text:
Whatever People Say I Am, That's What I'm Not () — дебютний альбом британського інді-рок гурту Arctic Monkeys, який був випущений у січні 2006 року на музичному лейблі Domino. За перший тиждень альбом розійшовся тиражем у 360 тисяч копій, ставши найшвидше продаваним дебютним альбомом в історії британської музики, перевершуючи однойменний дебютний альбом гурту Elastica. Відтоді, альбом п'ятикратно ставав платиновим у Великій Британії.

Альбом включає обидві пісні з першого міні-альбому гурту, Five Minutes with Arctic Monkeys, а також іхні перші два хіт-сингла, «I Bet You Look Good on the Dancefloor» і «When the Sun Goes Down». З моменту випуску, альбом неодноразово зазначався як один з найкращих рок-альбомів десятиліття. У списку «500 найкращих альбомів усіх часів» за версією журналу Rolling Stone, альбом отримав 371 місце, тоді як у такому ж списку від журналу NME, альбом отримав 19 місце. У 2006 році, гурт отримав нагороду Mercury Prize за альбом.

Список пісень

Сингли

"I Bet You Look Good on the Dancefloor" (17 листопада 2005)
"When the Sun Goes Down" (16 січня 2005)

Учасники запису
 Алекс Тернер — основний вокал, електрогітара, електро-орган («Riot Van»), бубон («Perhaps Vampires Is a Bit Strong But…»)
 Джеймі Кук — електрогітара, бек-вокал
 Нік О'Меллі — бас-гітара, бек-вокал
 Мет Хелдерс — барабани, бек-вокал, основний вокал («You Probably Couldn't See for the Lights But You Were Staring Straight at Me»)

Посилання
 Список пісень з офіційної сторінки гурту
 Як Arctic Monkeys стали голосом покоління: 15-річчя дебютного альбому

Альбоми Arctic Monkeys
Альбоми британських виконавців
Англомовні музичні альбоми
Дебютні альбоми 2006


text:
El Citi Open 2021 fue un torneo de tenis perteneciente al ATP Tour 2021 en la categoría ATP Tour 500. El torneo tuvo lugar en la ciudad de Washington D.C. (Estados Unidos) desde el 31 de julio hasta el 8 de agosto sobre pistas rápidas.

Distribución de puntos

Cabezas de serie

Individuales masculino

 Ranking del 26 de julio de 2021.

Dobles masculino

Campeones

Individual masculino

 Jannik Sinner venció a  Mackenzie McDonald por 7-5, 4-6, 7-5

Dobles masculino

 Raven Klaasen /  Ben McLachlan vencieron a  Neal Skupski /  Michael Venus por 7-6(7-4), 6-4, 6-4

Véase también
 Torneos ATP en 2021
 Citi Open

Referencias

Enlaces externos
 Web oficial (en inglés)

Torneo de Washington 2021

redpajama_set_name: RedPajamaWikipedia


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text:
Athroolopha chrysitaria is een vlinder uit de familie spanners (Geometridae). De wetenschappelijke naam is voor het eerst geldig gepubliceerd in 1831 door Geyer.

De soort komt voor in Europa.

chrysitaria
Dier uit het Palearctisch gebied


text:
package restaurant.redland.roles;

import interfaces.Person;

import java.util.ArrayList;
import java.util.Arrays;
import java.util.List;
import java.util.Random;
import java.util.Timer;
import java.util.TimerTask;
import java.util.concurrent.Semaphore;

import restaurant.redland.UtilityClasses.Table;
import restaurant.redland.interfaces.RedlandCashier;
import restaurant.redland.interfaces.RedlandCook;
import restaurant.redland.interfaces.RedlandCustomer;
import restaurant.redland.interfaces.RedlandHost;
import restaurant.redland.interfaces.RedlandWaiter;
import global.roles.Role;

public class RedlandWaiterRole extends Role implements RedlandWaiter{
	//A global for the number of tables. Use this for map{Table, coordinates} ?
	static final int NTABLES = 4;
	boolean onBreak = false;
	private String name;
	//public WaiterGui waiterGui = null;

	Timer timer = new Timer();
	Random generator = new Random();//For determining break length

	private RedlandHost host;
	private RedlandCook cook;//Change to cook list when we implement multiple cooks
	private RedlandCashier cashier;

	//list of all the customers this waiter is taking control of
	public List<MyCustomer> myCustomers = new ArrayList<MyCustomer>();

	//Enum's for MyCustomer and scheduler. Put in MyCustomer class?
	public enum RedlandCustomerState
	{Waiting, BeingSeated, Seated, ReadyToOrder, AskedToOrder, Ordered, Eating, Leaving};
	public enum CustomerEvent
	{Seated, AsksToOrder, Ordered, FoodIsReady, DoneEating,
		OutOfOrder}

	//menu to give to customers
	String[] foods = new String[] {"Steak", "Chicken", "Salad", "Soup"};
	private ArrayList<String> menu = new ArrayList<String>(Arrays.asList(foods));

	private Semaphore customerAtTable = new Semaphore(0,true);
	private Semaphore atTable = new Semaphore(0,true);
	private Semaphore atCook = new Semaphore(0,true);

	public RedlandWaiterRole() {
		super();

		onBreak = false;
	}

	/********** Messages **********/

	public void msgSitAtTable(RedlandCustomerRole cust, Table table, Person person){//message 2
		//TODO: Need to pass int tableNumber and not Table class
		//print( "Got new " + cust );
		myCustomers.add( new MyCustomer( cust, table.getNumber(), person ) );
		stateChanged();
	}

	public void msgImAtTable(RedlandCustomer cust){//releases waiter from waiting at table
		//print("msgImAtTable() called");
		customerAtTable.release();
		for (MyCustomer customer : myCustomers){
			if (customer.getCustomer() == cust) {
				//print( "customer " + cust.getName() + " is seated" );
				customer.setEvent(CustomerEvent.Seated);
				customer.setState(RedlandCustomerState.Seated);
			}
		}
		stateChanged();
	}

	public void msgImReadyToOrder(RedlandCustomer cust){//message 4
		//print( "msgImReadyToOrder received" );
		for (MyCustomer customer : myCustomers){
			if (customer.getCustomer() == cust) {
				//print ( "customer " + cust.getName() + " wants to order" );
				customer.setEvent(CustomerEvent.AsksToOrder);
			}
		}
		stateChanged();
	}

	public void msgHereIsMyChoice(RedlandCustomer cust, String choice){//message 6
		for (MyCustomer customer : myCustomers){
			if (customer.getCustomer() == cust) {
				customer.setEvent(CustomerEvent.Ordered);
				customer.setChoice(choice);
			}
		}
		stateChanged();
	}

	public void msgOrderIsReady(String choice, int table){//message 8
		for (MyCustomer customer : myCustomers){
			if (customer.getTable() == table){
				if( customer.getChoice() == choice ){
					customer.setEvent(CustomerEvent.FoodIsReady);
				}
			}
		}
		stateChanged();
	}

	public void msgDoneEating(RedlandCustomer cust) {//message 10
		for (MyCustomer customer : myCustomers){
			if (customer.getCustomer() == cust) {
				customer.setEvent(CustomerEvent.DoneEating);
			}
		}
		stateChanged();
	}

	public void msgOutOfOrder( String choice, int table ){
	//TODO: finish this non-normative scenario
		for (MyCustomer customer : myCustomers){
			if (customer.getTable() == table ) {
				customer.setEvent(CustomerEvent.OutOfOrder);
				customer.setChoice(choice);
			}
		}
		stateChanged();
	}

	public void msgAtTable(){
		/*Very similar to msgImAtTable called by customer
		 * This, however, is called by WaiterGui when we need to get customer order
		 */
		//print("msgAtTable() called");
		atTable.release();
		stateChanged();
	}

	public void msgAtCook(){
		//Like msgAtTable, called by WaiterGui when at cook
		//print( "At cook" );
		atCook.release();
		stateChanged();
	}

	public void msgAskForBreak(){
		//Message sent from WaiterGui saying waiter wants break, initiated by check box
		//print( "I want break" );
		host.msgIWantBreak(this);
		stateChanged();
	}

	public void msgGoOnBreak(){
		onBreak = true;
		stateChanged();
	}

	private void msgBreakIsDone(){
		onBreak = false;
		SetOffBreak();
		stateChanged();
	}

	public void msgHereIsBill( RedlandCashier cashier ){
		//TODO: finish
		//do i need to "physically" pass anything?
	}

	/******** Scheduler ********/
	public boolean pickAndExecuteAnAction() {
		for (MyCustomer cust : myCustomers){
			//print ( "customer list: " + cust.getCustomer().getName() );
			if (cust.getState() == RedlandCustomerState.Waiting) {
				cust.setState(RedlandCustomerState.BeingSeated);
				SeatCustomer(cust);
				return true;
			}
		}
		for (MyCustomer cust : myCustomers){
			if (cust.getState() == RedlandCustomerState.BeingSeated && cust.getEvent() == CustomerEvent.Seated){
				cust.setState(RedlandCustomerState.Seated);
				return true;
			}
		}
		for (MyCustomer cust : myCustomers){
			if (cust.getState() == RedlandCustomerState.Seated && cust.getEvent() == CustomerEvent.AsksToOrder){
				//print ( cust.getCustomer().getName() + " wants to order" );
				AskCustomerForOrder(cust);
				return true;
			}
		}
		for (MyCustomer cust : myCustomers){
			if (cust.getState() == RedlandCustomerState.AskedToOrder && cust.getEvent() == CustomerEvent.Ordered){
				cust.setState(RedlandCustomerState.Ordered);
				SendOrderToCook(cust);
				return true;
			}
		}
		for (MyCustomer cust : myCustomers){
			if (cust.getState() == RedlandCustomerState.Ordered && cust.getEvent() == CustomerEvent.FoodIsReady){
				cust.setState(RedlandCustomerState.Eating);
				GiveOrderToCustomer(cust);
				return true;
			}
		}
		for (MyCustomer cust : myCustomers){
			if (cust.getState() == RedlandCustomerState.Eating && cust.getEvent() == CustomerEvent.DoneEating){
				cust.setState(RedlandCustomerState.Leaving);
				CustomerIsLeaving(cust);
				return true;
			}
		}
			//Non-Normative Scenario
				//This rule is for when the cook is out of a certain order
		for (MyCustomer cust : myCustomers){
			if (cust.getState() == RedlandCustomerState.Ordered && cust.getEvent() == CustomerEvent.OutOfOrder){
				AskCustomerToReOrder(cust);
				return true;
			}
		}

