GIRLFIGHT
Reviewed by Harvey Karten Screen Gems Director: Karyn Kusama Writer: Karyn Kusama Cast: Michelle Rodriguez, Jaime Tirelli, Santiago Douglas, Ray Santiago, Elisa Bocanegra, Paul Calderon
About ten years ago a friend told me that he had started seeing a cognitive psychotherapist about his problem with anxiety. Since psychologists are not allowed to prescribe drugs, I figured he must be taking the talking cure. To my amazement and certainly to his, the doc advised him to join Gleason's gym near the Brooklyn Bridge in our home borough. I couldn't believe my ears. Is this what cognitive therapy was all about? Maybe this was the way patients were supposed to have their heads shrunk? Have their grandiosity beaten down to size? Get their aggressions out? I wish he didn't switch doctors because I'd love to have given an ear to the way things turned out at Gleason's, but fortunately I experienced the next best thing by seeing the movie "Girlfight." "Girlfight" also takes place in Brooklyn, though not in one of the lovelier parts of that great borough. Writer-director Karyn Kusama has the camera trained on the Red Hook neighborhood that juts out a bit on the map, an area considered tough perhaps because it's the locale of several city projects and used to be the scene of Saturday night violence. "Girlfight" is about an 18-year-old woman who, like my anxiety-ridden friend, has problems, though she- -unlike my pal--is indeed able to work them out in the boxing ring! How is this possible? Not because she had her aggressions knocked out of her. Quite the contrary. And not because she was cut down to size by skilled opponents. Rather, she "found" herself. Boxing was her thing, her true identity. Every high-school guidance counselor believes that if the kids in their schools could all find the thing they love to do, what they were really good at, they would be upstanding, happy citizens. There's quite a bit of truth to this, as the movie skillfully--make that beautifully--illustrates.
"Girlfight" spotlights the wonderfully talented Michelle Rodriguez in her debut role in a film that won Ms. Kusama the Best Director's award at the Sundance Film Festival this year and garnered the Grand Jury Prize for the movie itself. The picture takes us into the mind of a troubled and troublesome adolescent, Diana, whose mother's suicide eight years previous did not help much and whose father, Sandro (Paul Calderon), seems decent enough and yet lacking in common sense. When Diana gets into trouble by picking a school fight for the third time in her senior year, she is warned that the next time, expulsion will be the name of the game. (Contrary to what the principal says, though, expulsion is not an option in New York until a kid is 21 years of age.) One day she watches her brother Tiny (Ray Santiago) getting punched on in the neighborhood boxing ring and she retaliates by giving the perp a punch in the nose. >From that moment, amateur boxing becomes her new love. She trains vigorously with the Panamanian-American on duty, Hector (Jaime Tirelli), and learns that with the exercise of discipline and the outpouring of enough sweat, you have at least a fighting chance of success--even if your opponents in the ring are almost all young men.
Kusama does an exquisite job of bringing out the best in her young performer. At the very beginning of the movie she knocks off the best shot of the picture, a long close-up gaze at the face of the distressed Diana whose sullen look could stop a clock. Throughout the movie, Kusama keeps the soundtrack gloriously limited. When the background music does come in, boy is it dramatic! Spanish guitar combining with Latin rhythms and a flamenco beat gives way to a contained score alternating a mood of romance with that of dissonance. Kusama captures the feel of the community: the men playing cards for moderate stakes, a motley assortment of hangers on and trainers in the gym from the trainers to the promoters to the commissioner to the referees. Posters abound such as "It's not the size of the dog in the fight--it's the amount of fight in the dog." In one humorous scene a referees introduces a major amateur bout with his embarrassing rendition of the National Anthem.
Jaime Tirelli and Michelle Rodriguez make a terrific and thoroughly believable team as the dedicated instructor and committed learner while Santiago Douglas turns in a respectable role as Diana's romantic interest--a young man whom she ultimately must fight in the ring. The film is adept at fashioning contrasts, the most surprising being that in the same Latino family Diana is the macho character while her brother Tiny is more feminine, hoping to go to college to learn to be an artist. What is especially heartwarming (not to take away from the laugh-out-loud pictures like "American Pie" and "Road Trip" and "Loser") is that "Girlfight" tells us what teenage angst is really like and does so in a thoroughly entertaining manner.
Not Rated. Running time: 110 minutes. (C) 2000 by Harvey Karten<EMAIL_ADDRESS>The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
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belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
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Top Frame
The top frame contains key functions (Find, Add) and navigation to the Resource Center and to User Profile options.
Comprehensive design principles and language helps maintain usability and a sense of harmony across a large family of products. Consistency and common elements greatly reduce the user effort requred to learn a new interface.
The Mainframe refers to the permanently fixed portions of the application that never change. It contains the primary navigation and core functions.
The top frame contains key functions (Find, Add) and navigation to the Resource Center and to User Profile options.
The bowling alley is where all active items are displayed, allowing users to easily shift between them.
The menu functions as the primary navigation for the application. It contains links to every list, the dashboard, admin functions, tools, and third-party applications. The items on the menu can be toggled, grouped, and organized however the user wishes.
Headers hold key information and controls for a page. They serve as a wayfinding marker to help the user understand context and easily access important actions.
Overview and Slideout headers are dominant features which focus the user's attention to the context of a particular record and contains key information on the left, and actions on the right. These headers inherit the color of the entity type.
List headers contain the filter and column controls for the list and the primary actions. They are fixed so that results can eaily be modified and actioned regardless of scrolling position.
The headers of Add and Edit pages generally serve as a simple visual element to help provide context.
Essential to our design paradigm, cards are independent blocks of information. They can contain text, tables, and data visualizations. They offer a curated view of data. Bringing the most pertinent information to the forefont, they allow users to scan large amounts of data quickly.
Cards have a header which contains the card title and the card controls. The controls can vary depending on card type, gut generally include move, refresh, configure, and remove. The content area has padding by default but can also run edge-to-edge. Pulse cards have a special icon next to the title.
Dashboards and Records Overviews are the primary home for our cards. They offer a customizable workspace to arrange and configure to most appropriately fit the user's needs. Cards have a fixed height, but mildly flexible width. They can also be expanded to full-screen. The "add card" control is always located in the top right, to be consistent with the placement of action buttons on tables and lists.
Cards are so flexible, they also work well in a mobile setting. They help users to easily scan chunks of information and find what they need.


To share this form to respondents send them this link {{link}}
If the form is secured share the access code as well(check in the security tab for the code).


Graph Legend
Legend Container:
Legend Position
SE - Over Graph
SW - Over Graph
NE - Over Graph
NW - Over Graph
Container


Belgium's second revolution: Five tactics to sustaining success
What is the best way to sustain Belgium’s success on the international stage? This is the challenge Belgium face as they sit perched at the top of FIFA’s world rankings.
by , UEFA.comPlanning for the future is being carried out at all levels across the country – epitomising the fact that, in a team sport, everyone has a role to play.
1. DEVELOPING A MODERN GAMEPLAN
Belgium’s magnificent success is not the result of some kind of miracle: it stems from a long period of hard work. Several months after the country had achieved the greatest result in its history by finishing third at the 2018 FIFA World Cup in Russia, the Royal Belgian Football Association set out an 11-point plan aimed at modernising the organisation. In June 2019, a set of reforms were announced spanning all levels and areas of the organisation: sporting matters, institutional issues, refereeing, governance, social matters, digital affairs, budgets.
2. BRINGING IN NEW TALENT
The national association had no hesitation in seeking assistance from outside the country. In the case of refereeing, former international referee David Elleray was tasked with drawing up a master plan for the country to follow. “Belgium has traditionally produced significant numbers of top international referees, but that supply line has dried up since 2010, which was the last time we saw a Belgian (Frank De Bleeckere) officiating at a major tournament,” says Elleray.
3. LONG-TERM PLANNING
The national team coach Roberto Martinez has a long-term vision for the future, which he says enjoys the full support of the association’s management: “I am working to keep Belgium at the pinnacle of world football, but we also need to plan for the future. With that in mind, we have developed a number of programmes that bring professional and amateur football together, and UEFA has given us enormous support with that.”
4. FANNING THE RED FLAMES
At just 34 years of age, Katrien Jans is the head of women’s football at the Belgian FA. Earlier this year, she and her team launched a five-year plan entitled The World At Our Feet, which seeks to bring a major expansion of the women’s game. Football is the third most popular sport among Belgian girls, behind tennis and swimming. The aim is to achieve top spot on the podium by 2024. “We have around 38,500 registered players, and the majority of them are over the age of 18. So, we have an inverted pyramid. Consequently, one of the four pillars of our plan involves making sure that girls start playing as early as possible within structures that are tailored to them.”
5. GIVING BACK TO SOCIETY
The national association’s corporate social responsibility (CSR) programme spans four different subject areas: integration, human rights, health and sustainability. This is a way of giving back to a society that is strongly supportive of its national team. ”It’s something of a cliché, but the CSR programme was established because we know that football can help to bring about change in society,” says Hedeli Sassi, a trained social worker who joined the Belgian FA in 2017. The players provide considerable support. “ The various members of the men’s and women’s national teams have responded very positively to our initiatives, for example, by recording messages aimed at tackling discrimination. Their opinions carry a lot of weight,” adds colleague An De Kock.
Read more about Belgium’s success story and the country’s hopes and expectations for the future in a special feature which appears in the latest version of UEFA's official magazine UEFA Direct.


