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Miles Casella is a Hip-Hop artist from Baton Rouge, LA, who has released several projects under different aliases since 2014. Miles blends Hip-Hop, Jazz, and Blues to create his own eclectic style. He has just released his album "The Sidewalk Flower" which illustrates the view of a small-town kid caught up in the city life. Apparently many of the recordings used for this album were recorded curbside.
Miles Casella has an upcoming show on January 21st, 2018 at The Willow Uptown in New Orleans, Louisiana. Shows starts at: 6:30pm – Tickets are $12.00 dollars each. This will be the second time Miles will have performed in his career. Here is the ticket Link: www.aftonshows.com/MilesCasella
- How long have you been in the music business and how did you get started in the first year?
Miles Casella: I've been in the music business for about 4 years now. I started off doing rap cyphers in-and-around my hometown area (Baton Rouge). At the time a small local label 'Dizzy Records' was hosting a cypher event at a popular hip-hop bar in the neighborhood. Needles to say, I signed up for it, and I got 2nd place in the cypher. The winning prize for second place was a free song recording produced and mastered by Dizzy Records. I thought well I better trash the freestyle flows and start trying to perfect my songwriting, so I wrote this song called 'Never mind the Flies'. I went in to the studio to record my song about a week later and the producer I was working with was like fuck it, let's record you an EP. In May of 2014 I released my first project under the alias Robbing Jane, the EP was called 'Girls' a story of my hopeless romanticism haha… and that's kind of where it all started.
- Who where your first and strongest musical influences that you can remember?
Miles Casella: Some of my first and strongest musical influences were definitely Eminem, The Roots, and Biggie to name a few. But I listened to a great deal of classic rock like Led Zeppelin, Black Sabbath, The Allman Brothers, Pink Floyd, Bad Company, Fleetwood Mac.
- Which artists and/or producers are you currently listening to? And is there anyone of these that you'd like to collaborate with?
Miles Casella: These days I find myself steering away from the club banger artists, and more towards artist I feel have a little more substance like Anderson .Paak, Goldlink, Royce da 5' 9", this group called Earthgang I like a lot too. It would be an honor to work with any of those artists. Producers like Flume, Kaytranada, DJ Premiere and Dr. Dre, can't forget about the Doctor, it would honestly be an honor just to sniff one of his farts.
- What do you feel are the key elements people should be getting out of your music?
Miles Casella: Ultimately, I want people to understand that I like to make music with purpose, and the best way to prevent being pigeonholed in this rap game is to create something different. I make music with concepts, so if you're looking for some tunes to get lit to then my stuff may not be for you. I want the listener to be engaged.
- What do you think separates you from the crowd of emcees emerging right now?
Miles Casella: Well I think my answer to the last question answers a small part of this. I do not make commercial mumble rap, instead I have adopted a somewhat Jazzy Style for my music. Given I spend a great deal of my time in New Orleans, it's no wonder some of that soulful inner city Jazz seeped its way into my album 'The Sidewalk Flower'.
- Do you currently have a preferred song in your catalog, and why is it special to you?
Miles Casella: Two songs from my debut album, 'Origin of a God' and 'Love or Obsession' are a couple of my favorites. Both of these songs do not have a typical song structure like verse, bridge, hook, etc. instead I kind of went free flow with these songs. