from frustration to anger to fear as he realizes the gravity of what he is recording. As Garner tells his killers that he can't breathe, Orta also whispers this from behind the camera — "He can't breathe" — as it becomes clearer that what he's recording is the death of his friend. Shortly after the release of the video, Orta was routinely harassed by police and later incarcerated. The video did not secure swift and meaningful justice for the Garner family as Orta believed it would. Did he regret recording it? I wanted to ask him this question, and I wanted to know who he was and how his life had led him to this decision.
I spent a year visiting Orta in various upstate carceral facilities in order to learn his story and the result is this piece. I was very fortunate that the team at The Verge saw the value of this story immediately and supported my work.
Chloé Cooper Jones — Writer
The Peace Reporters
By Verge Staff | Aug 31, 2020
After the tragic death of George Floyd, I was really struck by what happened to Darnella Frazier, the 17-year-old girl who filmed his traffic death on her cellphone. Not only was Frazier deeply traumatized and bothered by witnessing Floyd's death, but she later expressed that she was getting a lot of backlash for documenting the incident. As I followed her story, I kept going back to the central question we're asking in this piece: what compels someone to record police violence and what are the consequences for doing so?
As I had these conversations at work with other colleagues, it became clear that a lot of us were trying to reckon with the complex role of technology in police interactions. Our executive editor, TC Sottek, sent an all-staff message asking us to really think about what The Verge's platform and resources mean in moments like this. It was a compelling call to action that created one of our most ambitious and wide-reaching projects: Capturing the Police, a multimedia project that explores the documentation of police violence — what happens when you film the police; both the activism and trauma that result from videos of police brutality; and what police body cameras don't show.
It is a powerful thing to hit record at this moment in history, but it's also a powerful time to share what you're seeing online. Yes, this project is about those who choose to record police violence, but it's impossible to have a voice when you are siloed. So while many of these videos are from particular individuals, it took a community to amplify and share these stories for them to be seen. When you decide to share a video online, you are participating in shaping culture with the click of a button.
We published this project in 2020 and while, for many reasons, it feels like ages ago, so much of what we documented and began to unpack in the project are areas that continue to evolve and raise new questions in the aftermath of a global reckoning.
Mariya Abdulkaf — Senior Video Producer, The Verge
The 8th Wonder of the World
BY Josh Dzieza | Oct 19, 2020
Winner, Reporting by Independent Digital Media, Deadline Club Award 2021
Winner, Sidney Award November 2020
In the spring of 2019, I drove around Wisconsin trying to figure out what Foxconn was doing in the state. It was immediately clear what it was not doing: building the fantastic factory it and President Trump had promised. But it was also not doing nothing. It had bought real buildings and put up signs. It had an office downtown, and after climbing a nearby parking garage, I saw there were actual people in it. What they were doing there remained an enigma.
That changed about a year later, when employees reached out to me to say that not even they knew what Foxconn was doing. Many were just sitting around, hired for jobs that didn't exist. Others were assigned wild boondoggles — self-driving golf carts, fish farming, glass orb data centers — then berated for pursuing them. They described a Potemkin village so chaotically mismanaged that those in charge often didn't seem clear on what the illusion was supposed to be.
A year later, Wisconsin has radically scaled down its contract with the company, slashing the subsidies for which Foxconn is eligible. But other damage is harder to undo. The employees I spoke to look back on their time at the company as a surreal, sometimes nightmarish detour in their careers. Many of the people who lived near the project are still furious about the way the city council pushed through the deal and forced people from their homes to clear space for a factory that the residents believed — and now they know, correctly — was never going to happen. Millions were spent to prepare the way for a factory that isn't there.
Foxconn still announces new plans, and they still fail to materialize. The latest was electric cars. Few people I speak to take them seriously. It did finish work on the orb, which stands alone in an empty field. No one is quite sure what it's for.
Josh Dzieza — Investigations Editor, The Verge
Vox Media Vox Media Vox Media logo. Advertise with us Jobs @ Vox Media © 2021 Vox Media, LLC. All Rights Reserved


The results are published, and are positive! In the first half of 2018 the digital ad market grew by 10%. The market reached €25.7 billion in Europe compared with €23.4 billion in the first half of 2017. This is an "adex Benchmark 2018" study conducted by IHS Market on behalf of IAB Europe which studied 27 markets, including France.
The search goes from € 10.7 billion in 2017 to 11.8 billion in the first six months of 2018, which represents an increase of 12.3% with 46% of budgets are for digital advertising spend.
The display, goes from €9.3 billion to € 10.4 billion, so even more than 10% of evolution or 40.6% of advertising expenses.
The mobile for the first time reached 10 billion euros in the first half of 2018. Today mobile accounts for 50% of digital advertising expenses.
The Social Media represents 51.5% of the display expences in the first half of 2018. Constantly evolving !
To sum up, the digital market is booming these days and is becoming the remote with the time. More than ever, brands communicate via digital channels. Consumers are increasingly connected.


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Labour and Delivery
Novii Wireless Patch System
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If you are interested in building a future in a rapidly expanding company we can offer exciting and challenging opportunities for the right individuals. Please regularly visit this page for future opportunities.
Please note that we are currently NOT accepting CVs from recruitment agencies.
Monica Healthcare
Monica Healthcare is developing a series of innovative wearable devices that will use wireless technologies to facilitate globally accessible obstetric services in the home and hospital.
Monica Healthcare Ltd was formed in May 2005 and was the culmination of 15 years of research at the School of Electrical and Electronic Engineering and the School of Human Development at The University of Nottingham, UK. Read More >
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Riconoscimenti
Due film diretti da Forsyth sono stati inseriti dal British Film Institute nella lista dei migliori cento film britannici del XX secolo: Gregory's Girl al 30º posto e Local Hero al 37º posto.