--- layout: default ---
Joining BRT requires the use of either a Smart Trainer or Powermeter, and an account on ZwiftPower
Step 1: Ensure you have a Smart Trainer if you do not have a powermeter — some of the popular ones are Wahoo Kickr Core, Wahoo Kickr, Wahoo Snap, Tacx Neo, Tacx Flux and Tacx Vortex. Some older Elite trainers using the Misuro B+ sensor are not considered Smart Trainers.
If your trainer is a 'dumb' trainer, you will require a Powermeter instead. For many races, you will also require a heart rate monitor that connects directly to Zwift.
Step 2: If you do not yet have a ZwiftPower account connected to Zwift, you may use our video guide: https://www.youtube.com/watch?v=lEj7eqDdDnc, or our step-by-step guide: https://boltrace.team/zwift-power-guide to help get you connected with ZwiftPower.
In order to create a ZwiftPower account, you will need to know your Zwift ID. Instructions on how to find this can be found here: https://zwiftinsider.com/find-zwift-id/, or you can use the following website, by putting in your Zwift login details (highly discouraged, try other methods first): https://www.virtualonlinecycling.com/p/zwiftid.html.
You will not be able to complete the BRT membership form without a ZwiftPower account.
Step 3: Complete the membership form: https://portal.boltrace.team/members/join.
Step 4: Once you have completed the membership form, you will receive a confirmation email. Please ensure you receive this email. If you do not, your email address may have been entered incorrectly. Please check your spam, then reach out if you have not received it.
Step 5: Request to join the BRT Facebook group (this requires approval) and introduce yourself to your fellow BRT team, so we know you have joined and can welcome you and get you involved in our events: https://www.facebook.com/groups/brtzwift.
Step 6: Recommended to create a WTRL account, this will be required if you wish to participate in the Zwift Racing League, or the WTRL Team Time Trial events: https://www.wtrl.racing.
Step 7: Once you have been approved, you'll receive an email detailing connecting to the BRT Clubhouse. This must be completed in order to access our private Discord server. If you have issues with this, please contact Jessica Hamilton directly<EMAIL_ADDRESS>Step 8: Connect to our private Discord server. This is how we communicate with one another during social and racing events, and is best used with a headset. You may need to download the Discord app. The link is provided in your welcome email, but just in case you miss the details, they can also be found here: https://portal.boltrace.team/members/connect-to-discord.
Step 9: On the Zwift Companion App, at the end of your surname add [BRT] so that your team can be identified in-game.
Step 10: Eventually you will get an email to say your BRT kit has been applied for. Once you have received this, keep an eye on your Zwift garage for it to appear. Please wear this during events so that fellow team members can identify you. If you have not received this within four weeks, please contact Jessica Hamilton directly<EMAIL_ADDRESS>or via Discord.


{% extends "layout.html" %} {% block page_title %} Enter GPG data {% endblock %} {% block body_classes %} add-data {% endblock %} {% block content %} {% include "includes/phase_banner_alpha.html" %} Enter your GPG data for March 2017 Please enter your Gender pay gap data for the period of March 2016 to March 2017: 1. Difference in mean hourly rate of pay Mean hourly rate Add more information (optional) 2. Difference in median hourly rate of pay Median hourly rate Add more information (optional) 3. Difference in mean bonus pay Mean bonus pay Add more information (optional) 4. Difference in median bonus pay Median bonus pay Add more information (optional) 5. Proportion of male and female employees who received bonus pay Male median bonus pay paid Female median bonus pay paid Add more information (optional) 6. Proportions employees in the lower, lower middle, upper middle and upper quartile pay bands Lower payband Male Female Middle payband Male Female Upper middle payband Male Female Upper quartile payband Male Female Add more information (optional) Continue Cancel {% endblock %}
Please enter your Gender pay gap data for the period of March 2016 to March 2017:
Continue


| File | Statements | Branches | Functions | Lines | |||||
|---|---|---|---|---|---|---|---|---|---|
| block.js | 72.62% | 61/84 | 63.64% | 49/77 | 80% | 4/5 | 77.22% | 61/79 | |
| class.js | 38.24% | 39/102 | 26.79% | 15/56 | 25% | 2/8 | 38.24% | 39/102 | |
| constant.js | 100% | 13/13 | 75% | 3/4 | 100% | 1/1 | 100% | 13/13 | |
| declare.js | 100% | 9/9 | 100% | 0/0 | 100% | 1/1 | 100% | 9/9 | |
| define.js | 82.35% | 14/17 | 50% | 2/4 | 33.33% | 1/3 | 82.35% | 14/17 | |
| expr.js | 75% | 9/12 | 100% | 5/5 | 33.33% | 1/3 | 75% | 9/12 | |
| external.js | 55.56% | 10/18 | 0% | 0/6 | 33.33% | 1/3 | 55.56% | 10/18 | |
| file.js | 68.42% | 52/76 | 50% | 19/38 | 33.33% | 5/15 | 68.42% | 52/76 | |
| function.js | 69.57% | 16/23 | 66.67% | 4/6 | 33.33% | 1/3 | 69.57% | 16/23 | |
| interface.js | 51.61% | 16/31 | 16.67% | 2/12 | 25% | 1/4 | 51.61% | 16/31 | |
| method.js | 80.77% | 21/26 | 100% | 2/2 | 25% | 1/4 | 80.77% | 21/26 | |
| namespace.js | 58.82% | 20/34 | 40% | 8/20 | 75% | 3/4 | 60.61% | 20/33 | |
| property.js | 92.86% | 13/14 | 50% | 1/2 | 100% | 1/1 | 92.86% | 13/14 | |
| trait.js | 100% | 12/12 | 50% | 1/2 | 50% | 1/2 | 100% | 12/12 | |
| variable.js | 39.62% | 21/53 | 22.5% | 9/40 | 25% | 1/4 | 39.62% | 21/53 |


Next: User's Guide
Our final step is to test our circuit to ensure that it really does what we intended. Logisim is already simulating the circuit. Let's look again at where we were.
Now to try another combination of inputs. Select the poke tool () and start poking the inputs by clicking on them. Each time you poke an input, its value will toggle. For example, we might first poke the bottom input.
So far, we have tested the first two rows of our truth table, and the outputs (0 and 1) match the desired outputs.
To archive your completed work, you might want to save or print your circuit. The File menu allows this, and of course it also allows you to exit Logisim. But why quit now?
Now that you are finished with tutorial, you can experiment with Logisim by building your own circuits. If you want to build circuits with more sophisticated features, then you should navigate through the rest of the help system to see what else you can do. Logisim is a powerful program, allowing you to build up and test huge circuits; this step-by-step process just scratches the surface.
Next: User's Guide


My Records
Workout
Setting
Customer Service
Hello, Michael
Here are your
Records
Delte deltelakdfa;ldskjf;aldksfj;aldkfj;ads
Yesterday
Warm-up - 30 mins, Weight-Lifting - 15 min
3 Days ago
Warm-up - 30 mins, Streching - 15 mins
2021.04.23
Warm-up - 30 mins, Aerobic-Fitness - 15mins
2021.04.22


Preparation time
1-2 hours
Cooking time
10 to 30 mins
Serves
Serves 4
Dietary
Chaat masala is the spice mix that gives that characteristic zing to Indian snacks. Here it’s used to flavour crisp fried potatoes with a quick homemade chutney and a yogurt foam.
For the yoghurt foam, mix the yoghurt, cream and sugar syrup together. Put the mixture into a siphon bottle, making sure the bottle is at least half full, and charge with two nitro cartridges. Keep the bottle chilled for two hours before using.
For the Karara aloo chaat, in a frying pan heat a little vegetable oil and fry the King Edward potatoes in medium hot oil until almost cooked. Remove them from the pan and put them on a tray lined with kitchen paper. Place another layer of kitchen paper on top and press them flat.
Fry them again to make them light brown in color and crisp. Remove and drain on a tray lined with kitchen paper.
Fill a deep-fat fryer or a large, deep, heavy-bottomed pan two-thirds full with vegetable oil. Heat the oil to 180C/350F (use a probe thermometer to check the temperature if you're not using a deep-fat fryer). (CAUTION: Hot oil can be dangerous. Don't leave unattended)
Deep fry the Peruvian potato slices to make crisps. Sprinkle with sea salt and set aside until needed.
For the spicy chutney, mix 100ml/3½fl oz of water with the sugar in a small pan and bring to the boil. Add the rest of the ingredients and simmer for 4-5 minutes, or until you have a fairly thick chutney. Add water to thin down, if required.
To serve, toss the fried hot potatoes with the pomegranate seeds, coriander and 2-3 tablespoons of chutney. Place on a plate in 3-4 small clusters. Pipe the yoghurt foam in between and garnish with purple potato crisps, mint and watercress. Sprinkle with chaat masala and red chilli powder.


--- layout: post title: What Can You Use Hadoop For? How About a Scalable Vertical Search Engine? date: '2012-01-27T16:57:24-08:00' tags: tumblr_url: http://alexhwilliams.tumblr.com/post/16607052694/what-can-you-use-hadoop-for-how-about-a-scalable ---


Oluvil fisheries harbour to close down
Fishing activities at the Oluvil harbour in Ampara...
Hungry caterpillar Joins fight against plastic pollution
A moth caterpillar commonly bred to provide fish b...
India releases seven SL fishermen
Seven Sri Lankan fishermen held on charges of tres...
Fuel distribution to return to normalcy today: Minister
The countrywide fuel distribution will be restored...
Pakistani arrested with Rs. 7mn worth heroin at BIA
A Pakistani national, attempted to smuggle in 708 ...


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Bitcoin, being unaffiliated with any corporation or bank is extremely hard to track. This lead to it being a currency on the Deep Web where criminals are able to sell a range of illegal items from weapons to drugs to videos featuring child exploitation. As a result, there are politicians both within the United States and in other countries who are looking to ban/place restrictions on the cryptocurrency.
Because of Bitcoins un predictable nature, it's vulnerbility to criminal hacking, and potential government restrictions, I believe Bitcoin isnt worth investing in However, this is as of right now due to it still being new and the recent economic shutdown This doesnt mean you shouldnt entirely forget about it and you should still look out for trends and the potential of it skyrocketing like stocks after crises


Hello there - I would go train to St Pancras International and then change to the London Underground to London Bridge - then change to a mainline train to woolwich arsenal . There get bus 51 or 291 from outside the big TESCO. To my house stop called Plumstead common road/ Erindale terrace. Luton airport is 50 miles outside of London I’m afraid . There are other routes but this would be quickest for you I think! It’s also depends on what time of the day you arrive. Lots of main train stations have left luggage where you can store you bag for the day if you didn’t want to come in and out of London! Hope this helps! Mike
Cheapest one


User stories:
- I can pass a URL as a parameter and I will receive a shortened URL in the JSON response.
- When I visit that shortened URL, it will redirect me to my original link.
https://tiny-url-burdebug.c9users.io/new/https://www.google.com
https://tiny-url-burdebug.c9users.io/new/http://www.foo.com
{
"original_url":"http://www.foo.com",
"tiny_url":"https://tiny-url-burdebug.c9users.io/1660"
}
https://tiny-url-burdebug.c9users.io/9406
https://www.google.com/


Find medical and {{keyword}} in {{location}}
Finding {{keyword}} in {{location}} can be done by posting job descriptions and getting CVs.Recruiters and recruitment agencies can also contact candidates directly through messaging.
SIGN UPRecruiters can contact candidates directly or create job posts and candidates will apply with their CVs
Recruiters and agencies signup to post job advertisements targetting {{keyword}} in {{location}}.
A place that {{location}} healthcare and allied health professionals gain and share knowledge. Itâ€™s a professional platform to ask questions and connect with experienced professionals who bring unique and quality ideas and answers.
Connecting health professionals communities closer together.
All healthcare and allied health professionals from different walks of life


Designed with the same expertise present in our streetwear, you can expect the classic comfort of our sneakers with a formal edge.


--- layout: post title: Avon solutions complete balance night gel review tags: - Avon status: publish type: post published: true meta: _edit_last: '2' _aioseop_keywords: Avon solutions complete balance night gel review _aioseop_title: Avon solutions complete balance night gel review _yoast_wpseo_linkdex: '0' _thumbnail_id: '5405' _yoast_wpseo_focuskw: '' _yoast_wpseo_title: '' _yoast_wpseo_metadesc: '' _yoast_wpseo_metakeywords: '' _yoast_wpseo_meta-robots-noindex: '0' _yoast_wpseo_meta-robots-nofollow: '0' _yoast_wpseo_meta-robots-adv: none _yoast_wpseo_sitemap-include: ! '-' _yoast_wpseo_sitemap-prio: ! '-' _yoast_wpseo_canonical: '' _yoast_wpseo_redirect: '' ---
I am not sure, how popular is the Avon Solutions series. I had known about them for quite long, but never picked up anything.
Until now I had never used any night cream for my face since its already quite oily, and I almost wake up like a frying pan if applied anything at night. Its a big mistake that most of us who are blessed with oily skin make.
Price: Rs.499 for 50gm
Claim:
Oil can lead to skin breakage and thus leading to blackheads etc. Initially I started using Aloe vera gel and it worked fine for my skin, but it felt very heavy and sticky which can be quite discomforting specially when you are trying to sleep.
I picked up the Avon Solutions complete balance night cream. Its a very light gel, almost without any fragrance. I am quite happy with this, as it moisturizes my face, instantly gets absorbed and does not feel heavy and sticky. It definitely balances oil in my skin, as I can see a slight glow and soft skin in the morning without a pool of oil.
It not meant to be anti ageing or a miracle product.
I restrict the use only for night, as its not a complete cream for day use.
Yes I will definitely pick this up again, in fact I might pick the day variation also. But then I am not sure since I am quite like the Olay cream for my day use.
Have you used the Avon Solutions Range ?


IBM STEM4Girls Club - Markham Chapter
Welcome to the Markham chapter of the IBM STEM4Girls Club!
Next club meeting is Saturday, Feb 24, 2018 at 8200 Warden Avenue, Markham!
Agenda
| Time | Activity |
|---|---|
| 12:30-1:30 | Food Science |
| 1:30-3:30 | Ladies Learning Code - jQuery for Beginners |
| 3:30-3:45 | Break |
| 3:45-4:55 | More Coding |


This is the field notes for Animal Behaviour MOOC course on Coursera by the University of Melbourne. Due to the limitations of my Nokia Lumia 520 (and network speed and storage space for GitHub Pages), images and videos may not be quite clear or have high resolution.
If you were an evaluator and have any problems with accessing its content, please send issues to my GitHub. Chrome and Chrome-based browser users please download videos separately.
Place of observation: Wuhan University, Wuhan, Hubei, China
Jul. 11
It jumped around for a while, and then flew away.
Jul. 12
I sometimes wonder why it is that many birds and insects I’ve seen seem to be flying one towards another, while eventually flying apart instead of mating.
Jul. 13
As long as they keep still, they’re well hidden from the camera.
Jul. 16
The bird upside seemed to be flying towards the other one; while the latter seemed to be escaping from it. I feel as if they were to initiate mating, but then they’d fly away, as shown in the image below.
Welcome downloading. Back to home.


About
So you’d like to learn more about jayholman.xyz. Well, this is probably the worst page for that! You should go to the other sections to see what it’s all about. But, if you insist, this is my website that I’m mostly using to learn on. I’ll practice constructing it in different ways and trying unique things. There will probably be lots of weird video embeds and tests, but it’s also all about adventure. I’ll add sections and create more posts about things I like doing. I’ve even put useful categories up top that will split the posts up, but, conveniently, you can also access all the posts on this page!


Join our team in management or as a professional and fulfill your career
ambitions through our international networks and various opportunities
globally.
We create fast site and manage to make it cross browser
Kolisnyk Dmytro
Team Leader
Nothing will stop an idea whose time has come
Mykyta Tkachenko
React Developer
Our team is great, we did the project in just 2 weeks
Anna-Dominika Kozak
assistant leader
Highly effective Human Resources manager and SHRM-CP. Seeking to increase employee retention for company.
Mariia Hrypych
hr manager
I worked on the logic of the characters day and night and brought it to perfection.
Max Popsyi
Developer
Opening the heavens with a hungry voice piercing the hearts "I AM A STONE WORK
FOR THREE DAYS!"


Supported OS is CentOS 7+
Access your Phantom instance via Terminal and install following OS dependencies
# Install library and its dependencies
$~ sudo yum install python-devel openssl-devel gcc gcc-c++
To use this app you need to provide an RSA key pair (this consists of a public key and a private key) and an X.509 certificate of said public key.
To generate a new RSA key pair, you could install and use OpenSSL on a CentOS 7 instance. Once properly installed, execute the following commands to create key pairs and certificates.
# Create a pair of keys
$~ openssl req -newkey rsa:1024 -nodes -x509 -days 365 -out cert.pem
# Rename the private key
$~ mv privkey.pem key.pem
The generated keys and certificates will be used to configure a S/MIME Phantom asset.


--- layout: post title: Blogging and PR date: 2006-12-29 00:00:00 categories: digital-media personal ---
Joel writes about blogging and PR here: "Lately Microsoft, working through their PR agency, Edelman, has been getting rather aggressive about trying to buy good coverage from bloggers."
Whilst I've had similar doubts myself recently, I disagree when he says that "These gifts reduce the public trust in blogs", because I don't believe there is such a public trust, or that there necessarily should be. To me, one aspect of weblogs is that they're one-to-many conversations; as such they're implicitly untrustworthy - do you automatically believe the first thing a stranger says to you? No, they earn your trust by trusted by others or by building a relationship with you over time.
Anything you read here is certainly flawed: I wrote it here for entirely personal reasons and it's full of my own idiosyncrasies, contradictions and biases. But that's kinda why you're here, no?


Music has Evolved
I believe we can agree as a society that music has changed immensely over the past 100 years. With major innovations in artistic expression and technology, new musical mediums, instruments, consumption methods, and genres have appeared. So what were the largests catalysts in musical culture and expression in the last 100 years?
Musical Mediums and Access
The world has changed drastically since the time of the phonographic cylinder. Today, you likely use Spotify or Apple Music to stream your favorite songs. The internet has likely been the most important change in musical medium and access to ever occur. Before the information age, music was expensive, less diverse, and harder to access. Successful small, independent artists and indie bands were extremely rare as they couldn't compete and usually died out due to needing large brand deals in order to cover the costs of manufacturing physical items for release. Now, with services like Bandcamp, small artists and labels can pay nominal fees to publish their music online. The influence of the internet on music is further discussed here. Below is a small timeline of musical mediums. Which one do you know best?
The Rise of MP3
MP3 players were the first wave of portable electronic devices that changed the course of music forever. Not only were they more portable, they could hold much more music than any of their predecessors. MP3 players were the first big steps in the direction of modern technology's role in the propagation and accessibility of music.
The Internet
The internet has changed the way music is approached for both artists and fans. For artists, gone are the times of physical racks and other expensive hardware and software. Nowadays, musical artists can create music with software that ranges from free to ~$1000 in price. This decrease in production cost has changed music forever. You can get a copy of FL Studio, Ableton Live, or VCV Rack and produce professionally mixed tracks in days or even hours, even if you've never made music before. This is largely in part due to the large communities that back the software and its simplicity. It's crazy how you can make music with a $300 computer, a free Digital Audio Workstation, and some free presets available on the internet.
For fans, listening to music has become an immensely simple task. Before the Internet was popular, you'd have to go to a record shop to buy vinyls, tapes, or CDs for every new release. Now, you can buy music albums online or even stream millions of artists and albums for miniscule prices with services such as Spotify and Apple Music.
Artists once needed to be backed by music publishing and distribution companies in order to reach fans' ears and turn a profit. Not only did this prevent artists from exhibiting unique and experimental creative choices, it also made it difficult for small artists to live off of music as publishing and distribution companies would take major cuts out of their profits. Now, small artists that you've likely never heard of can live their lives in mansions in Los Angeles off of experimental vaporpop music (see George Clanton).
Internet Culture
One of the major changes that the internet brought upon was the simpler expression of ideas. This, in turn, led to the creation of entire digital communities with extremely tight bonds. A prime example of this is the vaporwave music genre and community. Vaporwave as a genre began as a meme of sorts in obscure corners of the internet. The first modern-era vaporwave album was released on August 8, 2010 by Chuck Person, now known as Oneohtrix Point Never, which - fun fact - produced the soundtrack for Adam Sandler's Uncut Gems, a crime movie that was released in 2019.
Vaporwave not only challenges the musical norms of today, it emulates the music of times that could've been. Vaporwave is a crazy idea, a community of musicians that only know each other on the internet, that rarely ever congregate. It's a genre that spawned from technology and the love for the past. Vaporwave is truly an experiment, a genre that tested the strength of internet communities and came out as a victor. Vaporwave has expanded so much in its community of only over 500,000 people that vaporwave artists produce about 1,500 albums per year in total.
And, of course, vaporwave is just one example. The internet has influenced music culture and genres immensely over the last 20 years and it will keep doing so over the course of history.
Bonus: An interview with IndyAdvant
IndyAdvant, a writer, IT operator, and podcaster at Private Suite Magazine, a magazine that covers all things vaporwave, kindly accepted to answer some of the opinion questions I had for him in a casual story-time fashion.
Final Thoughts
Thanks for reading through my project! I want to thank my MYP advisor, Ms. Judge, for helping me brainstorm a topic and complete my project, IndyAdvant, for allowing me to use his audio recording, and the vaporwave community for the inspiration.


Previous | Contents | Index | Next
This appendix documents the file format used by PuTTY to store private keys.
In this appendix, binary data structures are described using data type representations such as ‘uint32
’, ‘string
’ and ‘mpint
’ as used in the SSH protocol standards themselves. These are defined authoritatively by RFC 4251 section 5, ‘Data Type Representations Used in the SSH Protocols’.
A PPK file stores a private key, and the corresponding public key. Both are contained in the same file.
The file format can be completely unencrypted, or it can encrypt the private key. The public key is stored in cleartext in both cases. (This enables PuTTY to send the public key to an SSH server to see whether it will accept it, and not bother prompting for the passphrase unless the server says yes.)
When the key file is encrypted, the encryption key is derived from a passphrase. An encrypted PPK file is also tamper-proofed using a MAC (authentication code), also derived from the same passphrase. The MAC protects the encrypted private key data, but it also covers the cleartext parts of the file. So you can't edit the public half of the key without invalidating the MAC and causing the key file as a whole to become useless.
This MAC protects the key file against active cryptographic attacks in which the public half of a key pair is modified in a controlled way that allows an attacker to deduce information about the private half from the resulting corrupted signatures. Any attempt to do that to a PPK file should be reliably caught by the MAC failing to validate.
(Such an attack would only be useful if the key file was stored in a location where the attacker could modify it without also having full access to the process that you type passphrases into. But that's not impossible; for example, if your home directory was on a network file server, then the file server's administrator could access the key file but not processes on the client machine.)
The MAC also covers the comment on the key. This stops an attacker from swapping keys with each other and editing the comments to disguise the fact. As a consequence, PuTTYgen cannot edit the comment on a key unless you decrypt the key with your passphrase first.
(The circumstances in which that attack would be useful are even more restricted. One example might be that the different keys trigger specific actions on the server you're connecting to and one of those actions is more useful to the attacker than the other. But once you have a MAC at all, it's no extra effort to make it cover as much as possible, and usually sensible.)
The outer layer of a PPK file is text-based. The PuTTY tools will always use LF line termination when writing PPK files, but will tolerate CR+LF and CR-only on input.
The first few lines identify it as a PPK, and give some initial data about what's stored in it and how. They look like this:
PuTTY-User-Key-File-version: algorithm-name
Encryption: encryption-type
Comment: key-comment-string
version is a decimal number giving the version number of the file format itself. The current file format version is 3.
algorithm-name is the SSH protocol identifier for the public key algorithm that this key is used for (such as ‘ssh-dss
’ or ‘ecdsa-sha2-nistp384
’).
encryption-type indicates whether this key is stored encrypted, and if so, by what method. Currently the only supported encryption types are ‘aes256-cbc
’ and ‘none
’.
key-comment-string is a free text field giving the comment. This can contain any byte values other than 13 and 10 (CR and LF).
The next part of the file gives the public key. This is stored unencrypted but base64-encoded (RFC 4648), and is preceded by a header line saying how many lines of base64 data are shown, looking like this:
Public-Lines: number-of-lines
that many lines of base64 data
The base64-encoded data in this blob is formatted in exactly the same way as an SSH public key sent over the wire in the SSH protocol itself. That is also the same format as the base64 data stored in OpenSSH's authorized_keys
file, except that in a PPK file the base64 data is split across multiple lines. But if you remove the newlines from the middle of this section, the resulting base64 blob is in the right format to go in an authorized_keys
line.
If the key is encrypted (i.e. encryption-type is not ‘none
’), then the next thing that appears is a sequence of lines specifying how the keys for encrypting the file are to be derived from the passphrase:
Key-Derivation: argon2-flavour
Argon2-Memory: decimal-integer
Argon2-Passes: decimal-integer
Argon2-Parallelism: decimal-integer
Argon2-Salt: hex-string
argon2-flavour is one of the identifiers ‘Argon2d
’, ‘Argon2i
’ or ‘Argon2id
’, all describing variants of the Argon2 password-hashing function.
The three integer values are used as parameters for Argon2, which allows you to configure the amount of memory used (in Kbyte), the number of passes of the algorithm to run (to tune its running time), and the degree of parallelism required by the hash function. The salt is decoded into a sequence of binary bytes and used as an additional input to Argon2. (It is chosen randomly when the key file is written, so that a guessing attack can't be mounted in parallel against multiple key files.)
The next part of the file gives the private key. This is base64-encoded in the same way:
Private-Lines: number-of-lines
that many lines of base64 data
The binary data represented in this base64 blob may be encrypted, depending on the encryption-type field in the key file header shown above:
none
’, then this data is stored in plain text.
aes256-cbc
’, then this data is encrypted using AES, with a 256-bit key length, in the CBC cipher mode. The key and initialisation vector are derived from the passphrase: see section C.4.
In order to encrypt the private key data with AES, it must be a multiple of 16 bytes (the AES cipher block length). This is achieved by appending random padding to the data before encrypting it. When decoding it after decryption, the random data can be ignored: the internal structure of the data is enough to tell you when you've reached the end of the meaningful part.
Unlike public keys, the binary encoding of private keys is not specified at all in the SSH standards. See section C.3 for details of the private key format for each key type supported by PuTTY.
The final thing in the key file is the MAC:
Private-MAC: hex-mac-data
hex-mac-data is a hexadecimal-encoded value, 64 digits long (i.e. 32 bytes), generated using the HMAC-SHA-256 algorithm with the following binary data as input:
string
: the algorithm-name header field.
string
: the encryption-type header field.
string
: the key-comment-string header field.
string
: the binary public key data, as decoded from the base64 lines after the ‘Public-Lines
’ header.
string
: the plaintext of the binary private key data, as decoded from the base64 lines after the ‘Private-Lines
’ header. If that data was stored encrypted, then the decrypted version of it is used in this MAC preimage, including the random padding mentioned above.
The MAC key is derived from the passphrase: see section C.4.
This section describes the private key format for each key type supported by PuTTY.
Because the PPK format also contains the public key (and both public and private key are protected by the same MAC to ensure they can't be made inconsistent), there is no need for the private key section of the file to repeat data from the public section. So some of these formats are very short.
In all cases, a decoding application can begin reading from the start of the decrypted private key data, and know when it has read all that it needs. This allows random padding after the meaningful data to be safely ignored.
RSA keys are stored using an algorithm-name of ‘ssh-rsa
’. (Keys stored like this are also used by the updated RSA signature schemes that use hashes other than SHA-1.)
The public key data has already provided the key modulus and the public encoding exponent. The private data stores:
mpint
: the private decoding exponent of the key.
mpint
: one prime factor p of the key.
mpint
: the other prime factor q of the key. (RSA keys stored in this format are expected to have exactly two prime factors.)
mpint
: the multiplicative inverse of q modulo p.
DSA keys are stored using an algorithm-name of ‘ssh-dss
’.
The public key data has already provided the key parameters (the large prime p, the small prime q and the group generator g), and the public key y. The private key stores:
mpint
: the private key x, which is the discrete logarithm of y in the group generated by g mod p.
NIST elliptic-curve keys are stored using one of the following algorithm-name values, each corresponding to a different elliptic curve and key size:
ecdsa-sha2-nistp256
’
ecdsa-sha2-nistp384
’
ecdsa-sha2-nistp521
’
The public key data has already provided the public elliptic curve point. The private key stores:
mpint
: the private exponent, which is the discrete log of the public point.
EdDSA elliptic-curve keys are stored using one of the following algorithm-name values, each corresponding to a different elliptic curve and key size:
ssh-ed25519
’
ssh-ed448
’
The public key data has already provided the public elliptic curve point. The private key stores:
mpint
: the private exponent, which is the discrete log of the public point.
When a key file is encrypted, there are three pieces of key material that need to be computed from the passphrase:
If encryption-type is ‘aes256-cbc
’, then the symmetric cipher key is 32 bytes long, and the initialisation vector is 16 bytes (one cipher block). The length of the MAC key is also chosen to be 32 bytes.
If encryption-type is ‘none
’, then all three of these pieces of data have zero length. (The MAC is still generated and checked in the key file format, but it has a zero-length key.)
If the amount of key material required is not zero, then the passphrase is fed to the Argon2 key derivation function, in whichever mode is described in the ‘Key-Derivation
’ header in the key file, with parameters derived from the various ‘Argon2-
Parameter:
’ headers.
(If the key is unencrypted, then all those headers are omitted, and Argon2 is not run at all.)
Argon2 takes two extra string inputs in addition to the passphrase and the salt: a secret key, and some ‘associated data’. In PPK's use of Argon2, these are both set to the empty string.
The ‘tag length’ parameter to Argon2 (i.e. the amount of data it is asked to output) is set to the sum of the lengths of all of the data items required, i.e. (cipher key length + IV length + MAC key length). The output data is interpreted as the concatenation of the cipher key, the IV and the MAC key, in that order.
So, for ‘aes256-cbc
’, the tag length will be 32+16+32 = 80 bytes; of the 80 bytes of output data, the first 32 bytes are used as the 256-bit AES key, the next 16 as the CBC IV, and the final 32 bytes as the HMAC-SHA-256 key.
PPK version 2 was used by PuTTY 0.52 to 0.74 inclusive.
In PPK version 2, the MAC algorithm used was HMAC-SHA-1 (so the Private-MAC
line contained only 40 hex digits).
The ‘Key-Derivation:
’ header and all the ‘Argon2-
Parameter:
’ headers were absent. Instead of using Argon2, the key material for encrypting the private blob was derived from the passphrase in a totally different way, as follows.
The cipher key for ‘aes256-cbc
’ was constructed by generating two SHA-1 hashes, concatenating them, and taking the first 32 bytes of the result. (So you'd get all 20 bytes of the first hash output, and the first 12 of the second). Each hash preimage was as follows:
uint32
: a sequence number. This is 0 in the first hash, and 1 in the second. (The idea was to extend this mechanism to further hashes by continuing to increment the sequence number, if future changes required even longer keys.)
In PPK v2, the CBC initialisation vector was all zeroes.
The MAC key was 20 bytes long, and was a single SHA-1 hash of the following data:
putty-private-key-file-mac-key
’, without any prefix length field.
PPK version 1 was a badly designed format, only used during initial development, and not recommended for production use.
PPK version 1 was never used by a released version of PuTTY. It was only emitted by some early development snapshots between version 0.51 (which did not support SSH-2 public keys at all) and 0.52 (which already used version 2 of this file format). I hope there are no PPK v1 files in use anywhere. But just in case, the old badly designed format is documented here anyway.
In PPK version 1, the input to the MAC does not include any of the header fields or the public key. It is simply the private key data (still in plaintext and including random padding), all by itself (without a wrapping string
).
PPK version 1 keys must therefore be rigorously validated after loading, to ensure that the public and private parts of the key were consistent with each other.
PPK version 1 only supported the RSA and DSA key types. For RSA, this validation can be done using only the provided data (since the private key blob contains enough information to reconstruct the public values anyway). But for DSA, that isn't quite enough.
Hence, PPK version 1 DSA keys extended the private data so that immediately after x was stored an extra value:
string
: a SHA-1 hash of the public key data, whose preimage consists of
string
: the large prime p
string
: the small prime q
string
: the group generator g
The idea was that checking this hash would verify that the key parameters had not been tampered with, and then the loading application could directly verify that g^
x =
y.
In an unencrypted version 1 key file, the MAC is replaced by a plain SHA-1 hash of the private key data. This is indicated by the ‘Private-MAC:
’ header being replaced with ‘Private-Hash:
’ instead.
If you want to provide feedback on this manual or on the PuTTY tools themselves, see the Feedback page.
[PuTTY release 0.78]


@* * Copyright 2021 HM Revenue & Customs * * Licensed under the Apache License, Version 2.0 (the "License"); * you may not use this file except in compliance with the License. * You may obtain a copy of the License at * * http://www.apache.org/licenses/LICENSE-2.0 * * Unless required by applicable law or agreed to in writing, software * distributed under the License is distributed on an "AS IS" BASIS, * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied. * See the License for the specific language governing permissions and * limitations under the License. *@ @import uk.gov.hmrc.eoricommoncomponent.frontend.domain.subscription.CompanyShortNameViewModel @import uk.gov.hmrc.eoricommoncomponent.frontend.domain.{EtmpOrganisationType, LLP, Partnership} @import uk.gov.hmrc.eoricommoncomponent.frontend.views.html._ @import uk.gov.hmrc.eoricommoncomponent.frontend.models.Service @this(layout_di: layout) @(shortNameForm: Form[CompanyShortNameViewModel], isInReviewMode: Boolean, orgType: EtmpOrganisationType, service: Service, journey: Journey.Value)(implicit request: Request[_], messages: Messages) @import views.html.helper._ @titleAndHeading = @{ if (orgType == Partnership || orgType == LLP) messages("cds.subscription.partnership.short-name.title-and-heading") else messages("cds.subscription.business.short-name.title-and-heading") } @inputText(field: String, label: String, args: (Symbol, Any)*) = { @defining(Seq('_label -> Html(messages(label))) ++ args) { args => @helpers.input(shortNameForm(field), args: _*) } } @layout_di(titleAndHeading, form = Some(shortNameForm)) {


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LuaSocket is a Lua extension library that is composed by two parts: a C core that provides support for the TCP and UDP transport layers, and a set of Lua modules that add support for functionality commonly needed by applications that deal with the Internet.
The core support has been implemented so that it is both efficient and simple to use. It is available to any Lua application once it has been properly initialized by the interpreter in use. The code has been tested and runs well on several Windows and Unix platforms.
Among the support modules, the most commonly used implement the SMTP (sending e-mails), HTTP (WWW access) and FTP (uploading and downloading files) client protocols. These provide a very natural and generic interface to the functionality defined by each protocol. In addition, you will find that the MIME (common encodings), URL (anything you could possible want to do with one) and LTN12 (filters, sinks, sources and pumps) modules can be very handy.
The library is available under the same terms and conditions as the Lua language, the MIT license. The idea is that if you can use Lua in a project, you should also be able to use LuaSocket.
Copyright © 2004-2006 Diego Nehab. All rights reserved.
Author: Diego Nehab
LuaSocket version 2.0.1 is now available for download! It is compatible with Lua 5.0 and Lua 5.1, and has been tested on Windows XP, Linux, and Mac OS X. Chances are it works well on most UNIX systems.
The library can be downloaded in source code from the LuaSocket project page at LuaForge. Besides the full C and Lua source code for the library, the distribution contains several examples, this user's manual and basic test procedures.
Danilo Tuler is maintaining Win32 binaries for LuaSocket, which are also available from LuaForge. These are compatible with the LuaBinaries, also available from LuaForge.
If you are using Lua 5.0, and want to give LuaSocket a quick try, download the stand-alone archive and unpack everything into a directory, say c:\luasocket. Then set LUA_INIT to load the compat-5.1.lua and set LUA_PATH and LUA_CPATH to look for files in the current directory:
c:\luasocket\> set LUA_INIT=@c:\luasocket\compat-5.1.lua c:\luasocket\> set LUA_CPATH=?.dll c:\luasocket\> set LUA_PATH=?.lua
From that directory, you can then run the interpreter and it should find all files it needs. To download this manual page from the Internet, for example, do the following:
c:\luasocket\> lua50 Lua 5.0.2 Copyright (C) 1994-2004 Tecgraf, PUC-Rio > http = require"socket.http" > print(http.request"http://www.cs.princeton.edu/~diego/professional/luasocket/") --> the source to this web page gets dumped to terminal
If you are using Lua 5.1, you shouldn't use compat-5.1.lua. Just unpack the standalone directory, set LUA_CPATH and LUA_PATH, and you should be ready to run:
c:\luasocket\> set LUA_CPATH=?.dll c:\luasocket\> set LUA_PATH=?.lua c:\luasocket\> lua5.1 Lua 5.1 Copyright (C) 1994-2006 Lua.org, PUC-Rio > http = require"socket.http" > print(http.request"http://www.cs.princeton.edu/~diego/professional/luasocket/" --> the source to this web page gets dumped to terminal
When you are done playing, take a look at the installation section of the manual to find out how to properly install the library.
Throughout LuaSocket's history, many people gave suggestions that helped improve it. For that, I thank the Lua community. Special thanks go to David Burgess, who has helped push the library to a new level of quality and from whom I have learned a lot of stuff that doesn't show up in RFCs. Special thanks also to Carlos Cassino, who played a big part in the extensible design seen in the C core of LuaSocket 2.0. Recently, Mike Pall has been helping a lot too! Thanks to you all!
This is just a bug-fix/update release.
All previous versions of the LuaSocket library can be downloaded here. Although these versions are no longer supported, they are still available for those that have compatibility issues.


Simulation of a delivery van delivering packages in the city of Zurich.
Connected: Received messages from the server
Not connected: Send HTTP POST message to the URL. {{location}}
{{value }}
{{logs}}


Terry through the squeeze
The Toy that almost rolled
Diane gets some air time
Greg gets some air time


