text:
Southwark NewsNewsCare home gets record million pound fine after wheelchair-bound resident burns to death
Care home gets record million pound fine after wheelchair-bound resident burns to death
Kit Heren (06 January, 2022)
Cedric Skyers, 69, died in the fire while smoking a cigarette unsupervised
Manley Court care home
BUPA has been fined more than a million pounds after a resident died in a fire at a New Cross care home.
Wheelchair user Cedric Skyers, 69, died in 2016 after the cigarette he was smoking set light to the highly flammable emollient cream that had rubbed into his skin and clothes.
He was living at the Manley Court care home on John Williams Close in New Cross, where the tragic incident took place.
BUPA Care Services, which runs the home, was fined £937,500 for fire safety failings and told to pay £104,000 prosecution costs at Southwark Crown Court on Wednesday (January 5) – the highest ever fine for fire safety failings.
The case against healthcare giant BUPA was brought by the London Fire Brigade, who were called to put out the fire.
A care home worker saw the fire from a first-floor window after Mr Skyers started smoking unsupervised in the designated outside area in March 2016. The care assistant called 999 for help and staff tried to put the fire out, but it was too late. Mr Skyers died of his injuries.
The investigation found that a risk assessment for Mr Skyers smoking had been done, but did not take into account the danger of the emollient cream.
Burn marks were also found on Mr Skyers clothes, suggesting that incidents like this had taken place before the fatal day. Staff said they did not know about these and would have done more to check on him while he was smoking if they were aware.
The fire brigade brought the case against BUPA that it had not done its fire safety duties, putting Mr Skyers and other residents at risk of death or serious injury if there were a fire. BUPA pleaded guilty.
Assistant commissioner for fire safety Paul Jennings said: "This case is an absolutely tragic example of what the devastating consequences of failure to comply with fire safety regulations can be.
"There are a number of measures which the home could have put in place to mitigate the fire risk which Mr Skyers' limited mobility, emollient cream use and smoking posed – but none of these were implemented.
"Mr Skyers' family should rightly have been able to trust that he would be safe in a care home, when sadly the opposite was true.
"Such a large fine highlights the seriousness of BUPA's failure to protect a vulnerable resident in its care.
"If there can be anything constructive to come from this, we hope that it will be that anyone who has a legal responsibility for fire safety in a building – whether as a landlord, property manager, care home provider or any other setting – takes note and makes sure they are complying with the law.
"I would like to thank my fire investigators, fire safety inspectors and the Brigade's legal team which has worked tirelessly on this harrowing case for more than five years."
BUPA was told Manley Court care home needed improvement in the latest inspection by the Care Quality Commission (CQC) in July last year.
Safety and leadership were the two main problem areas, inspectors found. The inspection was launched after concerns were raised to the regulator.
London Fire BrigadeCare Home
'Such a kick in the stomach': Southwark families bereaved in the first lockdown react to Johnson party
Southwark Council gets nearly half a million pounds to boost vaccine effort
Parents get digital access to childrens' health records with new app eRedbook


text:
Paroikia
Jane MOrris PAck
Paintings on Paper
Tempera on Paper
Monoprint Process
Slow Art Day
April 16, 2014 Jane Pack
To celebrate Slow Art Day I give my reactions to the Bruegel painting, 'Hunters in the Snow".
Stendhal, the French author, fainted the first time he laid eyes on Santa Croce in Florence. The "Stendhal Syndrome" as it is now referred to, is an overwhelming emotional reaction which sometimes accompanies the viewing of great art. The opposite reaction might be called "The Mona Lisa Syndrome" which is the disappointment many feel in front of this small dark portrait about which they have such great expectations.
Several years ago I went to see my favorite work of art, 'The Hunters in the Snow' by Bruegel now in the Kunsthistorisches Museum, Vienna. I had known it only from reproduction. In anticipating my response I wondered whether I would be like Stendhal and faint in front of the masterpiece. My son promised to stand behind me when I first encountered the work, should he need to catch me. Of all the possible reactions I imagined, I didn't expect to experience the one I had. I entered the room, found the painting, noticed it was larger than I had thought and then... I couldn't see it. It felt like there was a curtain between my eyes and the painting. It communicated nothing to me, I felt no relationship to its story or its characters. I almost couldn't see the colors or surface as though I was wearing dark glasses. Other Bruegel's in the room were powerful and compelling. "The Gloomy Day" seemed to smell of loamy soil and an approaching storm. The yellow coat of a man in "The Conversion of Saul" made my heart thump, but "The Hunters in the Snow" was invisible to me. After six hours in the museum we left with no change in my response. The next day I returned to the museum and at last, the painting opened to me, the surface receded and the distance mountains shivered in the winter light.
The whine of tired dogs, the pitchy smell of wood smoke and the crunch of brittle snow fill the air. Dark trees etch into the grey green sky as ice skaters group and scurry across the frozen river. The hunters tramp through the crusted snow, pushing their exhausted legs toward home and warmth. Outside a nearby inn a glowing fire melts the ground snow as peasants singe boar bristles in the flames. Nostalgia pulls on my memory, but for what place and what time? The scene is timeless and could be anywhere. It is said to be one of the earliest depictions of pure nature without religious overtones nor moralizing principals. Bruegel's love of life, his catalog of human events and emotions, are here before us. How does this painting make me feel so much that is so hard to put into words?
The second day I was finally able to see the painting as paint. The snow is not white but a warm grey brown. The figures are dark and mysterious, mostly silhouette, rounded though few details show. The yellowed branches in the foreground are far more important in the true painting than I had thought as they establish the plane on which the viewer stands, everything else sliding down the hill into deep perspective. The figures on the ice become progressively more transparent as they recede. Black birds rend the air, creating motion. The geometric shapes of snow topped roofs lend abstraction. But all of these elements do not explain the hold this painting has on my soul.
Hunters in the Snow by Bruegel
In Painting Tags Bruegel, Oil Painting, Slow Art Day, Stendhal Syndrome

redpajama_set_name: RedPajamaCommonCrawl


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text:
Just over 1 million Belgians tuned into opening World Cup match
Illustration picture shows a soccer game between Qatar and Ecuador, the opening match of the 2022 FIFA World Cup soccer in Al Khor, State of Qatar on Sunday 20 November 2022. Credit: Credit: Bruno Fahy / Belga
For the first FIFA World Cup fixture in Qatar, which saw Ecuador beat host nation Qatar 2-0, around 1.3 million Belgians tuned in to watch the game on either French-language RTBF or Flemish TV channel Eén, according to statistics published by the Centre for Media Information.
The opening ceremony of the event was followed by 184,391 viewers on French-language TV station La Une, while 726,699 Belgians watched the game on Eén. Many Belgians, mostly living in the southern regions of Belgium, chose to follow French coverage of the event, with 138,065 Belgians tuning into TF1 to watch the match.
Around 51,000 French speakers used RTBF's Auvio internet-TV service to watch the match, RTBF also noted.
In comparison, the opening match of the World Cup in 2018 on RTBF attracted over four times the number of spectators, compared to this year. This can be, in part, explained by the match taking place on a late Thursday afternoon, as opposed to a Sunday.
Qatar 2022: Dutch journalist arrested after taking photos of security guards
Alcohol sales to be banned at World Cup stadiums, FIFA confirms
Another factor is clearly the controversial character of this year's World Cup, with host-nation Qatar facing a boycott by many viewers over its poor human rights record and treatment of minorities. In Belgium, several bars have refused to put the game on for fans and several municipalities have cancelled their traditional fan zones.
One of Brussels' most famous bars, Kitty O'Sheas, located in the European Quarter, has said that it will organise so-called "ethical screenings" of matches, by blacking out advertising as much as possible.


text:
Q: .htaccess: Serve static files from public directory without public in URL, else rewrite to index.php Bellow is my site directory structure:
htdocs/
    My-Project/
        .htaccess
        public/
            css/
            img/
                img.jpg
            js/
        index.php
        ...(other stuff)

I want to use an .htaccess file to check if the requested path is a file in the public/ directory (similar to serving static files from an directory in express with express.static). If yes, serve it, else forward request to /index.php.
Basically my problem can be split into the following Sub-Problems:
SubProblem1: Serve only files from public directory, else route to index.php
SubProblem2: Serve these files from public directory without (need of) 'public' in the URL
So /My-Project/img/img.jpg should be rewritten to /My-Project/public/img/img.jpg but /My-Project/notexisting.file or /My-Project/testshould be rewritten to  /My-Project/index.php.
This was my idea so far:
    RewriteEngine On

    #Block 1
    #Condition: File exists in public directory
    RewriteCond %{DOCUMENT_ROOT}/My-Project/public/$1 -f
    RewriteRule ^(.*)$ public/$1 [L]

    #Block 2
    #Condition: File doesn't exist in public directory
    RewriteCond %{DOCUMENT_ROOT}/My-Project/public/$1 !-f
    RewriteRule ^(.*)$ index.php [L,QSA]

When Block 1 stands alone -> SubProblem2 is solved, but as soon as Block 2 is added for solving SubProblem1 every Request is rewritten to index.php. Why does that happen? Why doesn't work the second RewriteCond as expected?