		//For setting waiter on break
		if ( onBreak ){
			//print("I'm set on break");
			SetOnBreak();
			return true;
		}
		/*
		if ( !onBreak ){//this will be unnecessarily called a lot
			SetOffBreak();
			return true;
		}
		*/

		return false;
	}

	/******** Actions ********/

	private void SeatCustomer(MyCustomer customer) {
		//tell customer to sit at table, should i pass table or just coordinates?
		//print("Seating " + customer.getCustomer() + " at " + customer.getTable());
		customer.c.msgFollowMeToTable( this, customer.getTable(), menu);
		DoSeatCustomer(customer);
		try {
			atTable.acquire();//released by waiterGui when at table msgAtTable()
			customerAtTable.acquire();//released by customer when customer is at table msgImAtTable()
		} catch (InterruptedException e) {
			e.printStackTrace();
		}
		/*GUI STUFF
		waiterGui.DoLeaveCustomer();
		*/
	}

	private void AskCustomerForOrder(MyCustomer cust){
		//print( "Going to get " + cust.getCustomer() + "'s order" );
		DoGoToCustomer(cust);
		try {
			atTable.acquire();//released WaiterGui when at table
		} catch (InterruptedException e) {
			e.printStackTrace();
		}
		//After we get to table we ask customer for order
		//print( cust.c.getName() + ", what would you like");
		cust.c.msgWhatWouldYouLike();
		cust.setState(RedlandCustomerState.AskedToOrder);
		//Then we leave
		/*GUI STUFF
		waiterGui.DoLeaveCustomer();
		*/
	}

	private void SendOrderToCook(MyCustomer cust){
		//print( "Sending " + cust.getCustomer() + "'s order to cook");
		DoGoToCook();
		try {
			atCook.acquire();//released by cook when at cook
		} catch (InterruptedException e) {
			e.printStackTrace();
		}
		//After we get to cook we give cook the order
		cook.msgHereIsOrder(this, cust.getChoice(), cust.getTable());
		//Then we leave
		/*GUI STUFF
		waiterGui.DoLeaveCook();
		*/
	}

	private void GiveOrderToCustomer(MyCustomer cust){
		//first give bill to cashier TODO make separate action
		//Do animation?
		cashier.msgComputeBill( cust.getChoice(), this, cust.getCustomer() );

		print( "Getting " + cust.getCustomer() + "'s order" );
		DoGoToCook();
		try {
			atCook.acquire();//released by cook when at cook
		} catch (InterruptedException e) {
			e.printStackTrace();
		}
		print( "Got " + cust.getChoice() + " for " + cust.getCustomer() );
		//Confirm with cook we got the order
		cook.msgGotOrder(this, cust.getChoice(), cust.getTable() );
		//After we get to cook we get the order, this is just for animation
		/*GUI STUFF
		waiterGui.DoLeaveCook();//to release atCook semaphore
		*/
		//Then we go to customer
		DoGoToCustomer( cust );
		try {
			atTable.acquire();//released WaiterGui when at table
		} catch (InterruptedException e) {
			e.printStackTrace();
		}
		//After we get to table we give customer order
		cust.c.msgHereIsYourBill( cashier );
		cust.c.msgHereIsYourFood();
		//Then we leave
		/*GUI STUFF
		waiterGui.DoLeaveCustomer();
		*/
	}

	private void CustomerIsLeaving(MyCustomer cust){
		//print( cust.getCustomer() + " is leaving " + cust.getTable() );
		cust.person.msgLeavingLocation( cust.c );
		host.msgTableIsFree( cust.getTable(), this);
		myCustomers.remove(cust);
	}

	private void SetOnBreak(){
		/*
		 * This is not implemented in normative sim city for this restaurant
		 */

		/*
		//randomly generate break length from 5-10 seconds
		int breakLength = 10 - generator.nextInt(5);

		host.msgImOnBreak( this );
		waiterGui.DoGoOnBreak();

		timer.schedule(new TimerTask() {
			public void run() {
				print("I'm off break");
				onBreak = false;
				SetOffBreak();
				stateChanged();
			}
		},
		breakLength * 1000);
		*/
	}

	private void SetOffBreak(){
		host.msgImOffBreak( this );
		//waiterGui.setOnBreak( false );
	}

	/**Non-normative actions*/
	private void AskCustomerToReOrder( MyCustomer cust ){
		//cust.setState( CustomerState.Seated );
		DoGoToCustomer(cust);
		try {
			atTable.acquire();//released WaiterGui when at table
		} catch (InterruptedException e) {
			e.printStackTrace();
		}
		//After we get to table we ask customer to re-order
		//print( cust.c.getName() + ", what would you like");
		//Make sure customer does not order this same item
		cust.c.msgReOrder( cust.getChoice() );
		cust.setState(RedlandCustomerState.AskedToOrder);
		//Then we leave
		/*GUI STUFF
		 * waiterGui.DoLeaveCustomer();
		 */
	}

	/******** GUI Calls ********/
	private void DoSeatCustomer(MyCustomer customer) {
		//waiterGui.DoBringToTable( customer.getTable() );
	}

	private void DoGoToCustomer(MyCustomer customer) {
		//print("Going to " + customer.getCustomer() + " at " + customer.getTable());
		//waiterGui.DoGoToCustomer( customer.getTable() );
		atTable.release();
	}

	private void DoGoToCook(){
		//TODO: add cook parameter when multiple cooks
		//print( "Going to cook " + cook.getName() );
		//TODO: change this to get cook coordinates, not magic number
		//waiterGui.DoGoToCook(-20, -20);
		atCook.release();
	}

	/******** Utilities ********/
	public void setHost( RedlandHost host){
		this.host = host;
	}

	public void setCook( RedlandCook cook){
		//TODO: change this to addCook(...) when we implement multiple cooks
		this.cook = cook;
	}

	public String getName() {
		return name;
	}

	public void setCashier( RedlandCashier cashier ){
		this.cashier = cashier;
	}

	public RedlandCashier getCashier(){
		return this.cashier;
	}

	/*GUI STUFF
	public void setGui(WaiterGui gui) {
		waiterGui = gui;
	}

	public WaiterGui getGui() {
		return waiterGui;
	}
	*/

	public class MyCustomer{
		public RedlandCustomerRole c;
		public RedlandCustomerState s;
		public CustomerEvent e;
		public int t;
		public String choice;
		public Person person;

		public MyCustomer( RedlandCustomerRole c, int t, Person person ){
			this.c = c;
			this.t = t;
			this.person = person;
			s = RedlandCustomerState.Waiting;
		}

		public int getTable(){
			return this.t;
		}

		public RedlandCustomer getCustomer(){
			return this.c;
		}

		public RedlandCustomerState getState(){
			return this.s;
		}

		public synchronized void setState(RedlandCustomerState state){
			this.s = state;
		}

		public CustomerEvent getEvent(){
			return this.e;
		}

		public synchronized void setEvent(CustomerEvent event){
			this.e = event;
		}

		public String getChoice(){
			return this.choice;
		}

		public void setChoice(String choice){
			this.choice = choice;
		}
	}
}

redpajama_set_name: RedPajamaGithub


text:
The latest live-action Resident Evil film has interesting ideas, but a short runtime and rushed third act hold it back.
In 2017, the "Resident Evil" series of games tore down the action-heavy experience it had built up over the last few installments and returned to basic survival horror with "Resident Evil 7: Biohazard." Four years later, the series of films of the same name does a similar hard reset, although this one doesn't go back to the beginning of the films but pushes deeper into the source material, really adapting the first two games, especially "Resident Evil 2" to the screen for the first time. Pushing aside the CGI-heavy action of the Paul W.S. Anderson films, writer/director Johannes Roberts has made a movie that is the most directly inspired by the games of any flick so far in "Resident Evil: Welcome to Raccoon City." The characters and even the locations will be incredible familiar to "RE" players and the tone feels more connected to a game series that was originally inspired by "Evil Dead." However, choppy action and clunky storytelling hold "Raccoon City" back from becoming the dread-inducing nightmare that hardcore fans know the game series to so often be.
From the very beginning of "Welcome to Raccoon City," fans of the games will note the references to the world they know and love. The film opens with a young Claire Redfield and her brother Chris in an orphanage in the heart of Raccoon City, a place run by the malevolent William Birkin (Neal McDonough). Years after a creepy opening in which Claire sees a disfigured girl named Lisa Trevor (Janet Porter), she's coming back to Raccoon City via a ride hitched with a truck driver. Now played by Kaya Scodelario, Claire has heard that something nefarious is happening in her home town courtesy of the Umbrella Corporation. She picked the wrong day to come home.
It starts before she even gets into Raccoon City, when the driver hits a girl on the road. As he's arguing with Claire, the girl gets up and walks away. The trucker's dog goes to lick the bloody spot and anyone who played the early games will yell "Zombie Dog!" at least in their head. (Those damn zombie dogs were one of the most terrifying things in game history.) She eventually makes it to the Raccoon City Police Department building, which has been remarkably recreated from those early games. I wanted to look behind the reception desk in the lobby for ammo.
The inhabitants of the RPD will be familiar to players and even fans of the Anderson movies: Chris Redfield (Robbie Amell), Jill Valentine (Hannah John-Kamen), Albert Wesker (Tom Hopper), and Leon S. Kennedy (Avan Jogia) lead the way with Donal Logue appearing as Chief Irons and chewing all the scenery he can find (his first scene plays like he might think he's in a parody of bad cop movies). While the names may be familiar, the characters are depressingly thin. John-Kamen gives Jill a little spark but Scodelario looks bored, something no one could ever say about Milla Jovovich.
The officers end up splitting up and going to two key locations that will be very familiar: Spencer Mansion, the setting of the first game, and the department building itself, where most of the second game takes place. Roberts openly echoes his filmic inspirations too, primarily trying to make the "Resident Evil" movie that John Carpenter would have directed in how much the master loved films built with the "Rio Bravo" template of "good guys inside, bad guys outside." A zombie movie that owes a debt to "Assault on Precinct 13"? Sign me up.
So why doesn't "Welcome to Raccoon City" live up to that potential? It gets the sticky icky practical effects right but Roberts and cinematographer Maxime Alexandre struggle with producing actual tension. It's still difficult for the films to replicate the games' honest terror that emerged from survival horror games that were typically very low on ammo and populated by enemies that were increasingly hard to kill. There are too many scenes in "Raccoon City" that have poor geography—flash cuts of zombie heads growling and guns being fired. Repeat. There were times when I wasn't even sure who was almost getting eaten. We need to know where the characters are in the space for tension to exist. Otherwise, it's just hollow imagery.
There's also a sense that all of this will mean even less to those who haven't played those early games. My greatest rush came from recognizing locations that I've seen previously with a controller in my hand. That's not quite filmmaking—it's fan service. I want a "Resident Evil" movie that takes these legendary locations and characters and does something fresh and exciting with them. Start with the mythology instead of just ending with it too. And the truth is there's almost no story to "Welcome to Raccoon City." After setting up a bunch of familiar faces, Roberts is content to bounce them off some zombies to a predictable final act that brings out some of the iconic big bads from the games. It's depressingly easy to chart where this film is going to go and who's going to make it to the inevitable sequel. There's one thing a great horror game can never be (and something one couldn't really accuse the Anderson movies of being either): predictable.
VENGEANCE IS MINE
Harrison Ford makes Emotional Return to 'Indiana Jones' Franchise
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There were many times before 1990 when events on the program of the World Council of Churches' General Assembly were strongly objectionable to evangelicals. I remember clearly reading about, and being disturbed by, some of those. So I was greatly encouraged by Thomas Schirrmacher's commentary (published today) on his experience as a representative for the World Evangelical Alliance at the 2013 General Assembly of the World Council of Churches in Busan. This sort of news gives me hope that a genuinely positive contribution can be made by the WCC to the good of Christ's global church. The improved attitude to evangelical participation bodes well for the future.
This entry was posted in Christianity, Conferences, Ecumenism, Evangelicalism and tagged World Council of Churches, World Evangelical Alliance. Bookmark the permalink.