dss_production has two namespaces. one is the public one is the database name. We migrated the database but it was not reading the correct one and it was missing the admin role. Temporarily we had to put the app looking back in lib-postgres3 so that users can login and do updates.
closed
by Christina Chortaria at 2022-08-10 12:53:21.assigned
by Christina Chortaria at 2022-08-10 15:02:55.unlabeled
by Christina Chortaria at 2022-08-10 15:03:24.closed
by None at 2022-08-10 17:04:43.closed
by None at 2022-08-10 17:05:01.added 647 (#237)
resolved missing components (#235)
labeled
by None at 2022-08-10 17:25:19.@regineheberlein and @carolyncole : this ticket is completed, and can be closed, right?
mentioned
by None at 2022-08-10 23:25:11.subscribed
by None at 2022-08-10 23:25:11.mentioned
by None at 2022-08-10 23:25:28.subscribed
by None at 2022-08-10 23:25:28.convert_to_draft
by Christina Chortaria at 2022-08-10 14:42:18.assigned
by None at 2022-08-10 14:33:53.assigned
by Christina Chortaria at 2022-08-10 14:33:57.labeled
by Christina Chortaria at 2022-08-10 14:58:23.closed
by None at 2022-08-10 14:59:16.close in favor of listing items on #5348
labeled
by None at 2022-08-10 15:07:18.labeled
by None at 2022-08-10 15:07:18.closed
by None at 2022-08-10 15:17:50.labeled
by None at 2022-08-10 15:04:42.labeled
by None at 2022-08-10 15:04:42.renamed
by None at 2022-08-10 15:17:38.labeled
by Trey Pendragon at 2022-08-10 15:40:33.labeled
by Trey Pendragon at 2022-08-10 15:40:33.referenced
by Francis Kayiwa at 2022-08-10 11:47:18.merged
by Francis Kayiwa at 2022-08-10 11:47:18.closed
by Francis Kayiwa at 2022-08-10 11:47:18.labeled
by None at 2022-08-10 14:24:43.assigned
by None at 2022-08-10 14:26:16.referenced
by None at 2022-08-10 14:39:17.I took a look at Lib-Jobs and it looks like there's a way to download at least the latest version of a file, but I couldn't get it to work for the POD dataset. The specs, so I assume this is an access control issue, so we might need to open up access to this particular dataset.
The other option would be to update the process to copy the files to a separate directory and expose that using an nginx directory listing or something like that, where there wouldn't be access controls.
Either of those seem like reasonable ways to let anonymous users actually download the most recent POD dataset.
https://app.honeybadger.io/projects/54399/faults/87346313
same error on catalog-qa
Coverage increased (+0.1%) to 94.505% when pulling f4bd5311fda1bb77b431c509e6daa1afcf4c0139 on almaloginuri_bug into ae03ac2043056a25d86b7a49e1530a64f9c824c4 on main.
Mark Z. put credentials for a test user for the sandbox / staging environment in the #enterprise_services channel in Slack. I've tried them and they work correctly.
deployed
by None at 2022-08-10 15:48:01.ready_for_review
by Max Kadel at 2022-08-10 15:52:34.referenced
by None at 2022-08-10 12:05:01.merged
by None at 2022-08-10 12:05:01.closed
by None at 2022-08-10 12:05:01.head_ref_deleted
by None at 2022-08-10 12:05:02.closed
by None at 2022-08-10 12:05:02.referenced
by None at 2022-08-10 12:05:02.assigned
by Hector Correa at 2022-08-10 20:25:53.referenced
by Christina Chortaria at 2022-08-09 23:34:21.merged
by Christina Chortaria at 2022-08-09 23:34:21.closed
by Christina Chortaria at 2022-08-09 23:34:21.head_ref_deleted
by Christina Chortaria at 2022-08-09 23:34:21.referenced
by None at 2022-08-10 11:26:36.merged
by None at 2022-08-10 11:26:36.closed
by None at 2022-08-10 11:26:36.head_ref_deleted
by None at 2022-08-10 11:26:37.head_ref_force_pushed
by Francis Kayiwa at 2022-08-10 11:17:26.head_ref_force_pushed
by Francis Kayiwa at 2022-08-10 11:24:59.head_ref_force_pushed
by Francis Kayiwa at 2022-08-10 12:04:44.referenced
by Christina Chortaria at 2022-08-10 12:47:07.merged
by Christina Chortaria at 2022-08-10 12:47:07.closed
by Christina Chortaria at 2022-08-10 12:47:07.head_ref_deleted
by Christina Chortaria at 2022-08-10 12:47:08.closed
by Eliot Jordan at 2022-08-10 16:36:08.referenced
by Hector Correa at 2022-08-10 17:25:34.merged
by Hector Correa at 2022-08-10 17:25:34.closed
by Hector Correa at 2022-08-10 17:25:34.head_ref_deleted
by Hector Correa at 2022-08-10 17:25:35.head_ref_force_pushed
by Francis Kayiwa at 2022-08-10 17:18:02.referenced
by Francis Kayiwa at 2022-08-10 17:28:57.merged
by Francis Kayiwa at 2022-08-10 17:28:57.closed
by Francis Kayiwa at 2022-08-10 17:28:57.head_ref_deleted
by Francis Kayiwa at 2022-08-10 17:28:58.referenced
by None at 2022-08-10 17:55:05.merged
by None at 2022-08-10 17:55:05.closed
by None at 2022-08-10 17:55:06.head_ref_deleted
by None at 2022-08-10 17:55:06.Looks like this was just recently added: https://github.com/pulibrary/princeton_ansible/commit/6a6b93189c8ce182bb3c015d1d07c1593cb532ec#diff-77097b5a8f4ca3fa72298b5a555c610e09489db28d0c750eded5c3b61228536eR19
This has been run on staging and prod. merging.
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by Eliot Jordan at 2022-08-10 21:12:49.head_ref_deleted
by Eliot Jordan at 2022-08-10 21:12:49.changed to draft to add the borrow direct key
we've run this in production and updated the specific credentials. We also ran the bibdata playbook to add the borrow direct key there as well.
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by Eliot Jordan at 2022-08-10 22:19:17.head_ref_deleted
by Eliot Jordan at 2022-08-10 22:19:17.we ran this in prod, staging and qa
referenced
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by Jane Sandberg at 2022-08-10 23:11:31.@regineheberlein with this PR, the ASPACE_URL
and ASPACE_STAGING_URL
environment variables would be set on both lib-jobs-production and lib-jobs-staging. Does that seem appropriate?
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by None at 2022-08-10 23:27:06.Before I forget, the staging testing behaved as expected. Hopefully can try it on prod tomorrow.
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SHADOWLANDS A film review by Ralph Benner Copyright 1996 Ralph Benner
The greater astonishment in Richard Attenborough's SHADOWLANDS isn't that Anthony Hopkins, as C.S. Lewis, the triple threat writer of highly admired Christian apologetics, Christian-based science fiction and children's fantasy, could deliver the kind of performance he does, but that he did. As a recovering alcoholic, Hopkins has been able to support his growing repertoire in the last several years because, like his characters in THE SILENCE OF THE LAMBS, HOWARDS END, the megabore REMAINS OF THE DAY, he's been checking in his inner-most feelings at the door; he hasn't been called upon by his sponsor to feel his way through his internal conflicts. These meticulous examples of repression hint he's pent-up by the huge reserves of boozeless energy, that it's inevitable he'd finally burst, as he does so movingly here in SHAOWLANDS. This is a performance long coming -- the kind of self-exposure of an actor as real person connecting with the audience that often the bottle (or drug) keeps from us, the unmasking American William Hurt has yet to achieve, even though he's been sober for more than a few years. Ex-lushes and ex-addicts can go on to become better actors, as we've seen with Dennis Hopper, Richard Dreyfuss, and now Hopkins. (Or better songwriters and singers, as with Elton John and Bonnie Raitt.) But sometimes they don't; there's that "edge" they lose, and Hurt, at this writing, seems to be unable to regain it. Naturally, a boozing actor has edge pouring into him, his potency based on his bottle's proof. Whatever it was he was on during CHILDREN OF A LESSER GOD, and he was a holy terror on the set, he got closer to the audience than he ever had, and as something he probably isn't much of -- a romantic. (At core is that he may have felt he needed the bottle to reach us.) On the wagon in ROADCAST NEWS and THE ACCIDENTAL TOURIST, he's lulled out, a member of the "Living Dead." Maybe he's been hobbling as a sober actor, in much the same way Richard Pryor did as comic, because they're looking back for the old, sloshed verge that they can no longer find in themselves. With Hopper, Dreyfuss, and assuredly with Hopkins, they've managed to overcome their long, wasted agitation, they've gotten back on track by moving ahead in their art -- surrendering to it as their fix. (In A.A., there's a rather dramatic pretense in looking for a "higher power" to help overcome one's addiction, but once he quietly finds it, and it's usually within one's self, he discovers that he's replaced the bad addiction with a healthier one.) Even in the plodding REMAINS OF THE DAY, Hopkins is on the high of acting: in his adroit rigidity, you can see that he's flying. The problem is that only he's enjoying himself, while many of us are languishing through the one-note boredom.
This sort of monotony is nowhere to be found in Hopkins' C.S. Lewis, a role which could easily become sanctimonious, sticky. Or worse, it could have been a Malcolm Muggeridge bliss-out. Born in Belfast, educated at Oxford University, accepted there as a fellow after graduating with degrees in Greek and Latin literature, philosophy and ancient history (even conquered the Greek language), Lewis was only 38 when his "Allegory of Love: A Study in Medieval Tradition," about love as a central theme in the literature of the Middle Ages, established his reputation within the intelligentsia. His career as an author actually began a bit earlier, when his two books of poetry, "Spirits in Bondage: A Cycle of Lyrics" and "Dymer" were published under the pseudonym Clive Hamilton. It wasn't until Lewis turned Christian science fiction writer, with the classic "Out of the Silent Planet" in 1938, that he reached a larger audience: eventually to be known as the Perelandra Trilogy ("Perelandra" and "That Hideous Strength" the other two), the initial story is about a planet -- our own -- that is silent because it has fallen from the grace of God. Critics called it "a fusion of science fiction, fantasy and allegory. Unprecedented." Early into Lewis's youthful rebellion, he was a practicing non-believer, brought on by the premature death of his mother from cancer when he was a little boy, and reinforced by an atheist Scottish schoolmaster and Lewis's own formidable education at Oxford. While details of his conversion are discussed in his poignantly titled autobiography "Surprised by Joy," the most important also seems the most simple: through logic and reasoning, he believed common sense dictated a fourth dimension -- God. It made sense to believe in the comfort of hope that something or someone awaits us after death than conceding to the sterility, the nothingness of disbelief. By 1944, in "Beyond Personality," he was penning embracing defenses of Christianity -- to his own surprise, admired by agnostics and atheists alike -- and he became so popular that the BBC gave him time to lecture over the radio during World War II. Two more collections of his essays followed: "Miracles" in 1947, and "Mere Christianity" in 1952. Considered by some his best novel, 1942's "The Screwtape Letters" is a sardonic tale set in W.W.II about a devil -- an Undersecretary of the Infernal Lowerarchy -- teaching his nephew the ways and means of temptation. Lewis wasn't particularly happy that he became famous after the book's publication because he thought some of his other books were more worthy. But the public was much impressed by his fluency with the language and, most of all, his unbounded imagination -- given encouragement by the Inklings, a group he formed with J.R.R. Tolkien who would gather to read manuscripts in progress. To Lewis's chagrin, only "Allegory" had the captivating, if not show-off effects of creative word play, while his other scholarly, syncretic nonfiction works, of which there are close to three dozen, were staid, formal, lacking no shortage of his customary erudition but stylish mode. His most loved and widely-read work is of course his series of children's books known as The Chronicles of Narnia, the first entitled "The Lion, the Witch and the Wardrobe," and printed in 1950, and six more that followed at yearly intervals. (The attics so prevalent in these writings come right out of Lewis's and his brother's childhood. And regardless of their long friendship, and his own devotion to Roman Catholicism, Tolkien found the "Narnia" books too simple, too Christian.) Throughout these years, Lewis remained single, and with less than a handful of encounters that may or may not have resulted in sexual activity, voluntarily celibate. He would have most likely remained a bachelor had not one day an American poet-fan asked to meet him. Lewis died from a heart attack (after a long bout with heart and kidney problems) in 1963, on the very day John Kennedy was assassinated and Aldous Huxley succumbed to a drug overdose.
Despite the briefest of ipse dixit -- "Pain is God's megaphone to rouse a deaf world" -- that suggests screenwriter William Nicholson is deficient in selecting the more appealing of Lewis' championship of Christianity, Hopkins gets us to respond to him quickly: we admire that in his mild case of fear of the sensuous, he manages to wear his slight superiority, exasperation and wariness not on his sleeve but his Oxford-Cambridge robe, or more fitting, his vestment. This difference is integral to our acceptance: while he's fully capable of slicing away his opponents' arguments or snobbishness or his students' indifference, because this Lewis carries the aura of the presumptively profound, his own life looks to be filled with tentativeness, not sure he can commit himself to anything or anyone other than Godly verbiage. And not exactly sure why: he recognizes, perhaps even regrets, that he's explored the dogma of Christianity more fervently than living his own life. This is set up for us as Hopkins' Lewis is awaiting, anxiously, to meet this fan, played by Debra Winger: when she calls out his name, the look on his face is priceless; it's not just Winger's lack of protocol that gets his butterflies a'flying. Others have written that this is what makes Hopkins' performance something like a mirror image of his butler in REMAINS. Maybe, if one believes there's something meaningful underneath the butler's devotion to servitude. Accidental, REMAINS is like a George Bush movie, in which a servant can't empathize with or respond to the social fabric, while SHAOWLANDS, minus the sexsations, is Clintonesque in its healthy male largesse.
More in HOWARDS ENDS than in REMAINS and SHAWDOWLANDS, Hopkins draws forth the late Richard Burton, his fellow and deeply missed Welshman. (Burton was born in Pontrhydfen, Hopkins in Port Talbot.) In HOWARDS ENDS and SHADOWLANDS he at times unerringly sounds like Burton, and there's a fraction of physical resemblance, though not quite as dislocating as how Hopkins can sometimes bring to mind William F. Buckley. (Should please Buckley, in that, when he would have to come to frequent bailout of his own and his friends' often inexcusable public behavior -- like his against Gore Vidal, like Patricia Bozell's assault on feminist Ti-Grace Atkinson at Catholic University in 1970 -- he'd cite Lewis as defense: "The higher the stakes, the greater the temptation to lose your temper.") There's talk that Hopkins is the long-sought heir to the throne Olivier built, the one Burton might have ascended to had he not given in to the bottle and his ruinous relationship with Elizabeth Taylor. Such high glory excludes Sir John Gielgud, who's no slouch. Since THE SILENCE OF THE LAMBS, there's evidence that Hopkins is the heir-apparent. As Hannibal Lecter, Hopkins is in but a handful of scenes, yet he dominates the movie.  Though LAMBS isn't much more than a supremely efficient TIGHTROPE from a woman's point of view, we're always thinking about Hopkins: when he too cleverly escapes, we just know that he's going to pop up for some munchies. When the climax fades, all we can think about it is Where's Hannibal? Then Jodie Foster gets a call, and, for some sick reason best left unexplored, we're happy to hear from him. Hopkins tells her to forget tracing the call, he won't be on the line long enough because "I'm having an old friend for dinner." Serenely horrifying as it is, it's nevertheless a spectacular moment of recovery: when was the last time we left a theatre doubled up over a cannibal? It's highly immoral, it unhinges our sensibilities, at least what's left of them these days.
Debra Winger, well, she's dying -- again. That would otherwise be enough to keep away from SHADOWLANDS. Early on, with an on again/off again urban New York accent, Winger's a bit of Streisand doing a lettered OWL AND THE PUSSYCAT, and Nicholson's screenplay provides her with some snap and crackle with Hopkins and another don but nothing quite pops. She's not likable physically at first, either: she has a sometimes near-Eleanor Roosevelt-Oxford-Shoes clop and an unnecessarily ugly, color-blind wardrobe, and if there's a straightforward charm somewhere that finds certain critics' weak spots, these two "attributes" come close to killing it, and, in what has become trademark, she seems to think it's okay for us to watch her trying to find her way into the character. I admit I'm rarely in Winger's corner, having always been cool towards her because I can't get passed the flashing signals that warn "Don't bother me." In AN OFFICER AND A GENTLEMAN, she came close to turning into both Elizabeth Ashley and Lesley Ann Warren. Only the crazed would say anything about the childish URBAN COWBOY. She was most plainly annoyed during TERMS OF ENDURANCE and as consequence plagued herself with misplaced glances and gestures and only once does her very angry-busy work succeed -- her "Oh, brother!" contempt for the wireless phone someone hands her. (Who could play those New York restaurant and in-your-dying-honor party scenes?) She looked at the beginning of BLACK WIDOW the way she should have at the end of TERMS, and she's of fair interest in MIKE'S MURDER, a small movie somewhat like JACK'S BACK that went nowhere because the releasing company hadn't any faith in it. I still can't figure out EVERYBODY WINS: is the script as badly written as it exposes itself to be on screen?   Winger manages more class in her dying moments here in SHADOWLANDS than in TERMS. Yet, something more is the matter with Winger's portrayal, and it's the scripter's fault: imagine an intelligent peoples' Fannie Hurst novel about a fan who, with a little boy in tow, hangers to and eventually does meet a famous author, even becomes enough of a friend that the author agrees, when needed, to a marriage of convenience.  (Not seen, but perhaps the shadow of Vera Miles in BACK STREET?) On screen, it's rather the stuff of a Purex Afternoon Special but in reverse: it's not she who is being tested, but he, and his faith. It unwittingly becomes Harold Kushner's "When Bad Things Happen to Good People."
What hurts Winger's characterization of Joy Davidman Gresham is that it's shaped out of insignificance -- there just isn't much there to make her more than a device to loosen Hopkins' buttoned-up Lewis. For example, maybe the audience would have wanted to know that Joy, although only a minor American poet (she won the Yale Series of Younger Poets contest for a book of verse), was married to American novelist William Gresham, who wrote NIGHTMARE ALLEY, which was later turned into the 1947 movie starring, in possibly their most entertaining performances, Tyrone Power and Joan Blondell. (James Agee wrote in Time: "NIGHTMARE ALLEY is a hair-rasing carnival side show.  He is able to stomach his job because he is in the last stages of dipsomania. [Power as] Stan is one of the most wholehearted and resourceful heels yet to leave a print of the U.S. screen. He climbs a ladder made of ladies.") And why the audience is given only one child when in fact Joy dragged both her sons to England is not explained -- though maybe to lessen the audience's taxation fatigue. Reviewers and feature writers are quoting one son, Douglas Gresham, that though SHAOWLANDS is "fiction and makes no pretenses about that, the emotional values are absolutely spot-on accurate." Actually, the movie's not much of a fiction: Joy, a Jewess who converted to Christianity, a 30s Communist turned 40s staunch conservative, did travel to meet her idol, the man most responsible for her conversion. Joy was indeed running away from a bad marriage to Gresham, who was a womanizer and alcoholic. And she did become ill -- originally and inaccurately diagnosed with acute rheumatism. Those who knew both Lewis and Joy saw that a relationship beyond correspondence and before marriage was already building, though painfully slowly. When England's Home Office did not want to renew her permit of residence, Lewis, perhaps more out of genuine charity as opposed to budding love, agreed to a civil marriage in order to automatically grant citizenship to her and her two sons. Joy's illness turned grave shortly afterwards, and the bonds between her and Lewis strengthened considerably, to the point that Lewis decided to offer his hand in a religious ceremony of marriage. Abundant love, positive thinking and radiation provided Joy with a remission, and for a few years the marriage had a "honeymoon" flavor to it. Unfortunately, the movie doesn't give us a real extent of time. What we get are transitions: first, a fall, second, radiation, third, wheelchairs, and fourth, stretchers, putting the audience into a get-ready-with-the-hankies mood. It's gonna be LOVE STORY -- Oxford Style.  However, when he and little Douglas (played by Joseph Mazzello, who recalls Nicholas Gledhill in CAREFUL, HE MIGHT HEAR YOU) embrace and release their grief, memories of our own similar experiences flood in. These scenes takes us where Lewis would never quite allow us to go; instead, as a gentleman of culture, propriety and unimpeachable decency, when he did grant a peek into his private anguish, in "A Grief Observed," he could only do it under a pseudonym: N.W. Clerk.
Richard Attenborough is a dependable craftsman as movie maker and he's dignified, making sure we maintain our own dignity as well. I wish that he were more like Fred Zinnemann, the master who recognized a good story when he read one and knew how to make it into a better movie. Referring not only to FROM HERE TO ETERNITY but also to THE NUN'S STORY, in which Audrey Hepburn's a triumph, to the almost forgotten THE SUNDOWNERS, with Robert Mitchum and Deborah Kerr doing what Mitchum fantasized about doing in HEAVEN KNOWS, MR. ALLISON and to the smooth-as-glass THE DAY OF THE JACKAL. Attenborough could use Zinnemann's talents to plug his stories' gaps and holes; for example, in GANDHI he needed an audience decoder -- a Lord Mountbatten, say -- to help sort out all the complex political actions. (Luckily he had Ben Kingsley as his one asset, and Oh, what an asset.  Attenborough's intentions in CRY FREEDOM seem to be that he's against apartheid, yet the movie isn't so much about blacks attempting to free themselves from the oppressive South African white rule as it is about a South African white fleeing from what he might have inadvertently helped sanction. (Though it was fun to listen to Kevin Kline fake the Britishspeak.) Recently, I think in an interview with Larry King, Barbra Streisand said she was offered SHADOWLANDS to direct, and how one regrets she didn't: like Zinnemann, she'd have insisted on fleshing out details and make steady the wobbling of Winger's Joy, as well as discipline the actress's needless, perpetual choler, misplaced here but used terrifically for TNT's concert version of THE WIZARD OF OZ, in which she plays the wicked witch. SHADOWLANDS might have been "The Fan Who Would Be Joy" -- if only Winger had shown any.
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Ayodhya: SC dismisses Shia Waqf Board's appeal, says land belongs to govt
by Press Trust of IndiaThe Supreme Court on Saturday dismissed the appeal of the Shia Waqf Board in the politically sensitive Ram Janmbhoomi-Babri Masjid land dispute case in Ayodhya and held that the land belongs to the government as per revenue records.
A five-judge Constitution bench headed by Chief Justice Ranjan Gogoi gave a unanimous verdict dismissing the Shia Waqf Board's appeal in the case over the disputed structure.
It said the disputed land was government land in the revenue records.
On September 16, the bench, also comprising Justices S A Bobde, D Y Chandrachud, Ashok Bhushan and S Abdul Nazeer, reserved its decision after a 40-day high voltage hearing in the dispute involving 2.77 acres of land.
Fourteen appeals were filed in the apex court against the 2010 Allahabad High Court judgment, delivered in four civil suits. It said the 2.77-acre land in Ayodhya be partitioned equally among the three parties -- the Sunni Waqf Board, the Nirmohi Akhara and Ram Lalla.
(This story has not been edited by Business Standard staff and is auto-generated from a syndicated feed.)