A: Here's what I use:
RewriteEngine On

# The following rule tells Apache that if the requested filename
# exists, simply serve it.

RewriteCond %{REQUEST_FILENAME} -s [OR]
RewriteCond %{REQUEST_FILENAME} -l [OR]
RewriteCond %{REQUEST_FILENAME} -d
RewriteRule ^.*$ - [NC,L]

# The following rewrites all other queries to index.php. The
# condition ensures that if you are using Apache aliases to do
# mass virtual hosting, the base path will be prepended to
# allow proper resolution of the index.php file; it will work
# in non-aliased environments as well, providing a safe, one-size
# fits all solution.

RewriteCond %{REQUEST_URI}::$1 ^(/.+)(.+)::\2$
RewriteRule ^(.*) - [E=BASE:%1]
RewriteRule ^(.*)$ %{ENV:BASE}index.php [NC,L]

Update My apache vhost configuration if you need it looks like this:

<VirtualHost *:80>
    ServerName awesome.scot
    ServerAlias localhost
    DocumentRoot /var/www/html/public

    <Directory "/var/www/html">
            DirectoryIndex index.php
            FallbackResource /index.php
            Options -Indexes +FollowSymLinks
            AllowOverride FileInfo All
            Require all granted
    </Directory>
    ProxyPassMatch ^/(.*\.php)$ fcgi://php:9000/var/www/html/public/$1
</VirtualHost>

Then in /etc/hosts, I added 127.0.0.1 awesome.scot, so now I access my site in the browser with http://awesome.scot
Note the two folders in the vhost conf, one is the site root, one is the public directory.
If you haven't turned vhosts on, give it a try! Uncomment the vhosts line in your apache conf, then go into the extra folder and configure your vhost, then restart!

A: The second RewriteCond didn't work as I expected, because as soon as Block1 rewrites the Request, $1 in Block2 doesn't contain the same Information as in Block1.
Example
Imagine we have the URI /My-Project/img/img.jpg.
In Block1 $1 will be img/img.jpg. Because this file exists, the RewriteCondition would be fulfilled and the new URI will be My-Project/public/img/img.jpg.
Now it comes to Block2: Because of the rewritten URI, $1 is here defined as public/img/img.jpg. So the RewriteCondition will check, if there is any existing File under the URL MyProject/public/public/img/img.jpg. Of course it isn't. So the RewriteCondition will always be fulfilled and every Request will be rewritten to index.php regardless of any former Rewriting.
Solution
RewriteEngine On

RewriteCond %{DOCUMENT_ROOT}/My-Project/public/$1 -f
RewriteRule ^(.*)$ public/$1 [L]

RewriteCond %{THE_REQUEST} \s/My-Project/public/ [NC,OR]
RewriteCond $1 !^public/
RewriteRule ^(.*)$ index.php [L]

redpajama_set_name: RedPajamaStackExchange


text:
Mulroy
Last name: Mulroy
Recorded in several forms including Mulleary, Mulry, Mulroy, Milroy and Roy, this is clearly a Gaelic surname, although its origins are open to a number of possible interpretations. These include derivation from the ancient Scottish name Mac Illeruaidh or Mac gille Ruaidh meaning 'The son of the red haired lad', although MacLysaght, the famous Irish historian claims it is from O' Maolmhuire, meaning a follower of the Virgin Mary! A completely different explanation is that it may be ethnic, and to have referred to an Anglo-Saxon as they often had red hair. It is said that the the surname was first recorded in Scotland in the medieval period with early recordings including Donald M'Gilleroi, a notary public in 1465, and Ade M' Gilroy, a tenant of Eglisdisdane and Balnegreagane in the Exchequer Rolls of Scotland, in 1480. Milroy, from M' Ilroy with omission of the apostrophe, is widespread in Ayrshire and Wigtownshire, whilst in Ireland as Mullery and Mulleary, it is associated with County Roscommon. Interesting recordings include John Milroy of Fintallock, a covenanter, who was hanged at Wigtown in 1685, whilst others of the name were obliged to flee from religious persecution. The surname is also found in the abbreviated form Roy. The earliest known recording is proably that of Michael M'Gilrey, a tenant of Thornhill, Dumfriesshire, which was dated 1376. This is in the Ancient charters of the earldom of Morton, during the reign of King Robert 11 of Scotland, 1371 - 1390. Throughout the centuries, surnames in every country have continued to "develop" often leading to astonishing variants of the original spelling.
Surname scroll for: Mulroy


text:
Books » Counseling » Pamphlets
What Do You Do When You Worry All the Time?
(Pack of 100 pamphlets)
Jay E. Adams
Adams explains how to replace worry with trust in God.
Jay E. Adams (1929–2020), a pioneer in biblical counseling, served as a pastor, church planter, denominational executive, seminary professor, author, and lecturer. He taught homiletics at Westminster Theological Seminary in Philadelphia and was the director of advanced studies at Westminster Seminary in California. He was the founder of the Christian Counseling & Educational Foundation (CCEF), the Association of Certified Biblical Counselors (formerly NANC), and the Institute for Nouthetic Studies (INS). Adams was the author of over one hundred books, including the best-selling Competent to Counsel, a book that launched the modern biblical counseling movement. He was a recipient of The Order of the Palmetto, the highest civilian honor awarded by the State of South Carolina.
More by Jay E. Adams
What Do You Do When You Worry All the Time? Reviews


text:
package org.apereo.cas.support.oauth.util;

import com.fasterxml.jackson.databind.ObjectMapper;
import com.fasterxml.jackson.databind.ObjectWriter;
import org.apache.commons.lang3.StringUtils;
import org.apache.commons.lang3.tuple.Pair;
import org.apache.http.HttpStatus;
import org.apereo.cas.CasProtocolConstants;
import org.apereo.cas.services.RegisteredService;
import org.apereo.cas.services.ServicesManager;
import org.apereo.cas.services.UnauthorizedServiceException;
import org.apereo.cas.support.oauth.OAuth20Constants;
import org.apereo.cas.support.oauth.OAuth20GrantTypes;
import org.apereo.cas.support.oauth.OAuth20ResponseTypes;
import org.apereo.cas.support.oauth.services.OAuthRegisteredService;
import org.apereo.cas.util.CollectionUtils;
import org.pac4j.core.context.J2EContext;
import org.slf4j.Logger;
import org.slf4j.LoggerFactory;
import org.springframework.web.servlet.ModelAndView;
import org.springframework.web.servlet.View;
import org.springframework.web.servlet.view.RedirectView;

import javax.servlet.http.HttpServletRequest;
import javax.servlet.http.HttpServletResponse;
import java.io.IOException;
import java.io.PrintWriter;
import java.util.ArrayList;
import java.util.Arrays;
import java.util.Collection;
import java.util.HashMap;
import java.util.HashSet;
import java.util.LinkedHashSet;
import java.util.Map;
import java.util.Set;
import java.util.stream.Collectors;

import static org.apereo.cas.support.oauth.OAuth20Constants.BASE_OAUTH20_URL;

/**
 * This class has some useful methods to output data in plain text,
 * handle redirects, add parameter in url or find the right provider.
 *
 * @author Jerome Leleu
 * @since 3.5.0
 */
public final class OAuth20Utils {

    private static final Logger LOGGER = LoggerFactory.getLogger(OAuth20Utils.class);
    private static final ObjectWriter WRITER = new ObjectMapper().findAndRegisterModules().writer().withDefaultPrettyPrinter();

    private OAuth20Utils() {
    }

    /**
     * Write to the output this error text and return a null view.
     *
     * @param response http response
     * @param error    error message
     * @return a null view
     */
    public static ModelAndView writeTextError(final HttpServletResponse response, final String error) {
        return OAuth20Utils.writeText(response, OAuth20Constants.ERROR + '=' + error, HttpStatus.SC_BAD_REQUEST);
    }

    /**
     * Write to the output the text and return a null view.
     *
     * @param response http response
     * @param text     output text
     * @param status   status code
     * @return a null view
     */
    public static ModelAndView writeText(final HttpServletResponse response, final String text, final int status) {
        try (PrintWriter printWriter = response.getWriter()) {
            response.setStatus(status);
            printWriter.print(text);
        } catch (final IOException e) {
            LOGGER.error("Failed to write to response", e);
        }
        return null;
    }

    /**
     * Return a view which is a redirection to an url.
     *
     * @param url redirect url
     * @return A view which is a redirection to an url
     */
    public static ModelAndView redirectTo(final String url) {
        return new ModelAndView(new RedirectView(url));
    }

    /**
     * Redirect to model and view.
     *
     * @param view the view
     * @return the model and view
     */
    public static ModelAndView redirectTo(final View view) {
        return new ModelAndView(view);
    }

    /**
     * Locate the requested instance of {@link OAuthRegisteredService} by the given clientId.
     *
     * @param servicesManager the service registry DAO instance.
     * @param clientId        the client id by which the {@link OAuthRegisteredService} is to be located.
     * @return null, or the located {@link OAuthRegisteredService} instance in the service registry.
     */
    public static OAuthRegisteredService getRegisteredOAuthService(final ServicesManager servicesManager, final String clientId) {
        final Collection<RegisteredService> services = servicesManager.getAllServices();
        return services.stream()
                .filter(OAuthRegisteredService.class::isInstance)
                .map(OAuthRegisteredService.class::cast)
                .filter(s -> s.getClientId().equals(clientId))
                .findFirst()
                .orElse(null);
    }

    /**
     * Gets attributes.
     *
     * @param attributes the attributes
     * @param context    the context
     * @return the attributes
     */
    public static Map<String, Object> getRequestParameters(final Collection<String> attributes, final HttpServletRequest context) {
        return attributes.stream()
                .filter(a -> StringUtils.isNotBlank(context.getParameter(a)))
                .map(m -> {
                    final String[] values = context.getParameterValues(m);
                    final Collection<String> valuesSet = new LinkedHashSet<>();
                    if (values != null && values.length > 0) {
                        Arrays.stream(values).forEach(v -> valuesSet.addAll(Arrays.stream(v.split(" ")).collect(Collectors.toSet())));
                    }
                    return Pair.of(m, valuesSet);
                })
                .collect(Collectors.toMap(Pair::getKey, Pair::getValue));
    }

    /**
     * Gets requested scopes.
     *
     * @param context the context
     * @return the requested scopes
     */
    public static Collection<String> getRequestedScopes(final J2EContext context) {
        return getRequestedScopes(context.getRequest());
    }

    /**
     * Gets requested scopes.
     *
     * @param context the context
     * @return the requested scopes
     */
    public static Collection<String> getRequestedScopes(final HttpServletRequest context) {
        final Map<String, Object> map = getRequestParameters(CollectionUtils.wrap(OAuth20Constants.SCOPE), context);
        if (map == null || map.isEmpty()) {
            return new ArrayList<>(0);
        }
        return (Collection<String>) map.get(OAuth20Constants.SCOPE);
    }

    /**
     * Produce unauthorized error view model and view.
     *
     * @return the model and view
     */
    public static ModelAndView produceUnauthorizedErrorView() {
        return produceErrorView(new UnauthorizedServiceException(UnauthorizedServiceException.CODE_UNAUTHZ_SERVICE, StringUtils.EMPTY));
    }

    /**
     * Produce error view model and view.
     *
     * @param e the e
     * @return the model and view
     */
    public static ModelAndView produceErrorView(final Exception e) {
        final Map model = new HashMap<>();
        model.put("rootCauseException", e);
        return new ModelAndView(OAuth20Constants.ERROR_VIEW, model);
    }

    /**
     * Cas oauth callback url.
     *
     * @param serverPrefixUrl the server prefix url
     * @return the string
     */
    public static String casOAuthCallbackUrl(final String serverPrefixUrl) {
        return serverPrefixUrl.concat(BASE_OAUTH20_URL + '/' + OAuth20Constants.CALLBACK_AUTHORIZE_URL);
    }

    /**
     * Jsonify string.
     *
     * @param map the map
     * @return the string
     */
    public static String jsonify(final Map map) {
        try {
            return WRITER.writeValueAsString(map);
        } catch (final Exception e) {
            throw new IllegalArgumentException(e.getMessage(), e);
        }
    }

    /**
     * Gets response type.
     *
     * @param context the context
     * @return the response type
     */
    public static OAuth20ResponseTypes getResponseType(final J2EContext context) {
        final String responseType = context.getRequestParameter(OAuth20Constants.RESPONSE_TYPE);
        final OAuth20ResponseTypes type = Arrays.stream(OAuth20ResponseTypes.values())
                .filter(t -> t.getType().equalsIgnoreCase(responseType))
                .findFirst()
                .orElse(OAuth20ResponseTypes.CODE);
        LOGGER.debug("OAuth response type is [{}]", type);
        return type;
    }

    /**
     * Check the grant type against an expected grant type.
     *
     * @param type         the given grant type
     * @param expectedType the expected grant type
     * @return whether the grant type is the expected one
     */
    public static boolean isGrantType(final String type, final OAuth20GrantTypes expectedType) {
        return expectedType.name().equalsIgnoreCase(type);
    }

    /**
     * Check the response type against an expected response type.
     *
     * @param type         the given response type
     * @param expectedType the expected response type
     * @return whether the response type is the expected one
     */
    public static boolean isResponseType(final String type, final OAuth20ResponseTypes expectedType) {
        return expectedType.getType().equalsIgnoreCase(type);
    }

    /**
     * Is authorized response type for service?
     *
     * @param context           the context
     * @param registeredService the registered service
     * @return the boolean
     */
    public static boolean isAuthorizedResponseTypeForService(final J2EContext context, final OAuthRegisteredService registeredService) {
        final String responseType = context.getRequestParameter(OAuth20Constants.RESPONSE_TYPE);
        if (registeredService.getSupportedResponseTypes() != null && !registeredService.getSupportedResponseTypes().isEmpty()) {
            LOGGER.debug("Checking response type [{}] against supported response types [{}]", responseType, registeredService.getSupportedResponseTypes());
            return registeredService.getSupportedResponseTypes().stream().anyMatch(s -> s.equalsIgnoreCase(responseType));
        }

        LOGGER.warn("Registered service [{}] does not define any authorized/supported response types. "
                + "It is STRONGLY recommended that you authorize and assign response types to the service definition. "
                + "While just a warning for now, this behavior will be enforced by CAS in future versions.", registeredService.getName());
        return true;
    }

    /**
     * Is authorized grant type for service?
     *
     * @param context           the context
     * @param registeredService the registered service
     * @return true/false
     */
    public static boolean isAuthorizedGrantTypeForService(final J2EContext context, final OAuthRegisteredService registeredService) {
        final String grantType = context.getRequestParameter(OAuth20Constants.GRANT_TYPE);
        if (registeredService.getSupportedGrantTypes() != null && !registeredService.getSupportedGrantTypes().isEmpty()) {
            LOGGER.debug("Checking grant type [{}] against supported grant types [{}]", grantType, registeredService.getSupportedGrantTypes());
            return registeredService.getSupportedGrantTypes().stream().anyMatch(s -> s.equalsIgnoreCase(grantType));
        }

        LOGGER.warn("Registered service [{}] does not define any authorized/supported grant types. "
                + "It is STRONGLY recommended that you authorize and assign grant types to the service definition. "
                + "While just a warning for now, this behavior will be enforced by CAS in future versions.", registeredService.getName());
        return true;
    }

    /**
     * Parse request scopes set.
     *
     * @param context the context
     * @return the set
     */
    public static Set<String> parseRequestScopes(final J2EContext context) {
        return parseRequestScopes(context.getRequest());
    }

    /**
     * Parse request scopes set.
     *
     * @param context the context
     * @return the set
     */
    public static Set<String> parseRequestScopes(final HttpServletRequest context) {
        final String parameterValues = context.getParameter(OAuth20Constants.SCOPE);
        if (StringUtils.isBlank(parameterValues)) {
            return new HashSet<>(0);
        }
        return CollectionUtils.wrapSet(parameterValues.split(" "));
    }

    /**
     * Gets service request header if any.
     *
     * @param context the context
     * @return the service request header if any
     */
    public static String getServiceRequestHeaderIfAny(final HttpServletRequest context) {
        if (context == null) {
            return null;
        }
        String id = context.getHeader(CasProtocolConstants.PARAMETER_SERVICE);
        if (StringUtils.isBlank(id)) {
            id = context.getHeader("X-".concat(CasProtocolConstants.PARAMETER_SERVICE));
        }
        return id;
    }
}

redpajama_set_name: RedPajamaGithub


text:
Teenage Heartbreak
"After the breakup of Beatles-obsessed power poppers the Poppees, guitarist Arthur Alexander and drummer Jett Harris formed a new band, Sorrows, and while their earlier group struggled to get noticed after releasing a pair of singles for Bomp Records, Sorrows quickly caught the ear of an A&R man at Pavilion Records, an affiliate of CBS Records. Sorrows' debut album, Teenage Heartbreak, arrived in 1980. Unfortunately, the record and its follow-up, 1981's Love Too Late [produced by the legendary Shel Talmy], sank without a trace, thanks to poor promotion by CBS, and while they earned a cult following among obsessive fans of skinny-tie pop." -All Music Guide
SORROWS live
with Party Lights
Friday, October 14th at Union Hall
702 Union Street, Brooklyn, U.S.A. *
* Show cancelled.
Labels: Bomp Records, Brooklyn, Dead Flowers Productions, Party Lights, power-pop, punk, rock, Shel Talmy, Sorrows, Union Hall
Modern Needs: Try It!
Interview with Ben Smith of The Brought Low
Modern Needs: All Or Nothing!


