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The Launch Pad Rev ... (7 of 60)
Kit ReviewsReviews by Jeff CowlesReviews of AnubisThe Launch Pad Reviews
The Launch Pad - Anubis {Kit}
Contributed by Jeff Cowles
Manufacturer: The Launch Pad
The Anubis is the first time I've attempted a kit from a company other than Estes. It arrived in the common long clear plastic bag, and upon inspection all of the parts were there, although there was no actual parts list with the kit. The instructions are basically two pages. The first page being a diagram of the rocket, fins, and motor mount. The second page was instructions on how to assemble the parachute on front, and a shock cord mount with instructions on shock cord assembly on the back of the page. One thing I noticed that I felt the kit lacking was that there are no decals with the Anubis.
The kit reminds me of older Estes and Centauri kits. Very basic parts, and plain sheets of balsa wood for fin material. A fin pattern on thick paper is also included. Since the kit has no step by step instructions I began with the fins. It was fairly easy to cut out the fin patterns and trace out the fins on the 1/8" balsa stock. Once finished I would caution anyone to pay careful attention to the grain of the stock. I cut the fins so that the grain goes parallel to the root edge, but due to a small knothole in the balsa I cut one of the fins with the grain diagonal to the root edge. This fin seems to be the strongest of them all, and the other three "main" fins have a little too much flex in them. The smaller bottom fins are made from 3/32" balsa.
The most tedious part of the construction has been the fairings that go around the top of the body tube. Two 9" long, 1/8"X1/16" strips are cut into eight two inch strips which are then sanded to taper the ends. Since there is an extra inch of material on each strip I cut them to 2 1/8" so that there would be a little extra for sanding down to the correct size.
After sealing the balsa parts it was time to assemble the model. Which leads to another thing I found the kit lacking... There was no fin alignment guide or fin placement wrapper. I made a guide and wrapper using VCP Then it was just the process of gluing the fins and fairings in place. I used white glue on the fin roots for quick drying, and used wood glue fillets for strength. There are no through the tube slots, so the glue strength is important on this model. I used the fin guide to mark positions for the fairings, and lined them up so that each one lines up with one of the eight fins.
The internal structure is a simple matter as well. The motor mount is a standard 24mm D sized mount. The centering rings are laser cut and slightly stronger material than the average Estes centering ring. There is also a baffle disk in the kit, but here there is a discrepancy with the diagram. It shows a plain cardboard disk that needs to have holes punched into it using a 1/4" hole punch, but the disk in the kit had a single 24mm hole punched into it. The hole was just small enough that it couldn't be confused with the motor mount centering rings. Since there is only one baffle disk I assume that it's only purpose is to separate the parachute compartment, and keep the parachute/ shock cord from falling down to the bottom of the tube.
The recovery system consists of 35" of 1/4" elastic as a shock cord, and an 18" copper colored mylar parachute. I am a little worried about the parachute as it seems like very thin material. It feels almost like the foil packages that trading cards are sold in. A snap swivel, and a barrel swivel are included to connect the parachute and shock cord to the nose cone. The shroud line is similar to that used in Estes models except that it is gray instead of white, and is held to the parachute with self adhesive paper reinforcement rings.
The last touch is the launch lug which is 2 1/2" long and made for a 3/8" launch rod. The finished model without paint or motor weighs in at 3 oz. A little light for a D engine rocket in my opinion, but I plan on weighting it down with a lot of paint.
The finish I've chosen is tan with the tips of the main fins painted black, and the secondary fins completely black. Giving it a desert type of look. As an added touch The tip of the nose cone is silver reminiscent of a Phoenix type missile.
The Anubis builds into a very nice rocket, but definitely not for the beginner. I would classify this as a skill level 3 model. I'm a little worried about putting a D engine in such a light model, but as shown in the in the instruction sheet it can use an 18mm adapter to fly on C engines. Just make sure you have a large field for this one.
I would rate this kit as 3 points
Think The Launch Pad just needs to add a decal sheet, and improve the instructions.
Have not flown so I can't help out there... Yet.
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J.M. (September 1, 1999)
Both myself and my son each built an Anubis. We enjoyed building the rockets as they were a bit more demanding than most Estes kits. The instructions were detailed and easy for us to follow. In my opinion, the balsa for the fins was a bit weak. We tried to strengthen the fins by coating them with CA then sanding them. This helped. My son's Anubis flew moderately well, veering somewhat to one end of our launch field in spite of the fins being very straight. The mylar parachute worked very well, and was much better than the cheap plasic Estes chutes. MY Anubis fared less well. I launched it at a club launch here in Denver. On ignition of the D motor, the rocket leaped up the launch rail, but took a sharp right angle at the top of the rail. The rocket flew (very well for what it is worth, and arrow straight) in a path parallel to the ground. It went several hundred yards before plowing into the earth. The rocket did not survive the crash (Not unexpected). Overall a fun kit to build, but I would strengthen the fins. Building: 4 out of 5, flight: 3 out of 5 for my son's kit. My rocket flew straight and well, just in the wrong direction. I do not think that it was the fault of the rocket that it veered off the rod at a right angle.
D.W. (April 16, 2002)
The Anubis is one of the most attractive missile designs out there. One of our club members brought out a beautifully finished model to the range for its maiden flight. However, after witnessing a "right angle" like the one described in the review I was asked by the owner to do an analysis on the airframe using RockSim. Here's what I found out: 1) With a D12 installed the CP/CG relationship is .75 calipers positive. This makes the Anubis marginally stable if built following the instructions. 2) To bring the CG forward to a more stable configuration all that is required is .3 ounces of weight in the nose cone. Since the Anubis uses an Estes PNC 60AH, there is plenty of room for this modification. In summary this is one of the Launch Pad's "cool" kits. It looks like a killer on the pad and really moves under D12 power. The addition of just a little nose weight will help avoid those right angle turns off the rod avoiding a lost or broken rocket. Fly safe and have some fun, Duane Wilkey
B.A. (March 17, 2006)
This was a decent kit. Which means I was actually able to put it together. The balsa wood I got with my kit was completely unusable. It was of such poor quality, that I went out to my local craft store and bought some regular balsa for it. And the bulkhead ring is, in my opinion, not needed. This is a BT-60, you don't need a bulkhead for that small of a tube. Instructions need to be much clearer though. A diagram is not instructions.
G.B. (August 16, 2008)
This was the first Launch Pad kit that I built, way back around 1993. It's flown great on C6-3's, and really screams on D12's. As with almost all LP kits, flying in anything but a slight breeze can be an adventure. I've always womdered one thing though...just what the heck is an Anubis???
R.J.J. (August 17, 2008)
This was my first "D" rocket and the first kit I've purchased from The Launch Pad. After building several rockets from Custom, Quest, Semroc, Estes, etc., I felt it was time to step up to something a little more challenging. The Anubis caught my eye because of it's unique design (similar to the Lacrosse missiles of the late 1950's), flies on mid-power motors, and it's low price tag. Construction wasn't difficult but I did take my time on the fins, painting them with CA glue as suggested in the instructions. I chose to laminate the fins with printer paper and CA glue. This resulted in the fins being as strong and stiff as plywood. For the finish, I chose a camouflage pattern using Testors Afrika Mustard for the base coat, followed by Testors Dark Tan and Euro Gray. Three black stripes were added followed by two coats of dullcoat laquer. It looks great. After reading some of the other reviews, I did add some clay to the nose. Since this was my first flight using D motors, I was more than a little apprehensive. My fears went away as the rocket took off straight as an arrow and came down within 50 yards of the launch site. With the wind picking up and not wishing to tempt fate, I packed my things and will fly Anubis again another day. Overall, I had a lot of fun building this rocket and am more than impressed with the way it flies. Thank you, TLP.
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The First Claimant, a singer and former judge on X-Factor and the Second Claimant, a professional footballer brought an action in Defamation against the Defendant after an article, dated 16th November 2012, appeared in one of the Defendants newspapers, The Sun and also online.
The article suggested that both Claimants were involved in an affair and contained a response from the Second Claimant's partner, Stephanie Ward, in relation to this. She also mentioned in the article that she was having a second child with her partner and was 3 months pregnant.
Both Claimants issued defamation proceedings against the publisher of the Sun newspaper.
The First Claimant pleaded that the defamatory meaning attributed to her was that she had been aware at the time of having the affair that the Second Claimant was in a long-term relationship with Stephanie Ward living as a family with their daughter and that Stephanie Ward was pregnant with a second child by the Second Claimant.
The Second Claimant pleaded that the defamatory meaning attributed to him was that by having the affair with the First Claimant he had been unfaithful to his partner, Stephanie Ward, with whom he was living in a long-term family relationship with their daughter, with the full knowledge that Stephanie Ward was carrying their second child.
No defence had been served and instead an application was made by the Defendants for a determination that the words complained of were not capable of bearing the meanings attributed to them by the Claimants.
Following other recent cases the parties agreed that the hearing would proceed as a trial of a preliminary issue to determine the actual meaning of the words complained of. The Claimants waived their right to a trial by jury and also agreed that if the judge decided that the words complained of bear any meaning defamatory of the First Claimant, then he should also decide whether that meaning was a statement of fact or of opinion.
Mr Justice Tugendhat referred to Jeynes v News Magazihnes Limited  EWCA Civ 130 as to the established principle of reasonableness as to determination of meaning and held the words complained of were defamatory of both Claimants.
Although both were defamatory, with regard to the First Claimant, Mr Justice Tugendhat found there was one meaning. Nothing pointed to the First Claimant knowing Stephanie Ward was pregnant and whether or not she had split them up, this could only happen if that is what Stephanie Ward had decided to do.
"The First Claimant entered into a romantic relationship with the Second Claimant knowing that he was in a stable, long term and committed relationship with Stephanie Ward, and knowing that he lived with Ms Ward and their young daughter as a family, and that in doing so she knowingly encouraged the Second Claimant's betrayal of his family, and thereby engaged in conduct likely to cause the breakdown of the Second Claimant's relationship with Ms Ward and their daughter".
With regard to the Second Claimant, Mr Justice Tugendhat found that the meaning of the words he complained of were defamatory.
He adopted the meaning that the Claimant had pleaded in his particulars of claim.


SHOCKING! singer-composer Vishal Dadlani to divorce wife Priyali?
Ace music composer and singer Vishal Dadlani and his wife have reportedly filed for divorce after so many years of their marriage.
If reports are to be believed then the singer has been living separately from his wife for quite some time now. The decision of separation has been taken mutually by them.
If this news is true then it's very saddening to see so many relationships going kaput in B-town.


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Mastodon vs. Twitter: Know the differences
Looking for an alternative to Twitter and thinking about joining the folks flocking to Mastodon? Here's how the two platforms compare to each other. From restructuring their workforces to facing big fines, big tech companies have been on a roller coaster ride recently – but certainly none quite as much as Twitter. Indeed, Twitter has…
Looking for an alternative to Twitter and thinking about joining the folks flocking to Mastodon? Here's how the two platforms compare to each other.
From restructuring their workforces to facing big fines, big tech companies have been on a roller coaster ride recently – but certainly none quite as much as Twitter. Indeed, Twitter has entered a whole new era since Elon Musk became the company's owner and CEO last October, and you can bet your Tesla that there are more changes on the way for the social media platform.