Filmografia
That Sinking Feeling (1980)
Gregory's Girl (1981)
Andrina (1981)
Local Hero (Local Hero) (1983)
Comfort and Joy (1984)
Una donna tutta particolare (Housekeeping) (1987)
Ladro e gentiluomo (Breaking In) (1989)
Le cinque vite di Hector (Being Human) (1993)
Gregory's Two Girls (1999)

Note

Collegamenti esterni

redpajama_set_name: RedPajamaWikipedia


Singer and keyboardist Bruce Hornsby is known for the spontaneity and creativity of his live performances. He became a household name after receiving a Best New Artist Grammy in 1987 with Bruce Hornsby and the Range. His commercial stock soared early on, when "The Way It Is," the title track of his 1986 debut album, became the most played song on American radio in 1987, winning ASCAP's Song of the Year award. That song, along with subsequent hits "Mandolin Rain" and "Every Little Kiss," established Hornsby in the music industry. Despite his early mainstream successes, Hornsby has pursued a more personal, idiosyncratic musical path, focusing on projects that spark his creative interest and musical progress.
Also in the GPAC lobby we will have an artist reception for our featured visual artist, Bill Bailey, from 5-7:00pm. This event is free and open to the public.


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Painter George Condo Explains Kanye West's New Album Art
By Michael Preston	• Published at 5:34 am on November 22, 2010
The music isn't the only thing drawing attention to Kanye's West newest release, My Beautiful Dark Twisted Fantasy, which hits stores this week. The album's cover art, created by painter George Condo, is drawing plenty of attention too for their bold statements and explicit imagery, reports New York.
Condo, a New York-based artist known for his cubist-inspired work, said he was contacted by the rapper last summer to collaborate on the album's visual component, but he wasn't familiar with 'ye's work.
"He was new to me," Condo said. "I was very old school rap, you know what I mean?" But upon their first meeting, when Kanye blasted lead single "Power," Condo said the music began generating ideas in his head immediately.
"I started having all ideas about these mythological creatures and volcanic landscapes. Parts and pieces from Macbeth. Parts and pieces from some sort of sci-fi landscape." But the song's hook inspired Condo to want go for a portrait instead.
"It's sort of cubist, you know, this portrait with all these different dimensions to it," Condo said of one of the five works that the mercurial musician eventually selected for use. "Like an African mask with almost a modern face. I wanted to get that feeling that he's almost a Miles Davis-like guy."
One of the covers, which depicts West with an evil grin on his face and being straddled by a nude, armless winged woman created a firestorm upon release and several major retailers such as Wal-Mart, Best Buy and Apple's iTunes Store said they would not sell that version of the album in their stores, much to the disgust of both West and Condo.
"The superimposition of people's perceptions on a cartoon is shocking," he says. "What's happening in their minds should be banned. Not the painting."
The other covers depict a ballerina toasting with a wine glass, a priest, and a severed head with a crown laid on its side with a sword through one ear.
Seleced Reading: New York, MTV, Soul Culture


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Back to the Lab: Hunt Emerson
Sunday 24th March, 2013 Posted by Ian Francis
Like most internationally renowned British cartoonists, Hunt Emerson lives in relative obscurity at his home in Handsworth. A Birmingham resident since he moved here as an art school dropout in 1971, he was a long time member of the Arts Lab Press while he honed his cartooning skills. What follows is edited down from a 90 minute conversation between Pete Ashton and Hunt: about his time working at The Arts Lab, what it was like, what, if anything, it meant, and how it affected his work and ideas.
Everything you might want to know about Hunt Emerson can be found at LargeCow.com. Hunt also co-runs Spritely Records in Handsworth. His latest book, an irreverent adaptation of Dante's Inferno, is on sale now and a retrospective iPad app of his comics was recently released.
Finding the Arts Lab
I came to Birmingham in 1971 to art college. I was there for a year before I fell out with the place and dropped out. I was a very young, young person. I was very stupid, I wasted my education. I mean. why the hell would you drop out of an art college? What I did know I wanted to do was get involved with avant-garde stuff. I read a bit about it and I was very interested in any kind of artistic stuff that was off the wall. I got to hear about this thing going on in Newtown, the Arts Lab.
They had a music workshop which I joined, which was basically a guy called Jolyon Laycock who's still an avant-garde composer. His wife, me and two other people, we made a little group to perform his pieces, and they were really off the wall. Almost kind of theatre music, we did things like Anti-Symphony where we had a construction made of orange painted scaffolding poles with pieces of metal suspended in them and all contact miked-up and we'd be dashing out of painted doors in costume and whacking these pieces of metal and metal rods all through a big amplifier and a couple of big speakers. Unholy row. It was very complicated but it was weird stuff, funny and bizarre.
And that was where I was first involved there because I'd always been involved in music at home and I wanted to do some more of that, though I never really got into it in Birmingham though, until later. But I did find out more about the Arts Lab through that, the fact that there were painters and printers and that sort of thing.
At the same time I was doing all sorts of jobs. I worked as a library assistant, I was a postman, and I did clerical work in Winson Green Prison for a while. I was also learning about comics, which I didn't really start doing until I left art college. So I was working during the day in order to spend the evenings becoming a comic artist. I realised that a way of joining together what I did for a living and what I wanted to do was through operating a printing machine.
First of all a friend told me there was a job going in the polytechnic operating a little desktop printing machine, basically a souped-up photocopier. I went and blagged my way into that job, saying I'd had some experience working at the Arts Lab on a printing machine, meanwhile I spent a few days nipping down to the Arts Lab in the evening and I'd stand by Ernie Hudson who was operating this printing machine and I picked up a few ideas about it and blagged my way into this job at the poly as a printer. Shortly after that Ernie moved his job to be a silkscreen printer so I came and took over his job at the Arts Lab first of all running the press, this A4 printing press. Quite quickly we got a bigger press, an A3 press, and we got somebody who was better able to run it, a friend of mine who was a motorbike mechanic. And I moved over to doing design work and dark room work, that sort of thing, preparation for the press, and I worked there for six or seven years after that.
The Arts Lab Press
The press was there to produce notes for the cinema and the theatre and to produce the Arts Lab's programme and to produce posters, that sort of thing. But we hijacked it to print comics, first of all my own things and then we started doing anthologies of comics and formed what we called the Arts Lab Press. Street Comics was our main title but we did some other titles as well, which were anthologies of some British underground comics of the time, or alternative comics as we liked to call them.
We were publishing quite a few people from Birmingham but we didn't say no to others as well. Steve Bell was one of the early ones, we published his first comics and he went on to work for Grapevine first and then Broadside, or was it the other way round? Which were more like Birmingham political magazines, much more his scene, but we published his first comics when he was still a teacher. Bryan Talbot we published a bit of, Graham Manley and various others.
We were supposed to run the Press as a business but we never made any money. I had no idea about how the whole thing was funded, there used to be regular meetings, you know, committee meetings basically, discussing the finances and things but I haven't got a clue what they talked about. I couldn't understand why they wouldn't just give us the money to do the comics.
But we kind of slipped under the radar with the comics. We managed to publish them kind of despite everything really until they stopped us doing it. We used up a lot of money that we shouldn't have done really. But the smaller areas like poetry did get funded. There was money there in those days in the Arts Council so the poetry part of the Arts Lab would get money to put on four gigs a year or something like that and to publish a bit. And we being the Arts Lab Press found ourselves publishing a poetry magazine as well as the comics, which I hated.
I'm not a poetry person at all but we kind of had to do this, partly because it was part of remit but also because the guy running the poetry magazine was also a dope dealer so we wanted to keep in with him. But ah God when you get poets turning up who, because you're printing their magazine, they believe you're actually interested in their stuff so they turn up and want to read you all their poetry.
Mind you we used to get the same thing with cartoonists who would turn up on the doorstep with great bulging folders of work and expect to be made famous. We'd have to say "Very nice but we're not interested, go away."
It was very fertile, the whole thing was really lively. I look back at the comics now and I think they're not very good. They're of historical interest and people do collect them, though they're not worth a lot of money. But the actual things themselves, they're alright. There was some interesting stuff in there but they were just as amateur or as patchy as any other work like that. It's always the case that 70-80% is crap.
Seeing your work in print, and beyond that having the chance to experiment with that print, to all of us and the artists we were working with, everybody found it stimulating. People would push the boundaries because they had the opportunity to do so. We would encourage them and they would push themselves a bit more than usual to produce experimental work. Some of it worked and some of it didn't. We were printing from photographic negatives on to metal plates, and we used to work on the negatives, scratching out and painting black paint on them, creating stuff on the negatives that never existed on the paper. We'd be getting effects in the drawings, collaging things with feathers and bits of rubbish, stick them under the camera and see how that worked.
In those days you couldn't do self-publishing, you couldn't do an edition of 30 of a magazine because the technology wasn't there. To get something done you had to go to a commercial printer which meant you had to do X thousand of things in order to be commercially viable. Turn the machine on and you've got 500, you can't just do thirty. So something like Oz and IT, the underground magazines, they were part of the magazine industry because they were printing 10,000 of these things which had to be sold and distributed.
We were kind of involved in the same thing in that we had the means of production and however amateur we were, we were kind of a step between commercial printing and self-publishing, where the artists got hold of the machinery, even though we weren't competent to run this machinery, and produce 9,000 of a comic or whatever it was.
One problem was because we were artists ourselves, because we were part of the creation of it, people sort of felt they could argue with us about things. We'd find ourselves arguing about why a page looked the way it did. "Why couldn't you do this?" "Because we can't. It doesn't work like that." "Well why not? You can get it done like that here." "Ok then take it there and get it done there, but we don't do this."
But on the other hand we were also always interested in stretching things as far as we could and doing things with the printing machines which were way beyond their capabilities. The engineers would come round every three months to service the machines and they were always amazed at what we were producing. "What you did this on a Rotaprint 3090? That's amazing! You're not supposed to be able to do that." But of course we wasted a lot of paper while we were doing it, and a lot of ink and things. We were playing around and experimenting.
We always felt as though the machinery was part of the process for us, that when we were planning a comic as an editorial team we'd be planning it right from the initial concept, who we might want to include in it, right through the costing and how we were going to produce it, who was going to store the things and who was going to actually put all the pages together. If you've got a 48 page comic book it means you've got to have a long table with piles of paper and people walking round them picking up paper all night. So we had to arrange how to pay people, cash, and then to make sure they actually did it and didn't just get drunk. Arguing with your friends because you were expecting them to work and they didn't see why you should be telling them what to do even though you were paying them for it.
We never had proper machinery. Everything was cobbled together. The printing press was a proper printing press but we had to produce A3 sized negatives and to make these we had an old photographic enlarger, a big wooden thing with bellows that stood upright about 7 or 8 ft tall, laid on its back, and you taped you artwork to the wall with arc lamps onto it.
In the back end of this enlarger we would put the sheet of negative and a wooden frame to hold it in place. And then we would focus it with the enlarger wheels, all in the dark or under red light, and photograph the things that way. When you think of the way things operate digitally these days it's just so primitive. It was never state of the art, never even approaching state of the art, but we used to get stuff out of it.
Had we ever been required for some reason to use proper professional equipment we wouldn't have been able to cope because we didn't know how it worked. We would have loved a proper process camera but we just never had one.
Who was the Arts Lab Press?
There was me. There was my friend Dave Hatton, who was operating the machinery. Before him there was a guy called Martin Reading who was a very dynamic guy and he operated the press but he also did a lot of other things as well and eventually went off to form a commune in Wales. There was originally a guy called Paul Fisher who was a writer and performer and he used to help us do editorial stuff. There was another cartoonist called Chris Welch who had been one of the Nasty Tales and Cosmic Comix crew who came to live in Birmingham for a while. Suzy Varty worked with the press doing basically the job I did after I left although we worked alongside each other a lot. And one or two others came and went as assistants working in the darkroom. Chris, Suzy and I were the only cartoonists involved but there was a group who were interested in what was going on in the Press. And they came from various creative disciplines. Martin Reading originally had been involved in theatre I think, and he was very much involved with the communes movement and magazines that they produced. David Hatton is a motorbike fan and just liked printing. It was just a little group.
Organising Spirit
I don't know whether it's because of working at the Arts Lab or whether I'm inclined that way anyway but I'm an organiser. And maybe it's because my experience at the Lab was always like that. People would suggest something and you would get involved and find yourself knocking together a film set out of rubbish, scouring the streets looking for junk for what was supposed to be a wrecked spaceship for somebody to make a bit of film of. And I would find I'd spent four days doing that, because it was fun! Because somebody had to do it! Most people would say "oh, well, I don't know about that" whereas I'm just prepared to roll my sleeves up and get stuck in.
Working at the Arts Lab, there was always something going on. Sometimes I was not involved or I was antagonistic towards what what was going on and sometimes I wasn't, but there was always something. Sometimes it would be great and sometimes it would be rows all the time, mainly because of money.
Inside Tower Street
At Tower St we were in a building which was originally a gym. There were two big studios at the back which had gymnasium wall bars like you had at school. There was a big room upstairs which became the cinema and the ones downstairs tended to be used for dance and theatre. The front of the building was small offices where admin went on and where we had the printing presses. There was a coffee bar upstairs.
In was a right warren of a place. Where we had the darkrooms was what had been the showers, so it was all that kind of granite aggregate stone, and that was where we had the darkroom because it had water and there weren't any windows so it was easily blacked out. There was an enlarger in a toilet cubicle.
There was about 4ft of space between the floors and people used to live in there. Visiting theatre companies or dance troupes, if they needed to be put up overnight, there'd be beds down there. There was a trapdoor under the coffee bar. You'd have an afternoon showing of something with people queuing for tickets and then the trapdoor would open and people would climb out.
It was a very eccentric place. We used to get strange theatre groups. The People Show was one, and Welfare State (pictured). This was avant garde performance art rather than theatre. Welfare State, for example, when they were building what is now the old library, when it was new library, Welfare State built a tower of about 10 cars on that building site.
There was a bunch called John Bull Printing Outfit from Hull, and they used to do a thing called the Cyclamen Cyclists - they all had bicycles and Victorian skin-tight cycling costumes all in purple with leather helmets and goggles. You'd be on a train pulling into a station and they'd be standing there with their bikes in formation. Or they'd come wheeling round the top of New St in formation. They did an ascent of New St once where they were all kitted out and lashed together like mountaineers and they climbed up New St.
There was a regular audience and it was reasonable. These things did get a reputation and people would come and see them. They would be able to just gauge exactly how long to have them there before the audience started disappearing, so any of the 500-odd people in Birmingham that might want to see it would get a chance. But with the avant garde music workshop that I was part of, we used to play to 3 or 4 people. The layabouts who used to hang around the Arts Lab Press, our mates, they would come in with their cider and watch it, then you'd get the art critic from the Post and Mail and other avant garde musicians, and that was it, that was all that would see it. I'm probably exaggerating the lack of audience a bit here, but that's how it felt!
Moving to Gosta Green
Gosta Green was an entirely different thing. We knew that we had to move the Arts Lab for years and there was all sorts of possibilities with Birmingham being redeveloped. There were various places we could have gone to and nobody could agree. We might have wound up in Brindley Place, where the Ikon is now. And the least favourite option was Gosta Green, and of course nobody could make their mind up until there were no options left.
And we knew, some of us, that moving to Gosta Green was a step on the way to becoming the University's art cinema, which was basically what happened. Gosta Green was cleaner and more organised and corporate. More really the way it should have been. It's just a shame I didn't like it there. But it was inevitable that it went in that direction. Tower street had run its time. It went on for a long time, considering everything, but the anarchic, haphazard nature of it couldn't be sustained. It had to become more organised, and of course the Lab at Gosta Green hosted and promoted some fantastic shows and wonderful, inventive programming that would probably have been impossible in Newtown.
Thanks to Hunt Emerson for his generous time. Please buy all his books. More info on FLatpack's Arts Lab events can be found here. The 1998 Lab cartoon pictured at the top will be available as a signed, limited edition A3 print at the Flatpack Palais over the festival's final weekend.


Lovely vintage 80's beige high collar double fastening parka coat with two pockets on the front and adjustable and elastic waistline. UK size written 16, but it looks flexible. Model size on the photo is 8. Measurements: length 38 inches, sleeve 26 inches, waist 44 inches, hips 48 inches. Please note this is a vintage item so minor signs of wear are expected.


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Singles is the soundtrack album of the 1992 film Singles, released on June 30, 1992, almost three months before the film. It is primarily focused on the ascendant Seattle grunge scene of the early 1990s, but also features contributions from past Seattle artists Jimi Hendrix and The Lovemongers (Heart's Ann and Nancy Wilson, the latter of whom was the wife of the film's director Cameron Crowe at the time), Chicago's The Smashing Pumpkins, and the first solo material from Minneapolis' Paul Westerberg after the breakup of The Replacements.

The album has been certified two times platinum by the RIAA, indicating sales of at least two million copies in the United States. In April 2019, it was ranked No. 19 on Rolling Stone's "50 Greatest Grunge Albums" list.

A Deluxe Edition of the album featuring a bonus disc with 18 additional tracks was released on May 19, 2017, one day after the death of Soundgarden frontman Chris Cornell, whose music is featured prominently on the soundtrack and who has a cameo in the film; this was only a coincidence, as the album's release date had been announced in January. Songs used in the movie, but not included on either edition of the soundtrack, are: "Three Days" by Jane's Addiction, "Little Girl" by Muddy Waters, "Dig for Fire" by the Pixies, "Radio Song" by R.E.M., "Blue Train" by John Coltrane, "Family Affair" by Sly & The Family Stone, "She Sells Sanctuary" by The Cult, and "Jinx" by Tad.

Impact
The soundtrack is considered to have helped open the door to the explosive popularity of Seattle grunge in the early 1990s. According to Steve Huey of AllMusic, "Singles helped crystallize the idea of the 'Seattle scene' in the mainstream public's mind, and it was also one of the first big-selling '90s movie soundtracks (it went platinum and reached the Top Ten) to feature largely new work from contemporary artists ... it's a milestone in the breakthrough of alternative rock into mainstream popular culture, neatly and effectively packaging the Seattle phenomenon for the wider national consciousness."