iOS 7 brought many new features, and much new work for developers.
One of the features the Gilt mobile team was most excited about was background fetch. With background fetch, apps that are running in the background—or not even running at all—can wake up periodically to issue server requests and download data. The purpose is to make the most up-to-date content visible the instant the user brings up an app. In an ideal world, background fetch would kill off the “Loading…” screen that server-driven apps typically present when launched.
Background fetch is particularly well-suited for us at Gilt, because we feature a new slate of sales every day. Each day brings updated sale data and new photos to send to the user.
Before iOS added support for background fetch, a user would launch the Gilt app (or bring it to the foreground after a certain period of time), and we’d start a flurry of communication with the server that would eventually result in the sales list and associated photos being loaded; the user’s cart and other settings would also get synced. On slow network connections, this process could take a while—costing our users precious time while they raced against other customers before the items in the day’s flash sales sold out.
An Unexpected Complication
We introduced background fetch in our Gilt for iPhone 4.0 release. Immediately the benefits became apparent: users could access sales much more quickly than before, and they also spent less time in loading-screen limbo. We patted ourselves on the back for a job well done.
And then we started to receive bug reports. Users who had logged in and left the “Stay Signed In” option turned on began to report trouble. A day or two (or three) after signing in, these users would suddenly be logged out. They’d sign in again, only to be booted out again within the next few days.
Weird.
Although we had not seen this issue during our QA testing, we eventually started noticing it on our personal devices. But we could never pin down exactly what we were doing to cause it.
As any developer will tell you, repeatable steps to reproduce—the actions a user needs to perform to hit a bug—are critical in diagnosing and fixing problems. After all, how can you be sure you’ve fixed a bug if you don’t know how to trigger it in the first place?
We didn’t have steps to reproduce, so we scoured our codebase and tried a number of speculative fixes. We created new test binaries and distributed them to our QA team and internal users. And then we waited a few days to see if everyone who signed in still was. Soon enough, we got the verdict: the bug remained alive.
So we’d repeat the cycle again.
A LaGuardia Eureka
In the middle of all this, I was about to depart on a long-planned vacation. While waiting to board a plane at LaGuardia, I fired up the Delta app to retrieve my boarding pass. Despite having just logged in a few minutes earlier, I noticed that I was being asked to log in again. I had used the Delta app under iOS 6, so I knew the normal behavior was to keep me logged in.
I logged in again, and as a test, put the app in the background. A few minutes later, I returned, and again I was logged out. I tried a few other apps, and noticed that Gilt and Delta weren’t the only apps bitten by the user logout bug.
Going on vacation gave me a reason to use the Delta app, which in turn provided the Eureka moment that pointed me in a different direction. Gilt’s mobile team had been working under the assumption that the user logout issue was specific to our app. But now the problem appeared to be widespread—a hunch confirmed by The Verge’s Ellis Hamburger—and this gave us a starting point for researching the problem.
When iOS 7 became available, the nuances of background fetch weren’t immediately obvious to developers. There was a temptation to approach this new feature with the attitude: Great! I’ll just take the network requests my app makes at launch, and put them in a background fetch wrapper. How easy is that?
Not that easy, it turns out. Because background fetch changes the environment in which an app’s networking code executes, the same code won’t necessarily behave the same way when running in the background.
The Source of Our Trouble
In the case of the user logout bug, the problem was that the iOS Keychain wasn’t consistently available when we’d try to access it.
The Keychain is the recommended place for storing sensitive information like usernames and passwords. When data is put in the Keychain, iOS ensures that it is stored securely. By default, when running on phones with a lock code, secure Keychain items remain encrypted while the lock screen is on; they only become available after the owner enters the correct code—or successfully scans a fingerprint—to unlock the device. This ensures that someone gaining physical access to your phone can’t perform a basic forensic analysis to extract sensitive data from your Keychain.
Before background fetch, most apps could assume that their secure Keychain items would be available whenever they were needed, because most apps didn’t expect to be performing routine operations—much less be running—when the lock screen was on. However, with background fetch, it is now possible for an app to wake up while the device is locked, when its Keychain items aren’t available.
The Gilt app periodically re-authenticates with the server and syncs the items in the user’s cart. This ensures a seamless cross-device experience for our users. However, it was also the source of our user logout bug, because our authentication requests would sometimes get issued in the background when the device was locked.
In such a case, the Gilt app would dutifully ask the Keychain for the user’s credentials. But because the device was locked, the Keychain would return a null value, causing the app to behave as though there were no user credentials at all. As far as the app is concerned, no credentials == no user, so the next time the user began interacting with the app, they’d no longer be logged in.
We never caught this problem in our internal QA testing, because we didn’t have lock codes on our test devices.
Don’t Decrease Default Security
After discovering that Keychain access was the source of the issue, we sought to find out how other developers approached solving it. One popular suggestion is to store items in the Keychain with the kSecAttrAccessible
attribute set to kSecAttrAccessibleAlways
. Unfortunately, this requires using a less secure mechanism for storing data than the Keychain would otherwise use by default.
If the only way for your app to function correctly during a background fetch depends on loosening security settings, you should seriously consider refactoring your code. The kSecAttrAccessibleAlways
setting allows data to remain unencrypted while the device is locked. The stored data will not be secure if someone manages to gain physical access to your device. At Gilt, we need to be extremely careful about how we handle sensitive data. If we’re going to explicitly change a default security setting, we’re going to tighten that setting, not loosen it.
Instead of reducing the security of what we store in the Keychain, we changed our request model to ensure that authentication never needs to be done in the background. If the Keychain isn’t available, we simply won’t try to authenticate.
This solution addresses only half the problem, though. In an ideal world, we’d still be able to authenticate and sync the cart sometime before—or at least when—the app becomes active, to ensure that the user always sees the current cart items. If the device is locked, we need to be notified when the Keychain becomes available again, so we’ll know when it is safe to build the necessary server requests.
Knowing When the Keychain is Ready
The key is hooking into the UIApplicationDelegate
’s applicationProtectedDataDidBecomeAvailable:
method.
iOS calls this method after the device has become unlocked, so it serves as a signal that we can now get the user’s authentication credentials from the Keychain. This method can be called before the app is brought to the foreground, letting us get a head start with the cart sync.
Although rethinking our server requests for a background fetch world required a little more work, we avoided undermining iOS’s default security settings.
And since we rolled out this change in our recent Gilt for iPhone 4.0.2 release, we’ve received no more user reports about this problem.
The moral of the story?
When faced with a seemingly intractable problem, take a vacation. You might find inspiration in unexpected ways.