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Q: Why Didn't Treebeard Know What a Hobbit Was? Perhaps this is only in the movie The Two Towers, but when Treebeard picks up Merry and Pippin and begins transporting them around, at first Treebeard is suspcious of the Hobbits and calls them 'little Orcs.' When Merry says, "We're not Orcs -- we're hobbits! Shirefolk!" Treebeard grumbles and says, "Never heard of a hobbit before."
How could this be? The Ents are ancient creatures. Treebeard refers to Gandalf as 'Young Master Gandalf', so if Gandalf is young compared to Treebeard, Treebeard must be quite old.
Why didn't Treebead know what a Hobbit was?

A: The book goes into quite a lot of detail about the source of Treebeard's knowledge of the world around him. Ents remember all the (good) speaking races by means of a rhyming list - and hobbits aren't on it:

Learn now the lore of Living Creatures!
  First name the four, the free peoples:
  Eldest of all, the elf-children;
  Dwarf the delver, dark are his houses;
  Ent the earthborn, old as mountains;
  Man the mortal, master of horses:

In fact, it's perfectly natural for them not to be on it, because they have been keeping themselves to themselves for as long as anyone knows. The events of the Lord of the Rings are the first time they have involved themselves at all in the world around them[1].
In fact, once Treebeard and the Ents get to know Merry and Pippin, they agree to add a line to the list to record their existence:

Ents the earthborn, old as mountains,
  the wide-walkers, water drinking;
  and hungry as hunters, the Hobbit children,
  the laughing-folk, the little people

[1] with the exception of their (claimed) participation in the last battle against the Witch-King of Angmar: "they sent some bowmen to the aid of the king, or so they maintained, though no tales of Men record it."
Note on origins, as requested in comment
We don't know the details of the origins of either Hobbits or Orcs. The prologue to LotR just says about Hobbits:

It is plain indeed that in spite of later estrangement Hobbits are relatives of ours: far nearer to us than Elves, or even than Dwarves. [...] But what exactly our relationship is can no longer be discovered. The beginning of Hobbits lies far back in the Elder Days that are now lost and forgotten. [...] Yet it is clear that Hobbits had, in fact, lived quietly in Middle-earth for many long years before other folk even became aware of them.

We do know more about Orcs, from the Silmarillion. They were created by Melkor, Sauron's original boss, back in the very beginnings of the First Age - either (it's unclear) in mockery of Elves, or by corrupting existing Elves.

A: I don't have any reference material around, but the Ents had secluded themselves to Fangorn  for much longer than Hobbits even existed...

A: Ents are ancient; hobbits are relatively new. Smeágol, born a mere 500 years or so before the events of The Hobbit, is described as belonging to a group of fisher folk who were "akin to the fathers of the fathers of the Stoors", implying that Hobbits were not yet a fully distinct race at that time. The Ents had long since kept themselves to Fangorn, so it's not surprising they had never encountered hobbits, at least not in a form terribly distinct from Men.


Maria Bello, Hugh Jackman, Erin Gerasimovich, Dylan Minnette. Photo by Wilson Webb ©2013 Warner Bros. All Rights Reserved.
Photo ©2013 Warner Bros. All Rights Reserved.
Photo by Wilson Webb ©2013 Warner Bros. All Rights Reserved.
Nancy Birch [Viola Davis] is a veterinarian, thus the painting of the horse in the background, as she and her husband [Terrence Howard] give Detective Loki [Jake Gyllenhaal] photos of their young daughter.
Viola Davis, Terrence Howard, Hugh Jackman. Photo ©2013 Warner Bros. All Rights Reserved.
©2013 Warner Bros. All Rights Reserved.
It's a cold, cloudy Thanksgiving Day in a modest Pennsylvania suburb, the kind of town where kids ride their bikes and play in the streets every day. Inside a warm and welcoming home, the hardworking Dovers and Birches, the closest of friends and neighbors, share the traditional holiday meal together, relaxed, laughing, entirely at ease. All is right with the world. And then it's not. In the blink of an eye, the two youngest girls are nowhere to be found. It is perhaps the worst thing that any parent, and family, can imagine, and for the Dovers and Birches, it begins a traumatic nightmare from which they cannot escape.
The setting is an everyman's world. Hugh Jackman and Terrance Howard play the two fathers, Keller Dover and Franklin Birch, Maria Bello and Viola Davis their wives, and Jake Gyllenhaal the lead investigator on the case, Detective Loki. Paul Dano is the enigmatic main suspect Alex Jones, Melissa Leo as his aunt Holly Jones. The strong cast was backed by an equally strong production team: INCENDIES director Denis Villeneuve, Director of Photography Roger Deakins, Production Designer Patrice Vermette and Set Decorator Frank Galline SDSA…all top professionals committed to bringing this taunt, stark, very human tale of desperation, vulnerability and depth of moral boundaries to life as honestly as the script presents.
SET DECOR: Production Designer Patrice Vermette had worked with Director Denis Villeneuve before. How did that impact this film collaboration?
Set Decorator Frank Galline SDSA: Deni and Patrice went to university together so they've known each other for a good while. Most of their conversations were in "French", they are from Quebec. So that often left us out of the conversation!
My collaboration was with Patrice. We worked together on the wallpaper choices, tiles for the kitchens and baths, countertops, etc. Patrice created mood boards that I used as inspiration in dressing choices and, of course, the overall mood of the picture.
SET DECOR: Villeneuve's stated goal was "…to be as realistic and authentic as possible throughout…I wanted people to feel the rain and the dust surrounding the pain of the characters." Could you please comment on this?
Galline: "Realistic and authentic" certainly fall on the set decorator. I prefer character-driven set work and this was a great vehicle for that. Each of the characters is so torn in this film. I tried to bring the reality of the moment into the dressing. Whether it be half of a PBJ sandwich with a bite taken out of it or an unmade bed, it's a snapshot of when their world stood still.
I used very little artwork on the walls, because the lives of the characters are emotionally stripped to the bone, leaving them all in their own little prisons, each with their madness bouncing around in their heads.
SET DECOR: Editors Joel Cox and Gary Roach, who often work with director Clint Eastwood, offered that Villeneuve worked in a similar manner, knowing exactly what he wanted and yet being open to improvisation. How did this impact set decoration?
Galline: Deni was very open to what we delivered. There really wasn't any directive that we must have this or that. As a department we were free to bring it all to the table. It was pretty wonderful in that way.
SET DECOR: Director of Photography Roger Deakins points out, "A lot of the work is about the choice of the lights in the shot, such as using the practical lights that sit on a desk or illuminate a room, rather than film lights to create the look…" What was your collaboration with Deakins?
Galline: The use of hi def camera now requires Set Dec to bring a substantial amount of the lighting to the set. Roger relies heavily on practicals, from a table lamp to a street light. Some of our street lights had to be reworked by the electrics to get Roger the wattage he needed, table lamps had to accommodate higher wattage bulbs.
The Christmas lights in the neighborhood were a bit of a challenge. Roger drew the neighborhood and noted placement of street lights, Christmas lights, and practicals on houses. I had my own "electric team" for a couple weeks in the neighborhood.
There were a minimum of 5 practical lights in most every room. Overhead lights were specific to Roger's needs. Purchased fixtures with frosted glass were too dense. Roger felt he didn't get enough light through them, so we approached it from another angle. I found that by getting a clear fixture and having the painters frost it, we were able to control the amount of frosting on each fixture. The fixtures also had to be deep enough to hide a 200 Watt bulb, as they are rather large.
With so much emphasis on practicals, there was a show and tell of lamps and shades before production began. We used different styles of lamp shades to help delineate the different environments. The eerie Jones house had mostly fluorescent light or limited light coming through the windows. For the room where the girls were held, we covered the window with newspaper as a filter. The Birch house was more of a silk shade, frosted-glass ceiling fixture home, with a soft light throughout; while the Dover home was a bit grittier, with a burlap feel to the textures.
SET DECOR: Villeneuve says, "The film examines how extraordinary events in life can come out of nowhere and tear the fabric of a family to shreds in an instant." Would you like to comment on this?
Galline: Part of the way we depicted this was once the girls were missing, life kind of stood still. The detritus of the Thanksgiving dinner was never cleared in the Birch home.
Grace Dover, one of the missing girls mothers, [Maria Belo] hardly ever got out of bed after they were taken. That bedroom progressively became more and more messy.
Ralph Dover and Eliza Birch [Dylan Minnette, Zoe Borde], the older children, were lost in the rubble of the crumbling families—old enough to get it, but too young to know what to do…looking to their parents for direction but unable to get it.
SET DECOR: Keller Dover's basement offers a direct and highly ironic set reference to the core premise. Please tell us about this set!
Galline: The film is purposely devoid of most color, mimicking the weather as well as the bleakness of the tale.
I used a sheer pink curtain in Ana Dover's room because the light coming through the curtain would cast that color throughout the room. As a result we had a great pink glow, the essence of a young girl. Joy Birch's room was a little less pink, although still soft and sweet in color.
The Dover house is rather brown, as we felt it was of a depressed atmosphere, except for Anna's room. The Birch home is lighter and fuller. We had our wallpaper made at Astek so were able to apply our color palette exactly.
Galline: Yes, exactly. Dover's business is not doing well, and his wife is a stay-at-home mom. Money is tight. Dover is single-minded, a bit oppressive in nature. The Birches are doing better as a two-income family, he a music teacher, she a veterinarian, with more expendable funds.
Both were practical homes. We did the most physical work in the Birch house. We opened the archways, installed French doors and hardwood floors, and totally remodeled the kitchen from slate floor up, including appliances. We also did a complete remodel of one of the bathrooms. The wallpaper in the Birch home was crisper, more modern. The Birch house is a bit more structured than the Keller home, with straighter lines, firmer furniture. The Dover house is more overstuffed, obvious that it has been around quite a while.
The other reason for Keller not restoring his dad's rental property was the fact that his father committed suicide there when Keller was young and he really didn't want to revisit that. This set was designed to be maze-like, and was built on a stage. The dressing here was minimal: radiators, light fixtures, toilets, tubs and sinks…pieces of miscellaneous wallpapers. I found some kitchen cabinetry at a junk store that served well in here, as did an occasional broken chair and a mattress.
The police station was a large empty building that we filled to the brim. Unfortunately, we only saw a small portion of the work that was done in there: day-to-day police work, captain's office, interrogation room, conference room, bullpen and work space, some of the other officer's personal touches. Nothing personal for Loki, just his computer and work files…his background purposely not revealed.
This was another stage set with the full-sized cellar/basement. The house was worn and uncared for…here was another drunkard who is torn and in his personal prison. St. Michael was not looking out for this guy.
SET DECOR: The film was set in Pennsylvania, but shot around Stone Mountain and Conyers, Georgia, starting in wintery January, when this part of Georgia looks like Pennsylvania hill country around Thanksgiving. Could you please tell us about this?
Galline: We were very lucky with the weather. Most exteriors required rain and most every time we shot an exterior, it was raining. Being from the northeast originally, I know it was very realistic weather-wise. We did have to make the snow.
SET DECOR: Was there something particular from your past experience that significantly helped you on this film?
Galline: I think my work on period films is always great to pull from, because on a period film you really have to pay attention to the detail of everything. Nothing can fall through the cracks or be overlooked…it absolutely has to be appropriate for the period. I can then take that same process into a character-driven contemporary set and ask, "Is this truly appropriate for the person who lives here? When was the last time they upgraded their furnishings? How much extra money do they have to buy a little something for the house?" In doing so, we are able to assist in creating the character that lives in the film.
SET DECOR: What was your take-away from this experience?
Galline: This film was a positive experience for me all the way around. I was able to dig deep and explore. We had terrific producers, UPM, etc. who were always fair and respectful, not to mention funny and in a good mood…most of the time! They enjoyed the process, as well as creating a very positive environment for such a dark film.
SET DECOR: What are you most pleased about with the film?
Galline: That it was so well received…I immediately felt very strongly about this particular film, so am very happy for its success. We've all worked on films or television projects we thought were great, and then they fall flat for whatever reason. I think the work my department did is well represented in the final cut. Of course, as always, there is a lot that we did that didn't make it to the screen, but on the whole I am very pleased.