While many became concerned over their data and how Twitter's new leadership will deal with content moderation, another platform benefited from the upheaval, gaining momentum and a lot of new users in the process: Mastodon grew from 300,000 users in October to over 2 million in December.
How is Mastodon different from Twitter?
While both are microblogging websites, they're not like-for-like in many aspects that go way beyond the character limit on tweets and toots, respectively – 280 (for now, anyway) versus 500.
Let's now review some of the other key differences in greater detail, as well as how to best protect your account on each platform.
1. Centralized vs. decentralized
Twitter is owned and operated by Twitter, Inc., a single company that defines the social network's policy, moderation rules, and general organization. Just like Meta owns and operates Facebook or Instagram, for example.
Mastodon, on the other hand, is fully decentralized. Mastodon gGmbH is a nonprofit responsible for developing open-source software, in this case Mastodon.
But, unlike Twitter, this means that anyone, whether an individual or an entity, can take advantage of the code to create their own 'mini social networks', all of them being interconnected and able to communicate with each other and together making up the Mastodon universe known as the fediverse.
That is to say, each Mastodon server is a completely independent entity, able to interoperate with others to form one global social network. In practice, each of these servers (also known as instances) is created to gather users based on common interests, such as music, hobbies, or professions; a common identity like nationality, religion, or sexual and gender identity; or a cause, such as climate action.
Moreover, because Mastodon gGmbH is a nonprofit, its funds are based on sponsorship or support on Patreon, while individual servers may follow the same model or even be free for members and financially sustained by its admins.
Importantly, Mastodon does not sell data or run ads, nor does it have an algorithmically curated timeline. Instead, it features a "home" timeline with the people you follow, a "local" timeline with posts from users on the same instance and, finally, a "federated" timeline that shows all posts from all users.
2. Content moderation
In Mastodon, each instance (or community) governs its own rules, including content moderation. Thus, different communities may have different policies concerning the type of content that is acceptable and considered safe according to what members are comfortable reading or sharing with others.
While you can choose to share posts only within a community, they can also be public, and all members of all Mastodon instances can communicate with each other. This means that what is considered acceptable on one instance may be considered sensitive on another. In that case, the people responsible for an instance might block other instances to avoid its members seeing unwanted content.
Twitter's approach to content moderation is different and indeed, more conventional: The rules are established by a legal team and apply to everyone on the platform. While this might seem like an easier and mostly straightforward process, it might also be one of the reasons many users have started considering using Mastodon.
Despite the rules being publicly available and clearly stating the prohibition of engaging in harassment, or inciting others to create or promote hateful content, policy makers and regulators have openly alerted the platform to review its moderation practices amid recent changes and layoffs.
The recent layoffs @Twitter and today's results of the Code of Conduct against #HateSpeech are a source of concern.
In my meeting at Twitter's 🇪🇺 HQ, I underlined that we expect Twitter to deliver on their voluntary commitments and comply with EU rules, including #GDPR & #DSA. pic.twitter.com/q0HvJZy6Au
— Didier Reynders (@dreynders) November 24, 2022
In the first days of January of this year, over 200 million usernames, email addresses and other data belonging to Twitter users were posted on underground forums by hackers, who had compiled the data from a number of breaches not involving Twitter itself in 2021. While this database does not include users' passwords, it can lead to more targeted phishing and doxing.
As such, this kind of leak reminds us of the amount of data including direct messages that Twitter, Inc. servers hold on the network's 450 million users. And for those who pay for Twitter subscriptions, there's the added risk of a data breach that exposes a range of their personal and financial information.
Meanwhile, it is up to the person or organization behind each Mastodon instance to run their own server that can be hosted on a local hard drive or with a cloud storage service such as Amazon S3 or Google Cloud. This means that despite having 2.5 million users overall, Mastodon's data is stored across thousands of different servers belonging to any given Mastodon instance.
But this doesn't mean that Mastodon isn't prone to security issues, of course. Indeed, the platform has been found to contain several security vulnerabilities in recent months; in another "security scare", somebody scraped the posts and public account information of more than 150,000 Mastodon users.
So is one safer than the other?
There's never a simple answer to these kinds of questions, and definitely not in this case. For example, neither Twitter nor Mastodon have implemented end-to-end encryption on their direct messages, which means that Twitter employees could, if they wanted to, access your communications with other users – as has allegedly happened before. The same is true with the admins of your Mastodon instance, who, too, can read your direct messages. [If you're looking for a secure messaging app, look somewhere else.]
On the other hand, it bears mentioning that unlike social media companies, Mastodon doesn't collect data for marketing purposes. Switching from Twitter to Mastodon could, therefore, assuage your data privacy concerns that stem from the former's data collection practices.
Ultimately, while trusting big corporations to manage personal data might be driving users to Mastodon, it is important to evaluate the risks of entrusting your data to someone you don't know, why they decided to run a Mastodon server, or even how safe and protected from leaks their server infrastructure is. It all boils down to personal belief and to whom you entrust your data – staying away from social media altogether might not be the most appealing solution, after all.
How to best protect your Twitter and Mastodon accounts
You might choose to have an account on only one of the platforms or to stay on both, so here are a few tips to have in mind:
1. Signing up
On Twitter: As you probably know already, opening a new account is rather straightforward, as you only need to submit your name, phone or email address, date of birth, verification code, and choose a password. Alternatively, you can sign up with your Google or Apple account.
On Mastodon: This part is a bit more complicated, but once you understand how it works, it will be no big deal. Choose a server you want to be a part of, agree with the ground rules, and set up your username, display name, email and password. Note that carefully choosing a reliable server can play a great role in how safe your data is, so take the time to explore your options before deciding.
Plus, keep in mind that Mastodon works as communities. So, while you might initially feel you belong to a specific server, you can always change it and explore other communities, just remember to back up the data you want to transfer to a new account.
On both Twitter and Mastodon: Remember to choose a strong and unique password or passphrase and enable two-factor authentication (2FA).
2. Set up 2FA
On Twitter: Under "Security" in "Settings" choose "Two-factor authentication." You can decide to receive an SMS with a verification code or even better, an authentication app (like Google Authenticator) or a security key.
On Mastodon: There's only one option, which is to use an authentication app. You can enable this option in "Account Settings"; touch the three lines on the upper right corner and select "Two-factor Auth" under "Account."
3. Choose who gets to see your posts
On Twitter: "Protect your Tweets" allows you to show what you publish only to the people who follow you, thus you will also have to approve each follower. To enable that go to "Settings," tap "Privacy and Security" and choose "Audience and tagging." You can also limit your DM's to people you follow by disabling "Allow message requests from everyone" also on "Privacy and Security" under "Direct Messages."
On Mastodon: Under your profile in "Account Settings" you can select "Require follow request" to manually approve who follows you. You can also choose "Hide your social graph" to hide both followers and following lists.
To make your posts private, go again to "Account Settings," tap "Preferences" and select "Other." Here you can choose the default posting privacy as: public, unlisted or followers only. Another feature you should consider if you want to lower your digital footprint is to enable "Opt-out of search engine indexing" in the same menu.
Bonus tip: Be mindful
Being conscious of who and what is behind the platforms we use is important, and it shows how internet users are becoming more aware of their digital presence and its implications. But just as importantly, and no matter where you stand, this critical approach needs to be applied to all the apps we use and to which we entrust our personal data.
Moreover, it does start with us being mindful of what we share and how we interact with others online – indeed, following our own 'self-moderation rules' is a simple and effective starting point.
GoTo Encrypted Backups Stolen in LastPass Breach
Managed Security Services Provider (MSSP) Market News: 25 January 2023

redpajama_set_name: RedPajamaCommonCrawl


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Case Profile
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Case Name Intl. Molders' v. INS IM-CA-0040
Docket / Court 5:82-cv-01896 ( N.D. Cal. )
State/Territory California
Case Type(s) Immigration and/or the Border
Attorney Organization ACLU National Prison Project
ACLU of Northern California
MALDEF
In 1982, a labor union, businesses, and individuals filed this lawsuit in the United States District Court for the Northern District of California. They challenged immigration raids which occurred during the week of April 16, 1982, as part of "Project Jobs," a nation-wide enforcement action ... read more >
In 1982, a labor union, businesses, and individuals filed this lawsuit in the United States District Court for the Northern District of California. They challenged immigration raids which occurred during the week of April 16, 1982, as part of "Project Jobs," a nation-wide enforcement action conducted by the INS and Border Patrol agents. The plaintiffs alleged that the workplace raids, which the government called "surveys" or "control operations," resulted in U.S. citizens and lawful resident aliens being unlawfully detained, interrogated, harassed, assaulted, transported, and falsely arrested solely because of their race, national origin, ancestry, and/or language, in violation of the Fourth and Fifth Amendments to the Constitution. The plaintiffs sought declaratory and injunctive relief, monetary damages, and class certification.
Attorneys with the Mexican American Legal Defense and Educational Fund, California Rural Legal Assistance, the American Civil Liberties Union Foundation of Northern California, Inc., the National Lawyers Guild, the Employment Law Center, and private law firms represented the plaintiffs.
The District Court (Judge Robert P. Aguilar) certified the case as a class action, over objection of the defendants. International Molders' and Allied Workers' Local Union No. 164 v. Nelson, 102 F.R.D. 457 (N.D.Cal. Dec. 19, 1983). Then, the plaintiffs moved for a preliminary injunction to prohibit raids of factories absent either voluntary employer consent, unprovoked exigent circumstances, or a valid and specific search warrant. Judge Aguilar issued the requested preliminary injunction and refused to stay the order pending appeal. International Molders' and Allied Workers' Local Union No. 164 v. Nelson, 643 F.Supp. 884 (N.D. Cal. 1986). The government appealed.
The Ninth Circuit Court of Appeals (Eugene A. Wright, Circuit Judge) remanded the case with instructions to modify the scope of the injunction. International Molders' and Allied Workers' Local Union No. 164 v. Nelson, 799 F.2d 547 (9th Cir. 1986).
On remand, both parties moved for partial summary judgment. The District Court (Judge Aguilar) granted partial summary judgment in favor of plaintiffs, finding that the search warrant used at the raid of the Petaluma Poultry plant was invalid. The defendants' cross-motion was denied. International Molders v. Nelson, 674 F.Supp. 294 (N.D. Cal. 1987). Subsequently, the plaintiffs amended their complaint to assert an additional claim that as a pattern and practice, the INS employs general warrants to gain entry to businesses and seize unnamed "others." The case then proceeded to trial.
At trial, the plaintiffs presented evidence for four months before resting their case-in-chief. The evidence included testimony and documents regarding the INS' use of general warrants at thirty-one different businesses. The defendants moved for a dismissal at the close of the plaintiffs' evidence. The Court denied the motion, finding that "the individually named plaintiffs and the plaintiff class have presented evidence in their case-in-chief to prove each of their claims by a preponderance of the evidence. Through the evidence of INS conduct at businesses other than those of the named employers, plaintiffs have shown the existence of a pattern and practice of unconstitutional entries into workplaces." Pearl Meadows Mushroom Farm, Inc. v. Nelson, 723 F.Supp. 432 (N.D.Cal.,1989). The exact progression of the case thereafter is unclear, as there is no docket available.
We do know that the case was eventually settled. On December 11, 1991, the District Court (Magistrate Judge Edward A. Infante) entered a declaratory judgment approving the parties' settlement agreement. The judgment set parameters for (1) entry by immigration officials into workplaces during workplace surveys (valid warrant, consent and exigent circumstances) (2) detentions during workplace surveys (arrests, persons detained, use of force).
Dan Dalton - 11/30/2007
Allison Hight - 10/19/2015
compress summary
- click to show/hide ALL -
Issues and Causes of Action
click to show/hide detail
Constitutional Clause
Unreasonable search and seizure
Content of Injunction
Preliminary relief granted
Defendant-type
Discrimination-basis
Immigration/Border
ICE/DHS/INS raid
Legalization/Amnesty
National Origin/Ethnicity
Plaintiff Type
Private Plaintiff
Causes of Action Ex Parte Young (Federal) or Bivens
Defendant(s) Immigration and Naturalization Service
United States Border Patrol
Plaintiff Description All persons of Hispanic or other Latin American ancestry, residing within the jurisdiction of the INS San Francisco Office who have in the past, are now, or may in the future be subject to raids by INS and/or the Border Patrol at places of employment.
Indexed Lawyer Organizations ACLU National Prison Project
Class action status sought Yes
Class action status outcome Granted
Filed Pro Se No
Prevailing Party Plaintiff
Public Int. Lawyer Yes
Nature of Relief Preliminary injunction / Temp. restraining order
Injunction / Injunctive-like Settlement
Source of Relief Litigation
Form of Settlement Court Approved Settlement or Consent Decree
Order Duration 1991 - n/a
Filed 04/29/1982
Case Closing Year 1991
Case Ongoing No reason to think so
See this case at CourtListener.com (May provide additional documents and, for active cases, real-time alerts)
Court Docket(s)
N.D. Cal.
03/13/1992 5:82−cv−01896
IM-CA-0040-9000.pdf | Detail
Source: PACER [Public Access to Court Electronic Records]
Opinion and Order [Re: Class Certification] (102 F.R.D. 457)
IM-CA-0040-0005.pdf | WESTLAW| LEXIS | Detail
Source: Google Scholar
Second Amended Order Granting Preliminary Injunction and Denying Stay (643 F.Supp. 884)
U.S. Court of Appeals
[Appellate Opinion] (799 F.2d 547)
Order Granting Plaintiffs' Motion for Partial Summary Judgment and Denying Defendants' Motion for Partial Summary Judgment (674 F.Supp. 294)
Amended Order Denying Rule 41(b) Motion (723 F.Supp. 432)
Declaratory Judgment [ECF# 622] (1991 U.S.Dist.LEXIS 19726)
IM-CA-0040-0006.pdf | LEXIS | Detail
Source: LexisNexis
show all people docs
Judges Aguilar, Robert Peter (N.D. Cal.) show/hide docs
IM-CA-0040-0001 | IM-CA-0040-0003 | IM-CA-0040-0004 | IM-CA-0040-0005
Farris, Joseph Jerome (Ninth Circuit) show/hide docs
IM-CA-0040-0002
Infante, Edward A. (N.D. Cal.) show/hide docs
Rhoades, John Skylstead Sr. (S.D. Cal.) show/hide docs
Ware, James (N.D. Cal.) show/hide docs
Wright, Eugene Allen (Ninth Circuit) show/hide docs
Plaintiff's Lawyers Avila, Joaquin G. (California) show/hide docs
Baller, Morris J. (California) show/hide docs
IM-CA-0040-0001 | IM-CA-0040-0005
Berry, David (California) show/hide docs
Boone, Dan (California) show/hide docs
Brick, Steven A (California) show/hide docs
Brown, Susan E. (California) show/hide docs
Cohen, Morton P. (California) show/hide docs
Cohn, Mort (California) show/hide docs
Crosby, Margaret C. (California) show/hide docs
Fishman, Charlotte (California) show/hide docs
Grabill, David (California) show/hide docs
IM-CA-0040-0001 | IM-CA-0040-0003 | IM-CA-0040-0005
Hernandez, Antonia (California) show/hide docs
Hing, Bill Ong (California) show/hide docs
Huerta, John E. (California) show/hide docs
Hulett, Denise M. (California) show/hide docs
Jee, Lynette (California) show/hide docs
Larson, E. Richard (California) show/hide docs
May, William (California) show/hide docs
Moses, Barbara (California) show/hide docs
Nockleby, John T. (California) show/hide docs
Rosenfeld, David Albert (California) show/hide docs
Schlosser, Alan Lawrence (California) show/hide docs
Schwartz, Amitai (California) show/hide docs
Steinberg, Kip (California) show/hide docs
Tamayo, William Robert (California) show/hide docs
True, John M (California) show/hide docs
Van Der Hout, Marc (California) show/hide docs
Wong, Linda J. (California) show/hide docs
Defendant's Lawyers Bupara, Patrick R.S (California) show/hide docs
Kline, David J. (District of Columbia) show/hide docs
Russoneillo, Joseph P. (California) show/hide docs
Shapiro, Ellen Sue (District of Columbia) show/hide docs
Singh, Parker (District of Columbia) show/hide docs
Stern, Marc (District of Columbia) show/hide docs
Whetstine, Judith (California) show/hide docs


"They wont see me coming, at least not with any radar systems!"
You may place Stealth Jetpack on the field as if it were a Permanent Plot Device.
During your Opponent's turn you may play a character and equip it with Stealth Jetpack.
The Equipped Character gains the Flying Attribute.


Business Intelligence You Can Rely On.
I am a business intelligence and visual analytics professional with over 20 years' experience in this field.
During my career, I have consulted with a range of organisations and these engagements have given me the skills and experience to communicate effectively with business and IT users as well as match the appropriate software tools to business requirements and produce meaningful results for my customers.
Most of all, I enjoy working with people, solving problems and working with technology. My goal is to help my customers get the most out of their investment in their reporting toolsets. I can do this because I've worked in almost all aspects of the reporting "value chain" successfully.
Please check my "Contact" page to see what my availability for contract work is like.
Please note: Any views or ideas that are expressed here are my own and do not reflect the position of any clients that I may work for. All content on this site is copyright © Warren Thrush, unless otherwise indicated. The trademarks and logos of companies that I have worked for are owned by and are copyrighted to their respective owners.
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Q: How to recognize a non regular parametric curve? It's easy to recognize the points of a graph of a continuous functions in $\mathbb R^2$ which have zero derivative. They are points where the tangent is parallel to the horizontal axis. So in everyday usage and daily exercises in calculus classes (there are exceptions for example $y=x^3$) these graphs has peaks like the origin in graph of $y=x^2$.
So I would like to know how to recognize the points where a parametrized curve $\alpha:[a,b]\to \mathbb R^2$ has zero derivative.

A: The main point about parametrizations is that a curve viewed as a subset of $\mathbb R^2$ admits many different paramatrizations. So if you want to spot vanishing of the derivative, you have to watch a point moving through $\mathbb R^2$ and not just see its path afterwards. Seeing the point move, the derivative is just the velocity in a point, so vanishing of the derivative means that the velocity is zero at a given time.
If you are interested in point at which there cannot be any regular parametrization, then you have to look for cusps or corners as suggested in the comment by @TedShifrin.

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Breaking News Today
Latest news, breaking news, today's news stories
One dead, four injured in Berlin nightclub shooting
11 months ago 1news.info

One person has been killed and four others injured in a shooting outside a Berlin event venue, German authorities say.

One person has been killed and four others injured in a shooting outside a Berlin event venue, German authorities say.
A spokeswoman for Berlin prosecutors said one or more people opened fire late on Friday outside the Tempodrom, located near Potsdamer Platz in the centre of the city, before fleeing the scene.
A 42-year-old man was killed and four others were injured, some seriously.
Investigators don't have any indication yet about what motivated the shooting but it doesn't appear to be terrorism-related.
The incident took place on a square in front of the Tempodrom as a Turkish comedy night was being staged inside.
Berlin has one of the highest number of killings per person among European capitals.
Reported with AAP.
Source: 9News https://www.9news.com.au/world/nightclub-shooting-berlin-death-injuries-europe/9dc34dad-e3da-497d-9fb7-1b4b221b8385
READ: Tensions spike over COVID-19 cruise ship targeting WA port
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For the Waterhouse painting, see The Lady of Shalott (painting).
"Shalott" redirects here. For other uses, see Shalott (disambiguation).
"The Lady of Shalott" is a ballad by the English poet Alfred, Lord Tennyson (1809–1892). Like his other early poems – "Sir Lancelot and Queen Guinevere", and "Galahad" – the poem recasts Arthurian subject matter loosely based on medieval sources. Tennyson wrote two versions of the poem, one published in 1833, of 20 stanzas, the other in 1842, of 19 stanzas.
The poem is loosely based on the Arthurian legend of Elaine of Astolat, as recounted in a thirteenth-century Italian novella titled Donna di Scalotta (No. LXXXII in the collection Cento Novelle Antiche); the earlier version is closer to the source material than the latter. Tennyson focused on the Lady's "isolation in the tower and her decision to participate in the living world, two subjects not even mentioned in Donna di Scalotta."
The first four stanzas of the 1842 poem describe a pastoral setting. The Lady of Shalott lives in an island castle in a river which flows to Camelot, but the local farmers know little about her.
Stanzas five to eight describe the lady's life. She suffers from a mysterious curse and must continually weave images on her loom without ever looking directly out at the world. Instead, she looks into a mirror, which reflects the busy road and the people of Camelot who pass by her island.
The reflected images are described as "shadows of the world", a metaphor that makes it clear they are a poor substitute for seeing directly ("I am half-sick of shadows").
Stanzas nine to twelve describe "bold Sir Lancelot" as he rides by and is seen by the lady.
The remaining seven stanzas describe the effect on the lady of seeing Lancelot; she stops weaving and looks out of her window toward Camelot, bringing about the curse.
According to scholar Anne Zanzucchi, "in a more general sense, it is fair to say that the pre-Raphaelite fascination with Arthuriana is traceable to Tennyson's work". Tennyson's biographer Leonée Ormonde finds the Arthurian material is "Introduced as a valid setting for the study of the artist and the dangers of personal isolation".
Feminist critics see the poem as concerned with issues of women's sexuality and their place in the Victorian world. Critics argue that "The Lady of Shalott" centers around the temptation of sexuality and her innocence preserved by death. Christine Poulson discusses a feminist viewpoint and suggests: "the Lady of Shalott's escape from her tower as an act of defiance, a symbol of female empowerment...". Based on Poulson's view, escaping from the tower allows for the Lady of Shalott to emotionally break free and come into terms with female sexuality.
The depiction of death has also been interpreted as sleep. Critic Christine Poulson says that sleep has a connotation of physical abandonment and vulnerability, which can either suggest sexual fulfillment or be a metaphor for virginity. Fairytales, such as Sleeping Beauty or Snow White, have traditionally depended upon this association. So, as related to the Lady of Shalott, Poulson says: "for in death [she] has become a Sleeping Beauty who can never be wakened, symbols of perfect feminine passivity."
Critics such as Hatfield have suggested that The Lady of Shalott is a representation of how Tennyson viewed society; the distance at which other people are in the lady's eyes is symbolic of the distance he feels from society. The fact that she sees them only reflected through a mirror signifies the way in which Shalott and Tennyson see the world———in a filtered sense. This distance is therefore linked to the artistic license Tennyson often wrote about.
The poem was particularly popular amongst artists of the Pre-Raphaelite movement, who shared Tennyson's interest in Arthuriana; several of the Pre-Raphaelite Brotherhood made paintings based on episodes from the poem. Two aspects, in particular, of "The Lady of Shalott" intrigued these artists: the idea of the lady trapped in her tower and the dying girl floating down the river towards Camelot.
In Moxon's 1857 edition of Tennyson's works illustrated by William Holman Hunt and Dante Gabriel Rossetti, Hunt depicted the moment when the Lady turns to see Lancelot. In the background of the illustration, Hunt juxtaposes the window facing Lancelot with a painting of Christ's crucifixion. According to Christine Poulson, the Crucifixion is the archetype of self-sacrifice and further emphasizes the ideal that the Lady of Shalott fails to represent. Poulson also considers this representation of the subject in the context of changing women's roles in the 1880s and 1890s, suggesting that it served as a warning of imminent death to women who stepped from their restricted roles and explored their desires.
Rossetti depicted Lancelot's contemplation of the Lady's "lovely face". Neither illustration pleased Tennyson, who took Hunt to task for depicting the Lady caught in the threads of her tapestry, something which is not described in the poem. Hunt explained that he wanted to sum up the whole poem in a single image, and that the entrapment by the threads suggested her "weird fate". The scene fascinated Hunt, who returned to the composition at points throughout his life and finally painted a large scale version shortly before his death. He required assistants, as he was too frail to complete it himself. This deeply conceived evocation of the Lady, ensnared within the perfect rounds of her woven reality, is an apt illustration of the mythology of the weaving arts. This work is now in the collection of the Wadsworth Atheneum Museum of Art in Hartford, Connecticut.
John William Waterhouse painted three episodes from the poem. In 1888, he painted the Lady setting out for Camelot in her boat; this work is now in the Tate Gallery. In 1894, Waterhouse painted the Lady at the climactic moment when she turns to look at Lancelot in the window; this work is now in the City Art Gallery in Leeds. Poulson argues that Waterhouse's impressionistic painting style in his 1894 rendering of The Lady of Shalott evokes a "sense of vitality and urgency". In 1915, Waterhouse painted "I Am Half-Sick of Shadows," Said the Lady of Shalott, as she sits wistfully before her loom; this work is now in the Art Gallery of Ontario.
The poem is alluded to in Oscar Wilde's novel The Picture of Dorian Gray (1890), when Sibyl Vane says, "I have grown sick of shadows."
The Lady of Shallot is mentioned in Annie Fellows Johnston's "Three Weavers", a fairy tale embedded in chapter XIV of the children's book The Little Colonel at Boarding-School (1903).
Nancy Mitford referenced the Lady of Shalott in her novel Love in a Cold Climate (1949).
A character in Eric Frank Russell's novel Next of Kin (1959) quotes the poem.
Miss Jean Brodie, in Muriel Spark's novel The Prime of Miss Jean Brodie (1961), reads the poem out loud to her class.
Agatha Christie used the line, "The mirror crack'd from side to side", to title her novel The Mirror Crack'd from Side to Side (1962), and the poem plays a large part in the plot.
The Lady of Shalott is referenced several times in Bel Kaufman's novel Up the Down Staircase (1965), particularly in the episode involving Alice Blake's suicide attempt.
Jessica Anderson uses the line "'Tirra lirra,' by the river" to title her novel Tirra Lirra by the River (1978).
Sharyn McCrumb's first published novel was a murder mystery titled Sick Of Shadows (1984).
Robin Klein uses the line "All in the blue unclouded weather" to title her short story collection All in the Blue Unclouded Weather (1991).
In Diana Wynne Jones' novel Hexwood (1993) one of the main characters, Ann Stavely, compares herself to the Lady of Shalott in that she uses a mirror to look outside her window.
In the title of her short story "Save the Reaper" (1998), Alice Munro alludes to the ballad's lines, "Only the reapers, reaping early", and "And by the moon the reaper weary", respectively.
Patricia A. McKillip uses an adaptation of the poem as a primary theme of her novel The Tower at Stony Wood (2000).
The poem is discussed and quoted in Libba Bray's novel A Great and Terrible Beauty (2003).
A stanza is located at the beginning of each chapter in Meg Cabot's novel Avalon High (2005).
The poem is referenced in Jilly Cooper's novel Wicked! (2006), where the phrase The curse is upon me is given a humorous re-interpretation in an English Literature class scene.
Lisa Ann Sandell's novel Song of the Sparrow (2007) is a retelling of her story.
Tennyson's poem is used for narration and as a narrative device in the short story "Camelot Garden" (2008), by manga author Kaori Yuki.
In Chapter 25 of Elly Griffiths' novel The House at Sea's End (2010), Jack Hastings "says something to Nelson and Nelson laughs, the sound echoing up to Ruth's turret window. She retreats. She doesn't want them seeing her there, like some overweight Lady of Shallot."
Alan C. Bradley uses the line "I am half-sick of shadows" to title his book I Am Half-Sick of Shadows (2011).
In Jasper Fforde's novel One of our Thursdays Is Missing (2011), the Lady of Shalott possesses a mirror that allows characters in the Book World to see into the real world ("the Outland").
Sarah Gridley's poetry collection, Loom (2013), is heavily influenced by The Lady of Shalott.
The first musical setting of the poem was probably a work for mezzo-soprano soloist, chorus and orchestra by the English composer Cyril Rootham, composed in 1909–10. The only known performance of Rootham's op 33 The Lady of Shalott was given in the School Hall at Eton College on 18 September 1999, with the Broadheath Singers and the Windsor Sinfonia conducted by Robert Tucker.
In 1946 Phyllis Tate composed a setting of Tennyson's The Lady of Shalott, written for the 10th anniversary of the BBC Third Programme.
In 1957-58 Arthur Bliss (once a pupil of Cyril Rootham, above) composed a 40-minute ballet suite titled The Lady of Shalott.
Popular folk duo the Indigo Girls reference the Lady of Shalott in the song "Left Me a Fool" (first released on their 1987 album Strange Fire). Lamenting the lack of depth and substance she finds when getting to know a beautiful lover, the singer sings "you remind me of Shalott, only made of shadows, even though you're not."
Composer Jon Parr Vijinski wrote a symphonic tone poem entitled The Lady of Shalott (2001). His use of thematic material, complex harmonies, and rich orchestral colour seek to link the story to its mediaeval source, and the spirit of chivalry – such as de Troyes, von Eschenbach and Malory.
Israeli progressive rock group "Atmosphera", recorded a 16-minute epic named "Lady of Shalott" about the ballad. the recording was never released until 2002 on the band's only album which was recorded in the 70s.
Dutch gothic metal band Autumn also reference the Lady of Shalott in the songs "Who Has Seen Her Wave Her Hand", "Mirrors Magic Sights", "When Lust Evokes the Curse", "Floating Towards Distress" and, arguably "Behind the Walls of Her Desire" from their 2002 album When Lust Evokes the Curse. Each song retelling parts of the story from the poem.
The song titled "Shalott" on Emilie Autumn's 2006 album Opheliac tells the poem from her own perspective, where she quotes the Lady of Shalott as saying "But then, I could have guessed it all along, 'cause now some drama queen is gonna write a song for me." She uses imagery from the poem, and quotes it directly: "I'm half sick of shadows".
Swedish pop band The Cardigans reference the poem with the line 'Mirror cracked from side to side' in a bonus track on the UK edition of Super Extra Gravity, entitled 'Give Me Your Eyes'.
The Lady of Shalott is featured on the Seven of Mirrors tarot card in the Chrysalis Tarot deck.
In the 1985 television adaptation of Lucy Maud Montgomery's Anne of Green Gables, Anne Shirley reads various stanzas of the poem and acts out the Lady of Shalott's tragic end as she floats down the river; lines from Tennyson's "Lancelot and Elaine" are also referenced. In the book, the poem enacted is consistently "Lancelot and Elaine".
In Episode one of the 1995 BBC production of The Buccaneers, Laura Testvalley (Cheire Lunghi) reads part of it to Annabel St. George (Carla Gugino). "The Lady of Shalott" does not appear on the original book by Edith Wharton.
In the ITV series Lewis (Inspector Lewis in the US), episode titled "Old, Unhappy, Far Off Things" (2011), D.S. Hathaway quotes the line "Out flew the web and floated wide".
This poem forms the backbone of voice-over for the episode "Tracie's Story" (2012) from BBC1 Drama Accused starring Sean Bean as a transgender woman in a highly destructive relationship with a married man.
In the ITV series Endeavour, the eponymous Endeavour Morse is heard reading part of the poem aloud in "Girl" (2013).
In V for Vendetta (2005), Waterhouse's painting appears in V's gallery along other masterpieces.
↑ Potwin, L.S. (December 1902). "The Source of Tennyson's The Lady of Shalott". Modern Language Notes. Modern Language Notes, Vol. 17, No. 8. 17 (8): 237–239. doi:10.2307/2917812. JSTOR 2917812.
1 2 Zanzucchi, Anne. "The Camelot Project at the University of Rochester: Alfred Lord Tennyson". Retrieved 10 January 2008.
↑ Brownbridge, Joshua (2016). "The Lady of Shalott is an allegory for female oppression in the Victorian era and serves as Tennyson's argument against the established gender roles.".
1 2 3 4 5 Poulson, Christine. Death and the Maiden: The Lady of Shalott and the Pre-Raphaelites. pp. 173–194.
↑ Poulson, Christine (1995). Reframing the Pre-Raphaelites. Aldershot, England: Scolar Press. p. 173.
↑ Poulson, Christine. "Death and the Maiden: The Lady of Shalott and the Pre-Raphaelites". Reframing the Pre-Raphaelites: 183.
↑ Fellows Johnston, Annie (1903). The Little Colonel at Boarding-School.
↑ Mitford, Nancy (1954). Love in a Cold Climate (Print ed.). London: Penguin Books. p. 138.
↑ Spark, Muriel (1961). The Prime of Miss Jean Brodie (Print ed.). London: MacMillan and Company Limited. pp. 4, 23–24.
↑ McCrumb, Sharyn (1984). Sick of Shadows. Avon Books. ISBN 978-0-380-87189-6.
↑ Duncan,Isla Duncan (2011). Alice Munro's Narrative Art (ebook ed.). New York: Palgrave Macmillan. pp. 85–86. ISBN 978-1-137-00068-2.
↑ "Kaori Yuki Creates Camelot Garden One-Shot Manga". Anime News Network. January 28, 2008. Retrieved March 1, 2009.
↑ Griffiths, Elly (2010). The House at Sea's End. Quercus Publishing. ISBN 978-1849163675.
↑ Gridley, Sarah (2013). Loom.
↑ The Band Perry (2010). "If I Die Young". YouTube. Republic Nashville Records.
↑ "The Ravens, Half Sick of Shadows". Chrysalis Tarot. April 2014.
Anne Zanzucchi, "Alfred Lord Tennyson"
The Lady of Shalott film adaptation by WAG Screen.
The Lady of Shalott set to music From the 1990 concept album "Tyger and Other Tales"
"La dama di Shalott nella traduzione di Gabriella Rouf." (PDF) (in Italian). Il Covile. 2010. Retrieved 25 February 2013.


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