text:
// Generated by the protocol buffer compiler.  DO NOT EDIT!
// source: entry_meta.proto

package org.openmit.entry;

/**
 * Protobuf type {@code mit.protobuf.EntryMeta}
 */
public  final class EntryMeta extends
    com.google.protobuf.GeneratedMessageV3 implements
    // @@protoc_insertion_point(message_implements:mit.protobuf.EntryMeta)
    EntryMetaOrBuilder {
private static final long serialVersionUID = 0L;
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  @SuppressWarnings({"rawtypes"})
  protected com.google.protobuf.MapField internalGetMapField(
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  protected com.google.protobuf.GeneratedMessageV3.FieldAccessorTable
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                "",
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  private com.google.protobuf.MapField<
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  private com.google.protobuf.MapField<java.lang.String, org.openmit.entry.FieldIdArray>
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          EntryMetaMapDefaultEntryHolder.defaultEntry);
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  /**
   *

   * Maps of between fieldid name and related fieldid list
   *

   *
   * map<string, .mit.protobuf.FieldIdArray> entry_meta_map = 1;
   */

  public boolean containsEntryMetaMap(
      java.lang.String key) {
    if (key == null) { throw new java.lang.NullPointerException(); }
    return internalGetEntryMetaMap().getMap().containsKey(key);
  }
  /**
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   */
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  public java.util.Map<java.lang.String, org.openmit.entry.FieldIdArray> getEntryMetaMap() {
    return getEntryMetaMapMap();
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  /**
   *

   * Maps of between fieldid name and related fieldid list
   *

   *
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  /**
   *

   * Maps of between fieldid name and related fieldid list
   *

   *
   * map<string, .mit.protobuf.FieldIdArray> entry_meta_map = 1;
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    if (key == null) { throw new java.lang.NullPointerException(); }
    java.util.Map<java.lang.String, org.openmit.entry.FieldIdArray> map =
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  }
  /**
   *

   * Maps of between fieldid name and related fieldid list
   *

   *
   * map<string, .mit.protobuf.FieldIdArray> entry_meta_map = 1;
   */

  public org.openmit.entry.FieldIdArray getEntryMetaMapOrThrow(
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    if (key == null) { throw new java.lang.NullPointerException(); }
    java.util.Map<java.lang.String, org.openmit.entry.FieldIdArray> map =
        internalGetEntryMetaMap().getMap();
    if (!map.containsKey(key)) {
      throw new java.lang.IllegalArgumentException();
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    return map.get(key);
  }

  public static final int EMBEDDING_SIZE_FIELD_NUMBER = 2;
  private int embeddingSize_;
  /**
   *

   * embedding size
   *

   *
   * uint32 embedding_size = 2;
   */
  public int getEmbeddingSize() {
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  private volatile java.lang.Object model_;
  /**
   *

   * model name
   *

   *
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   *

   * model name
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   *
   * string model = 3;
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      com.google.protobuf.ByteString b =
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  private byte memoizedIsInitialized = -1;
  public final boolean isInitialized() {
    byte isInitialized = memoizedIsInitialized;
    if (isInitialized == 1) return true;
    if (isInitialized == 0) return false;

    memoizedIsInitialized = 1;
    return true;
  }

  public void writeTo(com.google.protobuf.CodedOutputStream output)
                      throws java.io.IOException {
    com.google.protobuf.GeneratedMessageV3
      .serializeStringMapTo(
        output,
        internalGetEntryMetaMap(),
        EntryMetaMapDefaultEntryHolder.defaultEntry,
        1);
    if (embeddingSize_ != 0) {
      output.writeUInt32(2, embeddingSize_);
    }
    if (!getModelBytes().isEmpty()) {
      com.google.protobuf.GeneratedMessageV3.writeString(output, 3, model_);
    }
    unknownFields.writeTo(output);
  }

  public int getSerializedSize() {
    int size = memoizedSize;
    if (size != -1) return size;

    size = 0;
    for (java.util.Map.Entry<java.lang.String, org.openmit.entry.FieldIdArray> entry
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      com.google.protobuf.MapEntry<java.lang.String, org.openmit.entry.FieldIdArray>
      entryMetaMap__ = EntryMetaMapDefaultEntryHolder.defaultEntry.newBuilderForType()
          .setKey(entry.getKey())
          .setValue(entry.getValue())
          .build();
      size += com.google.protobuf.CodedOutputStream
          .computeMessageSize(1, entryMetaMap__);
    }
    if (embeddingSize_ != 0) {
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    memoizedSize = size;
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  }

  @java.lang.Override
  public boolean equals(final java.lang.Object obj) {
    if (obj == this) {
     return true;
    }
    if (!(obj instanceof org.openmit.entry.EntryMeta)) {
      return super.equals(obj);
    }
    org.openmit.entry.EntryMeta other = (org.openmit.entry.EntryMeta) obj;

    boolean result = true;
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    result = result && (getEmbeddingSize()
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    result = result && getModel()
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    result = result && unknownFields.equals(other.unknownFields);
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  @java.lang.Override
  public int hashCode() {
    if (memoizedHashCode != 0) {
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    }
    int hash = 41;
    hash = (19 * hash) + getDescriptor().hashCode();
    if (!internalGetEntryMetaMap().getMap().isEmpty()) {
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    hash = (53 * hash) + getEmbeddingSize();
    hash = (37 * hash) + MODEL_FIELD_NUMBER;
    hash = (53 * hash) + getModel().hashCode();
    hash = (29 * hash) + unknownFields.hashCode();
    memoizedHashCode = hash;
    return hash;
  }

  public static org.openmit.entry.EntryMeta parseFrom(
      java.nio.ByteBuffer data)
      throws com.google.protobuf.InvalidProtocolBufferException {
    return PARSER.parseFrom(data);
  }
  public static org.openmit.entry.EntryMeta parseFrom(
      java.nio.ByteBuffer data,
      com.google.protobuf.ExtensionRegistryLite extensionRegistry)
      throws com.google.protobuf.InvalidProtocolBufferException {
    return PARSER.parseFrom(data, extensionRegistry);
  }
  public static org.openmit.entry.EntryMeta parseFrom(
      com.google.protobuf.ByteString data)
      throws com.google.protobuf.InvalidProtocolBufferException {
    return PARSER.parseFrom(data);
  }
  public static org.openmit.entry.EntryMeta parseFrom(
      com.google.protobuf.ByteString data,
      com.google.protobuf.ExtensionRegistryLite extensionRegistry)
      throws com.google.protobuf.InvalidProtocolBufferException {
    return PARSER.parseFrom(data, extensionRegistry);
  }
  public static org.openmit.entry.EntryMeta parseFrom(byte[] data)
      throws com.google.protobuf.InvalidProtocolBufferException {
    return PARSER.parseFrom(data);
  }
  public static org.openmit.entry.EntryMeta parseFrom(
      byte[] data,
      com.google.protobuf.ExtensionRegistryLite extensionRegistry)
      throws com.google.protobuf.InvalidProtocolBufferException {
    return PARSER.parseFrom(data, extensionRegistry);
  }
  public static org.openmit.entry.EntryMeta parseFrom(java.io.InputStream input)
      throws java.io.IOException {
    return com.google.protobuf.GeneratedMessageV3
        .parseWithIOException(PARSER, input);
  }
  public static org.openmit.entry.EntryMeta parseFrom(
      java.io.InputStream input,
      com.google.protobuf.ExtensionRegistryLite extensionRegistry)
      throws java.io.IOException {
    return com.google.protobuf.GeneratedMessageV3
        .parseWithIOException(PARSER, input, extensionRegistry);
  }
  public static org.openmit.entry.EntryMeta parseDelimitedFrom(java.io.InputStream input)
      throws java.io.IOException {
    return com.google.protobuf.GeneratedMessageV3
        .parseDelimitedWithIOException(PARSER, input);
  }
  public static org.openmit.entry.EntryMeta parseDelimitedFrom(
      java.io.InputStream input,
      com.google.protobuf.ExtensionRegistryLite extensionRegistry)
      throws java.io.IOException {
    return com.google.protobuf.GeneratedMessageV3
        .parseDelimitedWithIOException(PARSER, input, extensionRegistry);
  }
  public static org.openmit.entry.EntryMeta parseFrom(
      com.google.protobuf.CodedInputStream input)
      throws java.io.IOException {
    return com.google.protobuf.GeneratedMessageV3
        .parseWithIOException(PARSER, input);
  }
  public static org.openmit.entry.EntryMeta parseFrom(
      com.google.protobuf.CodedInputStream input,
      com.google.protobuf.ExtensionRegistryLite extensionRegistry)
      throws java.io.IOException {
    return com.google.protobuf.GeneratedMessageV3
        .parseWithIOException(PARSER, input, extensionRegistry);
  }

  public Builder newBuilderForType() { return newBuilder(); }
  public static Builder newBuilder() {
    return DEFAULT_INSTANCE.toBuilder();
  }
  public static Builder newBuilder(org.openmit.entry.EntryMeta prototype) {
    return DEFAULT_INSTANCE.toBuilder().mergeFrom(prototype);
  }
  public Builder toBuilder() {
    return this == DEFAULT_INSTANCE
        ? new Builder() : new Builder().mergeFrom(this);
  }