text:
Crown of Thorns – முள்முடி – Thi Janakiraman
One more story about teachers, a subject close to my heart, from my favourite author, Thi Janakiraman.
முள்முடி – தி. ஜானகிராமன்
"So can we take leave sir?" as soon as Kannusamy said this, the crowd which was sitting close to him stood up as well.
"I will take leave sir."
One of the students came forward and touched his feet. Anugulasamy pulled his feet away and said, "Hey what's this?"
"Let them sir. They don't have anyone else to pay respect like this. Please bless them." Kannusamy said. Students came forward in a line and touched his feet with respect.
Anugulasamy was embarrassed.
"What's all this…" before he could complete, Kannusamy interjected, "Sir you are a true Christian. For thirty six years, you have taught, without touching the rod even once, without uttering one harsh word. So what's wrong if the students prostrate before such a God."
"Don't talk like this."
"It's just not me. The entire village is talking in praise of you. When I am sitting in the Bazaar, I hear comments from everyone. "Parents will cane their own children at least once. But with sir it never happened. He never uttered a harsh word."
As Kannusamy was speaking, the student still continued paying respects. Anugulasamy could not speak. His eyes were moist and his throat heavy. He felt his voice would break and tongue would slip.
"So can we take leave sir?"
"OK" Anugulasamy wanted to say something, but tried hard not to say anything.
The leader of the band who led the procession came forward and asked, "Can we take leave?"
Anugulasamy could only nod a yes.
It took almost two minutes for the crowd to disperse. The students were murmuring something; one of them came back and said, "Sir let the lights be here. We will take it in the morning."
When he retuned to the hall, after bidding goodbye to everyone he stared at an empty hall. This emptiness and the heartbreaking longing happened once before. When they took Louisa to her in law's place.
'Pssss' the from the Petromax lights were filling up the void.
They have left him alone. Tomorrow is Wednesday. For him, every day from tomorrow is a Saturday or Sunday. He has turned Sixty and the school has retired him.
Slowly he sat on the swing. Framed letters from students and teachers were lying on the swing. A silver plate. A pen which costs about four rupees in the market. But there is no price you can put on the pen. If you say it's worth four hundred thousand rupees then both will be equal. You can't put a price for this. Rose garlands were lying around.
Magimai, his wife was standing near him holding the chains of the swing. She was looking intently at him. She felt very proud as if all the praise and wishes were given to her. She moved away, locked the door and came to him. One by one she put the garland over his shoulders and held on to him.
"You never beat me; never spoke a harsh word." She leaned on to his chest.
"We come to this world for a very short time. Like the spammers that born and die in monsoon rains. Should we waste that time in beating each other or speak ill about others? Can we correct anyone by just beating them?"
"But as a man, should you not get angry at least once?"
"Of course. I would get angry."
"But you should show it."
"Why? you have the maid servant and the milkman to show your anger. Why should I get angry with you?"
"But how could you not show anger at school?
"I could and I did."
Magimai looked at him proudly, pulled his moustache and said, "You want coffee?"
As she moved away, Anugulasamy felt an acute stiffness at his back. He looked at a picture on the wall. With a crown of thorns, the face was showering kindness all over the place. In another picture, he was hugging an infant goat.
Kannusamy has spoken the truth. In thirty six years, he did not cane any student. Nor did ever speak harshly with anyone.
He had this naturally. When Louisa was six, she did something mischievous at school the teacher beat her with a scale. It landed on a prickly and caused tremendous pain. She was crying non-stop. Anugulasamy took a vow. He remembered the one who paid with his life for the sins committed by all. And he gave his life for people of generations to come.
That vow survived without an itch for thirty six years. Has any teacher been given a send-off like this with a band leading the procession.
As if the sendoff arranged by the school was not enough, his students arranged their own celebration. They sang praises, garlanded him repeatedly and arrange a band. when Anugulasamy objected, the leader of the class, Arumugam said, "Sir who else are we going to respect like this. Arumugam was almost 23 years old, failed in every class and looked more like a man of the world than a student. He was worldly wise as well. Anugulasamy knew if he objected seriously, Arumugam would start talking ill about other teachers. He said a few words already.
"Sir don't we know? You did not ask us to collect fund as you are retiring. You did not borrow money pledging guild gold. You did not show a letter and borrow money from everyone."
He had to divert the topic to keep Arumugam's mouth shut. He was speaking the truth though. He has not earned the wrath of the villagers by lying to them. He has not troubled anyone.
Naryanappayyar was like him. He had a small family. Just a daughter and son. But he owed money to everyone from the vegetable vendor to the textile shop in the bazaar. Even then he did not keep quiet. One of his relatives had sent him a letter that he was chosen as an examiner. He showed that letter to about twenty people and borrowed fifty and seventy five rupees from each one. The examination duty would have fetched him only two hundred odd rupees. At last the job also did not come through and one of the lenders came and took possession of his bicycle. 'Naryanappayar you are shame to this noble profession.' he thought.
Bank Agent Iyengar is a very smart fellow. Saminathan teacher thought he could dupe him easily. First time when he went and pledged his gold, the Bank Agent just took it without checking if it was genuine as he respected the teacher. But Saminathan did not keep quiet. Within a week a went to the bank with another heavy chain. This time the agent had a doubt. He asked the teacher to wait, went outside and came with gold tester and a policeman. When the gold was found to be brass with a coating, the agent opened the safe and found the previous chain was also not gold. He made the teacher sign away his land without making a ruckus. The policeman was also not in uniform, so he escaped from being laughed at by the village people.
He remembered few more teachers of this type. One teacher, Ramalingam urged the students to collect retirement funds for him.
"What are you thinking about? Drink this coffee." Magimai gave the coffee cup to him and started reading those testimonials and farewell letters. In between she looked at him with lot of pride.
"Don't think what they have written is true. It's just to make me feel special."
"No they have spoken the truth. You never raised to your hands to beat someone."
"Ah they have found the truth!" Anugulasamy was not convinced.
"But they are saying you were a good, efficient and very capable. It's very difficult to earn such good name from everyone."
Anugulasamy thought for a moment. He thought this was true. He felt he had a right to feel proud.
He said, "It is not that difficult. Anyone can live like this, without speaking ill about others and without getting angry."
"Not possible for everyone."
"Somehow I have managed."
"Sir" someone knocked the door.
"It is me sir."
Magimai opened the door.
"Is sir there?"
"Oh Arumugam. Come in." Arumugam did not come alone. Another student was with him. There was a lady about forty years of age standing behind. She was not wearing any jewellery. Anugulasamy stood up.
"What is the matter Chinayya?"
"Sir this is Chinayya's mother." Arumugam introduced her.
If Arumugam is bringing someone, it must be for some recommendation. Though he has failed in all classes and at twenty three, still in School, he had the status of a leader. Why has he come. There are no exams scheduled.
"What's it Arumugam?"
"Sir Chinayyan wanted to meet you."
Chinayya did not speak. He was looking at the floor. A minute passed. He did not look up, but started crying.
"Tell him" his mother urged him.
Anugulasamy looked at him intensely.
The boy's face was turning red. His lips trembled.
"Hey speak up."
"Sir he has been crying for a year now."
"Yes sir. Please tell us we can talk to him."
"Tell me clearly. I don't understand."
"Sir has forgotten." Arumugam said looking at the lady and Magimai.
"What have I forgotten?" Anugulasamy thought for a couple of minutes. But could not remember anything.
"Sir last year he has stolen Suyaroganam's English book and sold it in the bazaar. I found it out and brought him to face you."
The boy started crying loudly, his mother was trying to console him.
"Then?"
"You looked at him seriously. We have never seen you looking at anyone like that. You asked us not to take to him. Ever since not one of has spoken to him. We have just boycotted him.
The boy continued to cry.
"For this party today, we collected one rupee, two rupees from everyone. He came forward with one rupee. We did not accept it. We told him not to come to the party as well. He went back without speaking a word. When I went from here, he was standing in front of my house crying. His mother was with him. She asked me to take him to your house." Arumugam was stammering as he spoke those words.
Anugulasamy now remembered the incident. But he could not recall that he gave him such a harsh punishment. Even then should the boys have followed what he told them?
"Chinaiya don't cry. Stop it!" the teacher said.
"Sir please tell us that we can speak to him."
His mother spoke now, "Sir he has been like this for the past one year. He was always bubbly before. He would just say a word and leave. But I knew he was suffering. He does not speak to his sisters also. Only today he told me what happened when his sisters were not at home. He did not stop crying. He said he would come home only after meeting you. Sir please forgive him and accept him."
Anugulasamy now suffered as an earthworm caught in fire. He was caught redhanded.
"Sir please accept him and also take the contribution he has save for this function. When all the others are participating how can he keep quiet?"
The crescendo of the boy's crying went up. He extended his hand to give the one rupee which was wet from his sweat.
Arumugam was pleading with him now. "Sir please accept."
Anugulasamy took the one rupee from the boy.
"He is a very good boy sir. That day he lost his mind and did something like. After this there is not even a single complaint about him. When others don't talk to him, he feels the pain. They are small children." said the boy's mother.
"I did not realise the students would do like this."
"They did what you asked them to do!" his wife said.
"That's correct." he tried to laugh. His eyes were welling with tears. 'The crown of thorns' from the picture on the wall, pressed his head hard.
******************* Year??
Janakiraman (also known as Thi Jaa, 28 February 1921 – 18 November 1983) is a Tamil writer from Tamil Nadu, India. He is considered one of the major figures of 20th century Tamil fiction.
He was born in a Tamil Brahmin (Iyer) family of Madras Presidency in 1921.[1] He worked as a civil servant. His writing included accounts of his travels in Japan and the Crimea.[2]The writing style of Thi Jaa is simple and narrative. His best-known novels are Mogamul, Sembaruthi, and Amma Vandhaal. All these novels have feminine feelings embedded in their subject. Though the story is spun around delicate feelings, the author's narration is flawless and spontaneous. His short stories such as Langdadevi (a lame horse) and Mulmudi (Crown of Thorns) also follow the same style of writing. – Wikipedia
Short Stories, Tamil Short Stories
தி ஜா, தி ஜானகிராமன், Thi Jaa, Thi Janakiraman
Mumbai – the Maximum City.
His Favourite Star – Ashokamitran
2 thoughts on "Crown of Thorns – முள்முடி – Thi Janakiraman"
முத்துசாமி இரா says:
தி.ஜானகிராமனின் இரசவாதம் ஆங்கிலத்தில். கதை மொழியைக் கடந்தது என்பது மீண்டும் நிரூபணம் ஆகி வருகிறது.
Pingback: Mary, the lamb – Prapanchan – Biking. Adventure. Nostalgia.


All the stories in this volume are set in the year 2050, in The City. Though they are set in the future, and though science has a role to play in some of them, these are not science fiction stories. Some of the stories are related to each other. This form, stories loosely related to each other and set in the same world, does not yet have a name of its own.
Aniket Jaaware teaches English at the University of Pune. He is mainly interested in the literary genres of science fiction, fantasy and horror, and cinema. His earlier publications include a few poems and essays and an academic book called Simplifications: An Introduction to Structuralism and Post-Structuralism. He also translates between English and Marathi.
"These brilliant, disturbing stories speak to us of our own time as well as of a time to come, and they do so in a wholly modern, contemporary accent."


Effective use of Biomass likes farm waste, Garden waste etc.
Eco-friendly project. No solid, liquid gaseous effluents.
Works on natural process of breeding of earthworms.
Product is richest organic fertilizer.
Product is suitable for all sorts of crops. Thus easily acceptable.
Tremendous market potential due to ban on organic fertilizers in many countries especially European countries and ever increasing use of organic manure in India.
Enormous potential in domestic market and good opportunity for export to nearby countries.
Raw material is easily available.
Very short pay – back period.
Energy consumption is very negligible.


All sales of loose tea and snacks are final. To avoid misunderstandings regarding the taste or quality of our order, we encourage you to order tea samples before making larger orders.
All sales of non-fragile accessories are final.
Fragile items such as tea pots which are damaged due to shipping may be exchanged or money refunded if we are notified within one week of receipt.
There could be exeptions. Please feel free to contact us and we will be happy to assist you.


MCHNRY is the duo of Arnold Kooij and Levi van Huygevoort from Tilburg. They're amazing on record, but live even more because of Levi's intense drawing/painting performance. In both forms, they're electric, edgy and powerful.
So on Record Store Day 2016 they presented their first full-length album, follower-up to their vinyl EP 'The Shape'. Typically for them they did not go for a regular format, but made a multiple art object which is highly collectable! Don't think about this for too long because they don't come in big numbers.
It's a small sculpture, made of tarmac (or asphalt) in a hand-decorated box. On a USB drive you'll find the 10 track debut album in mp3, wav and flac formats. It also contains the official video & storyboard for 'The Shape', press photography and a remix.


I'm a little mixed up but it feels so fine.
If it's got to leave why does it go so slow?
Tell it to my baby.
I've fallen in love but can't remember her name.
But if I don't know her how can I let her in?
How could this ever have happened this way?
Well, sometimes love turns out that way.
But it's better to have it than to need it and not!


These are some good videos that were posted in the Lakers forum that were interesting enough that I'd figure I'd show you all.
The Nash one seemed accurate. With Howard being unable to shoot, I see Gasol being Nash's favorite p/r target.
Lake show will be tuff to beat, but its all on kobe and his inabaility to share the ball, y u think gasol tore up the olympics.....he got the ball, when have u seen Gasol do that for the lakers???? D12 is a baby, and we'll c if the lake show lose a couple if he starts to cry....Nash is old aqnd will proll run out of gas half way thru tryin to keep up with OKC.
Kobe's a ballhog or he doesn't like passing to Cook, Kwame, Smush, Vlad, Medvedenko, Barnes, Blake, McRoberts, etc., etc.
You wouldn't do it with his and their talents on the floor either.
Heat doesn't have the bigs to match up with the Lakers, OKC has defensive bigs to match with the Lakers and more athletic wing players, Heat has even better wings than OKC and the bigs cancel each other out.
I think if the Lakers make it out of the West, then the Heat will lose to the Lakers in 5 or 6.
I thought when Nash first signed with LA, I was wondering how the fast breaking style of Nash would work out? I was confident Kobe could still run well but how would Gasol and Bynum do this together. Didn't think Nash's style would fit well.
Then the Lakers traded Bynum for Howard and now Nash fits well. Howard can run the floor much better than Bynum. I wouldn't be surprised if the Lakers become a more balanced team and points per game improve. Easy baskets from transition and from having Nash running the break.
For the Heat, I think Allen can do more than shoot 3s and this year should show that. I think people are really doubting Rashard Lewis. No, he didn't live up to his $100 million contract but he's going to be better than what other people think if he stays healthy.


text:
Hear Us
Molly Harmon
Published by Kue on October 1, 2018 October 1, 2018
Molly Harmon has performed as a chorus member and soloist numerous times in the southern Maine area with the University of Southern Maine Chamber Singers, USM Chorale, ChoralArt, the St Mary Schola, Lincoln Festival Chorus and the Portland Symphony Orchestra. She has been the soprano soloist in Haydn's Creation, Britten's A Ceremony of Carols, Orff's Carmina Burana, and Bernstein's Chichester Psalms. She has also performed the role of Gretel in Humperdinck's Hansel and Gretel with Paperbull Puppets and Sister Mathilde in The Dialogues of the Carmelites with the PSO. Molly also enjoys performing in musical theater, and has been in productions of Avenue Q as Kate Monster and Sweeney Todd as Pirelli at Lyric Music Theater. This fall she was the soprano soloist in Donald McCullough's Holocaust Cantata with The ChoralArt, and also performed the role of Clorinda in Monteverdi's epic scene Il combattimento di Tancredi e Clorinda with the St Mary Schola at the Portland Early Music Festival. She was a featured soloist at ChoralArt's annual Christmas at the Cathedral concerts where she sang Rachmaninoff's Vocalise.
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Categories:	Artists
Ben McVety
Ben McVety has a Bachelor of Arts in music from the College of William and Mary, and a Masters of Science in Music Education from Indiana University's Jacobs School of Music. He has been a Read more…
Christopher Garrepy
Christopher Garrepy is a graduate of the University of Southern Maine where he studied for his Bachelor Degree in Vocal Performance with Ellen Chickering. A native of Burrillville, Rhode Island, before attending USM, he studied Read more…
Bethany Perkins Hall
Bethany Perkins Hall is a soprano based in Gorham. Bethany studied piano and voice throughout her childhood, and attended Gordon College for vocal performance. Her vocal teachers and coaches include Mary Sullivan, Scott Wheatley, Sara Read more…
Schola Concerts
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A group created with for the purpose of promoting education and cooperation between state examiners. The group also conducts examinations of insurers. This group is comprised of state regulatory examiners.


120sqm P8 Outdoor Angular Advertising LED Screen finished. This angular size is 11m*7m+6m*7m total 120sqm. The Adverting LED Board is installed on the top wall of a CBD building. The customer chooses this Angular Solution because of meeting the view area to a 270°.
P8 is a very cost-effective model for Outdoor Advertising Purpose especially for the size up to 40sqm. The brightness is up to 5500nit, and have very good image and video display performance.


text:
A Conversation About Decolonizing
On March 10th Reconnect Earth led an event designed to spark conversations about decolonization and confronting the horrific history of colonialism in what is now Washington. This trip, called Decolonizing Bellingham's Landscape, was part of our ongoing work to do environmental education in a new way that acknowledges and celebrates the history of Indigenous peoples on the landscape.
Whatcom Creek
Reconnect Earth begins all of our trips with a formal acknowledgement of the Indigenous peoples on whose land it takes place. However, the goal of this particular event was to go much further. We began in downtown Bellingham, walking down to Bellingham Bay below Maritime Heritage Park where we had a conversation about how Indigenous peoples like the Lummi have harvested food from the water since time immemorial. For countless generations the Bay has been a source of sustenance for the Lummi, who have managed their fishing practices in sustainable ways and continue to do so today.
We next walked up into Maritime Heritage Park itself, a small urban park located where Whatcom Creek enters the bay. We stopped by a western red cedar and talked about the Lummi's many uses of this tree, including everything from building cedar log canoes to making highly sophisticated fishing nets from cedar bark. This was followed by a conversation about cultural appropriation and when it is or is not respectful to use Indigenous art and imagery in public places (hint: the key is building authentic partnerships with Indigenous artists).
Pausing in Maritime Heritage Park
We continued to an overlook above the bay from which we could see Lummi and Orcas Islands. We discussed the long history of coastal peoples as expert seafarers. Prior to colonization the Lummi regularly made canoe journeys down the West Coast to the mouth of the Columbia River to trade with the villages there. The Haida, whose territory is in what is now northern British Columbia and southern Alaska, are known for making even longer canoe voyages as far south as California.
Toward the conclusion of the trip we arrived at the bridge over Whatcom Creek itself. This is close to where the first permanent White settlers in what is now Bellingham built a sawmill in 1852. The Lummi treated them with hospitality, but just a few years later that kindness was repaid with dispossession. At the Treaty of Point Elliot in 1855, the Lummi and other Indigenous groups from throughout Northwest Washington were persuaded under duress to sign most of their territory over to White settlers. This is an injustice which has yet to be rectified.
Our group made a timeline of the colonization which took place in Washington during the mid-1800s. We also talked about the long history of Indigenous resistance to colonizing forces. This includes the Puget Sound War of 1856, sparked by the colonial government's duplicitous behavior in the wake of the Point Elliot Treaty signing. Today Indigenous people continue exercising and advocating for their right, guaranteed under the terms of the treaty, to fish in their accustomed territory.
This Reconnect Earth trip was in no way intended as a substitute for learning directly from Indigenous people, who alone can speak authentically to their experience in what is now Northwestern Washington. Rather, the hope was to spark conversations that would lay the groundwork for deeper learning about the Indigenous presence on the landscape. To this end, we also talked about local opportunities to learn from Indigenous educators and community leaders in ways that don't put undue demands on their time.
You can read more about the philosophy behind this Reconnect Earth event here. And stay tuned, because our work to continue engaging with these issues through education is certainly far from over.
This entry was posted in Uncategorized on March 13, 2019 by nickengelfried.
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Self Description: I am a kind, loving and reliable Chinese woman who has a lot of love and passion. I am a very warm-hearted woman with frank personality.
Comments: I am looking forward to finding my love in life. I will always show him most real me and I will always accompany him, staying by his side and working together for all as a team too, my arms are open to you, how about yours?


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text:
Woodberry Down by-election 2021: All your candidates in one place
By Ed Sheridan, Local Democracy Reporter | Monday 26 April 2021 at 16:06
Woodberry Down voters in the London Mayoral elections on 6 May will also be able to vote in a by-election for a council seat in their ward.
The race for Woodberry Down is for the seat vacated by former transport chief Cllr Jon Burke, who resigned after a move out of the borough in order to spend more time with his family.
You can find the most recent results for the ward from the 2018 London local elections here.
Below is a list of the candidates on offer in 2021.
Alice Bennett (Greens)
Alice Bennett. Photograph: Hackney Greens.
Bennett, who is a communications manager for an international social enterprise, has voiced her solidarity with the Happy Man Tree campaign, challenging the Town Hall as to why it "painted the campaigners as holding up the building of council homes.
Bennett has argued for the extension of the life of a home for as long as possible due to the amount of carbon emissions stemming from construction, and if elected would work for a prioritisation of council housing over luxury flats while protecting mature trees.
The Green candidate said: "It is true that there is an overwhelming need for council housing in Hackney. But Woodberry Down is not a brownfield site: in the regeneration project, blocks of council flats are being replaced with mostly private, market-rate housing, a small number of 'affordable' shared ownership properties and new council flats. So far, there has been a loss of 453 socially rented homes across the estate since 2002."
You can find out more about Hackney Green Party here.
Ari Feferkorn (Conservatives)
Ari Feferkorn. Photograph: Supplied by campaign.
Businessman and kosher hospital food charity founder Feferkorn has pledged if elected to serve residents with "energy and resolve," branding Town Hall road closure plans as "not fit for purpose."
The Conservative candidate is also calling for all shared spaces, including Manor House underground station, to have disabled access, argues for the roll back of fortnightly bin collections, would work for the planting of a tree in memory of the Happy Man Tree as part of his goal of "cleaner, more welcoming parks," and opposes the narrowing of Seven Sisters Road to four lanes.
Feferkorn said: "Over the past few years, we have had to sit back and watch as our elected officials ignore our views, our criticisms, and our voices. As a community, we have spoken out about matters that mean something to us, and we have been obstructed and ignored. I want to be your voice, someone who solves the problems and resolves the issues. My aim is to bring people together and find solutions."
You can find out more about Hackney Conservatives here.
Alton Hassan (Liberal Democrats)
Alton Hassan. Photograph: Hackney Liberal Democrats.
Former actor and digital infrastructure manager Hassan has laid out his stall in Woodberry Down with a call for regeneration projects to be "resident -led and not just the vision of a property developer," criticising the Town Hall for the felling of the Happy Man Tree and pledging if elected to "not let residents get pushed around by developers or the Labour-run council."
The Liberal Democrat candidate also argued for more creativity in the building of homes, and for more consideration in converting a renovating existing spaces, while considering the impact on the environment from big regeneration projects.
Hassan said: "We need to be much more demanding with these projects and make sure we are building far more council homes so that local people can benefit from improved housing and not get pushed out by unaffordable rents. Hackney Council's record on this is really poor with figures showing that since 2003 there has been a net loss of 1392 social rent homes as a result of regeneration schemes in the borough. It's no wonder why people feel their communities are being eroded."
You can find out more about Hackney Liberal Democrats here.
Sarah Young (Labour)
Sarah Young. Photograph: Hackney Labour.
Woodberry Down's Labour candidate works in the housing sector, and has called for "more social housing, more genuinely affordable housing and safe decent homes for all" as part of her campaign.
Young, who has also been a trustee for Hackney Winter Night Shelter and a school governor, is also arguing for more play space for children, support for young people, and better public transport to help bring about cleaner air.
Young said: "I'm a proud Hackney resident and my three kids went to local schools. I've campaigned for council housing, education, clean air, funding for services and local people's rights for many years. I'll use my skills and experience to work for the community, listen to your views and help residents secure the homes, services and environment you deserve in Woodberry Down."
You can find out more about Hackney Labour here.
EDIT: This article was updated at 16:28 on 27/04/21.
← Stamford Hill West by-election 2021: All your candidates in one placeHoxton East & Shoreditch by-election 2021: All your candidates in one place →


text:
package client_test

import (
	"crypto"
	"crypto/ecdsa"
	"crypto/rsa"
	"crypto/sha1"
	"crypto/sha256"
	"encoding/asn1"
	"math/big"
	"testing"

	"github.com/google/go-tpm-tools/client"
	"github.com/google/go-tpm-tools/internal/test"
	"github.com/google/go-tpm/tpm2"
)

func templateSSA(hash tpm2.Algorithm) tpm2.Public {
	template := client.AKTemplateRSA()
	// Can't sign arbitrary data if restricted.
	template.Attributes &= ^tpm2.FlagRestricted
	template.RSAParameters.Sign.Hash = hash
	return template
}

func templatePSS(hash tpm2.Algorithm) tpm2.Public {
	template := templateSSA(hash)
	template.RSAParameters.Sign.Alg = tpm2.AlgRSAPSS
	return template
}

func templateECC(hash tpm2.Algorithm) tpm2.Public {
	template := client.AKTemplateECC()
	template.Attributes &= ^tpm2.FlagRestricted
	template.ECCParameters.Sign.Hash = hash
	return template
}

// Templates that require some sort of (default) authorization
func templateAuthSSA() tpm2.Public {
	template := templateSSA(tpm2.AlgSHA256)
	template.AuthPolicy = client.DefaultEKTemplateRSA().AuthPolicy
	template.Attributes |= tpm2.FlagAdminWithPolicy
	template.Attributes &= ^tpm2.FlagUserWithAuth
	return template
}

func templateAuthECC() tpm2.Public {
	template := templateECC(tpm2.AlgSHA256)
	template.AuthPolicy = client.DefaultEKTemplateECC().AuthPolicy
	template.Attributes |= tpm2.FlagAdminWithPolicy
	template.Attributes &= ^tpm2.FlagUserWithAuth
	return template
}

func verifyRSA(pubKey crypto.PublicKey, hash crypto.Hash, digest, sig []byte) bool {
	return rsa.VerifyPKCS1v15(pubKey.(*rsa.PublicKey), hash, digest, sig) == nil
}

func verifyECC(pubKey crypto.PublicKey, _ crypto.Hash, digest, sig []byte) bool {
	var sigStruct struct{ R, S *big.Int }
	asn1.Unmarshal(sig, &sigStruct)
	return ecdsa.Verify(pubKey.(*ecdsa.PublicKey), digest, sigStruct.R, sigStruct.S)
}

func TestSign(t *testing.T) {
	rwc := test.GetTPM(t)
	defer client.CheckedClose(t, rwc)

	keys := []struct {
		name     string
		hash     crypto.Hash
		template tpm2.Public
		verify   func(crypto.PublicKey, crypto.Hash, []byte, []byte) bool
	}{
		{"RSA-SHA1", crypto.SHA1, templateSSA(tpm2.AlgSHA1), verifyRSA},
		{"RSA-SHA256", crypto.SHA256, templateSSA(tpm2.AlgSHA256), verifyRSA},
		{"RSA-SHA384", crypto.SHA384, templateSSA(tpm2.AlgSHA384), verifyRSA},
		{"RSA-SHA512", crypto.SHA512, templateSSA(tpm2.AlgSHA512), verifyRSA},
		{"ECC-SHA1", crypto.SHA1, templateECC(tpm2.AlgSHA1), verifyECC},
		{"ECC-SHA256", crypto.SHA256, templateECC(tpm2.AlgSHA256), verifyECC},
		{"ECC-SHA384", crypto.SHA384, templateECC(tpm2.AlgSHA384), verifyECC},
		{"ECC-SHA512", crypto.SHA512, templateECC(tpm2.AlgSHA512), verifyECC},
		{"Auth-RSA", crypto.SHA256, templateAuthSSA(), verifyRSA},
		{"Auth-ECC", crypto.SHA256, templateAuthECC(), verifyECC},
	}

	message := []byte("authenticated message")
	// Data beginning with TPM_GENERATED_VALUE (looks like a TPM-test message)
	generatedMsg := append([]byte("\xffTCG"), message...)
	for _, k := range keys {
		hash := k.hash.New()
		hash.Write(message)
		digest := hash.Sum(nil)
		alg, err := tpm2.HashToAlgorithm(k.hash)
		if err != nil {
			t.Fatal(err)
		}

		t.Run(k.name, func(t *testing.T) {
			test.SkipOnUnsupportedAlg(t, rwc, alg)

			key, err := client.NewKey(rwc, tpm2.HandleEndorsement, k.template)
			if err != nil {
				t.Fatal(err)
			}
			defer key.Close()

			signer, err := key.GetSigner()
			if err != nil {
				t.Fatal(err)
			}
			sig, err := signer.Sign(nil, digest, k.hash)
			if err != nil {
				t.Fatal(err)
			}
			if !k.verify(signer.Public(), k.hash, digest, sig) {
				t.Error(err)
			}
		})
		t.Run(k.name+"-SignData", func(t *testing.T) {
			test.SkipOnUnsupportedAlg(t, rwc, alg)

			key, err := client.NewKey(rwc, tpm2.HandleEndorsement, k.template)
			if err != nil {
				t.Fatal(err)
			}
			defer key.Close()

			sig, err := key.SignData(message)
			if err != nil {
				t.Fatal(err)
			}
			if !k.verify(key.PublicKey(), k.hash, digest, sig) {
				t.Error(err)
			}

			// Unrestricted keys can sign data beginning with TPM_GENERATED_VALUE
			if _, err = key.SignData(generatedMsg); err != nil {
				t.Error(err)
			}
		})
		t.Run(k.name+"-SignDataRestricted", func(t *testing.T) {
			test.SkipOnUnsupportedAlg(t, rwc, alg)

			restrictedTemplate := k.template
			restrictedTemplate.Attributes |= tpm2.FlagRestricted
			key, err := client.NewKey(rwc, tpm2.HandleEndorsement, restrictedTemplate)
			if err != nil {
				t.Fatal(err)
			}
			defer key.Close()

			sig, err := key.SignData(message)
			if err != nil {
				t.Fatal(err)
			}
			if !k.verify(key.PublicKey(), k.hash, digest, sig) {
				t.Error(err)
			}