Inspire is a place where science and self-knowledge meet with the good things in life: live music, inspired people, good food, and fun. Inspire is definitely a unique festival, but for some it may not be an 'easy' festival. Therefore I would like to explain my idea behind the festival.
Science is relatively easy: from a safe distance we observe the outside world and we try to discover the laws of the universe. When you look at the technological progress of the past 75 years, we can say that science has been very successful. Even to the extent that some are getting worried that things may get out of control.
Self-knowledge is science also; it has its focus on the inner-world. It tries to look at how thoughts, feelings, and emotions are connected to each other and how these are triggered by events in the outside world. It is practiced through art, in management trainings, by visiting a psychologist, and in a variety of workshops. This is where things get personal and therefore may feel 'uneasy'. All science has its origins in curiosity, but to acquire self-knowledge, more is needed.
Physicists dream of a Theory of Everything that would enable us to explain and eventually master every aspect of nature, supposedly making us Masters of the Universe.
In fundamental theories of physics, such as quantum theory and relativity theory, all is one, everything is connected and elementary particles are spontaneously created from nothing . Furthermore the outcome of experiments cannot be separated from the observer. This observer is an idealized version: she is completely objective.
This does make me wonder how much faith we can have in a theory of everything that does not include a realistic image of us.
Because, this observer is us! And as we all know, we perceive the world through glasses that are colored by our upbringing, our relationships, our successes, and disappointments. In addition, a large part of our thoughts and behavior has been 'automated' in habits, reflexes, and patterns of thought. In itself there is nothing wrong with this: it is a matter of efficiency and it has taken us far in a world that is changing faster and faster.
Until we get stuck somewhere and we have to conclude that our fixed patterns of thought are not helping us to achieve our goals in life. The easy way out is to change course and adjust our goals. But why would we do that? The more scientific, rational approach is to start investigating what is really going on. This makes it possible to free us from reflexes and patterns of thought that no longer serve its original purpose.
For me, true freedom lies in the ability to meet everything the world has to offer as is: free from prejudice and bias. We may be surprised by seeing how much more possibilities are being offered to us. We only have to choose.
So, why wait until we get stuck somewhere?
Inspire is meant for everyone, young and old, spiri or not, who is prepared to accept a bit of a challenge and is willing to try to get the most out of life.
However, Inspire is as any other party. It's just an idea, until you make it real.


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Lil Nas X sparks controversy over evil imagery in shoe line
Carys Luther, Staff Reporter|April 28, 2021
Each pair of the avant-garde footwear sold for $1,018. "Although I would never buy these because they're expensive and do not fit my style, I think the concept is really creative and the shoes look good," senior Cam Kasmiersky said.
"Blood, sweat, and tears"—an expression taken more literally by Lil Nas X and the MSCHF team than most. Rapper Lil Nas X collaborated with Brooklyn startup company MSCHF to create "Satan Shoes," modified Nike Air Max 97s with satanic imagery, the inscription "Luke 10:18" and one drop of human blood in each sole of the shoes. All 666 pairs of these sneakers were sold out in under a minute March 29.
"I think the shoes are dumb and unnecessary," sophomore Elizabeth Kaidasz said. "I don't understand why any artist would want to promote and associate themself with something that represents evil."
These exclusive shoes are an accompaniment to Lil Nas X's new song, "MONTERO (Call Me by Your Name)." The music video uses biblical symbols and imagery to make artistic social commentary on the homophobia that Lil Nas X has faced from some in the Christian community.
"The music video was fantastic," sophomore Madeline Aulbert said. "I really enjoyed the visuals, its use of religious elements, and how subtle it was in shutting down homophobia in the Christian community. I'm so proud of his work and how well thought out it is."
The rapper dances with the devil in the explicit video, playing on the notion of LGBTQ+ people being told they are going to hell. The Satan Shoes and the surrounding controversy have propelled Lil Nas X's video to have more than 81 million views on YouTube.
"I think it's really funny and I love that he's embracing who he is as a person," freshman Reagan Massey said. "A lot of people make it a religious controversy, but the music video is about him accepting who he is, and if he has to go to hell for it, he doesn't care."
Despite some students admiring the idea and message behind the shoes and music video, many are finding the shoes and music video to be offensive.
"The Bible says Satan is there only to 'kill, steal, and destroy'," junior Malachi Perez said. "I'm just extremely confused as to why someone would want to embrace the idea of the most evil thing in the universe."
While students' views are split on the Satan Shoes, there is no doubt that the scandal surrounding the product and music video use outrage culture to their advantage, amplifying Lil Nas X's sales and relevance.
"Lil Nas X is living the life he wants to live," sophomore Boston Warren said. "The shoes should be allowed to be sold because we live in a free market country."
Give Blood, Save Lives
Marching Into History
Football Expectations
Pogues For Life


text:
Q: How to make a builder in groovy instead of using with nested if I have to build and id and it depends of different parameters. If some of them aren't null y have to append those values with some union symbols like "~" or some prefix according to the param.
This is the implementation that I did using nested if:
    def buildUID( def sportId, def leagueId, def groupId, def eventId, def teamId, def competitionId )
{
    def delimiter = "~"
    def returnString = ""
    sportId = sportId + ''
    leagueId = leagueId + ''
    groupId = leagueId + ''
    teamId = teamId + ''
    eventId = eventId + ''
    competitionId = competitionId + ''
    if ( this.commonPresenter.isNotNull( sportId ) )
    {
        returnString = "s:" + sportId

        if ( this.commonPresenter.isNotNull( leagueId ) )
        {
            if ( this.commonPresenter.isNull( teamId ) )
            {
                if ( this.commonPresenter.isNull( groupId ) )
                {
                    if ( this.commonPresenter.isNotNull( eventId ) )
                    {
                        returnString = returnString + delimiter + "l:" + leagueId + delimiter + "e:" + eventId
                    }
                    else if ( this.commonPresenter.isNotNull( competitionId ) )
                    {
                        returnString = returnString + delimiter + "l:" + leagueId + delimiter + "c:" + competitionId
                    }
                    else
                    {
                        returnString = returnString + delimiter + "l:" + leagueId
                    }
                }
                else
                {
                    returnString = returnString + delimiter + "l:" + leagueId + delimiter + "g:" + groupId
                }
            }
            else if ( sportId == "600" )
            {
                returnString = returnString + delimiter + "t:" + teamId
            }
            else
            {
                returnString = returnString + delimiter + "l:" + leagueId + delimiter + "t:" + teamId
            }
        }
        else if ( ( this.commonPresenter.isNull( leagueId ) ) && sportId == "600" && this.commonPresenter.isNotNull( teamId ) )
        {
            returnString = returnString + delimiter + "t:" + teamId
        }
    }
    return returnString + ''
}

Thanks.