  @java.lang.Override
  protected Builder newBuilderForType(
      com.google.protobuf.GeneratedMessageV3.BuilderParent parent) {
    Builder builder = new Builder(parent);
    return builder;
  }
  /**
   * Protobuf type {@code mit.protobuf.EntryMeta}
   */
  public static final class Builder extends
      com.google.protobuf.GeneratedMessageV3.Builder<Builder> implements
      // @@protoc_insertion_point(builder_implements:mit.protobuf.EntryMeta)
      org.openmit.entry.EntryMetaOrBuilder {
    public static final com.google.protobuf.Descriptors.Descriptor
        getDescriptor() {
      return org.openmit.entry.EntryMetaProtos.internal_static_mit_protobuf_EntryMeta_descriptor;
    }

    @SuppressWarnings({"rawtypes"})
    protected com.google.protobuf.MapField internalGetMapField(
        int number) {
      switch (number) {
        case 1:
          return internalGetEntryMetaMap();
        default:
          throw new RuntimeException(
              "Invalid map field number: " + number);
      }
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    @SuppressWarnings({"rawtypes"})
    protected com.google.protobuf.MapField internalGetMutableMapField(
        int number) {
      switch (number) {
        case 1:
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        default:
          throw new RuntimeException(
              "Invalid map field number: " + number);
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    protected com.google.protobuf.GeneratedMessageV3.FieldAccessorTable
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          .ensureFieldAccessorsInitialized(
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    // Construct using org.openmit.entry.EntryMeta.newBuilder()
    private Builder() {
      maybeForceBuilderInitialization();
    }

    private Builder(
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      super(parent);
      maybeForceBuilderInitialization();
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    private void maybeForceBuilderInitialization() {
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              .alwaysUseFieldBuilders) {
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    public Builder clear() {
      super.clear();
      internalGetMutableEntryMetaMap().clear();
      embeddingSize_ = 0;

      model_ = "";

      return this;
    }

    public com.google.protobuf.Descriptors.Descriptor
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    public org.openmit.entry.EntryMeta getDefaultInstanceForType() {
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    public org.openmit.entry.EntryMeta build() {
      org.openmit.entry.EntryMeta result = buildPartial();
      if (!result.isInitialized()) {
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      int from_bitField0_ = bitField0_;
      int to_bitField0_ = 0;
      result.entryMetaMap_ = internalGetEntryMetaMap();
      result.entryMetaMap_.makeImmutable();
      result.embeddingSize_ = embeddingSize_;
      result.model_ = model_;
      result.bitField0_ = to_bitField0_;
      onBuilt();
      return result;
    }

    public Builder clone() {
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    public Builder clearField(
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    public Builder clearOneof(
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    public Builder setRepeatedField(
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        int index, java.lang.Object value) {
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    public Builder addRepeatedField(
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        java.lang.Object value) {
      return (Builder) super.addRepeatedField(field, value);
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    public Builder mergeFrom(com.google.protobuf.Message other) {
      if (other instanceof org.openmit.entry.EntryMeta) {
        return mergeFrom((org.openmit.entry.EntryMeta)other);
      } else {
        super.mergeFrom(other);
        return this;
      }
    }

    public Builder mergeFrom(org.openmit.entry.EntryMeta other) {
      if (other == org.openmit.entry.EntryMeta.getDefaultInstance()) return this;
      internalGetMutableEntryMetaMap().mergeFrom(
          other.internalGetEntryMetaMap());
      if (other.getEmbeddingSize() != 0) {
        setEmbeddingSize(other.getEmbeddingSize());
      }
      if (!other.getModel().isEmpty()) {
        model_ = other.model_;
        onChanged();
      }
      this.mergeUnknownFields(other.unknownFields);
      onChanged();
      return this;
    }

    public final boolean isInitialized() {
      return true;
    }

    public Builder mergeFrom(
        com.google.protobuf.CodedInputStream input,
        com.google.protobuf.ExtensionRegistryLite extensionRegistry)
        throws java.io.IOException {
      org.openmit.entry.EntryMeta parsedMessage = null;
      try {
        parsedMessage = PARSER.parsePartialFrom(input, extensionRegistry);
      } catch (com.google.protobuf.InvalidProtocolBufferException e) {
        parsedMessage = (org.openmit.entry.EntryMeta) e.getUnfinishedMessage();
        throw e.unwrapIOException();
      } finally {
        if (parsedMessage != null) {
          mergeFrom(parsedMessage);
        }
      }
      return this;
    }
    private int bitField0_;

    private com.google.protobuf.MapField<
        java.lang.String, org.openmit.entry.FieldIdArray> entryMetaMap_;
    private com.google.protobuf.MapField<java.lang.String, org.openmit.entry.FieldIdArray>
    internalGetEntryMetaMap() {
      if (entryMetaMap_ == null) {
        return com.google.protobuf.MapField.emptyMapField(
            EntryMetaMapDefaultEntryHolder.defaultEntry);
      }
      return entryMetaMap_;
    }
    private com.google.protobuf.MapField<java.lang.String, org.openmit.entry.FieldIdArray>
    internalGetMutableEntryMetaMap() {
      onChanged();;
      if (entryMetaMap_ == null) {
        entryMetaMap_ = com.google.protobuf.MapField.newMapField(
            EntryMetaMapDefaultEntryHolder.defaultEntry);
      }
      if (!entryMetaMap_.isMutable()) {
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      }
      return entryMetaMap_;
    }

    public int getEntryMetaMapCount() {
      return internalGetEntryMetaMap().getMap().size();
    }
    /**
     *

     * Maps of between fieldid name and related fieldid list
     *

     *
     * map<string, .mit.protobuf.FieldIdArray> entry_meta_map = 1;
     */

    public boolean containsEntryMetaMap(
        java.lang.String key) {
      if (key == null) { throw new java.lang.NullPointerException(); }
      return internalGetEntryMetaMap().getMap().containsKey(key);
    }
    /**
     * Use {@link #getEntryMetaMapMap()} instead.
     */
    @java.lang.Deprecated
    public java.util.Map<java.lang.String, org.openmit.entry.FieldIdArray> getEntryMetaMap() {
      return getEntryMetaMapMap();
    }
    /**
     *

     * Maps of between fieldid name and related fieldid list
     *

     *
     * map<string, .mit.protobuf.FieldIdArray> entry_meta_map = 1;
     */

    public java.util.Map<java.lang.String, org.openmit.entry.FieldIdArray> getEntryMetaMapMap() {
      return internalGetEntryMetaMap().getMap();
    }
    /**
     *

     * Maps of between fieldid name and related fieldid list
     *

     *
     * map<string, .mit.protobuf.FieldIdArray> entry_meta_map = 1;
     */

    public org.openmit.entry.FieldIdArray getEntryMetaMapOrDefault(
        java.lang.String key,
        org.openmit.entry.FieldIdArray defaultValue) {
      if (key == null) { throw new java.lang.NullPointerException(); }
      java.util.Map<java.lang.String, org.openmit.entry.FieldIdArray> map =
          internalGetEntryMetaMap().getMap();
      return map.containsKey(key) ? map.get(key) : defaultValue;
    }
    /**
     *

     * Maps of between fieldid name and related fieldid list
     *

     *
     * map<string, .mit.protobuf.FieldIdArray> entry_meta_map = 1;
     */

    public org.openmit.entry.FieldIdArray getEntryMetaMapOrThrow(
        java.lang.String key) {
      if (key == null) { throw new java.lang.NullPointerException(); }
      java.util.Map<java.lang.String, org.openmit.entry.FieldIdArray> map =
          internalGetEntryMetaMap().getMap();
      if (!map.containsKey(key)) {
        throw new java.lang.IllegalArgumentException();
      }
      return map.get(key);
    }

    public Builder clearEntryMetaMap() {
      internalGetMutableEntryMetaMap().getMutableMap()
          .clear();
      return this;
    }
    /**
     *

     * Maps of between fieldid name and related fieldid list
     *

     *
     * map<string, .mit.protobuf.FieldIdArray> entry_meta_map = 1;
     */

    public Builder removeEntryMetaMap(
        java.lang.String key) {
      if (key == null) { throw new java.lang.NullPointerException(); }
      internalGetMutableEntryMetaMap().getMutableMap()
          .remove(key);
      return this;
    }
    /**
     * Use alternate mutation accessors instead.
     */
    @java.lang.Deprecated
    public java.util.Map<java.lang.String, org.openmit.entry.FieldIdArray>
    getMutableEntryMetaMap() {
      return internalGetMutableEntryMetaMap().getMutableMap();
    }
    /**
     *

     * Maps of between fieldid name and related fieldid list
     *

     *
     * map<string, .mit.protobuf.FieldIdArray> entry_meta_map = 1;
     */
    public Builder putEntryMetaMap(
        java.lang.String key,
        org.openmit.entry.FieldIdArray value) {
      if (key == null) { throw new java.lang.NullPointerException(); }
      if (value == null) { throw new java.lang.NullPointerException(); }
      internalGetMutableEntryMetaMap().getMutableMap()
          .put(key, value);
      return this;
    }
    /**
     *

     * Maps of between fieldid name and related fieldid list
     *

     *
     * map<string, .mit.protobuf.FieldIdArray> entry_meta_map = 1;
     */

    public Builder putAllEntryMetaMap(
        java.util.Map<java.lang.String, org.openmit.entry.FieldIdArray> values) {
      internalGetMutableEntryMetaMap().getMutableMap()
          .putAll(values);
      return this;
    }

    private int embeddingSize_ ;
    /**
     *

     * embedding size
     *

     *
     * uint32 embedding_size = 2;
     */
    public int getEmbeddingSize() {
      return embeddingSize_;
    }
    /**
     *

     * embedding size
     *

     *
     * uint32 embedding_size = 2;
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     * embedding size
     *

     *
     * uint32 embedding_size = 2;
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      embeddingSize_ = 0;
      onChanged();
      return this;
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    private java.lang.Object model_ = "";
    /**
     *

     * model name
     *

     *
     * string model = 3;
     */
    public java.lang.String getModel() {
      java.lang.Object ref = model_;
      if (!(ref instanceof java.lang.String)) {
        com.google.protobuf.ByteString bs =
            (com.google.protobuf.ByteString) ref;
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     * model name
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     * string model = 3;
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     * model name
     *

     *
     * string model = 3;
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        java.lang.String value) {
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  }

      model_ = value;
      onChanged();
      return this;
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    /**
     *

     * model name
     *

     *
     * string model = 3;
     */
    public Builder clearModel() {

      model_ = getDefaultInstance().getModel();
      onChanged();
      return this;
    }
    /**
     *

     * model name
     *

     *
     * string model = 3;
     */
    public Builder setModelBytes(
        com.google.protobuf.ByteString value) {
      if (value == null) {
    throw new NullPointerException();
  }
  checkByteStringIsUtf8(value);

      model_ = value;
      onChanged();
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    public final Builder mergeUnknownFields(
        final com.google.protobuf.UnknownFieldSet unknownFields) {
      return super.mergeUnknownFields(unknownFields);
    }

    // @@protoc_insertion_point(builder_scope:mit.protobuf.EntryMeta)
  }

  // @@protoc_insertion_point(class_scope:mit.protobuf.EntryMeta)
  private static final org.openmit.entry.EntryMeta DEFAULT_INSTANCE;
  static {
    DEFAULT_INSTANCE = new org.openmit.entry.EntryMeta();
  }

  public static org.openmit.entry.EntryMeta getDefaultInstance() {
    return DEFAULT_INSTANCE;
  }

  private static final com.google.protobuf.Parser<EntryMeta>
      PARSER = new com.google.protobuf.AbstractParser<EntryMeta>() {
    public EntryMeta parsePartialFrom(
        com.google.protobuf.CodedInputStream input,
        com.google.protobuf.ExtensionRegistryLite extensionRegistry)
        throws com.google.protobuf.InvalidProtocolBufferException {
      return new EntryMeta(input, extensionRegistry);
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  };

  public static com.google.protobuf.Parser<EntryMeta> parser() {
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  @java.lang.Override
  public com.google.protobuf.Parser<EntryMeta> getParserForType() {
    return PARSER;
  }

  public org.openmit.entry.EntryMeta getDefaultInstanceForType() {
    return DEFAULT_INSTANCE;
  }

}

redpajama_set_name: RedPajamaGithub


text:
Love Island star Francesca Allen receives 'the best Christmas present a girl could ask for'
Former Love Island contestant Francesca Allen has announced she is engaged.
The reality TV personality said she felt like she had received "the best Christmas present a girl could ask for" in a post on Instagram.
Allen shared a photo of her now-fiance getting down on one knee at Home House private members club in Marylebone, London.
A post shared by francesca allen (@francesca_allen)
In a second image she showed off her engagement ring while sat on her partner's lap.
She captioned the post: "The best Christmas present a girl could ask for. I'm marrying my best friend!!!!! I still can't believe it."
The former clothing store manager, from Essex, did not reveal the name of her fiance but first shared a photo of them together in early November.
She appeared on season five of ITV dating show Love Island in 2019 but failed to find love after coupling up with Curtis Pritchard and Michael Griffiths.
Allen lasted around two weeks before being dumped from the show.
Fellow islander Elma Pazar, The Only Way Is Essex cast member Georgia Kousoulou and Made In Chelsea's Joshua Patterson were among those sending their congratulations.

redpajama_set_name: RedPajamaCommonCrawl


text:
Stunning videos appear to show rockets raining down on the US embassy compound in Baghdad
The C-RAM defense system uses high explosive incendiary rounds to engage enemy projectiles in midair.U.S. ArmyUS officials blame "
The C-RAM defense system uses high explosive incendiary rounds to engage enemy projectiles in midair.U.S. Army
US officials blame "terror groups" for a rocket attack against the US embassy in Baghdad that wounded a woman and child on Thursday.
Video captured during the attack appears to show the embassy's C-RAM defense system shooting down at least two rockets.
In a statement, the Iraqi military said the attack was launced from the Dora neighborhood of Baghdad.
Striking video of a rocket attack on the US embassy in Baghdad appears to show the embassy's C-RAM defense system — meant to detect and destroy incoming rockets — shooting down at least two rockets on Thursday as more got through.
US officials blamed"terror groups" for the nighttime attack that was launched from the Dora neighborhood of Baghdad and said a woman and child were injured.
Three missiles struck within the perimeter of the US embassy, Iraqi security officials told the Associated Press. At least one of the missiles hit the Elaf school.
The videos show the US-made system firing 20mm rounds, some with illumination, through its six barrels so rapidly the sound of the shots blend together. One video appears to show a rocket strike at close range to the person recording.
Witnesses said they could hear explosions and videos taken by BBC correspondent Nafiseh Kohnavard appear to show the C-RAM defense system engaging around 7:30 pm local time on Thursday.
This attack is the latest in a string of attacks targeting bases or installations with U.S. military and diplomatic personnel, some of which have been attributed to militias with ties to Iran. There have been no US casualties as a result of the attacks.
Last month, the top commander for the Middle East, Marine Gen. Frank McKenzie, told the Associated Press that he believes there will be an increase in attacks on U.S. and Iraqi personnel by Iranian-backed militias who are determined to get American forces out.
Previous Several Ukrainian government websites breached in massive cyberattack
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How to Analyze Your WebSite like Hacker to Find Vulnerabilities?
A step-by-step guide to finding security flaws within web application using Detectify security vulnerability scanner.
97% of applications tested by TrustWave was vulnerable to one or more security risk.
This blog post is in collaboration with Detectify.
Web application vulnerability may cause business and reputational loss to the company if not remediated on time.
The sad truth is most of the websites are vulnerable most of the time. An interesting report by White Hat Security shows average days to fix the vulnerability by industry.
How do you ensure you are aware of known and unknown vulnerabilities in your web applications?
There are many cloud-based security scanners to help you with that. In this article, I will talk about one of the most promising SaaS platform – Detectify.
Detectify integrates with your development process to find the security risk at an early stage (staging/non-production environment), so you mitigate them before go-live.
Development integration is just one of the many excellent features and optional if you don't have a staging environment.
Detectify uses an internally built crawler to crawl your website and optimize the test based on technologies used in the web applications.
Once crawled, your website is tested for more than 500 vulnerabilities including OWASP top 10 and give you an actionable report of each finding.
Reporting – you can export the scan results as a summary or a full report. You have an option to export as PDF, JSON or to Trello. You can also view the report by OWASP top 10; this would be handy if your goal is to fix only with OWASP findings.
Integration – you can use Detectify API to integrate with your applications or the following.
Customize tests – every application is unique, so if necessary you can put the custom cookie/user agents/headers, change test behavior and from different devices.
Continuous Security updates – tool is updated regulary to ensure all latest vulnerabilities are covered and tested. For ex, just last week more than 10 new test were updated.
CMS Security – if you are running a blog, information website, eCommerce then most likely you will be using CMS like WordPress, Joomla, Drupal, Magento and the good news is they are covered in the security test.
Detectify performs CMS particular test to ensure your website is not exposed to online threats which may have arisen from them.
Detectify offers 14 days FREE trial (no credit card required). Following, I will create a trial account and perform the security test on my website.
Click "Verify the email to get it started," and you will be redirected to the dashboard with welcome tour screen.
You may be interested in navigating through the step-by-step guide or watching the video, but for now, I will close the window.
By now, you have your account created and ready to add the website to run the scan. On the dashboard, you will see a menu "Scopes & Targets," click on that.
There are two ways to add the scope (URL).
Choose the one you like. I will proceed by importing through Google Analytics.
Click "Use Google Analytics" and authenticate your Google account to retrieve the URL information. Once added, you should see the URL information.
This concludes you have added the URL to Detectify and whenever ready you can run the scan-on-demand or schedule to run it daily, weekly or monthly.
Let's go to the dashboard and click on the URL you just added.
It will take some time (approx. 3-4 hours based on the website size) to run the full scan. You may close the browser, and you will get notification by email once the scan is finished.
It took around 3.5 hours to complete the scan for Geek Flare, and I got this.
You can either click on email or login to a dashboard to view the report.
Reporting is what as a website owner or security analyst would be looking for. It's essential as you will need to fix the findings what you see in the report.
When you log into Dashboard, you will see your website list.
You can see last scan date & timing, some findings, and overall score.
High severity is dangerous, and it should always be first to fix in your priority.
Let's take a look at the detailed report. Click on the website from the dashboard, and it will take you to the overview page.
Here you have two options under "Threat Score." Either you can view the finding online or export them to PDF.
I exported my report in PDF, and it was 351 pages, that's in-depth.
A quick example of online findings, you can expand them to see the detailed information.
Each result is explained in clear and possible recommendation so if you are security analyst; a report should give you enough information to fix them.
OWASP top 10 reporting – if you are just interested in OWASP top 10 security items report then you can view them under "Reports" at left navigation bar.
So go ahead and look into the report to see what you got to fix. Once you repair the finding, you can run the scan again to verify.
There are some useful settings you may want to play around with it based on the requirement.
Request limit – if you want Detectify to limit the number of requests it makes per second to your website you can customize here. By default, it's disabled.
Subdomain – you can instruct Detectify not to discover subdomain for the scan. It's enabled by default.
Setup recurring scan – change the schedule to run the security scan daily, weekly or monthly. By default, it's configured to run weekly.
Scan from mobile – you can run the scan from different user-agent. Useful if you want to test like mobile user, custom client, etc.
Disable specific test – don't want to test some specific security item? You can disable it from here.
If you are serious about finding security vulnerabilities from the hacker perspective, then give a try to Detectify. You can create a trial account to explore the features.


