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Brett Schenning was born and raised in rural Wisconsin. Upon graduation from the University of Wisconsin-Oshkosh, he moved to the Southwest where he learned to work with large format cameras and the revered Platinum-Palladium contact printing method. Brett is currently an MFA candidate at the Savannah College of Art & Design. His thesis work has focused on farming in the Southeastern United States, a study that has brought him back to the essence of his childhood home.
When this project initially began I thought that the push behind it was based in a Socialist wish of equality for everyone. I had just left a job working for a corporation selling natural foods and witnessed for years first hand the division of the have's and have not's. It always made me feel strange that had I not worked in that business I would never be able to afford to shop there, denied access to a commodity that clearly enhanced my quality of life. This discrepancy was on display every day as bored housewives drifted through the aisles filling up shopping carts while truly hungry looking people shuffled to the cash register with a solitary apple in hand.
I started out wanting to say something with my photographs about how unfair that disparity seemed, but over the past year the series began revealing something deeper to me. My parents brought me into the world and raised me in rural Wisconsin, a hamlet in the middle of fertile farmland. The town was the kind of place that reminds you of those fairy tale locations described in television programs such as the bucolic Mayberry from The Andy Griffith Show. Without a doubt that sort of childhood environment influenced me as a person, the kind of place that has the potential to instill a modesty and humility in a person. I grew up working hard in my parents gardens all those humid Midwest summers, understanding that the bounty from which would provide us food for most of the year until next planting season. It was a way of life, and everyone around me just did it without a second thought.
When I left my small home town for college I rejected that past, most people I met grew up in the big city and were exposed to far more sophisticated culture. I was deluded into believing there was shame in my humble upbringing, for some reason it was not deemed cool to have farming roots. As I grew older and began developing into my own person I drifted back to gardening as a form of meditation and a way to supplement my food deficiencies. Then all of a sudden I began to notice farmers markets springing up all over the place, and unexpectedly gardening was in vogue and generally a "hip" thing to do. What had changed? I believe the realities of nutrition and an awareness in environmental concerns opened people's eyes. To me this is fantastic; we should be so lucky as a society to bring more attention to food sources and sustainability.
As I started out saying this photographic series has seeds in my desire to see everyone eat well, nutrition is a key to a satisfactory life. But it has also evolved into a reminiscence about home, and how as we grow and adjust those methods of existence change. New generations are always finding more efficient ways of operating, and it is important to let go of that desire to hold on to nostalgia and embrace the now and all of its potential.
To view more of Brett's work please visit his website.


It can scarcely have escaped anyone's attention that 2013 is the 200th anniversary of Dickens' birth – anyone who has not been in a medically induced coma for the past months, that is. If you missed the last two biographies (one, by Michael Slater, jumping the gun in 2009, another, by Claire Tomalin, published a couple of months ago), then there is another coming along in a couple of weeks, by the actor Simon Callow, who has also been performing his seasonal 'one-man theatrical extravaganza' adaptation of A Christmas Carol.
Or you could watch the current BBC's production of The Mystery of Edwin Drood. That is, if you've finished watching their version of Great Expectations. Or listening to the radio retelling of A Tale of Two Cities, or learning about his favourite songs on Charles Dickens' iPod (yes, really), or exploring an Indian reimagining, The Mumbai Chuzzlewits. Or watching Armando Iannucci telling us why he was funny, or Sue Perkins on his poor, much-maligned wife, on Mrs Dickens' Family Christmas. If you're more academically inclined, you can present a video about Dickens at a free online conference. That is, if you don't want to wait, and pay for a cinema ticket to the soon-to-be released Great Expectations with Helena Bonham-Carter, paying for it with the new £2-coin featuring – who else? Or, who knows, let's be crazy, you could even read one of the books.
And Dickens is international. Be it As Aventuras de Oliver Twist from Brazil, or Twist Olivér in Hungary, or Italy's Storia di un orfano, everyone knows Oliver and Fagin, not to mention David Copperfield, Mr Micawber, Edwin Drood, Mr Pickwick and the rest of the familiar troop. Or they know about them. Or their names. Or the plots, sort of. Can you name the characters in Thackeray's Vanity Fair? A few may dredge up Becky Sharp. Never mind the characters, can you name another Thackeray novel? Thought not.
So part of the argument for the Dickens-fest we are enjoying-enduring is circular: we like Dickens because he is popular, he is popular because we like him. But there is another, deeper, and more important, reason that Dickens is popular, one that resonates particularly in our own time, and that is the story of his own life.
Dickens, as everybody knows, was a lower-middle-class boy made good after a dreadful childhood, when his father was imprisoned for debt and he was sent to work in a blacking-factory. True, no one really has much idea of what a blacking-factory is these days, but we're unanimous in knowing it is pretty bad.
And bad it was. Dickens was taken out of school when he was twelve, and he worked pasting labels on blacking (which is shoe-polish, by the way) pots, possibly for as much as a year, before his father, finances temporarily recovered, returned him to school. But he left school for good only two years later, aged fifteen, and went to work as a lawyer's junior clerk.
In these divided times – the super-rich and the jobless, with little certainty in between, the frothing religious fundamentalists and the screamingly secular, the climate-change believers and deniers – everything seems as sharply divided as Dickens saw it.
And unlike Thackeray, unlike Jane Austen, Dickens didn't write about the graciously upper class, the respectably wealthy. Some of his characters were – there is Sir Leicester Dedlock, Bart, carefully given his title every time. But most of his characters were not. Some were indigent: I know of no character in literature more moving than Jo the crossing-sweeper in Bleak House, who has grown up on the streets, and 'Don't know that everybody has two names. Never heerd of sich a think.' He has no family, no friends, has never been to school, and isn't sure what the word 'home' means.
Even more of Dickens' characters are what became known as 'shabby-genteel': people who are keeping up appearances, despite precarious finances, despite irrevocably sliding down the social scale, possibly losing a job, losing a family, losing everything, as the Dickens family once had so traumatically. In our own times, this speaks to us as we desperately work harder and harder, run faster and faster merely to stay in the same place. Primark, Walmart and Lidl may mean that we no longer look 'shabby'; a more informal dress-code means no one really looks 'genteel', either, but in these decades of stagnating middle-class wages, in times when university education seems to be moving beyond the reach of many who had previously expected it, when social mobility seems to work in only one direction, the idea of lives lived precariously poised on the edge of financial despair is one we all recognize.
For, finally, it is the fear of destitution, and hope and idealization of the future, so uniquely mingled in this writer, whose books are more bizarre than any adaptation can do justice to, that makes him meaningful for our day as much as his day. Too many adaptations make his novels seem no different from Sherlock Holmes, all quaint hansom cabs, cobblestone streets and weirdly stilted prose used to indicate a generalized 'past times'. What makes him powerful, though, is the present. In the BBC's recent Great Expectations, there was much to disapprove of. (And I did, God knows.) But when the convict Magwitch, on the run, erupts from the marshes, grabbing the child Pip's foot as he crosses a bridge, it encapsulates every child's universal terror. It is just so that all children imagine a monster will emerge from under their beds, bursting into their nice safe world and bringing it crashing down. For Dickens is not safe, he is not 'heritage'. He is fierce, and ferocious, and formidable.
For much of the past century, it was fashionable to dismiss Dickens as 'sentimental'. But in hard times, Dickens is once again 'our' writer precisely because he never forgets the houseless: never forgets the fear and shame of being houseless, before showing the security and haven in returning to family, to home, to being loved once more.
This entry was posted in Journalism and tagged 19th century, Books, Dickens, Wall Street Journal by inspectorbucket. Bookmark the permalink.


Cultural Gender Practices Network is aiming high with its main goals, such as the neutralization of gender stereotypes in cultural production and society in general and ensuring examples of good practice that can be used as a model for the redefinition of gender aspects of cultural policies. This network began forming in 2012 and is working its way toward being a successful example of regional cooperation that will increase mobility, visibility and the exchange of ideas. Network at the moment brings together 15 organizations from the post-Yugoslav territory and enables the sharing of resources, knowledge and practices in a region built on values based upon respect for diversity, dialogue, gender equality and freedom of expression.
Members of the network: K-zona (voxfeminae.net, Vox Feminae Festival), CESI (Libela.org), CROL (Crol.hr), Flamingo (DRAGram Festival), Živa muzika, BeFem (BeFem Festival), OPA (Femix.info, Femix project), Center for Girls Niš (Art Femine Festival), CURE Foundation (Pitchwise Festival), Association for the Promotion of Women in Culture – City of Women (City of Women Festival), KUD Mreža (Red Dawns Festival), Radio Študent (Sektor Ž), Tiiiiit! Inc. (Prvo pa žensko Festival).


Yesterday tens of thousands of Americans gathered in cities across the country to demand that the sitting President of the United States release his tax returns so that the country can decide for itself whether there are concerning ties to Russia, whether and where lie his continuing conflicts of interest resulting from failure to divorce himself fully from his business interests and how he and his family may benefit from changes in the federal tax code now being considered.
he same question arises due to the Trump decision to withhold from public view the visitor logs to the White House. The proposed excuses for this latest example of secret government are security and privacy. The security question can easily be handled by time delaying the release or by masking names where there is a legitimate security reason for not disclosing a visitor to the White House. In an open democracy those should be few and far between. The privacy rationale is ludicrous coming from an administration that supports letting Internet providers sell the browsing records of their users.
For those interested but couldn't attend a march personally, I have attached 116 images from the march in the District of Columbia which was massive. The photos from ground level do not fully reveal the size of the event nor, of course, the sounds.