A: just as an idea: use map and functions to work with collections
def ret = [
    sportId:11,
    leagueId:22,
    groupId:null,
    eventId:44,
    teamId:'z',
    competitionId:66
].findAll{it.value!=null}.collect{it.key[0]+':'+it.value}.join('~')

returns
s:11~l:22~e:44~t:z~c:66


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you are here: HomeNewsBusiness
Economic Survey 2021: Yes Bank, LVB events show RBI audits failed to catch 'ever-greening'
The RBI initiated an asset quality review in 2015 under governor Raghuram Rajan to dig up NPAs from bank balance sheets.
Dinesh Unnikrishnan
Rana Kapoor, the founder of Yes Bank is pictured after his arrest in Mumbai on March 8, 2020. - The founder of India's Yes Bank was arrested on allegations of money laundering on March 8, amid efforts to formulate a rescue plan for the country's fourth-largest private lender. (Photo by Bhushan KOYANDE / AFP) (Photo by BHUSHAN KOYANDE/AFP via Getty Images)
The Economic Survey 2021 is highly critical of the audits done by the Reserve Bank of India (RBI), saying events at Yes Bank and Lakshmi Vilas Bank (LVB) showed that the central bank did not spot "ever-greening" carried out in ways other than formal restructuring.
"The recent events at Yes Bank and Lakshmi Vilas Bank corroborate that the AQR (asset quality review ) did not capture ever-greening carried out in ways other than formal restructuring," the survey said.
Ever-greening refers to the practice where a bank gives new loans to pay off an old one to help the borrower escape the non-performing assets (NPA) tag. The practice, widely prevalent, is not in line with the spirit of good corporate governance.
The fact that both these banks had to be rescued by the regulator also goes against RBI's assumption that the private banks should have been able to raise the required capital after the clean-up, the survey said.
"Had the AQR exercise detected ever-greening, the increase in their reported NPAs should have been in the initial years of the AQR," the Economic Survey said. "Our analysis clearly shows that most of the non-performing loans were lent and restructured during the forbearance phase. Hence, the RBI audit missed some severe cases of ever-greening by these banks."
Banking Central | Yes Bank AT1 bond holders knew the risks, they simply ignored it
Yes Bank tumbles as higher provisions drag Q3 profit, Bombay HC rubs salt on wound
Why an emphatic 'no' to Yes Bank?
The AQR was initiated to prod banks to disclose the actual bad loans in the banking industry and nudge them into making adequate provisions to avoid a later shock.
On account of the process, the bad loans in the banking system skyrocketed from Rs2 lakh crore to Rs 3 lakh crore in 2015-16 to around Rs 8 lakh crore to Rs9 lakh crore in a period of four to five years. Banks were forced to identify stress signals at early stages and take precautionary measures. But, the Economic Survey warned that even this exercise wasn't adequate to unearth the full NPA problem and gauge the resultant capital requirement.
To put this amount in perspective, the additional NPAs translated to about 7.9 percent of the total tax revenue over this period, the survey said.
One of the leading private banks, Yes Bank collapsed under the weight of fraud and mismanagement in March 2020. The RBI was forced to prepare a bail-out plan under the leadership of the country's largest lender by assets, State Bank of India along with a clutch of lenders. The bank has since improved its financial position under a new management.
LVB, too, plunged into a crisis in 2020 after the shareholders voted out majority of directors including the CEO and the capital ratios of the lender worsened. Following this, the RBI announced a merger of the bank with the Indian unit of Singapore-lender DBS.
AQR failed to assess full NPA problem
Further, the survey said while the RBI's asset quality review (AQR) five years ago helped in some clean-up, the whole process significantly under-estimated the extent of bad loans. The AQR process also failed to foresee the resultant capital infusion required by the banking sector post the clean-up, the survey said.
"In reality, the AQR exercise significantly under-estimated the full extent of NPAs as well as the resultant capital infusion that was required to ensure that the bank balance sheets indeed become healthy," it said. In terms of additional (gross) NPAs, public sector banks added about Rs5.65 lakh crores from FY2016 to the end of FY2019.
If the AQR had correctly identified all the hidden bad-quality assets, all the increase in NPAs and the necessary provisioning would have concluded by the deadline of FY2017. "However, the gross NPAs in the Indian banking sector only increased to 11.2 percent by FY2018. A massive surge in loan loss provisioning also occurred in FY2018—a year after AQR was supposed to make bank balance sheets healthy," the survey said.
Besides, the additional provisions doubled in FY2018. For instance, in FY2016 and 2017, the Punjab National Bank reported additional provisions at Rs 18,145 crore and Rs 15,881 crore, respectively.
In FY2018, the additional provisions increased to Rs 31,459 crores. The rise in provisioning depleted banks' capital, the survey said but added that AQR did some clean-up of balance sheets of banks. However, in most cases, the identified NPAs were smaller in comparison to the loans restructured by banks, the survey said.
Tags: #Economic Survey 2021 #Yes Bank


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"The Maze Runner" Ends its Race on a High Note
"The Maze Runner: The Death Cure" review
Laura Depetris, Staff Writer
"The thing about zombies is that they're hard to kill. Sure, you shoot them in the head and that's supposed to do the trick. But when they're rushing and gnashing and flailing at you—as modern-day zombies tend to do—it can be hard to concentrate and get a good shot. This is especially true when they're coming at you en masse across a desolate wasteland, the kind you find in so many movies based on Young Adult novels" (from "The Maze Runner: The Death Cure", by Christy Lemire)
Such is the feeling of watching "Maze Runner: The Death Cure," the third and final film in the dystopian science fiction series based on James Dashner's novels. Thomas (Dylan O'Brien), Newt (Thomas Brodie-Sangster), and Frypan (Dexter Darden) are the last of the free "Gladers" immune to the destructive virus that has ravaged the world's population. They discover that Minho (Ki Hong Lee), their remaining Glader friend, was captured by WCKD (an organization responsible for capturing and experimenting on immune children) and put on a train headed to "The Last City", WCKD's base of operations. Therefore, the three leave their camp to rescue Minho, who is being tortured by WCKD in hopes of developing a cure for the virus. Heading for the Last City, the group is attacked by Cranks, humans infected with the deadly virus. From this point forward, the former "Gladers" begin the search for their absent friend, not without extreme challenges and losses.
As silly as they sound, these movies are pretty well made, capable of outsize action and teary intimacy. The director, Wes Ball, knows how to move his camera around a futuristic, farfetched world, and the filmmaking dynamism — especially the sights of the "Last City", shot in Cape Town — compensates for the plot that to an outside eye can seem rather repetitive.
As an enthusiast of the series, I'm not afraid to say I cried all through the last forty minutes of the film. "The Death Cure", being the final chapter of the trilogy, made me witness the death of my all time favorite character, and it was over before I could even realize it, despite being almost three hours long. Clearly destined to a "young adult" audience, Maze Runner, although it may not trigger who's seeking out originality, variations and innovative points in the plot, on the other hand it's a celebration for special and visual effect lovers, and it gives fans the ending they were eagerly awaiting.
https://www.rogerebert.com/reviews/maze-runner-the-death-cure-2018
https://en.wikipedia.org/wiki/Maze_Runner:_The_Death_Cure
Laura is an exchange student from Italy. She just turned eighteen and is in her senior year. Laura enjoys photography, traveling, dancing and reading....
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Extension to Grade I-listed library, featuring a new single-storey basement beneath the provost's garden. A connecting tunnel was excavated beneath the original structure's historical walls.
Founded in 1341, The Queen's College is one of the University of Oxford's constituent colleges. Its spectacular Grade I-listed library dates from 1692 and is one of the largest of any Oxford college, with a lending collection of 50,000 volumes and nearly 150,000 volumes in the historical collection. Requiring more room, and with surrounding space being limited, the only feasible place to accommodate an extension to the library was beneath the provost's garden.
Eckersley O'Callaghan designed the structural scheme for this new basement. The basement sits in particularly sensitive surroundings, immediately adjacent to and below the existing library, with fragile historic walls on either side. We used a secant piled perimeter wall, propped during excavation to retain the surrounding ground and to minimise movements of the adjacent foundations.
Movement monitoring helped to control the process. The connection to the existing library was particularly complex, requiring careful underpinning to the old wall.
Key to the design was ensuring that the library's valuable collection was protected, while at the same time accommodating the needs of its users. A rooflight running from north to south introduces natural light to the reading room, with the historic collection stored away from this light. Our structural glazing experience allowed us to provide key advice for the walk-on rooflight, and also for a glazed lift shaft.
The basement roof supports new planting to reinstate the existing provost's garden, meaning the rooflight and access stairs are the only evidence of the basement.


text:
Jason Lee, Palm Springs
Jason Lee & R.I.P. Tides @ PS Festival of Lights
Jason Lee and the R.I.P. Tides to play Tonga Hut float in Palm Springs Festival of Lights 12/6/2014
San Diego instrumental surf band and Dionysus Records recording artists Jason Lee and the R.I.P. Tides will deliver a high energy set of holiday inspired surf music while aboard the Tonga Hut's tiki themed Xmas float – designed by artist Eric October with help from friends of Tonga Hut, at the annual Palm Springs Festival of Lights Parade. After the parade – Jason Lee and the R.I.P. Tides will play at Tonga Hut Palm Springs, with DJ Lee of Dionysus Records and LuxuiraMusic.com will be spinning before and after the live music.
The Festival of Lights Parade takes place the first weekend in December and has quickly become one of Palm Springs' most beloved traditions, attracting over 80,000 people to downtown Palm Springs each year.
Shops and restaurants along the parade route on Palm Canyon Drive in Palm Springs will be open. The parade starts at 5:45pm.
The parade starts off at Ramon Rd at 5:45pm and follows Palm Canyon Drive through downtown Palm Springs to Tamarisk Rd.
Tonga Hut, located at 254 N Palm Canyon Dr. brings to Palm Springs a classic American mid-century Polynesian themed restaurant / bar in a tiki-modern setting, with full appetizer, dinner and cocktail menus.Tonga Hut Palm Springs is the offspring of the Tonga Hut North Hollywood, Opening its' doors in 1958 during the heyday of tiki culture in Southern California, Tonga Hut is the oldest surviving tiki bar in Los Angeles.
Tonga Hut Palm Springs has been lovingly decorated by artist Tiki Diablo and Chase Marshall (Beauty Bar in L.A. and Cobra Lounge in NYC) with vintage items as well as contemporary contributions from many artists in the tiki community including Leroy Schmaltz from Oceanic Arts, Eric October, Bosko, Kirby, Nelson's Tiki Hut and "Mad Dog" Mike Gilbert.
Tonga Hut's menu offers classic Polynesian/Cantonese/American dishes, like you might have found at Don the Beachcomber on old Palm Canyon Drive in the Rat Pack era. The cocktail menu contains more than 40 drinks including classic cocktails, classic tiki drinks as well as numerous original drinks including some that are exclusive to the Palm Springs location.
Jason Lee and the R.I.P. Tides are a three-piece group who deliver a raw and edgy mix to the culture of instrumental surf music. The group has developed a dedicated fan base from local and national surf, skate and tiki sub-cultures. Guitarist Jason Lee writes and records original music for television networks such as A&E, Discovery, Spike and more, and also gives guitar lessons dedicated to the tones and technique of the 60's via You Tube videos, and at the annual Tiki Oasis weekender.
November 25, 2014by Dionysus Records


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7 Surprising Reasons Why People Over 65 Haven't Retired Yet
By Quinn
Photo by stockfour from Shutterstock
Have you ever considered the reasons why people have not yet retired despite reaching the age of 65?
In a world where everyone seems to be so fixated on reasons to be eager to get to retirement age so they can leave the workforce, we can see a bizarre paradox. More and more Americans seem to not be eager to leave the workforce. Whether it is a strange byproduct of workaholism or not, there are more reasons than people would like to believe at first glance.
A lot of those reasons are linked to financial instability, while about a third of them are linked to the personal reasons of those seniors. Despite this, there are still a lot of people aged 65 and older who are either choosing to remain permanently employed or have still chosen to work part-time, despite being expected to make the most of their golden years.
In order to understand their reasons better, we have gathered some of the most important reasons for these seniors, so maybe we can all understand them better, and like-minded people can see that they're not in it alone!
Let us know if you're one of the seniors who is still working and why in the comments!
Pages: Page 1, Page 2, Page 3, Page 4, Page 5, Page 6, Page 7, Page 8
1 thought on "7 Surprising Reasons Why People Over 65 Haven't Retired Yet"
I will be 69 in December and I still work full time including an additional 5 hours on Sunday for overtime. I do plan on retiring in December 2023 or February 2024. The reason that I haven't retired yet is because I want to wait until I am 70 years old to be able to get the full benefit maximum amount from social security. I am eligible for full pensions from my company as I have been there for 31 years. Right now I still enjoy working and when I retire I really would like to travel but I need to find a travel companion to go with me.


Q. When does the first bus leave from Jodhpur to Pali (RJ)?
A. The first bus from Jodhpur to Pali (RJ) leaves at 00:30 and is operated by Apex Chandra Travels - Brand New 2016 Tempo-Traveller.
Q. When does the last bus leave from Jodhpur to Pali (RJ)?
A. The last bus from Jodhpur to Pali (RJ) leaves at 18:25 and is operated by Vijay Travels.
Q. How many buses are plying from Jodhpur to Pali (RJ) every day?
A. There are 32 buses that ply from Jodhpur to Pali (RJ) every day.
Q. How much time does it take to reach Pali (RJ) from Jodhpur by road?
A. It takes 15Min to reach Pali (RJ) from Jodhpur by road.
Q. What is the lowest price for a Jodhpur to Pali (RJ) bus ticket?
Q. How many bus operators are there in the Jodhpur to Pali (RJ) route?
A. At present, there are 32 bus operators in the Jodhpur to Pali (RJ) route.