Miss Cummings and Miss Sunderland are our teachers. Mrs Malanczak also works in our reception unit as our teaching assistant.
We have lots of provision areas in our class rooms.
We also enjoy learning outside and have lots of different things to use and be imaginative with.


Responsive Price Table is a module that displays a table with prices. This extension differs from the similar analogues in the fact that is an adaptive solution.
All you need to do to on your website there is a table is to load and configure the extension. One of the simplest solutions, but at the same time has a nice design and appearance.
The ability to set the table with prices.


'Thoughts on Man, His Nature, Productions and Discoveries'' is a sensational novel that focuses on human attitudes. It is a compilation of author's research work and depicts his keen observation and precise analysis of idiosyncratic values and preferences. The author argues human as any other creature on the earth and takes him as specimen for his study. Worth reading!


Two New York City residents were found dead on Tuesday after their boat capsized in Goldens Bridge.
Two men were found dead on Tuesday.
Drowning and hypothermia caused the deaths of two fishermen at Muscoot Reservoir on Monday, police confirmed.
New York City residents Ngan We Kong and Weitao Ma were found dead at the reservoir in Goldens Bridge, a hamlet of Lewisboro, on Tuesday morning after their boat was found capsized, state police said.
Ma, a 47-year-old from Staten Island, was found near the shore. An autopsy revealed that he died from hypothermia, Joseph Becerra, a state police investigator, said today.
Kong, a 48-year-old from Brooklyn, was found farther out in the water. He died from asphyxiation due to cold-water drowning and hypothermia, Becerra said.
Ma and Kong were both wearing life jackets, police said. It's unclear what caused their aluminum rowboat, about 12 to 15 feet long, to overturn, but police said it appears to be accidental.
Police believe the friends frantically tried to reach shore before succumbing to the frigid conditions within minutes.
"At 38 degrees, we're pretty confident within minutes you're heading into hypothermia," state police Capt. David Atkins said on Tuesday.
Becerra said Ma and Kong started fishing around 2 p.m. Monday in the reservoir, which includes about 30.5 miles of shoreline that snakes along Lewisboro, Somers and Katonah. Around 5 p.m. the men spoke to relatives and said they intended to keep fishing as rain fell and darkness settled in, police said.
Around 7 a.m. Tuesday, another fisherman spotted the capsized boat and saw one of the dead men, Atkins said. Police then found the second man's body, and spent several hours searching in case anyone else had been in the boat, but they determined that Ma and Kong were the only ones in the boat before it overturned.
The capsized boat was found 150 to 200 yards from shore. Becerra said there was no indication that Ma or Kong was impaired at the time.
Police from the New York City Department of Environmental Protection also responded, as well as a scuba team with sonar, police helicopters and police dogs. The reservoir is owned by New York City and is a part of the city's water supply system.


text:
Near Gardner, 2019
Oil on linen mounted on panel
Canadian Rockets, 2019
W. Yellowstone, 2018
Twice Over, 2017
Diptych, overall: 80 x 110 inches
The Nine Planets, 2017
Horse and Rider, 2017
Oil on linen mounted on board
Along the Wall of Stones, 2017
Woods, 2016
Chart, 2013
Oil on linen on panel
China Hats, 1987
Train Study #1, 2012
Double Duck, 2012
Graphite on paper
Duck Studies (with Green), 2009
Graphite and watercolor on paper
Christopher Brown was born in 1951 in Camp Lejeune, a Marine Corps base in North Carolina, where his father, Bruce, was a doctor. When he was three, his family moved to Ohio, and his interest in art began to bud. He had his mother to enroll him in Saturday morning art classes in a neighbor's home; an interest in art is among Brown's earliest memories. Painting for Brown continues to be connected with the formation and sensation of memory; that moment in his childhood during the move to Ohio, when harmony was disrupted just as his conceptualization of the world began. When Brown was 13, his family moved again, this time to Illinois. His father became the student-health director at the University of Illinois in Champaign-Urbana, where Brown attended college and majored in painting. After he graduated in 1973, he went to art school at the University of California at Davis. The faculty included Thiebaud, Wiley, Roy De Forest, Robert Arneson, Manuel Neri and Roland Peterson. At Davis, Brown began to think seriously about the concept of Pop Art in Great Britain as well as in America. To Brown, this concept meant both the presence-absence of the media image, the tension between its immediacy and yet its distance from us and from the reality to which it refers. After the first year at Davis, he took a year off and went to Europe on a grant from the University of Illinois. He spent several months in Spain, visiting the Prado, settling briefly in Malaga. Brown then went to Munich, where he spent most of the winter. Brown returned to Davis, where he graduated in 1976. After his graduation Brown spent five years on the move. First he moved to Woodland, an old farming community outside of Davis, where he taught part-time at American River College in Sacramento. Then in 1978, he moved to San Francisco, where he not only painted but also wrote art criticism for Artweek magazine in Oakland. Then, with a DAAD (Deutsches Akademisches Austausch Dienst) Fellowship awarded through the Fulbright Program, he went back to Munich for a year. He returned to San Francisco after being awarded the second of his two art critic's grants by the National Endowment for the Arts and went on to teach in the studio art department of the University of California at Berkeley in 1981 where he taught until 1994, and was Department Chair from 1990-1994. Brown currently lives and works in Berkeley, California.
View all Exhibitions Publications News Press
The Waters Sliding November 2 - December 23, 2017
Four Decades
Drawings and Works on Paper May 1, 2014
Recent Paintings February 2 – March 31, 2012
December 9, 2010 – January 19, 2011
A Gardener's Notebook September 9 – October 30, 2010
Paintings, Drawings, and Sculpture
Recent Paintings May 20 – July 3, 2008
Buildings, Birds and Box Cars March 2 – April 1, 2006
Recent Paintings April 15 – May 29, 2004
New Paintings May 30 – July 6, 2002
Christopher Brown: The Waters Sliding
Christopher Brown: A Gardener's Notebook
Inside Chris Brown's Studio
Savoir-Faire The World of Art October 2017
Christopher Brown: A Different View
ArtWorks Magazine October 12, 2010
Brown's Risky Leap Though 'Open Window'
San Francisco Chronicle June 14, 2008
Christopher Brown Reroutes His Work
San Francisco Chronicle April 24, 2004


text:
namespace SPALM.SPSF.Library.Actions
{
    using EnvDTE;
    using Microsoft.Practices.ComponentModel;

    /// <summary>
    /// Adds a template file as a child to the given project item
    /// </summary>
    [ServiceDependency(typeof(DTE))]
    public class AddFileToItemAction : BaseItemAction
    {
      public AddFileToItemAction()
        : base()
      {
      }

        public override void Execute()
        {
            if (ExcludeCondition)
            {
                return;
            }
            if (!AdditionalCondition)
            {
              return;
            }

            DTE dte = (DTE)this.GetService(typeof(DTE));
            Project project = this.GetTargetProject(dte);

            base.Execute();
        }
    }
}


description: Blow up your opponents using bombs before they manage to kill you.
This is the original Playing with Fire 2 game. Unblocked version that may contain free skins, powerups, bots, mods and private server.