			// Restricted keys cannot sign data beginning with TPM_GENERATED_VALUE
			if _, err = key.SignData(generatedMsg); err == nil {
				t.Error("Signing TPM_GENERATED_VALUE data should fail")
			}
		})
	}
}

func TestSignIncorrectHash(t *testing.T) {
	rwc := test.GetTPM(t)
	defer client.CheckedClose(t, rwc)

	key, err := client.NewKey(rwc, tpm2.HandleEndorsement, templateSSA(tpm2.AlgSHA256))
	if err != nil {
		t.Fatal(err)
	}
	defer key.Close()

	signer, err := key.GetSigner()
	if err != nil {
		t.Fatal(err)
	}

	digestSHA1 := sha1.Sum([]byte("authenticated message"))
	digestSHA256 := sha256.Sum256([]byte("authenticated message"))

	if _, err := signer.Sign(nil, digestSHA1[:], crypto.SHA1); err == nil {
		t.Error("expected failure for digest and hash not matching keys sigScheme.")
	}

	if _, err := signer.Sign(nil, digestSHA1[:], crypto.SHA256); err == nil {
		t.Error("expected failure for correct hash, but incorrect digest.")
	}

	if _, err := signer.Sign(nil, digestSHA256[:], crypto.SHA1); err == nil {
		t.Error("expected failure for correct digest, but incorrect hash.")
	}
}

func TestSignPSS(t *testing.T) {
	rwc := test.GetTPM(t)
	defer client.CheckedClose(t, rwc)
	keys := []struct {
		name     string
		opts     crypto.SignerOpts
		template tpm2.Public
		keyBits  uint16
		saltLen  int
	}{
		// saltLen should be (keyBits/8) - digestSize - 2, unless that is less than
		// digestSize in which case, saltLen will be digestSize.
		// The only normal case where saltLen is not digestSize is when using
		// 1024 keyBits with SHA512.
		{"RSA-SHA1", crypto.SHA1, templatePSS(tpm2.AlgSHA1), 1024, 20},
		{"RSA-SHA256", crypto.SHA256, templatePSS(tpm2.AlgSHA256), 1024, 32},
		{"RSA-SHA384", crypto.SHA384, templatePSS(tpm2.AlgSHA384), 1024, 48},
		{"RSA-SHA512", crypto.SHA512, templatePSS(tpm2.AlgSHA512), 1024, 62},
		{"RSA-SHA512", crypto.SHA512, templatePSS(tpm2.AlgSHA512), 2048, 64},
		{"RSA-SHA1", &rsa.PSSOptions{SaltLength: rsa.PSSSaltLengthAuto, Hash: crypto.SHA1}, templatePSS(tpm2.AlgSHA1), 1024, 20},
		{"RSA-SHA256", &rsa.PSSOptions{SaltLength: rsa.PSSSaltLengthAuto, Hash: crypto.SHA256}, templatePSS(tpm2.AlgSHA256), 1024, 32},
		{"RSA-SHA384", &rsa.PSSOptions{SaltLength: rsa.PSSSaltLengthAuto, Hash: crypto.SHA384}, templatePSS(tpm2.AlgSHA384), 1024, 48},
		{"RSA-SHA512", &rsa.PSSOptions{SaltLength: rsa.PSSSaltLengthAuto, Hash: crypto.SHA512}, templatePSS(tpm2.AlgSHA512), 1024, 62},
		{"RSA-SHA512", &rsa.PSSOptions{SaltLength: rsa.PSSSaltLengthAuto, Hash: crypto.SHA512}, templatePSS(tpm2.AlgSHA512), 2048, 64},
	}

	for _, k := range keys {
		t.Run(k.name, func(t *testing.T) {
			alg, err := tpm2.HashToAlgorithm(k.opts.HashFunc())
			if err != nil {
				t.Fatal(err)
			}
			test.SkipOnUnsupportedAlg(t, rwc, alg)

			k.template.RSAParameters.KeyBits = k.keyBits

			key, err := client.NewKey(rwc, tpm2.HandleEndorsement, k.template)
			if err != nil {
				t.Fatal(err)
			}
			defer key.Close()

			hash := k.opts.HashFunc().New()
			hash.Write([]byte("authenticated message"))
			digest := hash.Sum(nil)

			signer, err := key.GetSigner()
			if err != nil {
				t.Fatal(err)
			}
			sig, err := signer.Sign(nil, digest[:], k.opts)
			if err != nil {
				t.Fatal(err)
			}
			// Different implementations may specify different salt length. Some have "keyBytes - digestSize - 2", some have
			// just "digestSize". Therefore here we just verify with default salt length.
			err = rsa.VerifyPSS(signer.Public().(*rsa.PublicKey), k.opts.HashFunc(), digest[:], sig, nil)
			if err != nil {
				t.Error(err)
			}
		})
	}
}

// Make sure signing fails when using PSS params with a non-PSS key
func TestFailSignPSS(t *testing.T) {
	rwc := test.GetTPM(t)
	defer client.CheckedClose(t, rwc)
	keys := []struct {
		name     string
		template tpm2.Public
	}{
		{"SSA", templateSSA(tpm2.AlgSHA256)},
		{"ECC", templateECC(tpm2.AlgSHA256)},
	}

	pssOpts := rsa.PSSOptions{SaltLength: rsa.PSSSaltLengthAuto, Hash: crypto.SHA256}

	for _, k := range keys {
		t.Run(k.name, func(t *testing.T) {
			key, err := client.NewKey(rwc, tpm2.HandleEndorsement, k.template)
			if err != nil {
				t.Fatal(err)
			}
			defer key.Close()

			signer, err := key.GetSigner()
			if err != nil {
				t.Fatal(err)
			}

			// Fake SHA-256 digest
			digest := make([]byte, 32)
			if _, err = signer.Sign(nil, digest, &pssOpts); err == nil {
				t.Error("expected failure when using PSS options")
			}
		})
	}
}

// Signing keys without a signature scheme are incompatible with GetSigner
func TestFailGetSignerNullScheme(t *testing.T) {
	template := templateSSA(tpm2.AlgSHA256)
	template.RSAParameters.Sign = nil

	rwc := test.GetTPM(t)
	defer client.CheckedClose(t, rwc)
	key, err := client.NewKey(rwc, tpm2.HandleEndorsement, template)
	if err != nil {
		t.Fatal(err)
	}
	defer key.Close()

	if _, err = key.GetSigner(); err == nil {
		t.Error("expected failure when calling GetSigner")
	}
}


A short piece thought some might enjoy.
Last edited by MissouriFree; 01-20-2018 at 04:41 PM.
Interesting little bit of history insight of how things got done.
If you have ever agonized over finding something/somebody while looking over a topo or wac chart, especially when at a glance it all looks like endless bush, you can appreciate what went into creating that document.
having been a map maker many years ago, I enjoyed that video. Fortunately, by the time I was working over a light table, areal photography was used for base mapping, although field checks were still routinely done.
Interesting aside--we used both low altitude and high altitude photography to map geologic alignments, and often the two sets of photos would show completely different alignment sets. different perspectives I suppose.
I second that. The MN northwoods\swamps is like that. Very difficult to orient, short sightlines and all. Once you get used to it, it's cool, but y'have to get used to it.


text:
Colin Ayden Johnstone (born 24 October 1996 in Hamilton, New Zealand) is a New Zealand rugby union player who plays for the  in Super Rugby. His playing position is prop. He was first signed to the Highlanders squad in 2019.

Reference list

External links
itsrugby.co.uk profile

1996 births
New Zealand rugby union players
Living people
Rugby union props
Waikato rugby union players
Highlanders (rugby union) players
Rugby union players from Hamilton, New Zealand