This entry was posted in Commentary, Photos, Politics, Uncategorized and tagged March for Science, Tax March, taxes, Trump, visitor logs on April 16, 2017 by shiningseausa.


text:
Jazz Aviation honoured again as one of Canada's Top Employers for Young People
admin 0 Comments January 24, 2023
HALIFAX, NS, Jan. 24, 2023 /CNW/ – Chorus Aviation Inc. ('Chorus') (TSX: CHR) is proud to announce that subsidiary Jazz Aviation LP ('Jazz') is named one of Canada's Top Employers for Young People 2023 by Mediacorp Canada Inc. This is the eleventh year Jazz has been recognized in this category.
"We're proud of our commitment to creating a supportive workplace where young people can learn and thrive," said Randolph deGooyer, President, Jazz. "They are the leaders of tomorrow who offer valuable perspectives as we look to the future of Jazz."
This special designation recognizes the employers that offer the nation's best workplaces and programs for young people just starting their careers. These organizations are Canada's leaders in attracting and retaining younger employees. Areas examined when evaluating each employer include, mentorship and training programs as well as career management programs.
About Chorus Aviation Inc.
Chorus' vision is to deliver regional aviation to the world. Headquartered in Halifax, Nova Scotia, Chorus is an integrated provider of regional aviation solutions, including asset management services. Its principal subsidiaries are: Falko Regional Aircraft, the world's largest asset manager and aircraft lessor focused solely on the regional aircraft leasing segment; Jazz Aviation, the sole provider of regional air services under the Air Canada Express brand; and Voyageur Aviation, a provider of specialty air charter, aircraft modification, and parts provisioning services to regional aviation customers around the world. Together, Chorus' subsidiaries provide support services that encompass every stage of a regional aircraft's lifecycle, including: aircraft acquisition and leasing; aircraft refurbishment, engineering, modification, repurposing and transition; contract flying; aircraft and component maintenance, disassembly, and parts provisioning.
Chorus Class A Variable Voting Shares and Class B Voting Shares trade on the Toronto Stock Exchange under the trading symbol 'CHR'. Chorus' 5.75% Senior Unsecured Debentures due December 31, 2024, 6.00% Convertible Senior Unsecured Debentures due June 30, 2026, and 5.75% Senior Unsecured Debentures due June 30, 2027 trade on the Toronto Stock Exchange under the trading symbols 'CHR.DB.A', 'CHR.DB.B', and 'CHR.DB.C', respectively. www.chorusaviation.com
About Jazz Aviation LP
Jazz Aviation LP has a strong history in Canadian aviation with its roots going back to the 1930s. As the largest regional carrier in Canada and the sole operator of Air Canada Express flights, Jazz has a proven track record of industry leadership and exceptional customer service and has leveraged that strength to deliver value to all its stakeholders. flyjazz.ca
SOURCE Chorus Aviation Inc.
Commercial Jet Carriers /
SOUTHWEST AIRLINES DISPATCHERS AND FACILITIES MAINTENANCE TECHNICIANS APPROVE COLLECTIVE BARGAINING AGREEMENTS
‹ Bremont Receives a $59 Million Investment to Finance Expansion – Robb Report › Air Charter Firm Invests in Swiss eVTOL Aircraft Developer Dufour
Aircraft Spotting (335)
Celebrity Jets (278)
Commercial Jet Carriers (578)
Military Aircraft (245)
Private Jets (902)
Vintage Aircraft (269)
[email protected]t.com

redpajama_set_name: RedPajamaCommonCrawl


The Wisconsin Lawyer has a nice write up in the cover story of this month's issue about free access to Fastcase through the State Bar of Wisconsin. At Fastcase we're excited to welcome our newest member state and we would encourage all Wisconsin lawyers to sign up for Fastcase Webinar trainings that will go over the member benefit and how to conduct legal research using Fastcase. The webinars are free and scheduled for December 11th and January 15th from 11 a.m. – 12 p.m. (CST).
The State Bar of Wisconsin has also created their own customized interface with all their content integrated around the Fastcase legal research system. If you have any questions or would like to know more about the member benefit please contact us at support @ fastcase (dot) com or at 1-866-773-2782.


"STRLEN" is an integer type (Size_t, usually defined as size_t in config.h) guaranteed to be large enough to represent the size of any string that perl can handle.
In the unlikely case of a SV requiring more complex initialisation, you can create an empty SV with newSV(len). If "len" is 0 an empty SV of type NULL is returned, else an SV of type PV is returned with len + 1 (for the NUL) bytes of storage allocated, accessible via SvPVX. In both cases the SV has value undef.
Notice that you can choose to specify the length of the string to be assigned by using "sv_setpvn", "newSVpvn", or "newSVpv", or you may allow Perl to calculate the length by using "sv_setpv" or by specifying 0 as the second argument to "newSVpv". Be warned, though, that Perl will determine the string's length by using "strlen", which depends on the string terminating with a NUL character.
The arguments of "sv_setpvf" are processed like "sprintf", and the formatted output becomes the value.
"sv_vsetpvfn" is an analogue of "vsprintf", but it allows you to specify either a pointer to a variable argument list or the address and length of an array of SVs. The last argument points to a boolean; on return, if that boolean is true, then locale-specific information has been used to format the string, and the string's contents are therefore untrustworthy (see perlsec). This pointer may be NULL if that information is not important. Note that this function requires you to specify the length of the format.
The "sv_set*()" functions are not generic enough to operate on values that have ``magic''. See ``Magic Virtual Tables'' later in this document.
In the "SvPV" macro, the length of the string returned is placed into the variable "len" (this is a macro, so you do not use &len). If you do not care what the length of the data is, use the "SvPV_nolen" macro. Historically the "SvPV" macro with the global variable "PL_na" has been used in this case. But that can be quite inefficient because "PL_na" must be accessed in thread-local storage in threaded Perl. In any case, remember that Perl allows arbitrary strings of data that may both contain NULs and might not be terminated by a NUL.
which will determine if more memory needs to be allocated. If so, it will call the function "sv_grow". Note that "SvGROW" can only increase, not decrease, the allocated memory of an SV and that it does not automatically add a byte for the a trailing NUL (perl's own string functions typically do "SvGROW(sv, len + 1)").
The first function calculates the length of the string to be appended by using "strlen". In the second, you specify the length of the string yourself. The third function processes its arguments like "sprintf" and appends the formatted output. The fourth function works like "vsprintf". You can specify the address and length of an array of SVs instead of the va_list argument. The fifth function extends the string stored in the first SV with the string stored in the second SV. It also forces the second SV to be interpreted as a string.
The "sv_cat*()" functions are not generic enough to operate on values that have ``magic''. See ``Magic Virtual Tables'' later in this document.
Also you have to be careful when using &PL_sv_undef as a value in AVs or HVs (see ``AVs, HVs and undefined values'').
There are also the two values "PL_sv_yes" and "PL_sv_no", which contain boolean TRUE and FALSE values, respectively. Like "PL_sv_undef", their addresses can be used whenever an "SV*" is needed.
To free an SV that you've created, call "SvREFCNT_dec(SV*)". Normally this call is not necessary (see ``Reference Counts and Mortality'').
Perl provides the function "sv_chop" to efficiently remove characters from the beginning of a string; you give it an SV and a pointer to somewhere inside the PV, and it discards everything before the pointer. The efficiency comes by means of a little hack: instead of actually removing the characters, "sv_chop" sets the flag "OOK" (offset OK) to signal to other functions that the offset hack is in effect, and it puts the number of bytes chopped off into the IV field of the SV. It then moves the PV pointer (called "SvPVX") forward that many bytes, and adjusts "SvCUR" and "SvLEN".
Hence, at this point, the start of the buffer that we allocated lives at "SvPVX(sv) - SvIV(sv)" in memory and the PV pointer is pointing into the middle of this allocated storage.
Here the number of bytes chopped off (1) is put into IV, and "Devel::Peek::Dump" helpfully reminds us that this is an offset. The portion of the string between the ``real'' and the ``fake'' beginnings is shown in parentheses, and the values of "SvCUR" and "SvLEN" reflect the fake beginning, not the real one.
Something similar to the offset hack is performed on AVs to enable efficient shifting and splicing off the beginning of the array; while "AvARRAY" points to the first element in the array that is visible from Perl, "AvALLOC" points to the real start of the C array. These are usually the same, but a "shift" operation can be carried out by increasing "AvARRAY" by one and decreasing "AvFILL" and "AvLEN". Again, the location of the real start of the C array only comes into play when freeing the array. See "av_shift" in av.c.
Recall that the usual method of determining the type of scalar you have is to use "Sv*OK" macros. Because a scalar can be both a number and a string, usually these macros will always return TRUE and calling the "Sv*V" macros will do the appropriate conversion of string to integer/double or integer/double to string.
The second argument points to an array containing "num" "SV*"'s. Once the AV has been created, the SVs can be destroyed, if so desired.
These should be familiar operations, with the exception of "av_unshift". This routine adds "num" elements at the front of the array with the "undef" value. You must then use "av_store" (described below) to assign values to these new elements.
The "av_len" function returns the highest index value in array (just like $#array in Perl). If the array is empty, -1 is returned. The "av_fetch" function returns the value at index "key", but if "lval" is non-zero, then "av_fetch" will store an undef value at that index. The "av_store" function stores the value "val" at index "key", and does not increment the reference count of "val". Thus the caller is responsible for taking care of that, and if "av_store" returns NULL, the caller will have to decrement the reference count to avoid a memory leak. Note that "av_fetch" and "av_store" both return "SV**"'s, not "SV*"'s as their return value.
The "av_clear" function deletes all the elements in the AV* array, but does not actually delete the array itself. The "av_undef" function will delete all the elements in the array plus the array itself. The "av_extend" function extends the array so that it contains at least "key+1" elements. If "key+1" is less than the currently allocated length of the array, then nothing is done.
See ``Understanding the Magic of Tied Hashes and Arrays'' for more information on how to use the array access functions on tied arrays.
The "klen" parameter is the length of the key being passed in (Note that you cannot pass 0 in as a value of "klen" to tell Perl to measure the length of the key). The "val" argument contains the SV pointer to the scalar being stored, and "hash" is the precomputed hash value (zero if you want "hv_store" to calculate it for you). The "lval" parameter indicates whether this fetch is actually a part of a store operation, in which case a new undefined value will be added to the HV with the supplied key and "hv_fetch" will return as if the value had already existed.
Remember that "hv_store" and "hv_fetch" return "SV**"'s and not just "SV*". To access the scalar value, you must first dereference the return value. However, you should check to make sure that the return value is not NULL before dereferencing it.
If "flags" does not include the "G_DISCARD" flag then "hv_delete" will create and return a mortal copy of the deleted value.
Like their AV counterparts, "hv_clear" deletes all the entries in the hash table but does not actually delete the hash table. The "hv_undef" deletes both the entries and the hash table itself.
Perl keeps the actual data in linked list of structures with a typedef of HE. These contain the actual key and value pointers (plus extra administrative overhead). The key is a string pointer; the value is an "SV*". However, once you have an "HE*", to get the actual key and value, use the routines specified below.
See ``Understanding the Magic of Tied Hashes and Arrays'' for more information on how to use the hash access functions on tied hashes.
Note that these functions take "SV*" keys, which simplifies writing of extension code that deals with hash structures. These functions also allow passing of "SV*" keys to "tie" functions without forcing you to stringify the keys (unlike the previous set of functions).
They also return and accept whole hash entries ("HE*"), making their use more efficient (since the hash number for a particular string doesn't have to be recomputed every time). See perlapi for detailed descriptions.
Note that both "hv_store" and "hv_store_ent" do not increment the reference count of the stored "val", which is the caller's responsibility. If these functions return a NULL value, the caller will usually have to decrement the reference count of "val" to avoid a memory leak.
Unfortunately, this isn't true. AVs use &PL_sv_undef as a marker for indicating that an array element has not yet been initialized. Thus, "exists $av" would be true for the above Perl code, but false for the array generated by the XS code.
In perl 5.8.0, &PL_sv_undef was also used to mark placeholders in restricted hashes. This caused such hash entries not to appear when iterating over the hash or when checking for the keys with the "hv_exists" function.
The "thing" argument can be any of an "SV*", "AV*", or "HV*". The functions are identical except that "newRV_inc" increments the reference count of the "thing", while "newRV_noinc" does not. For historical reasons, "newRV" is a synonym for "newRV_inc".
then call the appropriate routines, casting the returned "SV*" to either an "AV*" or "HV*", if required.
The "sv" argument must be a reference value. The "stash" argument specifies which class the reference will belong to. See ``Stashes and Globs'' for information on converting class names into stashes.
Upgrades rv to reference if not already one. Creates new SV for rv to point to. If "classname" is non-null, the SV is blessed into the specified class. SV is returned.
Copies integer, unsigned integer or double into an SV whose reference is "rv". SV is blessed if "classname" is non-null.
Copies the pointer value (the address, not the string!) into an SV whose reference is rv. SV is blessed if "classname" is non-null.
Copies string into an SV whose reference is "rv". Set length to 0 to let Perl calculate the string length. SV is blessed if "classname" is non-null.
Tests whether the SV is derived from the specified class. SV can be either a reference to a blessed object or a string containing a class name. This is the function implementing the "UNIVERSAL::isa" functionality.
However, there is one other function which manipulates the reference count of its argument. The "newRV_inc" function, you will recall, creates a reference to the specified argument. As a side effect, it increments the argument's reference count. If this is not what you want, use "newRV_noinc" instead.
For example, imagine you want to return a reference from an XSUB function. Inside the XSUB routine, you create an SV which initially has a reference count of one. Then you call "newRV_inc", passing it the just-created SV. This returns the reference as a new SV, but the reference count of the SV you passed to "newRV_inc" has been incremented to two. Now you return the reference from the XSUB routine and forget about the SV. But Perl hasn't! Whenever the returned reference is destroyed, the reference count of the original SV is decreased to one and nothing happens. The SV will hang around without any way to access it until Perl itself terminates. This is a memory leak.
The correct procedure, then, is to use "newRV_noinc" instead of "newRV_inc". Then, if and when the last reference is destroyed, the reference count of the SV will go to zero and it will be destroyed, stopping any memory leak.
There are some convenience functions available that can help with the destruction of xVs. These functions introduce the concept of ``mortality''. An xV that is mortal has had its reference count marked to be decremented, but not actually decremented, until ``a short time later''. Generally the term ``short time later'' means a single Perl statement, such as a call to an XSUB function. The actual determinant for when mortal xVs have their reference count decremented depends on two macros, SAVETMPS and FREETMPS. See perlcall and perlxs for more details on these macros.
``Mortalization'' then is at its simplest a deferred "SvREFCNT_dec". However, if you mortalize a variable twice, the reference count will later be decremented twice.
``Mortal'' SVs are mainly used for SVs that are placed on perl's stack. For example an SV which is created just to pass a number to a called sub is made mortal to have it cleaned up automatically when it's popped off the stack. Similarly, results returned by XSUBs (which are pushed on the stack) are often made mortal.
You should be careful about creating mortal variables. Strange things can happen if you make the same value mortal within multiple contexts, or if you make a variable mortal multiple times. Thinking of ``Mortalization'' as deferred "SvREFCNT_dec" should help to minimize such problems. For example if you are passing an SV which you know has high enough REFCNT to survive its use on the stack you need not do any mortalization. If you are not sure then doing an "SvREFCNT_inc" and "sv_2mortal", or making a "sv_mortalcopy" is safer.
The mortal routines are not just for SVs --- AVs and HVs can be made mortal by passing their address (type-casted to "SV*") to the "sv_2mortal" or "sv_mortalcopy" routines.
There is a single stash called "PL_defstash" that holds the items that exist in the "main" package. To get at the items in other packages, append the string ``::'' to the package name. The items in the "Foo" package are in the stash "Foo::" in PL_defstash. The items in the "Bar::Baz" package are in the stash "Baz::" in "Bar::"'s stash.
The first function takes a literal string, the second uses the string stored in the SV. Remember that a stash is just a hash table, so you get back an "HV*". The "flags" flag will create a new package if it is set to GV_ADD.
The name that "gv_stash*v" wants is the name of the package whose symbol table you want. The default package is called "main". If you have multiply nested packages, pass their names to "gv_stash*v", separated by "::" as in the Perl language itself.
where the first argument, an "SV*", must be a reference, and the second argument is a stash. The returned "SV*" can now be used in the same way as any other SV.
Some scalar variables contain more than one type of scalar data. For example, the variable $! contains either the numeric value of "errno" or its string equivalent from either "strerror" or "sys_errlist".
The particular macro you must use depends on which "sv_set*v" routine you called first. This is because every "sv_set*v" routine turns on only the bit for the particular type of data being set, and turns off all the rest.
If the order of "sv_setiv" and "sv_setpv" had been reversed, then the macro "SvPOK_on" would need to be called instead of "SvIOK_on".
Any SV may be magical, that is, it has special features that a normal SV does not have. These features are stored in the SV structure in a linked list of "struct magic"'s, typedef'ed to "MAGIC".
If "sv" is not already magical, Perl uses the "SvUPGRADE" macro to convert "sv" to type "SVt_PVMG". Perl then continues by adding new magic to the beginning of the linked list of magical features. Any prior entry of the same type of magic is deleted. Note that this can be overridden, and multiple instances of the same type of magic can be associated with an SV.
The "name" and "namlen" arguments are used to associate a string with the magic, typically the name of a variable. "namlen" is stored in the "mg_len" field and if "name" is non-null then either a "savepvn" copy of "name" or "name" itself is stored in the "mg_ptr" field, depending on whether "namlen" is greater than zero or equal to zero respectively. As a special case, if "(name && namlen == HEf_SVKEY)" then "name" is assumed to contain an "SV*" and is stored as-is with its REFCNT incremented.
The sv_magic function uses "how" to determine which, if any, predefined ``Magic Virtual Table'' should be assigned to the "mg_virtual" field. See the ``Magic Virtual Tables'' section below. The "how" argument is also stored in the "mg_type" field. The value of "how" should be chosen from the set of macros "PERL_MAGIC_foo" found in perl.h. Note that before these macros were added, Perl internals used to directly use character literals, so you may occasionally come across old code or documentation referring to 'U' magic rather than "PERL_MAGIC_uvar" for example.
The "obj" argument is stored in the "mg_obj" field of the "MAGIC" structure. If it is not the same as the "sv" argument, the reference count of the "obj" object is incremented. If it is the same, or if the "how" argument is "PERL_MAGIC_arylen", or if it is a NULL pointer, then "obj" is merely stored, without the reference count being incremented.
The "type" argument should be equal to the "how" value when the "SV" was initially made magical.
The "mg_virtual" field in the "MAGIC" structure is a pointer to an "MGVTBL", which is a structure of function pointers and stands for ``Magic Virtual Table'' to handle the various operations that might be applied to that variable.
Thus, when an SV is determined to be magical and of type "PERL_MAGIC_sv", if a get operation is being performed, the routine "magic_get" is called. All the various routines for the various magical types begin with "magic_". NOTE: the magic routines are not considered part of the Perl API, and may not be exported by the Perl library.
The "PERL_MAGIC_ext" and "PERL_MAGIC_uvar" magic types are defined specifically for use by extensions and will not be used by perl itself. Extensions can use "PERL_MAGIC_ext" magic to 'attach' private information to variables (typically objects). This is especially useful because there is no way for normal perl code to corrupt this private information (unlike using extra elements of a hash object).
When the SV is read from or written to, the "uf_val" or "uf_set" function will be called with "uf_index" as the first arg and a pointer to the SV as the second. A simple example of how to add "PERL_MAGIC_uvar" magic is shown below. Note that the ufuncs structure is copied by sv_magic, so you can safely allocate it on the stack.
For hashes there is a specialized hook that gives control over hash keys (but not values). This hook calls "PERL_MAGIC_uvar" 'get' magic if the ``set'' function in the "ufuncs" structure is NULL. The hook is activated whenever the hash is accessed with a key specified as an "SV" through the functions "hv_store_ent", "hv_fetch_ent", "hv_delete_ent", and "hv_exists_ent". Accessing the key as a string through the functions without the "..._ent" suffix circumvents the hook. See ``Guts'' in Hash::Util::Fieldhash for a detailed description.
Note that because multiple extensions may be using "PERL_MAGIC_ext" or "PERL_MAGIC_uvar" magic, it is important for extensions to take extra care to avoid conflict. Typically only using the magic on objects blessed into the same class as the extension is sufficient. For "PERL_MAGIC_ext" magic, it may also be appropriate to add an I32 'signature' at the top of the private data area and check that.
Also note that the "sv_set*()" and "sv_cat*()" functions described earlier do not invoke 'set' magic on their targets. This must be done by the user either by calling the "SvSETMAGIC()" macro after calling these functions, or by using one of the "sv_set*_mg()" or "sv_cat*_mg()" functions. Similarly, generic C code must call the "SvGETMAGIC()" macro to invoke any 'get' magic if they use an SV obtained from external sources in functions that don't handle magic. See perlapi for a description of these functions. For example, calls to the "sv_cat*()" functions typically need to be followed by "SvSETMAGIC()", but they don't need a prior "SvGETMAGIC()" since their implementation handles 'get' magic.
This routine returns a pointer to the "MAGIC" structure stored in the SV. If the SV does not have that magical feature, "NULL" is returned. Also, if the SV is not of type SVt_PVMG, Perl may core dump.
This routine checks to see what types of magic "sv" has. If the mg_type field is an uppercase letter, then the mg_obj is copied to "nsv", but the mg_type field is changed to be the lowercase letter.
The perl tie function associates a variable with an object that implements the various GET, SET, etc methods. To perform the equivalent of the perl tie function from an XSUB, you must mimic this behaviour. The code below carries out the necessary steps - firstly it creates a new hash, and then creates a second hash which it blesses into the class which will implement the tie methods. Lastly it ties the two hashes together, and returns a reference to the new tied hash. Note that the code below does NOT call the TIEHASH method in the MyTie class - see ``Calling Perl Routines from within C Programs'' for details on how to do this.
The previous paragraph is applicable verbatim to tied hash access using the "hv_store" and "hv_store_ent" functions as well.
[MAYCHANGE] In other words, the array or hash fetch/store functions don't really fetch and store actual values in the case of tied arrays and hashes. They merely call "mg_copy" to attach magic to the values that were meant to be ``stored'' or ``fetched''. Later calls to "mg_get" and "mg_set" actually do the job of invoking the TIE methods on the underlying objects. Thus the magic mechanism currently implements a kind of lazy access to arrays and hashes.
The biggest difference is that the first construction would reinstate the initial value of $var, irrespective of how control exits the block: "goto", "return", "die"/"eval", etc. It is a little bit more efficient as well.
There is a way to achieve a similar task from C via Perl API: create a pseudo-block, and arrange for some changes to be automatically undone at the end of it, either explicit, or via a non-local exit (via die()). A block-like construct is created by a pair of "ENTER"/"LEAVE" macros (see ``Returning a Scalar'' in perlcall). Such a construct may be created specially for some important localized task, or an existing one (like boundaries of enclosing Perl subroutine/block, or an existing pair for freeing TMPs) may be used. (In the second case the overhead of additional localization must be almost negligible.) Note that any XSUB is automatically enclosed in an "ENTER"/"LEAVE" pair.
These macros arrange things to restore the value of integer variable "i" at the end of enclosing pseudo-block.
These macros arrange things to restore the value of pointers "s" and "p". "s" must be a pointer of a type which survives conversion to "SV*" and back, "p" should be able to survive conversion to "char*" and back.
The refcount of "sv" would be decremented at the end of pseudo-block. This is similar to "sv_2mortal" in that it is also a mechanism for doing a delayed "SvREFCNT_dec". However, while "sv_2mortal" extends the lifetime of "sv" until the beginning of the next statement, "SAVEFREESV" extends it until the end of the enclosing scope. These lifetimes can be wildly different.
Just like "SAVEFREESV", but mortalizes "sv" at the end of the current scope instead of decrementing its reference count. This usually has the effect of keeping "sv" alive until the statement that called the currently live scope has finished executing.
The chunk of memory which is pointed to by "p" is Safefree()ed at the end of pseudo-block.
Clears a slot in the current scratchpad which corresponds to "sv" at the end of pseudo-block.
At the end of pseudo-block the function "f" is called with the implicit context argument (if any), and "p".
The current offset on the Perl internal stack (cf. "SP") is restored at the end of pseudo-block.
The following API list contains functions, thus one needs to provide pointers to the modifiable data explicitly (either C pointers, or Perlish "GV *"s). Where the above macros take "int", a similar function takes "int *".
Duplicates the current value of "SV", on the exit from the current "ENTER"/"LEAVE" pseudo-block will restore the value of "SV" using the stored value. It doesn't handle magic. Use "save_scalar" if magic is affected.
A variant of "save_item" which takes multiple arguments via an array "sarg" of "SV*" of length "maxsarg".
The "Alias" module implements localization of the basic types within the caller's scope. People who are interested in how to localize things in the containing scope should take a look there too.
The stack arguments are accessible through the ST(n) macro, which returns the "n"'th stack argument. Argument 0 is the first argument passed in the Perl subroutine call. These arguments are "SV*", and can be used anywhere an "SV*" is used.
where "SP" is the macro that represents the local copy of the stack pointer, and "num" is the number of elements the stack should be extended by.
This macro automatically adjust the stack for you, if needed. Thus, you do not need to call "EXTEND" to extend the stack.
Despite their suggestions in earlier versions of this document the macros "(X)PUSH[iunp]" are not suited to XSUBs which return multiple results. For that, either stick to the "(X)PUSHs" macros shown above, or use the new "m(X)PUSH[iunp]" macros instead; see ``Putting a C value on Perl stack''.
The routine most often used is "call_sv". The "SV*" argument contains either the name of the Perl subroutine to be called, or a reference to the subroutine. The second argument consists of flags that control the context in which the subroutine is called, whether or not the subroutine is being passed arguments, how errors should be trapped, and how to treat return values.
These routines used to be called "perl_call_sv", etc., before Perl v5.6.0, but those names are now deprecated; macros of the same name are provided for compatibility.
The first argument "pointer" should be the name of a variable that will point to the newly allocated memory.
The second and third arguments "number" and "type" specify how many of the specified type of data structure should be allocated. The argument "type" is passed to "sizeof". The final argument to "Newxc", "cast", should be used if the "pointer" argument is different from the "type" argument.
Unlike the "Newx" and "Newxc" macros, the "Newxz" macro calls "memzero" to zero out all the newly allocated memory.
These three macros are used to change a memory buffer size or to free a piece of memory no longer needed. The arguments to "Renew" and "Renewc" match those of "New" and "Newc" with the exception of not needing the ``magic cookie'' argument.
These three macros are used to move, copy, or zero out previously allocated memory. The "source" and "dest" arguments point to the source and destination starting points. Perl will move, copy, or zero out "number" instances of the size of the "type" data structure (using the "sizeof" function).
Each of the targets is created only once (but see ``Scratchpads and recursion'' below), and when an opcode needs to put an integer, a double, or a string on stack, it just sets the corresponding parts of its target and puts the target on stack.
The macro to put this target on stack is "PUSHTARG", and it is directly used in some opcodes, as well as indirectly in zillions of others, which use it via "(X)PUSH[iunp]".
This translates as "set "TARG" to 10, push a pointer to "TARG" onto the stack; set "TARG" to 20, push a pointer to "TARG" onto the stack". At the end of the operation, the stack does not contain the values 10 and 20, but actually contains two pointers to "TARG", which we have set to 20.
On a related note, if you do use "(X)PUSH[iunp]", then you're going to need a "dTARG" in your variable declarations so that the "*PUSH*" macros can make use of the local variable "TARG". See also "dTARGET" and "dXSTARG".
The question remains on when the SVs which are targets for opcodes are created. The answer is that they are created when the current unit --- a subroutine or a file (for opcodes for statements outside of subroutines) --- is compiled. During this time a special anonymous Perl array is created, which is called a scratchpad for the current unit.
A scratchpad keeps SVs which are lexicals for the current unit and are targets for opcodes. One can deduce that an SV lives on a scratchpad by looking on its flags: lexicals have "SVs_PADMY" set, and targets have "SVs_PADTMP" set.
The targets on this scratchpad are "undef"s, but they are already marked with correct flags.
But with the actual compile tree for "$a = $b + $c" it is different: some nodes optimized away. As a corollary, though the actual tree contains more nodes than our simplified example, the execution order is the same as in our example.
The execution order is indicated by "===>" marks, thus it is "3 4 5 6" (node 6 is not included into above listing), i.e., "gvsv gvsv add whatever".
Each of these nodes represents an op, a fundamental operation inside the Perl core. The code which implements each operation can be found in the pp*.c files; the function which implements the op with type "gvsv" is "pp_gvsv", and so on. As the tree above shows, different ops have different numbers of children: "add" is a binary operator, as one would expect, and so has two children. To accommodate the various different numbers of children, there are various types of op data structure, and they link together in different ways.
The simplest type of op structure is "OP": this has no children. Unary operators, "UNOP"s, have one child, and this is pointed to by the "op_first" field. Binary operators ("BINOP"s) have not only an "op_first" field but also an "op_last" field. The most complex type of op is a "LISTOP", which has any number of children. In this case, the first child is pointed to by "op_first" and the last child by "op_last". The children in between can be found by iteratively following the "op_sibling" pointer from the first child to the last.
There are also two other op types: a "PMOP" holds a regular expression, and has no children, and a "LOOP" may or may not have children. If the "op_children" field is non-zero, it behaves like a "LISTOP". To complicate matters, if a "UNOP" is actually a "null" op after optimization (see ``Compile pass 2: context propagation'') it will still have children in accordance with its former type.
What makes this pass interesting for perl developers is that some optimization may be performed on this pass. This is optimization by so-called ``check routines''. The correspondence between node names and corresponding check routines is described in opcode.pl (do not forget to run "make regen_headers" if you modify this file).
By convention, check routines have names "ck_*". They are usually called from "new*OP" subroutines (or "convert") (which in turn are called from perly.y).
After the compile tree for a subroutine (or for an "eval" or a file) is created, an additional pass over the code is performed. This pass is neither top-down or bottom-up, but in the execution order (with additional complications for conditionals). These optimizations are done in the subroutine peep(). Optimizations performed at this stage are subject to the same restrictions as in the pass 2.
The compile tree is executed in a runops function. There are two runops functions, in run.c and in dump.c. "Perl_runops_debug" is used with DEBUGGING and "Perl_runops_standard" is used otherwise. For fine control over the execution of the compile tree it is possible to provide your own runops function.
The most commonly used of these functions is "Perl_sv_dump"; it's used for dumping SVs, AVs, HVs, and CVs. The "Devel::Peek" module calls "sv_dump" to produce debugging output from Perl-space, so users of that module should already be familiar with its format.
"Perl_op_dump" can be used to dump an "OP" structure or any of its derivatives, and produces output similar to "perl -Dx"; in fact, "Perl_dump_eval" will dump the main root of the code being evaluated, exactly like "-Dx".
and "Perl_dump_all", which dumps all the subroutines in the stash and the op tree of the main root.
Two other ``encapsulation'' macros are the PERL_GLOBAL_STRUCT and PERL_GLOBAL_STRUCT_PRIVATE (the latter turns on the former, and the former turns on MULTIPLICITY.) The PERL_GLOBAL_STRUCT causes all the internal variables of Perl to be wrapped inside a single global struct, struct perl_vars, accessible as (globals) &PL_Vars or PL_VarsPtr or the function Perl_GetVars(). The PERL_GLOBAL_STRUCT_PRIVATE goes one step further, there is still a single struct (allocated in main() either from heap or from stack) but there are no global data symbols pointing to it. In either case the global struct should be initialised as the very first thing in main() using Perl_init_global_struct() and correspondingly tear it down after perl_free() using Perl_free_global_struct(), please see miniperlmain.c for usage details. You may also need to use "dVAR" in your coding to ``declare the global variables'' when you are using them. dTHX does this for you automatically.
First problem: deciding which functions will be public API functions and which will be private. All functions whose names begin "S_" are private (think ``S'' for ``secret'' or ``static''). All other functions begin with ``Perl_'', but just because a function begins with ``Perl_'' does not mean it is part of the API. (See ``Internal Functions''.) The easiest way to be sure a function is part of the API is to find its entry in perlapi. If it exists in perlapi, it's part of the API. If it doesn't, and you think it should be (i.e., you need it for your extension), send mail via perlbug explaining why you think it should be.
STATIC becomes ``static'' in C, and may be #define'd to nothing in some configurations in future.
"pTHX_" is one of a number of macros (in perl.h) that hide the details of the interpreter's context. THX stands for ``thread'', ``this'', or ``thingy'', as the case may be. (And no, George Lucas is not involved. :-) The first character could be 'p' for a prototype, 'a' for argument, or 'd' for declaration, so we have "pTHX", "aTHX" and "dTHX", and their variants.
This doesn't work so cleanly for varargs functions, though, as macros imply that the number of arguments is known in advance. Instead we either need to spell them out fully, passing "aTHX_" as the first argument (the Perl core tends to do this with functions like Perl_warner), or use a context-free version.
"dTHR" was introduced in perl 5.005 to support the older thread model. The older thread model now uses the "THX" mechanism to pass context pointers around, so "dTHR" is not useful any more. Perl 5.6.0 and later still have it for backward source compatibility, but it is defined to be a no-op.
Note that the only two changes from the normal way of writing an extension is the addition of a "#define PERL_NO_GET_CONTEXT" before including the Perl headers, followed by a "dTHX;" declaration at the start of every function that will call the Perl API. (You'll know which functions need this, because the C compiler will complain that there's an undeclared identifier in those functions.) No changes are needed for the XSUBs themselves, because the XS() macro is correctly defined to pass in the implicit context if needed.
Never add a comma after "pTHX" yourself---always use the form of the macro with the underscore for functions that take explicit arguments, or the form without the argument for functions with no explicit arguments.
If one is compiling Perl with the "-DPERL_GLOBAL_STRUCT" the "dVAR" definition is needed if the Perl global variables (see perlvars.h or globvar.sym) are accessed in the function and "dTHX" is not used (the "dTHX" includes the "dVAR" if necessary). One notices the need for "dVAR" only with the said compile-time define, because otherwise the Perl global variables are visible as-is.
This function has a "Perl_" prefix; i.e. it is defined as "Perl_av_fetch".
This function has documentation using the "apidoc" feature which we'll look at in a second. Some functions have 'd' but not 'A'; docs are good.
This is a static function and is defined as "STATIC S_whatever", and usually called within the sources as "whatever(...)".
This function never returns; "croak", "exit" and friends.
This function should not have a compatibility macro to define, say, "Perl_parse" to "parse". It must be called as "Perl_parse".
Binary backward compatibility; this function is a macro but also has a "Perl_" implementation (which is exported).
If you edit embed.pl or embed.fnc, you will need to run "make regen_headers" to force a rebuild of embed.h and other auto-generated files.
Note that you always have to rethrow an exception that has been caught. Using these macros, it is not possible to just catch the exception and ignore it. If you have to ignore the exception, you have to use the "call_*" function.
The advantage of using the above macros is that you don't have to setup an extra function for "call_*", and that using these macros is faster than using "call_*".
The Perl API changes over time. New functions are added or the interfaces of existing functions are changed. The "Devel::PPPort" module tries to provide compatibility code for some of these changes, so XS writers don't have to code it themselves when supporting multiple versions of Perl.
You can't. This is because UTF-8 data is stored in bytes just like non-UTF-8 data. The Unicode character 200, (0xC8 for you hex types) capital E with a grave accent, is represented by the two bytes "v196.172". Unfortunately, the non-Unicode string "chr(196).chr(172)" has that byte sequence as well. So you can't tell just by looking - this is what makes Unicode input an interesting problem.
In general, you either have to know what you're dealing with, or you have to guess. The API function "is_utf8_string" can help; it'll tell you if a string contains only valid UTF-8 characters. However, it can't do the work for you. On a character-by-character basis, "is_utf8_char" will tell you whether the current character in a string is valid UTF-8.
As mentioned above, UTF-8 uses a variable number of bytes to store a character. Characters with values 0...127 are stored in one byte, just like good ol' ASCII. Character 128 is stored as "v194.128"; this continues up to character 191, which is "v194.191". Now we've run out of bits (191 is binary 10111111) so we move on; 192 is "v195.128". And so it goes on, moving to three bytes at character 2048.
Another way to skip over characters in a UTF-8 string is to use "utf8_hop", which takes a string and a number of characters to skip over. You're on your own about bounds checking, though, so don't use it lightly.
You must convert characters to UVs using the above functions if you're ever in a situation where you have to match UTF-8 and non-UTF-8 characters. You may not skip over UTF-8 characters in this case. If you do this, you'll lose the ability to match hi-bit non-UTF-8 characters; for instance, if your UTF-8 string contains "v196.172", and you skip that character, you can never match a "chr(200)" in a non-UTF-8 string. So don't do that!
This flag has an important effect on Perl's treatment of the string: if Unicode data is not properly distinguished, regular expressions, "length", "substr" and other string handling operations will have undesirable results.
In fact, your "frobnicate" function should be made aware of whether or not it's dealing with UTF-8 data, so that it can handle the string appropriately.
Since just passing an SV to an XS function and copying the data of the SV is not enough to copy the UTF8 flags, even less right is just passing a "char *" to an XS function.
Instead, "bytes_to_utf8" will give you a UTF-8-encoded copy of its string argument. This is useful for having the data available for comparisons and so on, without harming the original SV. There's also "utf8_to_bytes" to go the other way, but naturally, this will fail if the string contains any characters above 255 that can't be represented in a single byte.
There's no way to tell if a string is UTF-8 or not. You can tell if an SV is UTF-8 by looking at is "SvUTF8" flag. Don't forget to set the flag if something should be UTF-8. Treat the flag as part of the PV, even though it's not - if you pass on the PV to somewhere, pass on the flag too.
If a string is UTF-8, always use "utf8_to_uv" to get at the value, unless "UTF8_IS_INVARIANT(*s)" in which case you can use *s.
When writing a character "uv" to a UTF-8 string, always use "uv_to_utf8", unless "UTF8_IS_INVARIANT(uv))" in which case you can use "*s = uv".
Mixing UTF-8 and non-UTF-8 strings is tricky. Use "bytes_to_utf8" to get a new string which is UTF-8 encoded, and then combine them.
This feature is implemented as a new op type, "OP_CUSTOM". The Perl core does not ``know'' anything special about this op type, and so it will not be involved in any optimizations. This also means that you can define your custom ops to be any op structure - unary, binary, list and so on - you like.
It's important to know what custom operators won't do for you. They won't let you add new syntax to Perl, directly. They won't even let you add new keywords, directly. In fact, they won't change the way Perl compiles a program at all. You have to do those changes yourself, after Perl has compiled the program. You do this either by manipulating the op tree using a "CHECK" block and the "B::Generate" module, or by adding a custom peephole optimizer with the "optimize" module.
When you do this, you replace ordinary Perl ops with custom ops by creating ops with the type "OP_CUSTOM" and the "pp_addr" of your own PP function. This should be defined in XS code, and should look like the PP ops in "pp_*.c". You are responsible for ensuring that your op takes the appropriate number of values from the stack, and you are responsible for adding stack marks if necessary.
You should also ``register'' your op with the Perl interpreter so that it can produce sensible error and warning messages. Since it is possible to have multiple custom ops within the one ``logical'' op type "OP_CUSTOM", Perl uses the value of "o->op_ppaddr" as a key into the "PL_custom_op_descs" and "PL_custom_op_names" hashes. This means you need to enter a name and description for your op at the appropriate place in the "PL_custom_op_names" and "PL_custom_op_descs" hashes.
Forthcoming versions of "B::Generate" (version 1.0 and above) should directly support the creation of custom ops by name.


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text:
Here's how lack of access to water holds back gender equity
by WaterSource
in Public Health
It's time to get a grip on water and sanitation issues facing women, as a lack of access to water and toilets is having a devastating effect on gender equity worldwide.
That's according to WaterAid CEO Rosie Wheen, who will be presenting on WaterAid's State of the World's Toilets Report at the upcoming World Toilet Summit in November. She said the new report will tackle water and sanitation issues from a gendered perspective, with the aim of opening up focused avenues for improvement.
"The State of the World's Toilet Report will shine a light on sanitation from the perspective of gender equity and empowerment of women and girls," Wheen said.
"Everyone has a right to health and dignity, but girls and women have specific needs around sanitation. The report will explore those needs, but also highlight that if women and girls aren't actively participating on decision-making on an equal footing, those needs can't be met."
Wheen said the report will assess the impacts sanitation has on women and girls from a lifecycle approach, as the problems arising are many and varied depending on a woman's biological context.
"The impact of a lack of sanitation on children under five years old relates to their vulnerability to diarrheal diseases and malnutrition, but as they reach adolescence we start to see some of the particular impacts for girls," she said.
"We know that many girls don't go to school because there aren't toilets at school for them to manage their periods, and then through to adulthood where women are trying to manage their menstruation in their workplace.
"We have statistics on the impacts on women not having a toilet in their workplace, but also the risk that both adolescent girls and women face when they don't have access to a toilet in terms of risk of attack and violence. There are countless stories of women being attacked while trying to go to the toilet."
Another area of women's lives affected heavily by a lack of access to sanitation is motherhood, and Wheen said the risk of death in or resulting from childbirth is dramatically increased when women don't have access to water and sanitation.
"In regards to motherhood, a women's odds of dying in childbirth rise three-fold if they don't have access to water and sanitation. Post-birth women often face incontinence and obstetric fistula and need even more access to a toilet," Wheen said.
"Furthermore, older-age women going through menopause with increased heavy bleeding is another area of concern that is very rarely discussed. We'll be shining a light on all of these biological needs, but also the social factors that add to gender discrimination."
Wheen said it is crucial to consider the specific issues faced by women and girls when tackling Sustainable Development Goal 6 for water and sanitation, as they are central to achieving many of the other SDGs.
"How can we achieve universal access to education when schools don't have toilets so that adolescent girls can't stay in school? How can we achieve universal health care for all if a third of healthcare facilities in developing countries don't have access to water and sanitation, meaning that women are dying in childbirth?" Wheen said.
"How can we end hunger and achieve the nutrition targets of SDG 2 if we know that 50% of malnutrition is attributable not just to lack of food but also to repeated episodes of diarrhoea?
"We can't view SDG 6 in isolation. In order to achieve the other goals, it is absolutely essential that water and sanitation issues are resolved. To create a healthier, fairer, more sustainable world, we will be limited while there still are hundreds of millions of people that don't have access to a toilet."
Interested in learning more about global sanitation concerns? Register for the World Toilet Summit, held 20-21 November at Melbourne Convention Centre. To learn more click here.
Tags: WaterAidWASHSanitationWorld Toilet SummitSDG 6Clean WaterGender DiversityRosie WheenWomen and Girls
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Aerosmith's Joe Perry gives update after collapsing at Billy Joel concert
Wednesday, November 14th, 2018 10:19am
Joe Perry © REX/Shutterstock
Aerosmith and Hollywood Vampires guitarist Joe Perry has given fans a brief health update three days after he collapsed backstage at a Billy Joel concert.
Taking to Twitter last night (13th November), Joe told his 523k followers: "Doing well, thanks for all the love and support!"
Doing well, thanks for all the love and support!
— Joe Perry (@JoePerry) November 13, 2018
Just minutes after appearing on stage at New York's Madison Square Garden on Saturday night (10th November) to perform 'Walk This Way' with Billy Joel, Joe experienced difficulty breathing and collapsed in his dressing room.
Paramedics attended to Joe for 40 minutes backstage and placed a tracheal tube down his throat to clear his air path, before he was taken to hospital.
Joe's representative Marcee Rondan issued a statement on Sunday, reading: "Following a guest performance during Billy Joel's show last night at Madison Square Garden, Joe Perry experienced shortness of breath and was treated backstage by paramedics who gave the guitarist oxygen and used a tracheal tube to clear his airway before taking him to a hospital.
"This morning Perry remains in the hospital where he is alert and responsive. The Aerosmith guitarist will be unable to appear today at Rock And Roll Fantasy Camp in Florida and apologises to those attending. Perry is expected to return to the road later this month."
In July 2016 Joe was hospitalised after taking ill at a Hollywood Vampires show at the Ford Amphitheater in Brooklyn.
Although unscrupulous gossip magazines and tabloids claimed Joe had a suspected heart attack, Joe was suffering from dehydration and exhaustion at the time. He returned to the stage with Hollywood Vampires 12 days later.


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Top Chris Hemsworth Choices
The film follows James' competitors with his major rival, Niki Lauda (Daniel Brühl), as they compete on and off the track. The two exceptional racers spiral around each other like two parts of a whole, not regardless of their variations but mainly because of them. Although James is a man of passion, Niki displays the sort of methodical determination that harkens to coldness and machines. Hemsworth chose to be transparent and candid about his preposition to Alzheimer's. Despite Disney telling him off camera about his predisposition and offering to omit scenes from the docuseries exactly where Hemsworth discusses the diagnosis, the actor chose to maintain them in and talk about his journey publicly.
The list doesn't end there, as there are a lot of other important metrics. But exactly with these statistics, you can easily monitor Chris Hemsworth Instagram analytics through the comprehensive Instagram Analytical Report. Here're Instagram account statistics for chrishemsworth. The account gained three.9K new followers in the four final weeks. The average quantity of likes and comments per Instagram post designed by Chris Hemsworth is 999.3K and 2K respectively.
It sharpens the character's sense of humor, although the familial drama — less of the primary attraction than it was in Braghnah's "Thor" — plays much better in short but meaningful snippets. If Hemsworth's very first look made you think the Norse God existed, "The Avengers" convinces you he's a superhero. Feig's film is immensely attractive in no small portion thanks to Chris Hemsworth, who exudes maximum himbo energy as Kevin, the Ghostbusters' receptionist. No matter whether he's naming his dog "My cat" or auditioning his shirtless, saxophone-playing headshots for the crew, Kevin is as dull a bulb as he is adorable.
Strange Report Reveals The Misleading Techniques of Chris Hemsworth
BuzzFeed Goodful Self care and tips to assist you reside a healthier, happier life. The plot is said to involve, somehow, a family who is somehow at the mercy of an imprisoned gangster, so Hemsworth's character has to infiltrate a single of the world's deadliest prisons in order to save them. Things web get dicier from there, as the gangster is taken out, but he has a vindictive brother who continues the pursuit of Rake and the family members. The content material on this web-site is for entertainment and educational purposes only.
He rose to prominence playing Kim Hyde in the Australian Television series 'Home and Away'.
Both are entertaining fantasy movies, and Hemsworth's Huntsman is a solid fantasy hero.
Disney+ unveils the striking poster for Limitless with Chris Hemsworth, which sees the Marvel star performing a solid impersonation of DC's The Flash.
Hemsworth has been playing the God of Thunder since 2011 and can now command a lot more than $15 million every time, plus a percentage of profits.
You are counting calories, and is there oil in that or butter?
We learned a t-i-n-y bit about Bones (such as why he's known as Bones), but yeah fairly shallow on that finish of the pool as nicely.
And in the months considering that that report, the couple has been spotted in Australia together. According to the Every day Mail, Brooks is represented by modeling agencies Storm, Priscilla, and Subsequent. In a January interview with It is Now Cool, she says that she was scouted and signed at the age of 14.
Until you are Too Late have the Scoop on Chris Hemsworth
It received good evaluations, and his portrayal of Alpha male jock Curt Vaughan was described as his "sexiest" function yet by Mashable's Alison Foreman. Hemsworth was set to reprise his part as George Kirk in the fourth installment of the rebooted Star Trek film series, but he dropped out in August 2018 following contract negotiations failed. Hemsworth later revealed that he left simply because he found the script to be underwhelming. Extraction will be out there on Netflix on April 24, 2020. Critics praised the performances, cinematography, and action sequences in the film, but they had mixed feelings about the plot.
The quest became a lot more poignant than ever when, as element of the show, Hemsworth revealed unexpected news about his wellness. The Calvins race against Simon to come across the Santa coat in order to save Christmas. Simon realizes the error of his techniques and methods aside to let Scott be Santa once again. The elves return and everyone hustles to get this year's Christmas deliveries pulled off in time. Scott takes his family members on the delivery run, then they return to retake their location as the very first household of the North Pole. Also has word the "unofficial" slasher movie based on How the Grinch the Stole Christmas starring David Howard Thornton (that's Art the Clown from the Terrifier movies…) will release in pick U.S. theaters this December 9.
Things You'll not Like About Chris Hemsworth And Things You'll
"What ever you do proper now to advantage your future self is obtaining a large advantage in your current self. … Reside with as massive a sense of gratitude and enjoy for life as you can." But at the finish of the day, Hemsworth told Vanity Fair that what matters most is producing the most out of life for as long as you can. "There was an intensity to navigating it. Most of us, we like to stay clear of speaking about death in the hope that we'll somehow prevent try this site it. We all have this belief that we'll figure it out," Hemsworth reflected to Vanity Fair. "Then to all of a sudden be told some big indicators are truly pointing tothisas the route which is going to come about, the reality of it sinks in. Your own mortality." Is "a mission to reside greater for longer." But due to the fact of that show, he has come face-to-face with his "most significant fear" – that he may well develop Alzheimer's illness.
Chris's personal life has been interesting to take note of as he's related to one more popular and beloved actor — his younger brother, Liam Hemsworth. Here's what correct fans really should know about his family life at household. In 2009 he created his American film debut, playing George Kirk the father of James T. Kirk, in the film directed by J. Chris Hemsworthis married to Spanish actress Elsa Pataky considering that December 2010. The couple has been blessed with three kids, a daughter, and male twin.
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On a cool October morning, Lauren Wilder is shaken when she comes close to striking Bo Laughlin with her car as he's walking along the road's edge. A young man well known in their small town of Hardys Walk, Texas, Bo seems fine, even if Lauren's intuition says otherwise. Since the accident two years ago that left her brain in a fragile state, she can't trust her own instincts–and neither can her family. Then Bo vanishes, and as the search for him ensues, the police question whether she's responsible. Lauren is terrified, not of what she remembers but of what she doesn't.
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Based on the true story of a forgotten hero, the #1 Amazon Charts bestseller Beneath a Scarlet Sky is the triumphant, epic tale of one young man's incredible courage and resilience during one of history's darkest hours.
Pino Lella wants nothing to do with the war or the Nazis. He's a normal Italian teenager–obsessed with music, food, and girls–but his days of innocence are numbered. When his family home in Milan is destroyed by Allied bombs, Pino joins an underground railroad helping Jews escape over the Alps, and falls for Anna, a beautiful widow six years his senior.
In an attempt to protect him, Pino's parents force him to enlist as a German soldier–a move they think will keep him out of combat. But after Pino is injured, he is recruited at the tender age of eighteen to become the personal driver for Adolf Hitler's left hand in Italy, General Hans Leyers, one of the Third Reich's most mysterious and powerful commanders.
Knitting for Beginners: is this The Right Book for You?
Whether you want to learn how to knit or you have been knitting for years and want to learn more knitting stitches or to expand your skills, this is the right book for you. Covering a huge and varied range of stitches, you are able to not just learn the basics of knitting for beginners, but are actually able to expand on those skills or perfect your technique.
When it comes to knitting books, you don't just want a block of instructions. You need pictures and step-by-step, how to knit instructions that walk you through how to hold the yarn and the needles. Knitting patterns are rarely enough to get you started, especially when you are a beginner. That's why Knitting for Beginners is the ideal book for anyone learning the basics or who wants to improve their ability to follow knitting patterns and create excellent completed projects.
Ellie Gooden, former marketing exec turned coffee shop owner, is starting a new life in small-town Wisconsin after the brutal murder of her parents. But just a week before her grand opening, she discovers the body of her shop's former owner, Artie Cullen, tied to a chair in her kitchen with a knife sticking out of his chest. Haunted by the dead man's angry spirit, and finding herself at the top of the suspect list, Ellie must find Artie's killer or watch her new life go up in smoke.


The pipes made out of the glass are the most preferred by the smokers of tobacco and marijuana. In this discussion we are going to look at the types of glass pipes and some of the pipes are produced by blowing the glass into a large bubble by applying a regular hexagonal pattern of clear glass. An example of one design of the shape is the chillum which is known as the most basic one.Furthermore there is a shape known as the spoon type whereby it allows additional air to be drawn in and it possesses a carburetor.
The other kind known as the bubbler which is able to remove the tar as we know it makes the smoke to be smoother to the person inhaling thus pleasurable.Additionaly the chamber is filled with water that is hot but the best water to used is the cold one as it is able to bring about a very good taste. The type of glass ducts can be made out of different cuts and it is usually in different shades that are able to look attractive to the user. The advantages of these glass pipes are that it can be crown into fantastical shapes and they are with beautiful colors. The importance of this kind of vessel is that it is able to bring about the taste of tobacco as being more crispier and fresher thus a pleasure to the smoker. The good thing is that this duct is able to maintain hygiene standards as it is able to be cleaned easily.
The best thing with the smaller pipes that it is able to produce fresher tasting smoke as opposed to the rest and they can be cleared more quickly. When you decide to cleanse the pipes then you have the option of using a alcohol or even boiling it. The dirt is able to clog up making the airflow to be blocked and less hygienic.When cleaning through boiling one has to use a large pot to allow the resin to be removed from places that cannot be accessed with the brush. The other approach can be with the use of alcohol and salt and one should be careful as glass is prone to breakage. Another thing is that one must be careful so that they do not cough when inhaling from a bubbler as the water can have a nasty odor. In finality we have been able to pinpoint the advantages of the glass pipe which are quite crucial and the types we have.


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In America, family dysfunction is ubiquitous. If your immediate family has its act together, no doubt there's a cousin, uncle or grandparent with serious issues. Rachel Getting Married accomplishes something I haven't seen in the movies before. It manages to be honest about the pain and misery that family members inflict upon each other, while at the same time celebrating the family in such an open-hearted way I caught myself wearing one of those inadvertent movie grins.
The characters in Jonathan Demme's film (two families, along with myriad friends, gathered at one home for a combination wedding-family reunion) know how to have a good time. Yes, that time involves the essential nuts and bolts of any good family bash: dancing, eating, drinking, singing and storytelling, interspersed with drowsy respites in the La-Z-Boy. But the film also miraculously captures that intangible quality many of us will recognize: the glow of being around loved ones we see too rarely, the high of having all of them together at once, the reluctance of anyone to go to bed because the first to do so signals the beginning of the end, the bittersweet brevity of the whole enterprise.
At the nucleus of this celebration are two sisters, Kym and Rachel. As you will no doubt have surmised, Rachel is getting married, to a strong, quiet, considerate man who measures out his words like gold dust. Rachel is the good sister. She has worked diligently for her Ph.D. in psychology, has been a dutiful daughter, and has stoically put up with her sister's self-destructive tendencies for years. Like the rest of the family, she has orbited around Kym and her crises like a satellite. Only the mother, Abby (Debra Winger, in a performance that should have garnered an Oscar nomination), seems to have extricated herself from Kym's gravitational pull, and she's emotionally repressed to the point of catatonia. When she finally confronts her true feelings about Kym, it's like watching a blister explode.
Kym shows up at the family house fresh from rehab, cigarette dangling from her mouth and several chips balancing on her shoulder. Rachel is genuinely excited to see Kym, and for a while they are fifteen again, lost in their sister-world, giggling and reminiscing. But their conversation grows more and more brittle as the past intrudes. Rachel's friends flash tight-lipped smiles at Kym, making snide little comments about her stay in rehab. Kym discovers that she is not the maid of honor, and though her hurt is understandable, so is Rachel's decision. For all her protestations, Kym has given Rachel every reason to distrust her; she's as likely to show up drunk or high at the wedding as she is to not show up at all. For her part, Kym believes that her family refuses to let her move on, grow up or atone for the past. Yes, she's burned every bridge to the ground, but she'd like to think that relational reconstruction is possible, and everyone deserves a second chance (or third, or fourth), right?