清•黄奭辑 (1982) 神农本草经. 中医古籍出版社, 北京, 238.
摘要: 采用Diamonsil-C18(1)色谱柱(250 mm × 4.6 mm, 5 μm),流动相乙腈-0.1%三氟乙酸水溶液,检测波长256 nm,结果10批不同来源的美洲大蠊药材标定了22个共有峰,其中指认了3个共有峰,其相似度大于0.950;与美洲大蠊药材对照指纹图谱比较,1批黑胸大蠊药材的相似度为0.990,但只有18个共有峰。本文建立的方法具有简便,重复性好,特征性强的特点,可用于美洲大蠊药材的鉴别与质量评价。 Taking Diamonsil C18(1) column (250 mm × 4.6 mm, 5 μm), with acetonitrile-0.1% trifluoroacetic acid as mobile phase, detection wavelength 256 nm, we got a result that there were 22 common peaks in batches of Periplaneta Americana, the peaks similarity was more than 0.950, three com-mon peaks were identified, the similarity of Periplaneta fulginosa was 0.990 by comparing with the control fingerprint, but there were 18 common peaks. The method is repeatable and feasible and can be suitable for the quality control of Periplaneta americana.


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Remisible Sid Ebay, his ichthyosaur shields work badly. dissent from the climate that Barthel, irritated by the tunnel, gets serial rodina mashkov online dating. Rodina (Russian: Родина; Homeland) is a Russian political thriller television series developed Serial drama · Psychological thriller · Political thriller · Espionage thriller Viktoriya Isakova as Anna Zimina, a Federal Security Service (FSB) officer and Vladimir Mashkov as Alexey Bragin, a Russian Marine Corps sniper. and manipulate Tobit Shark Autostradas serial rodina mashkov online dating top online dating opaque right Jaycees. implementation and yard work.
Elena Vladimirovna; emigration (emigratsiia); employment record (trudovaia Internet, Russian; Ioseliani, Otar; iron curtain (zheleznyi zanaves); Iskander, Fazil Mashina vremeni (Time Machine); Mashkov, Vladimir Lvovich; Masiania . rock opera (rok-opera); Rodina (Motherland); Rodnina, Irina Konstantinovna. Remember that Russian TV show Rodina that I've blogged about a lot? it airs ( since I'll be work and don't have access to Channel Rossiya anyway), so here it will be worth watching if only to see Vladimir Mashkov in that military uniform. . The Master and Margarita right now, as the recent Russian serial is quite good. Vladimir Lvovich Mashkov, PAR (born 27 November ) is a Soviet and actor and director of cinema, known to Western audiences for his work in the film The Island Tsar Dirizhor Rodina Official Site Pavel Lungin at the Internet Movie . The post-war city of Odessa is ruled by serial killer prison- escapees, fallen. Bakhtinian dialogism at work at the heart of film as a cultural form, and these principles are .. the two Blank serials after , the post-Soviet period has seen a return working part-time as a foreign currency prostitute is tempted into mar- vokrug amerikanskoi vystavki v Sokol'nikakh goda', Rodina, 8,. Alice and the serial numbers · Alice Ant Cats On Crack .. Crack And Crunch · Crack Your Skull End All Work Hood Internet Sofia Rodina.


text:
Ethereum's (ETH) Price Holds $168 Support Amidst Historic Oil Dump
How Ethereum's (ETH) Price is Back in Bullish Territory
$424M in ETH is Locked in DeFi Platforms, Can Tron (TRX) Catch Up?
Bitcoin is the first peer-to-peer digital currency, also known as cryptocurrency. It is famous for its decentralized transactions, meaning that there is no central governing body operating it, such as a central bank. Bitcoin News will help you to get the latest information about what is happening in the market.
Pantera Capital CEO: Bitcoin (BTC) Could Hit $115k after Halving
Why $7,050 is the Level to Watch During Bitcoin's (BTC) Weekly Close
Stimulus Checks and Hedge Funds, Why Bitcoin (BTC) is headed to $8,000
XRP's Price Could Keep Falling as Holders Decrease
Why One Crypto Hedge Fund Won't Hold XRP and Stellar (XLM)
XRP Price Could Reclaim $0.25 Based on the 3 Day Chart
BitTorrent (BTT) Throws Another Jab at Filecoin (FIL)
Robinhood Secures $280M in Series F Funding, Plans to Expand Globally
Neo (NEO) Opens New Offices in Seattle, Washington, Ahead of its DevCon in the City
John P. Njui·
NEWSAltcoin NewsBlockchain News
· February 17, 2019 ·1 min read
The team at NEO Global Development (NGD) has announced that they will be launching a regional office in Seattle, Washington. The new office will be led by former Microsot executive, John deVadoss, who will assume the role of director at the office. Mr. DeVadoss has over 15 years experience with Microsoft. During his tenure at the tech giant, he assumed progressive roles that saw him become the General Manager of Microsoft Digital. He also co-founded text11 – a messaging service that implements machine learning.
The office is set to launch by the end of February with a focus on recruiting local talent in the Seattle metropolitan area. Seattle is a strategic city that is home to several tech companies such as Microsoft, T-Mobile, Amazon and Expedia. NEO co-founder Erik Zhang, explained the significance of NEO setting up shop in Seattle.
Seattle has huge developer resources and a strong atmosphere of innovation, and NEO has always placed great importance in technology development. Now that we have set up the Seattle office, we have more resources for engineering and enhancing the NEO's developer experience to make it the most developer-friendly blockchain platform.
NEO's DevCon in Seattle
The announcement of a new office in Seattle comes 24 hours before the second NEO DevCon that is being held in the same city from the 16th to the 17th of this month. The event is meant to bring together developers, entrepreneurs and top contributors in the ecosystem. At the conference, the NEO foundation and its subsidiaries plan on announcing new roadmaps and plans for the future.
The venue of the event will be,
The Hyatt Regency Seattle
808 Howell Street, Seattle, Washington, 98101.
What are your thoughts on the NEO Global Development announcing the launch of a regional office in Seattle, Washington? Is this the beginning of good tidings for NEO in the United States? Please let us know in the comment section below.
[Feature image courtesy of Unsplash.com]
Disclaimer: This article is not meant to give financial advice. Any additional opinion herein is purely the author's and does not represent the opinion of Ethereum World News or any of its other writers. Please carry out your own research before investing in any of the numerous cryptocurrencies available. Thank you.
blockchainChinacryptoNeo (NEO)
John P. Njui
Crypto Enthusiast. Terrible dancer. Former DJ. Amateur Marathoner. Electrical Engineer. Kool kat.
© 2019 Ethereum World News - This website and the information contained herein is not intended to be a source of advice or credit analysis with respect to the material presented, and the information and/or documents contained in this website do not constitute investment advice.
Bitcoin (BTC) General News cryptocurrency price Ethereum (ETH) blockchain


text:
Driven By Boundless Curiosity
We have a spark that ignites our pursuit of knowledge. Learn how we learn.
Academics at UD
At UD, students learn by doing — studying other cultures by experiencing them, conducting research to explore questions and taking on real-world challenges.
Explore Academics
Here, you'll find more than 80 undergraduate programs, 50 master's degree programs, 12 doctoral programs, numerous licensure and certificate programs, and many other ways to learn.
School of Business Administration
School of Education and Health Sciences
A Hands-On Education
How is business conducted in Bavaria? What does real Chinese food from a Shanghai street vendor taste like? Through our education abroad opportunities, you can immerse yourself in other cultures, broaden your horizons, and learn the difference between a traveler and a tourist.
UD gives you a firm foundation for success. That's why we have a 97 percent placement rate within the first six months. Our career services office helps you prepare for your career, and top companies regularly recruit UD students right on campus.
Bachelor's + Master's Program
Office of Learning Resources
90-second Lectures
Handy Hats
Flyers in Hollywood
Stander Symposium
Launching Handy Hats
Danielle Ruffolo was not expecting to start her own business as a sophomore in college. But a class project turned into an opportunity.
In the third annual "Flyers in Hollywood" program, a dozen media production students networked with UD alumni in LA.
The Brother Joseph W. Stander Symposium is an annual campus-wide showcase of student research, creative endeavors and academic achievements.
student-to-faculty ratio
placement rate