Deluxe Edition
On May 19, 2017, a remastered Deluxe Edition of the album was released to commemorate the original album's 25th anniversary. In addition to the original 13-song soundtrack on either one CD or two LPs, this release included new liner notes and track-by-track descriptions by Cameron Crowe and a bonus CD consisting of 18 additional tracks. The bonus material included a track each from Truly and Blood Circus, live tracks by Alice in Chains and Soundgarden that were recorded during their performances in the film, and demos and instrumentals by Mudhoney, Paul Westerberg, Chris Cornell, and members of Pearl Jam. Of these tracks, seven were previously-unreleased, and five had never been released on CD. Also included is "Touch Me I'm Dick" by Matt Dillon's fictional band in the film, Citizen Dick, which was recorded by Pearl Jam's Eddie Vedder, Stone Gossard, and Jeff Ament.

Track listing

 In addition to later recording "Spoon Man" with Soundgarden (as "Spoonman") and "Flutter Girl" on his debut solo album, Chris Cornell reused the lyrics of the first two verses and bridge of "Ferry Boat #3" in the song "The Curse" on Audioslave's 2005 album Out of Exile.

Certifications

References

External links
Soundtrack Credits on IMDb

1992 soundtrack albums
Grunge soundtracks
Alternative rock soundtracks
Epic Records soundtracks
Romance film soundtracks
Comedy film soundtracks


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Q: what is the '.idea' directory in my django project folder? Just curious.
It contains things like:
encodings.xml misc.xml    modules.xml smigle.iml  vcs.xml     workspace.xml

A: That folder contains the project files for the JetBrains PyCharm Python IDE. If you use the IDE or Intellij IDEA, you should keep the folder. If you don't, it is safe to delete it.

A: I had that same question. I think this article would be useful.
In resume the .idea folder contains the settings that you configured at the start of the project, and it's version control.
For example if I'm using Pycharm  one of the most common settings is the project interpreter, the .idea folder stores the settings of that interpreter, and it is useful when I'm using virtual environments.
It is totally safe to delete, but it could be useful to keep in some cases.

redpajama_set_name: RedPajamaStackExchange


In addition to being the easiest resource to change the 'look' to the room, the tommy bahama bedding helps you create the ideal atmosphere for rest. Make it the star of the season! If you have very clear and defined what your favorite color is, then you can opt for a monochromatic combination. Use all the nuances that the chosen tone offers not only for bedding but also in other textile elements. You will get a very harmonious and serene atmosphere, and always with a touch of color that will please you.
And if you are one of those daring people who dare with everything, we suggest you to see your bed according to the color block trend . It is about combining the tommy bahama bedding with opposite or complementary colors, in order to highlight the color above any other element, thanks to the contrast that this generates.
Related : Waterford Bedding: Everything Must Be In Tune!
Although the original definition is based on the use of plain colors, you can also risk with prints in the manner of canvases in full color, as in this bedroom. And you? Do you mix colors and patterns in the tommy bahama bedding of your bedroom? Upload a photo in the comments for your design to serve as inspiration.


A writing retreat could be just what you need to start that book, finish your non-fiction manuscript, collection of children's books, or revise that short story you've been meaning to send in for publication.
Life is full of distractions, from mobile devices and children, to housework and running errands. And, there's that career or job in some cases too. You try to write at home in the evenings and on the weekends, but it's likely you are exhausted from the work week and find it hard to focus.
How often are you interrupted during your sacred writing time?
Do you check your email, notifications or texts when you hear the bells go? Do you find yourself in and out of the kitchen, cleaning the toilet or walking your dog to avoid writing? Or let's talk about the kids or spouse making noises and want to talk to you while you're trying to work?
Those little interruptions add up big-time, even if they're only for a short minute, because they disrupt your flow of ideas and energy.
Family often can't understand the writing process and it is probable your friends just can't figure out how anyone would want to spend all that time writing. The only people who truly understand are other writers, but as writers we tend to be solitary creatures. We write in our bubbles, in some cases doubt our abilities, celebrate our brilliance and then collapse in the fetal positiong when we realize how stuck we are – and, all alone.
We long for that breakthrough, for a chance to push our writing careers ahead, to be recognized by our peers and appreciated by our family and friends for who we are: writers.
How can we experience that breakthrough if we don't change the dialogue?
This is why Writing Retreats are exceptionally powerful.
A writers' retreat helps writers step out of their comfort zone. These retreats help immerse them in unfamiliar situations or surroundings. With new experiences, you gain new insight. Writers' retreats provide outings and experiences that expose the writers to a different community, activity or atmosphere. This structure helps them learn about other environments, perspectives and more.
This experience not only provides new stories to tell, but it helps explore new territories in our writing and creative process to find other ways in which to express those must-be-told stories.
Writers' retreats provide feedback and guidance from expert writing coaches. For example, during my writing retreats I will help problem-solve, hold your hand when you need it and shed light on habits that might be holding you back. In this environment, coaches are able to give you lots of one-on-one time and plenty of opportunity to ask questions and discuss your writing project and process.
A writers' retreat helps eliminate the noise and distractions. Do you feel blocked, stuck on ideas, restless or even frustrated? A change of environment at a retreat can help you function in a more relaxed, focused state that can stimulate new ideas. The retreats allow you to immerse yourself totally in your writing and find the focus you've been seeking.
Lastly, Writing Retreats offer you an opportunity to meet other writers.
Meeting other writers' is especially important when we are looking to propel our craft to the next level. When we are surrounded by those on similar, determined journeys -- results are inevitable.
Meeting other writers, sharing in the experience and life of a writer can feel like coming home to people who, like me, have been called to writing so strongly. a for years. If you ask me, meeting other writers face to face, not just on the Internet, is THE BEST part of any writer's retreat. You'll feel like part of a community. And you have the potential of making life-long writing friends!
Are you considering attending a Writing Retreat? If so, I have some great news! I still have a small number of spots available for an upcoming Writing Retreat in Niagara Falls, Canada.
To Register, visit this link > REGISTER HERE < and I look forward to seeing you November 16 through 19.