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'8-Bit Christmas' Teaches Valuable Lessons For the Holiday Season
December 13, 2021 TV Tea Film Leave a comment
"8-Bit Christmas" is a breath of fresh air when it comes to Christmas movies. All of those Hallmark Christmas rom-coms were getting tiring, so it was nice to see a festive movie that wasn't about romantic relationships. The story follows Jake Doyle (Neil Patrick Harris), now a father, who is being pestered by his pre-teen daughter about getting a phone for Christmas. Jake decides to tell her a story about how he got his Nintendo 8-Bit gaming system when he was a kid. In the late 80's an eleven year old Jake (Winslow Fegley) and his friends are obsessed with the new Nintendo Entertainment System. The only kid in school who owns one is Timmy, a spoiled and mean kid who doesn't know how to share. Frustrated with Timmy, who monopolizes his gaming system and uses it to taunt the other kids, Jake and his friends decide they need a Nintendo of their own. Thus begins their quest to obtain the popular entertainment system.
I think "8-Bit Christmas" might be the best family-friendly movie I've seen in a while. I thought it was a really sweet movie. It was charming, and definitely festive. There were also many funny moments, like when Jake wins the wreath selling competition and gets a collection of encyclopedias instead of the Nintendo. Another highlight was when Jake buys the Nintendo and slips on ice, immediately breaking it.
Jake and his friends get picked by Timmy to watch him play Nintendo. Courtesy of Warner Bros.
The actors, though young, did a great job too. I was thoroughly impressed by their acting. They had great chemistry and they were very convincing.
The movie also teaches a valuable lesson about the meaning of Christmas. Despite his best efforts, Jake fails to get the Nintendo for Christmas, it still ends up being a pretty great holiday. He and his family become closer, and the treehouse his dad built as a gift "turned out to be a pretty great present", as Jake says. He got to enjoy it as a kid with his friends, and now he gets to enjoy it with his own daughter, who says it is her favorite place at her grandparents' place. Not only that, now he has a long-lasting reminder of his dad.
The movie teaches a very important lesson about being grateful for what you have instead of focusing on what you want. After Jake loses the Nintendo, a man selling toys on the black market who had seen him slip on ice and break the gaming system, tries to console him (pun intended). He tells Jake he really wanted a donkey when he was little. He didn't get it, but, he says,"I realized I had spent the whole Christmas season worrying about something I wanted and I stopped appreciating what I already had. (…) You only get so many Christmases, kid." The man's wise advice acts as a reminder of what the holiday season is all about. Appreciating life and loved ones.
I have to say I was a bit surprised by the ending. I thought it was going to end with Jake and his friends getting the Nintendo somehow. But the actual ending was even better. Jake learned a valuable lesson about being grateful, and he got an even better gift, the treehouse his dad built, where he could play and spend time with his friends and family. It was just a really sweet ending. Jake's daughter tells him she understands the moral of the story. "I know your point dad. I'm not getting a phone but Christmas can still be great."
If you are looking for something to watch to get in the mood for the holidays, definitely check "8-Bit Christmas" out.
"8-Bit Christmas" is available to stream on HBO Max.
8 Bit ChristmasChristmasFilmHBO MaxHoliday SeasonJune Diane RaphaelNeil Patrick Harris
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Confirmed concussion. He was back on the sideline, so hopefully he's back in the mix sooner rather than later.
Good teams can win when they play bad, and that's what the Lions did today. It was positively ugly on offense, but the D was solid. And I know people are jumping on Green for that TD, but watch the replay, he covered it as well as you could cover it, it was a great pass. If he can get his head turned he might have had a chance, but it's tough to defend a pass placed like that.
D only gave up 78 yards rushing on 27 attempts (2.8ypc) and 169 yards passing. We rushed for 83 yards in 18 attempts (4.6ypc) and had 346 yards passing.
Calvin looked blanketed all game and still ended up with 6 catches for 111 yards. He was only targeted 7 times.
Ugly game, but as Killer always said... a QB isn't paid for stats.. he's paid for W's. I'll take an ugly win over a pretty loss anyway.
BTW Jim Harbaugh is crazy. Anybody see his reaction to getting a first quarter field goal? Super evil face with spit flying everywhere as he exalted three points.
I really hope we come back strong next week and win.
Everyone enjoy the rest of your weekend!
Ugly, but a win is a win!
* Stafford looked very timid in throwing the ball, almost like he was second guessing every throw. I guess the picks will do that.
* Oline did a decent job in creating some run lanes, props to Peterman he had a good game. K.Smith was solid.
* Pettigrew almost owed me a TV. - That dude gets paid to "Catch the Ball" Please have someone tell him that.
* Our Dline is overrated. I hate to say it and I know I'm going to get flamed on this, but we should have just dominated their make-shift oline. We just can't get consistent pressure, not sure if it is the scheme or the talent.
* Linebackers played a great game and I thought we did a good job in defending the run.
* Loved the opening drive (minus the pick) and the last drive as well. Wish they all looked like those two.
* I'll take the win, but we got some serious work to do.
I was very discouraged by Staffords performance (the 3 INTs I mean, I liked the final TD ). But, hey, a win is a win. We held them to under 200 yards passing, we got 3 Sacks from our D-line, and Kevin Smith out performed Steven Jackson.
Dline had 3 sacks and held STL to 4-12 (33%) 3rd down conversion. Also, the offenses are getting up to speed much quicker than the defenses with the contact drill changes to the offseason. I think they'll be ok.
Another fun fact... Stafford has 14 wins... 7 have been come from behind or tie in 4th quarter (1 from tie, 6 down). The real captain comeback.
- Stafford didnt seem to play much different in the 1st half, then he did in the preseason. He was forcing into reads. Still love the guy, played a great final 8 minutes and was able to move it throughout. Just remember this guy is going to improve and that gets me excited.
- Burleson - some huge catches, thats why we have him.
- Titus Young - still a punk. talented but i think we ll see broyles pass him at some point this season.
- Jonte Green - thrown into the fire. I hated the penatly on the punt but he had good coverage on the INT he gave up.
- Secondary in general held up but Bradford missed some wideopen WRs who had majorly burned us.
- Ben Graham - excellent game punting.
- DL need to get some more pressure. They got the 3 sacks and were good vs the run but Bradford had a lot of time.
A lot of good observations and must completely agree with this in particular. Burleson made the two toughest catches of the day, both in heavy traffic and both for 1st downs.
Shoved Janoris Jenkins for 15 yards.


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Sarah Lewthwaite and Matthew Liebmann to Head Movio Following Co-Founder/CEO Will Palmer's Departure
Exhibition News • Daniel Loria • November 23 2021
Movie marketing data and analytics firm Movio will be headed by longtime executives Sarah Lewthwaite and Matthew Liebmann following co-founder and CEO Will Palmer's departure from the company in December.
Lewthwaite, Movio's Chief Client Officer, located in London, and Matthew Liebmann, Movio's Chief Operating Officer, operating out of the company's Auckland headquarters, will report directly to Vista Group CEO Kimbal Riley.
Palmer founded Movio alongside Peter Beguely in 2010, positioning the company as a global leader in optimizing marketing data for exhibitors and distributors.
"Movio is indebted to Will for the tremendous bench strength he has developed," said Riley. "Matthew and Sarah are world class leaders, each deeply respected within Movio, Vista Group, and the entire theatrical sector. Both Will and I have the utmost faith in their ability to guide the Movio team as it continues to deliver outstanding results now and into the future."
As Chief Client Officer, Lewthwaite has been responsible for all of Movio's exhibition, film studio, and distributor relationships. She successfully established Movio Cinema in EMEA, growing the region's cinema client base to over 40 exhibitors in more than 30 countries, while launching Movio Media and Movio Research in the UK, and forming partnerships with key film studio and distribution partners. She also led Movio Strategic Services, designing loyalty program and database marketing strategies in 12 different countries.
"It's an honor and a privilege to be leading Movio into the future," said Lewthwaite. "We are at a pivotal time in the cinema industry and I am both optimistic and excited for what is to come, and how Movio will continue to evolve to support the needs of our clients. Matthew and I have formed a fantastic partnership and our complementary skills and locations in the world will allow us to deliver even more effectively to our clients, team and shareholders."
As Chief Operating Officer at Movio, Liebmann has overseen worldwide strategy and operations for Movio Cinema, the leading marketing data analytics and targeted campaign solution for exhibitors, which accrues anonymized comprehensive marketing data on over 39 million active moviegoers from the world's leading cinema chains.
"I have been involved with Movio for almost 10 years, first as a client and then as an employee, so I truly understand the product, team, and legacy that Will and his co-founder Peter Beguely created," said Liebmann. "I'm excited to build upon their achievements for the benefit of our industry, our clients and moviegoers and I cannot think of a better partner in this than Sarah Lewthwaite."
"It has been an absolute privilege to lead the Movio team for the past 11 years," said Palmer. "Their collective talent and constant drive to innovate continues to amaze me. And while there is still so much more to achieve, I felt the time was right to hand the reins to two outstanding executives and personal friends, Sarah Lewthwaite and Matthew Liebmann. Their energy and enthusiasm for the film industry is unparalleled and I have no doubt they will ensure Movio's ongoing success."
"Will has been absolutely instrumental in the success of Vista Group by building Movio into the global leader in marketing data analytics and campaign management solutions for the film industry," said Riley. "Now, having navigated the pandemic successfully, Will felt it was the right time for him to pass the baton to the capable hands of Sarah Lewthwaite and Matthew Liebmann to continue to build on Movio's legacy while he flexes his entrepreneurial muscles once again. My heartfelt thanks to Will for his outstanding contribution to Vista Group and Movio. We all wish him the very best for his future endeavors."
Palmer will be moving on to launch a new venture studio as he prepares to bring the rel Cupla, which he developed with his wife, Erika, to market early next year.
Cineworld Reports Growth Over Last Sixth Months of 2021; Establishes Environmental Committee
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Fathom Events Brings Opera Fire Shut Up in My Bones Back to Cinemas on Saturday, February 12
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Marcus Theatres to Test New MovieFlex Subscription Program in Ohio and Nebraska Starting Jan. 14
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Carmel WINKELMANN is the recipient of the 2006 ISA Volunteer of the Year Award. This is an annual award presented to a member of an ISA affiliated organisation, who made a significant voluntary contribution to sailing. Carmel is also sailing's nomination for the 'National Awards to Volunteers in Irish Sport' as operated by the Department of Arts, Sport & Tourism.
Carmel will be formally presented with her award at the ISA National Conference & Awards Dinner (3 and 4 February 2007 at the Tara Towers Hotel, Dublin). At the Awards Dinner Carmel will receive a prize cheque for €1,250, made payable to the club which originally submitted her nomination - the National Yacht Club, Dun Laoghaire.
The depth of Carmel's volunteer work is awe inspiring and spans almost 50 years. A woman in what was in the early days very much a male dominated arena, Carmel WINKELMANN continually shows outstanding dedication & commitment to the sport of sailing. As Vice President, Carmel was the first female flag officer of the Irish Yachting Association, as the ISA was formerly known.
In the early days her drive was particularly evident when she focused on junior training. As a key member of the ISA Junior Organiser Committee which helped shape and develop the ISA Training Schemes she was closely involved in promoting the first ISA Junior Training Course in the National Yacht Club way back in 1967. Her passion for the development and promotion of ISA Training Schemes ensures that many of today's hot shots first put their foot in the water via programmes Carmel helped to pioneer.
Carmel's huge contribution to sailing in the early years is matched by her current activities. Carmel is a member of the ISA Race Management Advisory Committee which is responsible for the development of ISA Race Officer Training Programmes. Thus she is instrumental in ensuring that Ireland has a panel of highly professional race management personnel who operate to the highest international standards.
A keen volunteer for Dublin Bay Sailing Club for the past 35 years, Carmel is involved in the management of their racing. Three times a week, during summer months, one of the world's biggest racing series takes place on Dublin Bay with over 350 boats and 1,500 sailors competing.
Carmel Winkelmann is a member of the National Yacht Club, the Royal Irish Yacht Club and the Royal St George Yacht Club.