text:
Red Tape Theatre is committed to the creation of new and experimental work through collaborations with our ensemble, playwrights, musicians, dancers, and visual artists. Red Tape's plays invite our audiences to re-imagine their world and serve a vital purpose in our community: to arrest attention and create empathy.
Artistic & Administrative Staff
Artistic Director – Max Truax
Director of Development – Emily Nichelson
Director of Community Engagement – Kelsey McGrath
Director of Audience Services – Spencer Ryan Diedrick
Grants Manager – Claire Bauman
Grant Writer – Daniella Wheelock
Director of Accessibility – Brenda Scott Wlazlo
Resident Scenic Artist – Nick Schwartz
Resident Costume Designer – Izumi Inaba
Resident Composer – Nicholas Tonozzi
Resident Sound Designer – Steve Labedz
Aaron Arbiter (he/him/his) Arbiter is a Chicago-based artist and educator. He has directed and assistant directed work for companies from Boston to Chicago including the 16th Street Theatre, 906 Theatre Company, The Eugene O'Neill Theatre Center, among many others. Arbiter served as Assistant Director for Red Tape's production of Round Heads and Pointed Heads. He has trained internationally with Complicité and the Royal Shakespeare Company.
Derek Van Barham (he/him/his) is the Producing Artistic Director of Kokandy Productions, and a member of the Red Tape Theatre ensemble. He previously served as Associate Artistic Director of Pride Films & Plays and Artistic Director of The Ruckus. Recent directing credits: Head Over Heels (Kokandy), The View Upstairs (Circle), Poseidon (Hell in a Handbag) and Taylor Mac's A Walk Across America for Mother Earth (CCPA/Roosevelt). Recent choreo credits: Ghost Quartet, Evil Dead the Musical (Jeff nomination), Shockheaded Peter (Black Button Eyes). He was named one of Windy City Times 30 Under 30, recognizing individuals from Chicago's LGBTQ community. MFA: Chicago College of Performing Arts (CCPA) at Roosevelt University. BFA: University of Mississippi. www.derekvanbarham.com
Claire Bauman (she/her/hers) is a director and choreographer who investigates theater through devising and collaborating with an interdisciplinary and feminist lens. She has directed for Rhinofest, Broken Nose Collective, Chicago Theatre Marathon as well as produced and devised her own pieces and events. Claire co-created Making (the) Movement, a dance arts festival supporting Chicago organizations dedicated to combating sexual violence. She has assisted and performed with Interrobang Theater Project and Walkabout Theater, where she is also an Artistic Associate. She graduated from Vassar College and further trained at the Moscow Art Theater School. Claire has participated in DirectorsLabChicago, Stage Directors and Choreographers Foundation Observership Program, and Hangar Theatre's Directing Apprenticeship.
Ambrose Cappuccio, (he/him/his) is a Chicago-based playwright and performer. He was most recently seen in Round Heads and Pointed Heads at Red Tape Theatre. One of his original scripts, Cigarettes, will be produced as a part of Red Tape's (Working Title) workshop series on July 19th. He is also a company member with Trap Door Theatre.
Casey Chapman (he/him/his) Casey Chapman (he/him) has appeared at Red Tape in In the Blood, Round Heads and Pointed Heads, and We Are Pussy Riot. He has been a long time collaborator with artistic director Max Truax including multiple projects at Trap Door Theatre, where Casey appeared in over 10 productions. He has also been in 6 feature length films which have toured the US and abroad with winning Best Actor at the New York City Independent Film Festival and the International Film Awards Berlin Festival. Casey is proud of Red Tape Theatre and its mission to provide free theatre to all.
Richard Costes (he/him/his) is a Chicago-based actor, director, and accessibility consultant. Selected roles include Snout in Midsummer Night's Dream at Chicago Shakespeare Theatre, Bosun in Mosquitoes at Steep Theatre Company, Arjun in Opportunities of Extinction (World Premiere) at Broken Nose Theatre, and Rev D./Baby in In the Blood at Red Tape Theatre. Richard was one of 10 recipients of a 3Arts Award in 2019 and is also a member of Disability Lead. A 2006 graduate of Kent State University (B.A. Theatre) he has presented at Gallaudet University's symposium on Visual Shakespeare and was a panelist and member of the 2019 Deaf Theatre Action Planning Session hosted by HowlRound at Emerson College and now sits on the board of the National Theatre of the Deaf. www.richardcostes.com
Zoë DePreta (she/her/hers) is an actress, writer and comedian originally from Stamford, CT. She holds a BA in Theatre and Creative Writing from Oberlin College. Most recently, Zoë appeared in Red Tape's (Working Title) performance of Queen of Sock Pairing. Other Chicago credits include Anna Karenina (Lifeline Theatre), May Day (Rhinofest 2018), and La Ronde (American Theatre Co. CORE). Zoë is currently studying with iO and performs stand-up comedy throughout the city.
Spencer Ryan Diedrick (he/him/his) serves as the Audience Engagement Manager and a proud Company Member of Red Tape. His credits as a director, deviser, and assistant director include Griffin, TimeLine, American Blues, Route 66, Emerald City, The Runaways Lab Theatre, Strawdog, Dandelion, the side project, Raven, Lifeline, Collaboraction, Blue Goose Theatre Ensemble (Co-Artistic Director – RIP), and (re)discover theatre (Ensemble Member – RIP). Many thanks to his friends, family, and all supporters of live theatre.
Amanda Drinkall (she/her/hers) As an ensemble member, Amanda's Red Tape credits include hamlet is dead. no gravity, The Skriker, Brand, Lear, The Love of the Nightingale, and Pullman, WA. Other Chicago credits include: Bernhardt/Hamlet, The Winter's Tale, Venus in Fur, Ah! Wilderness, Continuity and Measure for Measure (Goodman Theatre); King Charles III (Chicago Shakespeare Theater); Mary Page Marlowe (Steppenwolf Theatre Company); By the Water, White Guy on the Bus and Funnyman (Northlight Theatre); Last Train to Nibroc (Haven Theatre, Jeff Award for Best Actress); Southern Gothic (Windy City Playhouse); Rest (Victory Gardens Theater); Pygmalion (Oak Park Festival); Dutchman (American Blues Theatre); Great Expectations (Strawdog Theatre Company) and Pride and Prejudice (Lifeline Theatre). Television credits include Chicago Med and Bobby & Iza. Since joining Actors Equity Association, Amanda has transitioned from performing in Red Tape's productions to serving on its Board. She holds a BFA from the University of Illinois at Urbana-Champaign and is represented by Gray Talent Group.
Callie Harlow (she/her/hers) is a Chicago-based actor and dramaturg. She relocated to Chicago in 2019 by way of Seattle and Oberlin, OH, where she developed her background as a dramaturg with the Seattle-based radical dramaturgy vehicle, The Umbrella Project. Her recent Chicago performance credits include: a workshop performance of Futurists (Red Tape), 2 Unfortunate 2 Travel (Prop Thtr), and the upcoming production of When the Rain Stops Falling at Shattered Globe. You can also see her on-screen in the Sony produced short, Taste, and the indie feature CRSHD. Callie is thrilled to be joining the Red Tape team as a Grants Associate. Find her online at callieharlow.com.
Izumi Inaba has designed costumes for A Hedda Gabler, hamlet is dead. no gravity, Obscura, Tragedy: a tragedy, Elephant's Graveyard, and The Skriker. Earlier this season she was invited to be invited to be Red Tape's resident costume designer. Chicago credits include works with A Red Orchid, Porchlight, Chicago Shakespeare, Chicago Dramatists and About Face, Griffin, Steep, Building Stage, The Hypocrites, Side Show, Mary-Arrchie, etc. She is a recipient of Jeff Award 2011 for makeup design of Cats (Theo Ubique Cabaret Theatre). MFA in Stage Design, Northwestern University.
Ben Kaye (he/him/his) is a Chicago-based director, performer, administrator, and cultural critic, and is thrilled to be joining the Red Tape Theatre team and supporting the Free Theatre Movement. He currently works as the Audience Services Manager for Emerald City Theatre, as a Producer with Chicago Arts Access, and as a Contributing Writer for Newcity Stage. He has directed, and assistant directed, on world premiere productions with Dandelion Theatre, Nothing Without a Company, The Hypocrites, and The New Colony, and his performance credits include work with Steep Theatre, Victory Gardens Theater, Haven Theatre, and Porchlight Music Theatre. He directed the Chicago premiere of Nick Flynn's Alice Invents a Little Game and Alice Always Wins, and his production of Alex Fortune's Forsythian Dweller's Club with Bittersweet Arts Co. enjoyed an award-winning run at the Minnesota Fringe Festival.
Steve Labedz(they/them/theirs) is a composer, sound designer, and video designer based out of Chicago. They greatly enjoy working on experimental theatre because weird stuff is the coolest stuff. Red Tape production credits include The Life and Death of Madame Barker, In the Blood, We Are Pussy Riot!, I Saw Myself, Mutt and Round Heads and Pointed Heads.
Peter Laughlin, Company Member. Mr. Laughlin received his BFA in Acting from California Institute of the Arts and was most recently seen in Red Tape's production of Round Heads and Pointed Heads. He was also featured in House Show: Double Feature with Book Club here in Chicago.
Eddie Lynch (he/him/his) was born and raised in Massachusetts and graduated from California Institue of the Arts with his BFA in Acting. Eddie spent a year teaching English in Thailand and is an Associate Company Member at Trap Door Theatre. He was also featured in House Show: Double Feature with Book Club here in Chicago.
Ruth Margraff, a member of the Red Tape ensemble, has been called a leader and one of America's most singular and daring theater artists known for her "audaciously original" (Moscow Times) use of language that provides "layer after layer of richly textured emotion…and imminent danger" (Dallas Morning News). Best known in the US for her collaborations since 1997 with the late composer Fred Ho with whom she wrote six martial arts operas for the Apollo, Guggenheim Museum, Brooklyn Academy of Music and several national tours, Ruth's "Night Wind from Afghanistan" for the play SEVEN has toured all over the world, introduced by Hillary Clinton featuring Meryl Streep at the Broadway Hudson Theater (NYC). She performs regularly with her Café Antarsia Ensemble, receiving awards from Rockefeller, McKnight, Jerome, NEA, TCG, TMUNY, NYSCA, IAC, Fulbright foundations, published by Dramatists Play Service, American Theatre, Theater Forum, Performing Arts Journal, Playscripts, Inc., Backstage Books, Autonomedia, New Village Press, Innova Records, NoPassport Press. She performed Flower in Red Tape's Taylor Mac play at Steppenwolf Garage, after working with Red Tape on her play Stadium Devildare in 2013. She's currently writing Previously Blue with Dah Teatar (Belgrade) and 7Stages (Atlanta) presenting her Locket Arias with Nautilus' Rough Cut new opera series (Mpls), etc. She's been a New Dramatist, a Chicago Dramatist and is Associate Professor/Chair of Writing at the School of the Art Institute of Chicago. www.RuthMargraff.com
Moriah Martel (she/her/hers) is an actor and artist from rural New England. She has worked in Los Angeles, Chicago and New York since graduating with her BFA from the California Institute of the Arts in 2017. Chicago credits include Stranger on the River (The Den), Jon Ramsey's Christmas Special (iO) and Smile Happy (Book Club), as well as various independent film projects with Familiar Pictures, Decent Filmz and The Second City. Moriah also runs the DIY art journal Look at This, where she hosts an interview series with theater artists. More info at moriahmartel.com!
Felix Mayes (he/him/his) is an East Coast transplant. He was most recently seen in Red Tape's production of Round Heads and Pointed Heads. He has had the opportunity to perform on stages from NJPAC to the Lincoln Center to the Rudolfinum in Prague as a singer, actor, and dancer. He has participated in the Philly Fringe Festival and Irene Ryan Acting Festival as well as the American College Dance Festival.
Emilie Modaff (they/them/theirs) is a Chicago-based multidisciplinary artist. Most recently you may have seen them in Kentucky (The Gift Theatre). Previously, Em has played on the Red Tape stage in Pussy Riot and In The Blood. Other favorite projects include: In The Canyon (Jackalope Theatre), Les Innocents ((re)discover theatre), Little Flower of East Orange (Eclipse Theatre), Knuffle Bunny: A Cautionary Musical (Emerald City Theatre), and OpenTV's original web-series Choose Me: An Abortion Story. They are represented by DDO Chicago. www.emiliemodaff.com.
Emily Nichelson (she/her/hers) serves as the Director of Development for Red Tape Theatre by overseeing the major fundraising events for the company and facilitating the relationships of the large and individual donors to Support the Free Theatre Movement. As a company member, Emily has appeared onstage in I Saw Myself and Round Heads and Pointed Heads. She is also a company member with Trap Door Theatre, and has been onstage with Chicago Shakespeare Theatre, Steppenwolf Theatre, Writer's Theatre, Griffin Theatre, StrawDog Theatre, and others.
Alec Phan (hey/they) is an actor and music-maker based in Chicago. He hails from Wisconsin where he grew to love Shakespeare with Anne and Richard DiPrima of the Young Shakespeare Players, before studying theatre at the University of Wisconsin in Madison. Alec always seeks out storytelling work that breaks down binaries and celebrates the intersectionality of human identities. He is also an ensemble member of Prop Thtr and an Artistic Associate with Pop Magic Productions.
Joseph Ramski (he/him/his) is a native Chicago actor, writer, and visual artist with a BFA in Theatre and English from the University of Illinois in Champaign-Urbana. He's worked with a number of theatres as an actor and designer, including Red Tape, Oracle Productions, Otherworld Theatre, The Arc Theatre, The Ruckus, MOZAWA, Organic Theatre Company, Reutan Collective, (re)discover theatre, The Runaways, Mudlark Theatre, The Prop Thtr, Chicago Slam Works, and the Right Brain Project, where he served as Managing Director and Graphic Designer from 2013 to 2017. Joe has also performed his poetry and other written work across the city, has written a number of plays, and had his first full-length play The Dancing Plague produced in the fall of 2016.
Caleb Roitz, Company Member. Mr. Roitz is an actor, writer, and director originally from San Diego, California. He was most recently seen in Red Tape's production of Round Heads and Pointed Heads as well as House Show: Double Feature with Book Club. Caleb has received his BFA in Acting from the California Institute of the Arts.
Nicholas James Schwartz (he/him/his) Originally from New York , Nick now resides in Chicago as a Scenic Designer, Scenic Artist and Technical Director. Previous work with RED TAPE includes: All Quiet On The Western Front, Queen of Sock Pairing, In The Blood, and Round Heads and Pointed Heads, Other works include: Mamma Mia (Cortland Repertory Theatre), Hello Again, Working (Theo Unique Cabaret Theatre), Comedy of Errors, Loves Labours Lost (Arkansas Shakespeare Theatre), Elephant Man (William Street Repertory), Columbinus, Blood At The Root, Antigone (Elgin Community College), Naked, The Killer, Love and Information (Trapdoor Theatre), Book of Merman, Defacing Michael Jackson (Flying Elephants Productions), In The Heights, Revolt (Vision Latino Theatre).
Stephanie Shum (she/her/hers) is a proud company member with Red Tape where she has appeared in We Are Pussy Riot, Roundheads and Pointed Heads, Mother of Smoke, and Mnemonic. She has also performed with The New Colony, Steppenwolf Theatre, American Theater Company, The Neo-Futurists, First Folio, Broken Nose, Wildclaw, and Cloudgate among others. She is Co-Artistic Director of The New Colony, a graduate of the School at Steppenwolf, and is represented by Shirley Hamilton Talent. www.stephanieshum.com
Kaitlin Thomas Taylor (she/her/hers or they/them/theirs) is a director and designer. She has directed, designed, production managed, and assisted across Chicago theatres with Redtwist, TimeLine Theatre, Saint Sebastian Players, Genesis Theatricals, The Music Theatre Company, Otherworld, Public House, Chicago Dramatists, and The Vanguardian Theatre Collective, among others. Kaitlin is currently working with Waltzing Mechanics to start conversations and educate through documentary theatre.
Jenn Thompson (she/her/hers) has been working as a freelance stage manager, designer, and writer throughout the Chicagoland area. Some previous credits include work with Pride Films and Plays, The Gift, The Court, Redtwist, and others. She was the Stage Manager of Red Tape's I Saw Myself, and is the Resident Stage Manager at Redtwist Theatre as well as a company member with Bower Theatre Ensemble.
Max Truax (he/him/his) brings years of experience producing and directing experimental theatre and has been hailed by TimeOut Chicago as "one of the most visually visionary directors in Chicago's storefront scene." His work with Red Tape includes his direction of Brand and A Hedda Gabler. Prior to joining Red Tape, Max served as Artistic Director of Oracle Productions from 2011 until 2016, where he directed No Beast So Fierce, The President, The Mother, The Sandman, Woyzeck, The Ghost Sonata and Termen Vox Machina. His production of The Mother received several Jeff Awards, including awards for Best Production and Best Ensemble. Prior to his tenure as Artistic Director of Oracle, Max served as Oracle's Director of Outreach and as Company Manager. Max has been a Resident Director at Trap Door Theatre since 2008, where he directed several productions, including No Matter How Hard We Try, The Balcony, They Are Dying Out, Hamletmachine, A Couple of Poor Polish-Speaking Romanians, and No Darkness Round My Stone. His production of A Couple of Poor Polish-Speaking Romanians performed at the Fun Underground Festival in Arad, Romania and at the Bagatela Theatre in Krakow, Poland. Other notable directing credits include A Dream Play at Krannert Center for the Performing Arts (University of Illinois). Max studied visual art, performance art, and post-modern choreography at Oberlin College, and he received his MFA in Theatre Directing from California Institute of the Arts.
Johnard Washington recently moved to Chicago by way of Houston, Texas. He received his Bachelor of Fine Arts from Southern Methodist University studying theatre. There, he was seen in a variety of roles: La Discreta Enamorada (Hernando); The Laramie Project (Greg Pierotti, et al.);Trouble in Mind (John Nevins); Our Lady of 121st Street (Flip Johnson); An Ideal Husband (Lord Goring) and many independent projects. Mr. Washington also worked closely with Kitchen Dog Theatre and the Orchestra of New Spain under the direction of Tina Parker, Gustavo Tambascio and Grover Wilkins III. In Chicago, Mr. Washington has worked primarily with Red Tape Theatre where he has performed in A Hedda Gabler, Elephant's Graveyard and The Skriker.
Zach Weinberg (he/him/his) is a Chicago-based theater director, adaptor, and administrator. He is interested in the creation of new, non-traditional works and finding the perfect medium for the message. Zach is a company member at Red Tape Theatre, and a graduate of Oberlin College. Selected directorial work includes serving as a Directing Apprentice with the late Redmoon Theatre, the 2016 Director's Haven at Haven Theatre, two original adaptations at Curious Theatre Branch's Rhinofest: Love in a Maze ('17) and MAY DAY ('18), and the world premiere of 2 unfortunate 2 travel as part of the Prop Thtr's 2018-19 season.
Daniella Wheelock (she/her/hers) is a Chicago-based theatremaker, originally from San Diego, California. She graduated magna cum laude from the Conservatory for Theatre Arts at Webster University with a degree in Directing and was an Emerging Professional Resident at Milwaukee Repertory Theatre. She is a DirectorsLabChicago alum and a member of its Steering Committee. Recent directing credits include: The Roommate (Cardinal Stage); Every Christmas Story Ever Told (Quincy Community Theatre); The Great Leap (assistant to dir. Jesca Prudencio, Steppenwolf Theatre Company); The Process (The Barrens Theatre Co.); Fifty Shades of Shakespeare ((re)discover theatre). daniellawheelock.com
Brenda Scott Wlazlo (she/her/hers) has been an ally and advocate for accessibility in theater since her arrival to Chicago in 2013. With a background in Deaf Studies and performance, she has used her passions to work with companies like Broken Nose Theater, Promethean Theater, Red Theater Chicago and others to support their efforts for inclusive productions and performances. With Red Tape's founding perspective of erasing barriers between audiences, artists and communities, she couldn't feel more at home in her new role as Red Tape aims for an even higher level of inclusive theater.
Alex Grelle
Amber Gensterblum
Anthony Guerrero
Austin Oie
Casey Wright
Charlotte Long
Deirdre Connelly
Emma Ladji
Eric Turner
Jake Szczepaniak
Kiayla Ryann
Lyndsay Kane
Maryam Abdi
Mo Shipley
Nora King
Sarah Grant
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Treasurer – Bob Jenkins
Jesse Bauer
Amanda Drinkall
Louis Fogel
Barbara Keefe
Max Truax