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Mortal Kombat 4 released 20 years ago this month and brought a bunch of innovations to the series, including CRAZY CGI ENDINGS! John Herrington ranks them all in this countdown!
Mortal Kombat 4 stumbled into arcades in October 1997 and was almost fatal to the famously gruesome fighting game series. It is easily the most unique entry in the series, introducing elements of 3D to fights, adding weapons for the first time, and most notably, ditching the digitized actors of the first three games in favor of polygonal models. The characters were no longer human, but rather action figures brought to life. You can literally see the breaks in their bodies where their arms, legs, head and torso could become separated from one another, and fatalities became even more cartoonishly absurd than before.
One other advantage of the polygons was the ability to render cutscenes in the game's engine, and the series received its first, and to date, only, set of fully voiced and acted endings. Endings from Mortal Kombat 1 through 3 were basically a portrait and a coda, and I bet that no one can remember one. Mortal Kombat 4's endings are wackily voiced, possibly written by a 5th grader (almost half contain a very dramatic "NEVERRRRR"), feature a several deaths and numerous double-crossings, and mostly feature the characters in their in-battle idle animation, so stilted dialogue is delivered while dancing or floating politely. The series would never bother with this type of thing again, so let's rank these relics!
15. Reiko leaves the tournament politely.
Seriously, who the hell was this guy? Aww who cares, he only showed up in one more game anyway. This ending would be touched up in the Playstation version of the game, revealing that Reiko likes to cosplay…as Shao Kahn? Dun dun don't care.
14. Sonya politely completes her mission.
Sonya gets trapped on a cliff by not Kano, not Chris Antista, but Jarek. Jarek, being an idiot, runs head first off the mountain and Sonya radios Jax with a sitrep. This is not the true ending, so it gets bottom-billing here.
13. Kai deals with absolutely nothing.
This has to be the last ending the team recorded once they realized they had only recorded 14 endings.
That is the literally the opposite of dealing with your problems, Kai.
12. Liu Kang deals with his inability to kneel.
These polygon characters are supposed to be less rigid! Less! Oh and Liu Kang turns down Kitana's offer of being King of Blisstonia forever. Not a wise choice for our bland protagonist.
11. Fujin moves into the corner office!
No, actually he just gets Raiden's old job, which he gladly accepts from the HR department of giant god faces. Based on the ponytail and slim waist, I'm guessing that Fujin replaced Sindel in this game's roster and I would be much more interested in seeing her become protector of Earth.
10. Shinnok demonstrates his new power: .
Shinnok is a less-awesome Shang-Tsung, and demonstrates that to full effect by giving a monologue and then blowing Raiden to smithereens. This is the first ending on this list that features a character being exploded, but somehow, it doesn't make much of an impact. Shinnok says "piteous" when he probably meant "pitiful" which makes it clear that Midway's writer was thumbing through a thesaurus for all of these assignments. He also belts out a very long laugh that could've been a killer one-liner instead, so this ending just feels like it's missing something. It does, however, demonstrate that the programmers still hadn't learned how many ribcages belong in a human body.
9. Raiden moves on up!
His mission complete, Raiden flies straight to heaven, stopping to talk to the Mortal Kombat version of the Monty Python & The Holy Grail God. This ending is terrible, mainly serving as a setup to Fujin's even less interesting ending, but it earns several bonus points for ending with the bizarrely whispered "Arrright".
8. Jarek isn't a complete idiot after all?
An awards show and Mortal Kombat 4's most famous ending await you on the next page!
Announcing Laser Time's Block Karty!
Great article! Loved watching these with my bro when the game was first out.
I had the Gold version of MK4 on the Dreamcast so I had the upgraded version of the cutscenes, along with bonus characters. However, it still had the same wonderful dialogues in the cutscenes, including that great Jarek scream/yell.


With golf player numbers declining and golf course land being snapped up for redevelopment the game of golf is at an all time low.
As members of Golf Business International we are seeing this downward trend continuing with no end in sight across the UK whilst gold around the world is thriving.
To try and help turn this trend around the Trendy Golf publication was created and we were delighted to be asked to design and print this bi-annual publication.
The Trendy Golf Guide is a prestigious nespaper style publication with articles, advertising and stories all related to the golfing world produced twice a year. We have been working on this guide throughout 2017 and we are delighted to continue producing the publication which is now growing in pages and print numbers with a proposed 65,000 print run for Spring/Summer 2018.
Insignia Creative were asked to step in and take over the publication from an existing designer who was over run with work and we have been producing it ever since. The publication is produced in a UK and US version with the US version being sent across the Atlantic for printing whilst we manage the print and delivery here in the UK.


text:
using namespace std;

int find_max(vector<int> number)    //takes the vector as parameter
{
    int mx = 0;     //declare a variable to store maximum
    for(int i = 0; i < number.size(); i++)
    {
        if(i == 0)
            mx = number[i];     //consider the first value of the vector as maximum

        else if(number[i] > mx)     //compare the previous maximum with the next element
            mx = number[i];

    }

    return mx;      //return the maximum value
}

void display_array(vector<int> number)    //takes the vector as parameter
{
    cout<<"Current Array: "<<endl;
    for(int i = 0; i < number.size(); i++)
    {
        cout<<number[i]<<'\t';
    }
    cout<<endl<<endl;
}

int main()