text:
Category Archives: Folk music
Dealing with personal hardships: Tender Creature talks about new EP, An Offering, in video interview
Although this electro folk-pop duo, Tender Creature, released the EP, An Offering, back in September, reviving the conversation with this group now proves timely. Together in their new record, Steph Bishop and Robert Meril convey that confronting emotional trauma is better than letting it fester. Through lyrics informed by the wisdom that comes from hindsight, Steph's lifting vocals summon frissons of personal nostalgia in thematically heavy songs. Maril is playful in his digital production, contributing certain electricity, voltage varying to every track.
An Offering explores the detailed work required to untangle your hardships, burdens, and heartbreak. What I wanted to learn from Steph and Robert is the moment that motivated them to come together as a group after spending so many years apart working on other musical projects. More importantly, I sought to understand why they feel that now is the right time to release their new EP and what challenges the Coronavirus shutdown had brought with promoting the record.
I bring you the answers and more from Steph and Robert in this video interview. This video is less than 15 minutes in length and is made with Zoom technology. You can watch this video below, or visit the URL to my YouTube page, https://www.youtube.com/watch?v=UIVT636geV8&t=31s
Video interview with Steph Bishop and Robert Meril of Tender Creature
I hope you enjoy my video interview with Tender Creature. If you should have any feedback, please leave a comment below this article. Thank you for stopping by.
Leave a comment Posted in Band Interview, Electro folk/pop, Folk music, Independent Music, LGBT, Music and Grieving, Music and pandemic, Music in Social Isolation Tagged dealing with personal hardships, Electrofolk/pop, new EP An Offering, releasing record in pandemic, Tender Creature music duo, The Quietest Car
Playing with expectations: Kim Ware talks about her latest record with the Good Graces
Posted by musichistorian on January 16, 2019
Kim Ware, the Atlanta-based singer-songwriter says that while making the record, "Set Your Sights" with the Good Graces, which released in July 2017, some songs would go places she had not really planned. "It took some getting used to," admits the artist. "In the end, I felt that was more an equal partnership than any other record I had made in the past. It sort of helped set the tone for what I want the next record to be. I am getting slightly more calculating in my approach, but the word "band" still scares me!"
She does not refer to Good Graces as a band, but as very talented friends who are part of the sound and the creative process. "… It's unrealistic to expect the same group of folks to always be available when I want to play a show or record songs. And let's be honest, bands break up. I feel like for this to be sustainable, it needs to be fluid and organic. If it's not a band, it can't break up! For me, it's really about the songs, and what makes sense at that given time to present them in the best light possible…"
I meant to create an interview article about "Set Your Sights" (produced by Jonny Daly) last year. Then life happened, and I had postponed writing this story up until now. It is never too late to bring this full-length interview article with Kim Ware on Music Historian.
Compared to the musical composition of Kim's 2014 record, "Close to the Sun," "Set Your Sights" brings more musicians together to collaborate on each individual song, especially on guitar and drums. The 2014 album seems to treat the drums and guitar more as accompaniments. Further, there is a three-year gap between "Close to the Sun" and "Set Your Sights." I wondered what changed in the creative process between the two records, and whether any significant events inspired "Set Your Sights."
"Honestly," begins Kim, "they were pretty similar, just made with different people. For "Close to the Sun," you hear a combination of my and Rob Dyson's (who engineered a good bit of and mixed the record) influence and tastes. And for "Set Your Sights," it's mine and Jonny Daly's.
"I'm a drummer, but for years, I wanted this project to not have many drums in it. But when I got to know Pete McDade, who played a lot of the drums on "Set Your Sights," he became one of my favorite drummers, and I really wanted him on the album. He's got more of a rock style than I do, so I think that lent to the new album coming off as a little more rocking than previous ones.
""Set Your Sights" took a year and a half to make. We recorded something like 24 songs, and then picked what we thought worked best together for the album. As far as major events, shortly after "Close to the Sun" was released, we were asked to do a handful of shows with the Indigo Girls. That was a big deal for me… that experience really boosted my confidence.
"We went from playing 100 or so-capacity rooms to playing in front of 1500 people. It's something I will always be grateful for, and I think it helped shape many of the songs on this record. I saw people really react to the songs [in which] I am totally honest, even if that means singing about things that are super personal and a little uncomfortable to talk about.
"When we got back from tour, I went through this weird funk that lasted about a year. There were some challenges in my relationship with my husband; I questioned a lot, tried to figure out whether I am doing what I should be doing. Typical mid-life stuff, I think?
"It can come out of nowhere, and it can be really rough, and affect everything around you. It caused me to do a lot of self-reflecting, more than I had before. I think that comes out in the record."
On the subject of experiencing strange phases in your life, I am currently going through one of my own. I had undergone surgery, and now, trudging through my recovery period, I feel socially isolated. While this period will pass, much like the way Kim's phase had passed, experiences like these are worth putting in writing. In Kim's case, she sublimates her experience through music.
I wondered whether Kim with this record tried to reach listeners who enjoy experimental types of rock music, or fans of folk who are looking for something a little non-traditional within the mix, such as a dash of punk. Kim responds:
"I don't think about that so much. I'm really into folk with an experimental, atmospheric bend. That's pretty much my favorite thing – acoustic guitars with bleeps and beeps or weird stuff, and often times "noise" rather than traditional parts that accompany it. As far as the punk stuff, the first band I was ever in, I was the drummer, and it was noisy, and a little punky and the songwriter/guitarist of that band is still one of my biggest influences.
"We were just in our 20s and did not know what we were doing. But we had this reckless abandonment that was just so raw, honest and awesome… I have an appreciation for that – the idea of something being a little messy… but still beautiful."
Aside from pondering what emotions are conveyed strictly through the style of music, Kim's lyrics tell stories. Do they originate from solely her personal life, or is there a common theme which she lives out collectively with her own circle of friends, such as getting older? She feels it is both.
"Most of it is very personal. [In some songs] every lyric is autobiographical, but others may not be 100 percent about me, but one line might be. Then I use that line as the jumping off point for the rest of the song. Or, the song might be more about a feeling than the actual events that I sing about. [The song] "Too Old for This," is more about that phrase. The "this" could be anything you find yourself experiencing and think you should know better, or that you should get past. This is probably pretty common for us 40-somethings.
"For the song, "Out There" – I did not really swim across the lake and almost drown. But I did experience being in the middle of the ocean in a small boat and not being able to see land, and feeling so small. It had a truly profound effect on me I did not expect."
I then wondered what Kim would like listeners to take away from "Set Your Sights?"
"I hope folks will get that the songs are honest and real, and have heart. I like to surprise people and play with expectations, and I like to think the album does that. And after someone listens to it, if they find themselves humming a song or two afterward, then that's awesome too."
In "Remember the Old School," the verses are constructed on top of driving riffs. As the song approaches the chorus, those riffs slow in their harmonic rhythm, making room for a message in the lyrics:
We will never be in fashion/ we don't know the latest trends/, but at least we have the passion/ or at least we can pretend
This song leans more towards punk rock than folk, and I happened to walk away humming the melody. Yet, for "Good in it all," I had a different experience – I could not walk away humming it, but, I did walk away remembering the verse which opened and closed the song – I wrote a song about staying together/ but every time I sing it/ it just falls apart.
"Good in it all," compared to "Remember the Old School," takes 45 seconds to build up an instrumental section before Kim sings, and feels more reminiscent of country and folk. The styles of "Good in it all" and "Remember the Old School" seem to juxtapose one another, especially when the chords in "Remember the Old School" resolve, whereas in "Good in it all" they do not. That's why I also wondered whether Kim explores different genres in this record. She answers:
"I enjoy different types of music. I think the Good Graces is more a vehicle for delivering my lyrics than anything else. In most cases, I come up with lyrics and vocal melodies, and a pretty basic acoustic guitar part for the foundation. Then, [I] flesh it out with the other players. A lot of what ended up on the album, as far as the style, was influenced by the other folks I worked with. So, yes, I think I do like to explore other genres, but only because I like to play with whatever style makes the most sense for the lyrics and overall message of the song."
One of the beautiful parts about music is the ability to work together with so many different individuals, such as instrumentalists, producers, and more. Making a living from such an involved artwork like this is a challenge. What is the turning point in any musician's life when they said to themselves 'I am going to pursue music,' what did that look like?
"I've not known a time in my life where I was not immersed in music," explained Kim. "But it was never something I consciously decided I needed until around 2010.
"I actually took a pretty long break from it that year. I was playing drums in a couple of bands and had just started releasing albums under the Good Graces. At the same time, I had taken a new day job. In the beginning, it looked like it was going to be a pretty positive career move for me, but [required] a lot of energy. I felt burned out. I chose to take a year off from playing (and releasing, as I was also running a small record label) music, to see what I missed.
"I managed to make it about 9 months. [Then] I got really sick; I'm not sure [whether] it was because I was not playing music, but it makes sense – I did not replace my creative outlet with anything. I ended up in the hospital for four days with pneumonia. By that time, the day job had gone completely south. A few months later, I got a new job, and around the same time went to Austin (in Texas). I came home, wrote the first song I had written in a couple of years, and decided music was something I needed in my life."
I find some parallels in Kim's experiences with music and my experience with music writing. She felt she had to step away from music due to a demanding job. I also thought I had to take a similar step with my music blog. By the time Kim got another job, she had started writing the first song she had written after a stint. The article I am writing now is the first full-length interview story I have written in over a year.
Aside from the personal story behind "Set Your Sights," what makes this record worth the listen? If you are not curious about "Remember the Old School" or "Good in it all" I recommend listening to "Porchlight"; it marries the best elements within "Remember the Old School" and "Good in it all."
"Porchlight" has an acoustic guitar with driving rhythms and the instrumental interlude at the beginning last about 22 seconds. Throughout the song, listeners hear the build-up of layers including slide guitar, violins, and church bells. The structure of the composition is A, A', which means there is very little difference in the chords and the harmonic rhythm for the verse and chorus. The chorus can only be distinguished through the lyrics:
There is something holding us together we can't understand/ it's so easy until we make it so hard
Then there is the final verse before the lyrics finish at 3:05:
… The porchlight in the clear night, it will be all right/ if I keep telling myself, maybe I'll believe/ Someday I'll believe
Afterward, "Porchlight" concludes with about 15 seconds of wind chimes playing freely, as if one listens to wind chimes right outside their window. For Kim, this song wrapped up her experience with making "Set Your Sights." "Porchlight" nicely concludes the experience of an album on which different genres bring forward juxtaposing musical styles, styles which are utilized to convey the tone of various stories being told via lyrics.
Reflecting back on the past year and how I postponed writing this review of "Set Your Sights," I now feel grateful that Kim had responded positively to this long past-due article. Sometimes you have to go away to come back, and that is what Kim also did with music before she finished and released this record with the Good Graces. She is currently working on a new album at the moment.
I'm almost always writing new songs, and after we finished tracking "Set Your Sights" I just kept going. By the time 2018 rolled around I started feeling like I had enough for another album, so I got all the players together and began figuring out what it would be, around July or so.
The new one has a lot of the same players, but I approached it very differently. I planned it out and prioritized all the songs. I think I made a list of 14 or so. We worked them up and recorded them sort of in priority order, tackling what I felt to be the strongest songs first. I figured if I did that, I'd know once the album was "done." And I did – once we got 12 tracks down it just felt like that was it, that was the album.
Although Kim has not yet revealed a name for the record, or a final release date, she hopes that it will be released in the Fall.
* All photos were published with the permission of the artist