Defined in generated file: python/ops/gen_array_ops.py
Dequantize the 'input' tensor into a float Tensor.
tf.compat.v1.dequantize
tf.compat.v1.quantization.dequantize
tf.compat.v2.quantization.dequantize
tf.quantization.dequantize( input, min_range, max_range, mode='MIN_COMBINED', name=None )
[min_range, max_range] are scalar floats that specify the range for the 'input' data. The 'mode' attribute controls exactly which calculations are used to convert the float values to their quantized equivalents.
In 'MIN_COMBINED' mode, each value of the tensor will undergo the following:
if T == qint8: in[i] += (range(T) + 1)/ 2.0 out[i] = min_range + (in[i]* (max_range - min_range) / range(T))
here range(T) = numeric_limits<T>::max() - numeric_limits<T>::min()
MIN_COMBINED Mode Example
If the input comes from a QuantizedRelu6, the output type is quint8 (range of 0-255) but the possible range of QuantizedRelu6 is 0-6. The min_range and max_range values are therefore 0.0 and 6.0. Dequantize on quint8 will take each value, cast to float, and multiply by 6 / 255. Note that if quantizedtype is qint8, the operation will additionally add each value by 128 prior to casting.
If the mode is 'MIN_FIRST', then this approach is used:
num_discrete_values = 1 << (# of bits in T) range_adjust = num_discrete_values / (num_discrete_values - 1) range = (range_max - range_min) * range_adjust range_scale = range / num_discrete_values const double offset_input = static_cast<double>(input) - lowest_quantized; result = range_min + ((input - numeric_limits<T>::min()) * range_scale)
SCALED mode Example
SCALED
mode matches the quantization approach used in
QuantizeAndDequantize{V2|V3}
.
If the mode is SCALED
, we do not use the full range of the output type,
choosing to elide the lowest possible value for symmetry (e.g., output range is
-127 to 127, not -128 to 127 for signed 8 bit quantization), so that 0.0 maps to
0.
We first find the range of values in our tensor. The range we use is always centered on 0, so we find m such that
m = max(abs(input_min), abs(input_max))
Our input tensor range is then [-m, m]
.
Next, we choose our fixed-point quantization buckets, [min_fixed, max_fixed]
.
If T is signed, this is
num_bits = sizeof(T) * 8 [min_fixed, max_fixed] = [-(1 << (num_bits - 1) - 1), (1 << (num_bits - 1)) - 1]
Otherwise, if T is unsigned, the fixed-point range is
[min_fixed, max_fixed] = [0, (1 << num_bits) - 1]
From this we compute our scaling factor, s:
s = (2 * m) / (max_fixed - min_fixed)
Now we can dequantize the elements of our tensor:
result = input * s
input
: A Tensor
. Must be one of the following types: qint8
, quint8
, qint32
, qint16
, quint16
.min_range
: A Tensor
of type float32
.
The minimum scalar value possibly produced for the input.max_range
: A Tensor
of type float32
.
The maximum scalar value possibly produced for the input.mode
: An optional string
from: "MIN_COMBINED", "MIN_FIRST", "SCALED"
. Defaults to "MIN_COMBINED"
.name
: A name for the operation (optional).A Tensor
of type float32
.


--- title: Smashed Cucumber Salad with Hot Vinegar Recipe layout: post date: '2018-04-06 13:12:24 -0400' type: post parent_id: 0 published: true image: assets/images/post-img/smashed-cucumber-salad-with-hot-vinegar-508x286.jpg status: publish rurl: https://www.bonappetit.com/recipe/smashed-cucumber-salad-with-hot-vinegar?utm_campaign=likeshopme&mbid=social_instagram&utm_medium=instagram&utm_source=www.instagram.com/p/BhPNlRXHZpL/&utm_content=www.instagram.com/p/BhPNlRXHZpL/ categories: - Asian - Veggies-Meatless tags: - Bon Appétit meta: _wpghs_github_path: _posts/2018-04-06-smashed-cucumber-salad-with-hot-vinegar-recipe.md _sha: 59328b495283b7fba780df50f99f3d46a0806595 _edit_last: 1 _thumbnail_id: 937 _yourls_url: http://7t3.link/qwrgv _yourls_clicks: 0 _posts_by_tag_page_fields: a:2:{s:12:"widget_title";s:0:"";s:11:"widget_tags";s:0:"";} author: login: mkelley email<EMAIL_ADDRESS>display_name: Mike first_name: Mike last_name: Kelley ---
Source: Smashed Cucumber Salad with Hot Vinegar Recipe | Bon Appetit