{
    vector<int> input;
    bool flag = true;
    int Max;

    while(flag)
    {
        char choice;
        cout<<"1. Enter Number"<<endl;
        cout<<"2. Display Array"<<endl;
        cout<<"3. Find Maximum"<<endl;
        cout<<"4. Exit"<<endl;
        cout<<"Enter choice: ";
        cin>>choice;
        cout<<endl;
        switch(choice)
        {
            case '1':
                int in;
                cout<<"Enter number: ";
                cin>> in;
                cout<<endl;
                input.push_back(in);    //Enters data in vector
                break;

            case '2':
                display_array(input);    //displays vector
                break;

            case '3':
                Max = find_max(input); //finds and returns maximum value
                cout<<endl<<"Maximum Number is: "<< Max <<endl<<endl;
                break;

            case '4':
                return 0;

            default:
                cout<<"invalid Input"<<endl<<endl;
        }
    }

}

redpajama_set_name: RedPajamaGithub


Many are touched by the fact that EoC businesses allocate profits for those in need and also for the spreading of a new humanism; others object because they say that this practice is not new. Another person, reading the EoC report about profits was astonished because if the shared profits are divided by the number of businesses, the average result of each one's contribution is meager.
And yet, the cultural impact of the commitment, passion and witness of the EoC entrepreneurs, businesses and scholars on today's society cannot be denied. It is this impact that led Benedict XVI to mention the economy of communion in his encyclical, Caritas in Veritate. Evidently, the simple sum of shared profits does not completely describe the development of the project and just how precious this way towards fraternal economy is for humanity.
In fact, in 1991, Chiara Lubich's proposal to share profits was not launched in a generic way to all people but to those people who already shared the culture of giving. These were people who were trying to become saints where life's circumstances and their work had brought them. They were already practicing agape: loving first with hope, without expecting the other to love in return.
They were people who were behaving this way to attract the presence of God promised when reciprocal love is a reality. Chiara wanted businesses to arise near the movement's small towns. The businesses would be entrusted to those more expert and who could give work to the town's inhabitants, as well as produce profits to help their neighbors in need get out of poverty. This would be made possible with the contribution of everyone; we may be poor but we are many.
The responsibility to live communion among workers, suppliers, clients and competitors was implicit in her invitation, as was the respect of personal rights, state laws and the environment.
Therefore, Lubich proposed a way of doing business that, in the countries where such behavior is not usual, just breaking even is a problem. However, she believed that these businesses would turn a profit because she had experienced that Providence intervenes when one lives the culture of giving, and she did not see why this would not also happen for businesses and nations.
Businesses that operate in the midst of the world, far from the movement's small towns, also adhered to the project, and today these businesses are in the majority. They are businesses "in-progress", that try to increasingly live communion within the business and with its surrounding territory. These businesses are connected with all the others and with the business parks in the small towns through a shared ideal. Even with all their limits, these businesses are very precious, because they work in this style as much as they can while being in the midst of the world. They are like an inclined plane that joins today's economy with a fraternal economy. Their witness in society, in some way, already reaches the goals of the project: contaminating those around them with the culture of giving, influencing them in some way. Then, when these businesses offer a job to someone who is out of work or to someone with different abilities, they are already helping the needy. Talking to these entrepreneurs and workers, one realizes that the businesses often feel that they cannot forget those around them, and therefore they support initiatives aimed towards the culture of giving. Then, sometimes these people run into situations of social hardships in other countries and they directly get involved in helping in very important ways.
To respond to all this, these businesses use wealth that will not be distributed to their associates. This is also, in some way, profit that is used for the goals of the project. It is not always easy to quantify, but we must find a way to do so in order to more accurately represent the shared profits. In one case, where a business tried to make this calculation, it was clear that the wealth distributed by the business towards these goals was seven times higher than the monetary profits given to the EoC project.
Therefore the profits given to the EoC project are just the tip of the iceberg of this new economy. We hope that this tip which will continue to emerge because the profits given in accord with Chiara's invitation are particularly precious.
Certainly, Chiara had intuited that the EoC was more than profit sharing, but perhaps in these early years we have not been capable of showing this. Maybe, we still had to experience that although it was easy to send profits to those near to us who are in need, risking that they remain in that condition because of the assistance received, it was much more of a challenge to experience that the persons receiving those profits were truly our brothers, truly our neighbors, truly our equals who need help to overcome their difficulties so that they, too, with equal commitment, can live the culture of giving.


Show your support for your local Little League Baseball teams with this K.C. Construction left chest design! This item is only offered in forest! Available in sizes Youth XS to Youth XL and Adult Small to Adult 5XL!


Self Catering Trulli and pajare in Salento. Charming Trulli and pajare of private and exclusive houses on the sea in Salento rented. Holidays reservation and tourist information in Salento Tourist Region of South Italy.
Trullo delle Rimembranze is a typical house in the countryside of Ceglie Messapica. It`s refurbished and it`s ideal for a relaxing vacation close to nature. It can accommodate up to 7 guests. The garden is embellished by a small above-ground pool and a fruit tree grove. Pet friendly.


text:
Pub Date: 26 Jul 2016
Heena R, Reviewer
Last updated on 20 Nov 2017
The Night Parade by Ronald Malfi is a very engaging and emotional read.
Initially, after reading the first couple of pages, I felt the plot might be similar to Firestarter by Stephen King, a book I really, really loved(!) but as the plot progressed I felt reassured that this book was not entirely like it. Though the basic concept is the same - Father-daughter duo fighting and running from the world because of the daughter's supernatural ability, this book was different in its own way. In this book, for one, the father did not possess supernatural abilities. This really made things different, though the main conflict of the father was that he did not have enough time (just like in Firestarter.) The one thing that made this book entirely different from Firestarter is the main backdrop and the central theme - The apocalypse, a world falling prey to an unidentified and seemingly incurable plague. Though I do feel that this book is kind of a homage to Mr King's masterpiece.
The best part of the book was the conflicts, both inner and outer. I liked the characters of David and Ellie and rooted for them both till the very end. The buildup was very good and the ending was reasonable, though I did see it coming, because really, how could a book like this end? Still, I felt like I was sucker punched in the belly.
The alternating timelines added a lot to the suspense buildup and, overall I really liked this book. In spite of being almost 400 pages, it proved to be a quick read because of the high tension that was maintained throughout the book.
I'd recommend this book to every dystopian fan, though sci-fi and apocalyptic lovers might find this book a bit "low-key" as compared to the action-packed drama we normally expect from these genres.