Kind listening and practical support can help a person who wants to make healthier choices around alcohol.
Listen carefully to what they say. Be respectful of their ideas and decisions.
contacting the Alcohol Drug Helpline – 0800 787 797, visit their website, or free txt 8681 on their behalf and with their agreement.
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Renegade helped a division of RR Donnelley find a unique positioning for its services that we translated into a potent 360° integrated communications program.
The first was ActiveDisclosure, online compliance filing software for public companies. Many of its competitors offer fully automated software, but we discovered that ActiveDisclosure's customers sought the reassurance of a real human being to help with their compliance filing, and that RR Donnelley had an opportunity to turn a perceived negative (not self-service) into a positive (expert-supported). Renegade's challenge was to create a positioning and marketing campaign to communicate this differentiator to customers.
With our Renegade thinking caps, on, we forged ahead.
The team undertook an extensive auditing process that included interviews with the sales, marketing and product development teams. Renegade translated "expert-supported online compliance" into an entire marketing campaign, including a new website, brand video, digital advertising and sales materials. For customers who required more personalized attention, this repositioning provided a reassuring promise that confounded the competition.
Another assignment focused on a $500 million division within RR Donnelley called the Global Capital Markets Group (GCM). Having grown rapidly through acquisition, GCM offered a range of products and services with different naming structures and numerous visual identities, which made communicating them to customers difficult for the sales force. RR Donnelley engaged Renegade to help organize and streamline the division's combined portfolio and deliver a unified set of tools to help the sales team do its best work.
After conducting comprehensive interviews, and analyzing GCM offerings and competition, we developed a new brand architecture and naming strategy for its products and services, as well as new nomenclature for the division itself.
Finally, we brought cohesion to the division's sales materials through the creation of a new visual system, cross-channel communications templates and microsite.


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S&B Porta-Bowl Restrooms – Sell-Side Transactionadmin2019-12-02T11:06:14-06:00
SDR Ventures Advises S&B Porta-Bowl Restrooms on Acquisition by United Site Services, a Portfolio Company of Platinum Equity
SDR Ventures is pleased to announce that S&B Porta-Bowl Restrooms ("S&B") has been acquired by United Site Services Inc. ("United Site"), a portfolio company of Platinum Equity Advisors, LLC ("Platinum"). SDR served as the exclusive sell-side advisor to S&B throughout the transaction process.
S&B Porta-Bowl Owners, Lee and Connie Sola, first entered the Portable Restrooms Industry in 1976. By 1994, Denver-based S&B was established as an industry leader in the Rocky Mountains and had even earned the opportunity to provide their services for the 2002 Salt Lake City Winter Olympics. Following the success of Salt Lake City, the Sola's opened two additional offices in Greeley and Colorado Springs respectively.
Under the leadership of Lee and Connie and their children Jon, Matt and Kristen, S&B Porta-Bowl now has over 5,400 restrooms, 63 service and delivery vehicles and a team of 70 employees. In a typical year, S&B supplies restrooms for more than 3,800 job sites and 1,400 events across the front range of Colorado.
"SDR's attention to detail ensured a smooth process from start to finish. Their professionalism allowed us to successfully transact with a buyer who appreciated our years of work while continuing to focus on operating our business when it mattered most," added Lee Sola, Co-Owner of S&B Porta-Bowl. "I'm grateful for all the hard work the SDR Team put into this transaction and look forward to seeing United Site usher in a new era of success for the Company."
SDR Director Mike Grande commented, "I am glad to see that the years of hard work that Lee and Connie put into building their business were recognized and that their legacy will continue on for many years to come. United Site and the team at Platinum understand and appreciate all the work that the S&B Team has done to grow the business into what it is today and have the resources and knowledge to ensure the company's continued success in the future. The Sola's were truly great to work with and Jon, Matt and Kristin were instrumental in getting the transaction completed. SDR is thankful for all their trust and cooperation during one of the most impactful financial transactions of their lives."
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Balance Hydrologics in partnership with Carmel River watershed stakeholders is pleased to announce a dedicated session entitled Carmel River Watershed: Managing and Restoring for Sea-to-Summit Resiliency at the upcoming 9th National Summit on Coastal and Estuarine Restoration and Management Conference to be held December 8-13, 2018 at the Long Beach Convention and Entertainment Center in Long Beach, California.
The Carmel River session will take place on December 12th, 1:30-3:00 PM. Presentations include Monterey Peninsula Water Management District: "Finding a New Carmel River Equilibrium 35 Years After Reaching a Sandy Bottom", NOAA Fisheries: "On Learning About the Carmel River Watershed Steelhead Population", Big Sur Land Trust: "Restoration Partnerships for the Benefit of People and the Environment", California Coastal Conservancy: "From Never to Done – the Removal of San Clemente Dam", and Balance Hydrologics: "Watershed-scale Impacts of Climate Change on Carmel River and Lagoon". We would love to see you there!