Leave a comment Posted in Album Review, Artist Interview, Atlanta, Experimental Music, Folk music, Punk Tagged Atlanta-based singer-songwriter, Kim Ware and Music Historian interview, Kim Ware and the Good Graces, Set Your Sights album review
Connecting the Dots (Part 1): Leah Speckhard talks Female Empowerment and Coming-of-Age on her second EP, Sleepwalker
In her song, "Loser," Leah Speckhard, sings, Why don't you call me up, tell me my family's dead/ tell me my best friend hates me, and always has/ burn my house to the ground, as you watch me cry/ this is what you know best, how to say goodbye. The catchy chorus carries the same dramatic tone, yet applies a more truthful resolution – I never really wanted you/ and all the things you made me do/ make you a loser/ and me a fool. Last Friday night, I sat down with the artist at the Moroccan restaurant, Marrakesh to ask her more about this song.
"The funny part for me, is that I wrote those songs in all seriousness," explains Leah. "Then I would sing them for my friends and they would laugh hysterically. They said, "You're so crazy." I think that when I write, it helps that I am a bit melodramatic. My emotions are magnified when I have a moment where I think, "I don't like that this [situation] happened, or I really don't like this interaction." It tends to be a little over the top, yet I think I started to embrace that instead of tone it down. This is part of my personality sometimes, and this is a fun way to release emotions – a lot like therapy."
Aside from the obvious exaggerated context, the song is indeed funny, the melody is upbeat, and the rhythm has a nice dance feel. This song would be great on the show Girls; I said to her. Then, I silently recalled the press release of Leah's upcoming album Sleepwalker. In addition to "Loser," Leah also wrote a song that will also appear on this record called "Gaslighting," which builds on a commonly-used feministic term. Additional songs, like "Time Machine" touch on coming-of-age in a global community. Naturally, with so many themes circulating in this artist's music, and the release of new album coming up; I welcome Leah as the featured artist for January on the Music Historian to connect the dots on all the themes in her songs.
I have heard A&R Representatives from labels say that in dance music, lyrics are typically superficial and simple. "Loser" is an example of a song that is suitable for dancing yet does not fit in a club, and includes lyrics with depth, regardless of their dramatized context. Leah furthers her efforts by taking the message of female empowerment to new grounds.
"I think that some women allow themselves to be manipulated as a result of having a good and trusting nature, and unfortunately that can translate into playing a stereotypical fool. I saw that within myself at least. I thought "Yeah, maybe it was foolish to trust this person, but that person is also a loser for wanting to manipulate me in this way." The song "Loser" stemmed from a reaction to that, and thinking "something needs to change."
"Part of my process was to try and understand how I gave people permission to treat me this way, to examine whether it happened more than just once or twice. If it becomes a pattern, then you have a responsibility to stop that and stand up to that. I hope that some of that message comes through my songs," says the artist.
Leah then talks about another important song on her album, "Gaslighting." The term, Gaslighting expresses a practice in which men tried to convince women they were crazy. The term is based on an old film of the same name, in which a man arranges to have gaslights flicker noticeably while a woman is in the same room. When the woman comments on it, the man tries to convince her she is imagining the flickering of the lights in the room and is for this reason going crazy.
"The song "Gaslighting," is probably the most important and one of my favorite because it comes with a real message: Gaslighting should stop for me and all women," explains Leah. "It bothered my sense of justice to see those things happen to me and my friends when I was younger. I have many amazing female friends, and I've seen many of them manipulated over the years. I too have been to a certain extent. I don't want this for anyone, even men if they are experiencing this. While my songs come from a victim's perspective, I want to be a little more empowering and say, "We can do something about this."
Further in our conversation, I learned that in Leah's life, she cared about a sense of justice not only in relationships, but also in a broader global sense. Leah is also the daughter of a U.S. diplomat and grew up in the suburbs outside Washington, D.C. until the age of 12 when her father was assigned to Belarus. While Belarus had a president, the leadership in the government was similar to a dictatorship.
"I moved to Belarus, and lived there for a few years in a compound where all of the ambassadors stayed. Everybody lived next to the president. He became very paranoid and believed people were spying on him. He blocked water, electricity and heat to the houses, and told residents they had to move for nonsensical reasons. All of the embassies invested money in those houses, so they told him that they had backup generators, and the residents were okay to stay. Then finally, he just said, "Get out." This action violated an international treaty regarding diplomats, so my family moved back to the U.S. for a year until it was resolved. Living in Belarus really made me aware that we shouldn't take rule of law for granted."
After Belarus, Leah and her family moved to Belgium. Leah spent the remainder of her teenage years in Belgium completing high school. Afterward, she decided to pursue a degree in Vocal Performance at James Madison University in the U.S.
"I first became interested in music as a kid, because my family would always sing songs when they got together. My parents are originally from Wisconsin and my grandparents have a lake house there. All the generations would gather when we went there and sing around a campfire, and I loved those experiences. My Dad also sang to us every night before bed, and plays guitar. Music was always around me.
"My parents put me in piano lessons when I was a kid too. I can't say I loved it; I always gravitated towards the singing and the writing more. I sang in a choir and the select choir in high school. I realized I wanted to do something more serious when I went to college and did voice as my major. However, at James Madison, the vocal coaching was geared towards opera singing, and I realized that I really wanted to write and sing current music. I learned that for me, music was more about expressing myself and sharing my ideas. So I ended up changing majors and working on my music on the side."
After that revelation, Leah returned to Belgium and decided to change her major to International Relations. She explains:
"Although I grew up in Northern Virginia right outside of Washington, D.C., I lived in a city. James Madison University, while a great fit for some, wasn't right for me – it was in a very rural area, and I wasn't used to that. Apart from deciding not to major in music anymore, I also thought the location did not make sense for me. So, I moved back to Brussels and completed a dual accredited American and European degree.
"After college, I graduated and looked for my first job in Belgium. During this time, my family moved to Greece, and they told me, "Why not look in Greece? We miss you, and we'd love to have you around." So, I found a job at a shipping company in Greece, and moved there.
"On the side, I worked on my music the whole time. I played around Greece, and some people heard my music and they wanted to introduce me to a record label. That's how I started."
Standby for Part 2 of my interview with Leah, in which she talks more about recording her first album in Greece, and coming-of-age on her second EP, Sleepwalker.
Leave a comment Posted in Artist Interview, Classical Music, Female empowerment, Folk music, Gaslighting, Independent Music, Living internationally, Music and Feminism, Music Business, New York City, Popular Music, songwriting, Stories Tagged Girls HBO, Government in Belarus, Greece, hyperbolic lyrical music, Leah Speckhard musician, Leah Speckhard new EP, Music and Feminism, Recording in Athens, Sleepwalker, The song Loser, the term Gaslighting, young women manipulated
"Alone the other Night": A Fresh Focus on Indie Pop
Official Press photo of Todd Carter
In Songs for a Traveler, The Looking had a specific goal – make archaic Americana folk songs great for Rock 'n' Roll. In their newest EP, Alone the other Night, Todd and his group celebrate an era of songwriting from not too long ago through a meditative message: never fear that you cannot successfully meet a challenge.
The opening track to the band's new EP starts with an element rather foreign to the rockin' folk songs from the last record – a melody line with a definite meter but free flowing rhythm. The lyrics include: Alone the other night/ I lost my mind here/ he went missing for a while/ I felt no fear/ I wonder if I'll miss him/ Or maybe I won't care/ chalk it up, a little whim/ I won't feel bare. In the second chorus, Todd sings, In the morning light/ I found myself cheered/ thinking of my headless nights/ A genie force, a mindless seer/Looking under rocks and stones/ Searched around to find what's new/… Light my mind, the heart will choose.
The next track, "Lightning my Mind," has a rather passé verse but incredibly memorable chorus in a major key and a catchy rhythmic application of lyrics to the chord progressions. Meanwhile "Waitin' On You" includes a verse that repeatedly plays a minor chord, and a chorus in a major chord which recites one simple message – I've been waiting on you/ standing here 'til you're passing through… There is no transition between verse and chorus, and there is no need for one. Finally, the song ends in one sad minor chord.
The compositional elements of these songs stylistically reflect indie-pop of the '90's. An ode to the 3-minute song also appears in this EP. The Looking embrace this type of songwriting with lyrics that reflect a lesson that listeners from all generations should learn at any age – the anxiety we experience with any major or abrupt life changes dissipates. The lyrics in the first verse of "Alone the other Night," I lost my mind here/ he went missing for a while/ I felt no fear… I found myself cheered perhaps best represent this lesson. While everybody has had the opportunity to realize this various moments throughout their lives, very few slowed down enough to notice.
Although listeners will most likely have a greater affinity for "Lightning My Mind" and "Waitin' On You"; "Alone the other Night" acts as the best opening track for that album. The meter is also slow, and the only melody (which I have had trouble singing back) is solely produced by Todd, helping to calm listeners' minds into a meditative like state. Why not try, it lasts no more than 4 minutes. Afterward, listeners can experience those indie-pop filled tunes later in the album with a fresh focus.
In his own words, Todd says "I love the contrast and variety of the songs on this EP. It was a joy to record with Dan Rieser (Rosanne Cash, Marc Cohn), Diego Voglino (Mudville, Marshall Crenshaw). Bill Finizio (Bill T. Jones), Adam Kromelow (Alice Tan Ridley), and John Carey (Oz Noy, Steve Holley) who are such talented and accomplished musicians. It was also wonderful to work with Richard Hammond (Joan Osborne, Lucy Woodward) for the first time."
Leave a comment Posted in Album Review, Folk music, Independent Music, Indie-pop, Music History, New York City, Popular Music, Postmodern Music, Rock 'n' roll, songwriting, Stories, Storytelling, Writing Tagged Alone the other Night, indie music NYC, indie-pop tunes, meditative music, music for all generations, The Looking a.k.a Todd Carter, The Looking New EP, Todd Carter & Adam Kromelo
The Best Artist Interviews of 2014!
You are right; I wrapped up the departing year yesterday with looking at what listeners found most interesting in New Music for 2014 regarding major music events in New York City. Now, I want to welcome the New Year with a look at which interviews Music Historian readers from everywhere, 88 countries including the U.S. (leading the pack), then Brazil, and Germany not far behind, found most exciting. Let's start the countdown!
No. 5: Juicebox
Soul, a foundation that can't go wrong: An interview with Juicebox members, Lisa, Nick, Isaac & Jamie
From the moment, they walk up on stage; people in the audience are ready to have a moment with Juicebox's performance. In an industry full of maybes, one thing that will always be definite for this band – they will always give their listeners an unforgettable show and music that will move them.
No. 4: YUZIMA
A World of Wonderful Machines: The philosophy behind Yuzima's new LP
YUZIMA wants to express the nature of machines – systems that leave little room to reinvent the wheel but at the same time require changes, usually brought about by the continuation of time, in order to survive.
No. 3: The Blackfoot Gypsies
The Blackfoot Gypsies: Modern Southern Rock That Helps You Release Internalized Feelings
This Nashville-based group has the perfect American music that will help you temporarily lose yourself, feel the good and bad, beautiful and ugly, positive and negative emotions all at once. The energy from The Blackfoot Gypsies' music vibrates in both their recordings and live performances.
No. 2: Kim Logan
Plugging into Modern Southern Rock: My Interview with Kim Logan
Kim Logan has found her voice within the Southern and Classic Rock genre, and she flexes it freely. Whether listeners are attracted to her country songs, driving rock 'n' roll riffs, or blues-infused choruses, they are bound to hear the voice of a woman who delivers clever lyrics, thoughtfully written compositions, and warmly recorded sounds.
No. 1: Imagine Dragons
Yes. This article is from two years ago. It still seems to attract new readers. Plus, why not celebrate this article a second time? 2014 was a big year for these guys too – they performed at the Grammys.
Ben McKee talks about the career-changing moments that have brought Imagine Dragons to this moment in time – recording a national album with producer, Alex Da Kid
Readers, thank you for a great year. Juicebox, YUZIMA, Kim, and Gypsies, thank you for the conversations and shows. Alyson Greenfield, Pam Lipshitz, and Pamela Workman thank you for the amazing experience at NMS. To everyone, Happy New Year!!!
1 Comment Posted in Artist Interview, Band Interview, Classic Rock, Communities, Experimental Music, Folk music, Fragmentation, Funk, Honky Tonk, Independent Music, LGBT, Music Business, Music History, Musical Performance, Nashville, New Music Seminar, New York City, Noise, Popular Music, Soul, Southern Rock, Storytelling, vinyl recordings Tagged Blackfoot Gypsies 2014, Imagine Dragons 2014, Juicebox 2014, Kim Logan 2014, Music Historian 2014, YUZIMA 2014