This month the Source Water Collaborative Learning Exchange will showcase the work of local, state, and regional source water protection partnerships. These source water collaboratives constitute a diverse set of entities with differing geographic scopes, water and pollution concerns, collaborative goals, and member organizations. All, however, share a common mission of protecting sources of drinking water and the people they serve, and all recognize the immense value of a collaborative approach.
Defending drinking water is truly a shared responsibility that ultimately takes place at the local level. Recognizing this fact, over the past several years the Source Water Collaborative has supported several pilot projects to build partnerships towards implementing key protections in critical source water areas. Last year, the SWC published the first-of-its-kind How to Collaborate Toolkit, which offers a detailed, step-wise approach for initiating and enhancing partnerships to protect drinking water sources. Throughout September, the Learning Exchange will provide access to success stories, helpful tips, and thoughtful resources on "Forming and Sustaining Collaboratives". You will also have the opportunity to hear updates and lessons learned directly from established and new local source water partnerships during a webinar on September 27. Click here to register.
A wide variety of source water collaboratives are working around the country on drinking water issues at local, state, and regional levels. Big impacts can be made when partners that have a shared interest come together with a desire and ability to act. We hope these resources and opportunities encourage those just getting started and provide new inspiration to established partnerships.


text:
Haseloff bezeichnet:
 Haseloff (Mühlenfließ), einen Gemeindeteil von Mühlenfließ im Landkreis Potsdam-Mittelmark in Brandenburg

Haseloff ist der Familienname folgender Personen:
 Ada Haseloff-Preyer (1878–1970), deutsche Malerin
 Arthur Haseloff (1872–1955), deutscher Kunsthistoriker
 Elisabeth Haseloff (1914–1974), deutsche Pastorin
 Gerd Haseloff (* 1925), deutscher General
 Günther Haseloff (1912–1990), deutscher Kunsthistoriker und Archäologe
 Heike Haseloff-Grupp (* 1951), deutsche Juristin, Präsidentin des Landessozialgerichts Baden-Württemberg
 Hugo Haseloff (1863–1930), deutscher Politiker (DNVP)
 Kurt Haseloff (1894–1978), deutscher Generalmajor
 Otto W. Haseloff (1918–1989), deutscher Psychologe
 Reiner Haseloff (* 1954), deutscher Politiker (CDU), Ministerpräsident von Sachsen-Anhalt

Siehe auch:

 Hasselhoff
 Haselhof


I have a lGreen house in the rural Bulgarian town of Slivo Pole where I grow organic herbs, vegetbles and fruit. I would like to welcome volunteers to come and enjoy a stay with me and learn about Bulgarian culture and organic farming in exchange for help. Jobs include weeding, planting and pruning the various plants in the garden, collecting wood for the winter fire stores and various house repair tasks. There is something for everyone whatever your skills and interests are!
Hi, my name is Stella, I grew up in South Africa, where I lived on top of Table Mountain. I've since lived and travelled all over Europe. I love the Bulgarian culture and countryside. When I'm not busy farming and harvesting produce I like swimming, fishing and stargazing. Hope to see you soon!
I have 2 shared bedrooms for volunteers with single beds. I also have 2 private double bedrooms with which I use for vacation rentals. Volunteers are welcome to upgrade their accomodation and rent these rooms if prefer privacy and luxury.
I love to cook or share the cooking and will happily provide local ingredients and fresh, organic produce from my garden.


Voters who participated in the Princeton Democratic and Republican primaries Tuesday had the choice of selecting write-in candidates. The Republicans did not have a write-in slate for council as they sometimes do in Princeton, and no independent candidates filed. But voters were creative in listing alternatives to the options offered to them at the polls.
Former U.S. Rep. Rush Holt received one write in for the House of Representatives and one write-in for county surrogate.
Several people listed alternative candidates for council in the Democratic and Republican primaries, with each write in receiving one or two votes except for resident Howard Levy, who received seven votes in the Democratic primary.
In the Republican primary, one person listed Liz Lempert for mayor.
In the presidential race, two Democrats wrote in Donald Trump, two Republicans wrote in Bernie Sanders, two Republicans wrote in Rand Paul, one Republican wrote in Mitt Romney, one Republican wrote in Michael Bloomberg, and one Democrat wrote in Joe Biden.


Experience wonderful river sunsets from the finished, front porch in this 5 bedroom, 3.5 bath colonial situated on a quiet corner lot. Gourmet kitchen features stainless steel appliances, granite counter tops, & oak cabinets, adjacent to wet bar and breakfast room, w/double french doors that lead to spacious back deck great for barbecues. High ceilings accent this LR w/brick wood burning fireplace & built in bookcases. Formal DR w/antique chandelier & full bath complete the 1st floor. 2nd floor features 3 generously sized bedrooms all w/ ample sized closets. Full bath w/ ceramic tile floors. 3rd floor - 2 beds and full bath. Full basement, with half bath, walk-out door & work bench. Professionally landscaped with fruit trees. Detached garage across street. Original wood floors. 1st and 2nd level floors refinished. This home seamlessly blends historic charm w/modern amenities. Well maintained. 1 yr Home Warranty offered. Seller's assist up to $2k for buyer's closing costs. Access to fishing on the river is right down the street! Private schools have busing available in the area. Just minutes to 295, Del. Mem. bridge and exit 2 of tpk.


and she – my child.
Mama was then a good many years from needing care from her daughters and even more from being There. My daughter was still a child at home. I knew her real message didn't have much to do with taking care of her. Her emphasis would have been on the joy of her caring for me when I was the child. Her unspoken message was, "Now that you have a daughter, you understand the joy a mother has when she does things with and for her daughter(s)." Mama had no experience with sons. I think she might have guessed that caring for them was different but equally joyful.
The time came when Mama was old and did indeed need that care from her daughters, but that special my daughter Anna, her daughter Marissa, and merelationship had preceded it by many years. As this Mother's Day approaches and she is There, I connect back with her even as I connect forward to my daughter. I'm grateful that she, too, has a daughter and will understand the message.
This Sunday I wish mothers of daughters – and those equally important sons – a very happy Mother's Day.


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