The father, Paul, welcomes back Kym with wide open arms, doting on her in a way that immediately brings to mind the story of the prodigal son. Of course, the father in the bible story is every bit as "prodigal" as the wayward boy, lavishing his love and attention in a way that the sensible older brother deplores. Paul handles Kym as though she were a Tiffany lamp. His care and concern stem partly from Kym's self-destructive tendencies, but also from the fact that a third child — a son — was lost at an early age. The death of the brother hangs always over the weekend like a little black cloud, ready at any moment to dowse everything in sorrow. About mid-way through the film, we discover Kym's connection to her brother's death, and suddenly all of the slightly shrill laughter and strained smiles are thrown into sharp relief. The family scab is ripped off again, and ten years of anger and resentment come pouring out.
But one of the beautiful things about this film is that Demme is not content to leave his characters broken. Just as the camera has stuck close to these people through the songs and stories and watched quietly as they loose their pain, so it is not willing to part from them until they have reached some kind of resolution. It's as though Demme, like us, are weary of dysfunction and brokenness, and longs for right relationships. By the end of Rachel Getting Married, as evening dissolves into a slightly surreal reception (complete with Brazilian dancers and eighties alternate-rock star Robyn Hitchcock [!] fronting some sort of high school garage band), we witness Kym and Rachel share a tender slow-dance embrace, the stress and anger leaching out of them like toxins. This isn't a naive film, and the characters know that a decade of unresolved family problems will not be erased in a weekend. But neither will they go backward. The prodigal has returned home, and this time has been embraced by everyone.
One last note: Rachel Getting Married is not in a hurry. This is a film that strolls, lingering here and there to observe impromptu quartets and ramshackle talent shows. So many movies are in such a blasted hurry, rushing from plot point to plot point, not so much edited as minced; it's as though the filmmakers are afraid we'll fall asleep or opt for conversation with our fellow movie-goers. Jonathan Demme's new film has no such concerns, but is supremely confident in its characters and the audience's intelligence.
—Pete Luisi-Mills
Rachel Getting Married is now available on DVD.
What if I don't like the person my best friend is dating?
When a close friend is dating someone you don't like, what do you do? When it comes to dating and relating, there really are very few black and white answers.


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Prince Harry and Meghan Markle left The Firm over 'royal pecking order', claims expert
in Meghan Markle
Home Meghan Markle
Prince Harry and Meghan Markle found it "difficult to accept" the royal 'pecking order' before moving to California to start a new life, an expert has claimed.
It's said they stepped down as senior members of the royal family as their influence within The Firm was based on their position and not their popularity.
But they were not the first in history to feel this way, Andrew Morton has said.
Mr Morton, the famous author of 1992 bestseller 'Diana: Her True Story', made the intriguing comparison between the Sussexes and Princess Margaret, Countess of Snowdon and Lord Snowdon while speaking to Express.co.uk.
The Sussexes' issues with royal life mirrored those of Princess Margaret and Lord Snowdon, says Andrew Morton
(Image: BBC/Getty/Anwar Hussein)
Queen Elizabeth II's sister Margaret became known as a 'black sheep' in The Firm for her wild partying in the 1950s and 1960s and scandalous engagement to divorcee Peter Townsend, who she eventually left for photographer Antony Armstrong-Jones.
The royal couple had a son, David, and a daughter, Sarah, before divorcing in 1978.
Discussing Harry and Meghan's current popularity, Mr Morton wrote: "They are courted by famous people.
Harry moved to the US with wife Meghan Markle in March last year
"I mean, thousands of people turned out to see them [in New York, during their visit in September].
"They are popular and what they found difficult…
William cried!! Prince Louis's touching request to Archie at Lili's christening today


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Avalanche Master LM2700 / LM5400
Avalanche Guard LW2700 / LW5400
Avalanche Pipe Booster 250 / Mortar 5400
Avalanche explosive charge S-LOAD
ATMS – the new control center
Individual configurations
Avalanche Trigger Management System
ATMS Avalanche Trigger Management System
Safety and reliability are top priority
The controlled triggering of avalanches keeps ski and tourism areas safe. The safety technology of the Avalanche Guard® system from Inauen-Schätti AG means that people, animals, property and infrastructure can be protected from the consequences of avalanches, even in the highest mountainous areas which lie in the path of avalanches.
We have developed our cloud-based ATMS (Avalanche Trigger Management System) so that the system is available at all times, and can be operated with the highest level of safety.
Safety is part of the program
All of the new systems from Inauen-Schätti AG can be ordered with the ATMS. For the cloud-based blast software, an individual server is set up for each customer. This adds another level of safety for the customer. Access is personalised and secured by a security code, just as for e-banking. The management and control program is simple to use and can be managed via PC, tablet or a smart device. But only those authorised have access.
Top level communication
The avalanche trigger system is always connected to you via the ATMS software. You can access the system at any time, wherever you are. Whether blast data or system data is concerned, everything is displayed in a clear way and can also be accessed via a remote maintenance feature in an emergency. The access authorisations are always defined in detail from the start, and the monitored area is represented in a clear way. Additional features are installed for the LM32, such as for example the GPS system which constantly checks the location and prevents incorrect positioning.
Seminars and training courses
Artificial avalanche trigger systems demand the highest standards in terms of responsibility and know-how. Regular training is compulsory, both for our teams and our customers. Our engineers work closely with avalanche and explosive experts and are represented in specialist bodies and associations, so that we can continuously provide competent advice and support for you to realise your projects. We also offer training and service programs for products and for explosive charge manufacturing, because we take our responsibility seriously.


Some of DC's characters have undergone soft reboots in the New 52 initiative, others have been left untouched and others still seem to have been rebuilt from the bottom up. Green Arrow falls in the latter category, and I can understand why DC opted for a radical change. At best, various Green Arrow titles have been mid-range sellers for DC, generally propped up with connections to events such as Identity Crisis and Brightest Day. Here, the creators set out to have the property and this new ongoing series stand up on its own. I find the younger vision of the title character here to be visually appealing, and I like DC's willingness to adopt major change. But one can't go so far as to suggest DC and the creators on this book have shaken things up. The unfortunate reality is that while the storytelling is capable and full of action, Green Arrow has been transformed into a rather generic super-hero character. Here, he's Batman without the edge and with several "butlers" rather than one.
Oliver Queen is a thorn in the side of the board of directors of his Seattle-based corporation, Queen Industries. It's an immensely successful concern, as people all over the planet use its products in their everyday lives. But Queen is forever globetrotting, leaving the board to chase him down to participate in meetings and discussions vital to the company's future. Of course, Queen is a thorn in the side of others as well, but in his guise as Green Arrow. The archer hero is willing to take any risk to protect the lives of the innocent, and tonight, in Paris, he happens upon a trio of superhuman punks looking to entertain themselves by victimizing people who are weaker than them.
This isn't the first time penciller Dan Jurgens has teamed with George Perez on inks. They worked together on a mid-1990s incarnation of Teen Titans, and their collaboration then was as attractive and crisp as it is here. Jurgens' has always exhibited a fairly standard but attractive super-hero genre style, and he's skilled at conveying confidence and power in his larger-than-life figures. But it's the meticulous detail Perez brings to the mix that really makes the art. Just look at the detail in the cobblestone street on that double-page spread early in the comic. He also adds a lot of expressiveness to the characters' faces, but at the same time, Perez, who's best known as a penciller, never allows his dynamic style to eclipse the penciller's. I was surprised when I heard Jurgens and Perez were providing the art for this series. After all, Jurgens is busy writing his own New 52 title (Justice League International), while Perez is writing and inking one of his own (Superman). I question how long they'll maintain the Green Arrow assignment, especially Perez.
Dave Wilkins' cover art is rendered in a radically different style than the interior art, but it's nevertheless striking. Though it boasts a generic action pose and no backgrounds, it emphasizes the title character's youth and therefore the changes the property's undergone for this new series. The new costume design, though well rendered by all artists involved, might have been a misstep, though. Get rid of the G belt buckle, switch the mask out for shades and alter the color scheme a bit, and you're looking at Hawkeye, another archer hero from Marvel's Ultimate line.
I was surprised to see how many the title chaarcter has assisting him in his quest to protect the innocent and mete out justice, but given that the hero is depicted as being a man of unlimited means and accustomed to having employees, it makes sense in the context of the character's new status quo. I was also surprised to find among his allies an uber-hacker, a woman named Naomi. I was immediately put in mind of Oracle, a character concept that was recently undone by DC's decision to restore Barbara Gordon to her Batgirl identity. Readers aware of Oracle are going to compare Naomi to Oracle immediately, and she just doesn't seem as interesting. Of course, that could be due in part to the fact we know next to nothing about her. Other than her skills and her name, the reader isn't told anything about her, which isn't an isolated characterization trend in this comic book.
The villain concepts here are disappointing. They're such generic bad guys, I find it hard to get excited about the action. That they're clad in regular clothes is a nice change of pace, and I have to admit the grotesque manifestation of Doppelganger's powers is interesting. But then again, I have no idea what her powers are, other than growing an extra face and limbs. Is that a power? Seems more like a disability. Perhaps the most interesting aspect of writer J.T. Krul's script is how he touches upon the phenomenon of real-world violence uploaded to the Internet as a form of entertainment or bravado. We're told the bad guys are in the habit of recording their rampages and posting them online, and that mirrors a disturbing trend. Unfortunately, Krul only explores this idea briefly and superficially, and it's the kind of novel concept that should be delved into more thoroughly.