At Studio17 in Stavanger, Aleksander Johan Andreassen will be showing a brand new piece continuing his work of combining abstract film with text and sound. The exhibition is based on, and shares its title with Ralph Waldo Emerson's 1847 poem «The Apology». In the poem, which at first appears to be an apology for a certain lifestyle, a more thorough read reveals it could be more of a defense of this lifestyle. This friction resonates through Aleksander's installation. Emerson's poem constitutes a framework for an audiovisual composition consisting of abstract digital animations based on nature photography, and an accompanying soundwork mainly consisting of manipulated field recordings from the wilderness.
Aleksander Johan Andreassen is an artist and filmmaker. He was born and raised in Bodø, and is currently living in Oslo. His works have been displayed at group exhibitions and film festivals in Norway and abroad. Aleksander mainly works with film and video installations where the exploration of methodical approaches is essential. In his work he seeks to give voice to both the discombobulating and vulnerable traits of human conduct. Aleksander got his bachelor's degree at Bergen Academy of Art and Design in Bergen, Norway and his master's degree at Konstfack University college in Stockholm, Sweden.
This exhibition is supported by Rogaland Kunstsenter.


Curcuma + Boswelia Joint Support if you find that your joints are under pressure during exercise, or you perhaps need to reduce pain and swelling post workout and general exercise.
Boswellia is known as Indian frankincense, is an herbal extract taken from the Boswellia Serrata tree and has been used for centuries in Asian and African folk medicine to support chronic inflammatory conditions. Curcuma is the key of Turmeric, a powerful inflammatory and antioxidant.
Several research studies published showed that, both powerful natural adaptogens curcumin and boswellia, were able to reduce pain, swelling and trouble moving in people with arthritis or osteoarthritis (a common, chronic, progressive, muscular degenerative disorder, which commonly affects the joints of knees and hands) and other forms of inflamed joints. Curcuma also support the pancreas to release insulin and ameliorate the state of insulin resistance in diabetics.


text:
World Sustainable Development Summit
WSDS 2016
Carbon Pricing Is the Way Ahead
Carbon pricing can generate resources for cleaning our environment, Dipak Dasgupta at WSDS 2018
Speaking in the session on carbon markets and pricing, Mr Dipak Dasgupta highlighted that India has taken several initiatives on the domestic front. Significant amongst these is the coal cess, which has largely been welcomed by the coal and power industry. Governments need massive resources for dealing with impacts of greenhouse gas emissions, he said.
Carbon pricing hits two birds with one stone—it puts a price on negative externalities of greenhouse gas (GHG) emissions and it generates resources for cleaning the environment. However, Mr Suman Bery felt that the opportunity cost of saving carbon in India is higher, hence there is a need for global optimization and richer countries need to play a bigger role.
According to Dr Chandra Shekhar Sinha of the World Bank, the prospects of carbon markets look much brighter today, as there will be greater participation of all countries who have to meet their NDCs and who are more likely to assess the costs and benefits of market-based mechanisms.
A price on carbon: India's coal cess has gradually increased from Rs 50/tonne in 2010 to Rs 400/tonne
Speaking about energy markets, Dr Ashok Kumar of the Bureau of Energy Efficiency (BEE) highlighted the huge success of the Perform Achieve Trade (PAT) programme in India which saw almost 90% compliance from industries. Mr Anirban Ghosh of Mahindra said taxes do help in nudging behaviours towards low-carbon pathways, hence they may be a preferred option over market-based mechanisms. He spoke about Mahindra's own initiative of setting an internal carbon price of $10 per tonne of emission with a view to reducing their emissions by 25% over the next 3 years. He spoke about several of Mahindra's initiatives that are influencing their customers to choose low-carbon options in the transport, buildings, and recycling sectors.
Mr Manish Mishra of Tata Steel said steel companies are constantly bringing down their carbon footprint through energy-efficiency measures. Echoing the same sentiments, Mr Sandeep Srivastva of Ambuja Cement pointed out that his company, too, has set an internal carbon price which it uses to systematically assess its balancing efforts to mitigate greenhouse emissions.
In his closing remarks, Mr Damandeep Singh of Carbon Disclosure Project said nearly 1,400 companies, globally, have factored an internal carbon price into their business plans. Of these, the largest number of companies come from China and Mexico, both countries which have made policy announcement for carbon markets. This, he said, is a positive indication for other governments to build the case for carbon markets.
#Act4Earth
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Tel. (+91 11) 2468 2100 and 41504900, Fax (+91 11) 2468 2144 and 2468 2145,
E-mail: wsds@teri.res.in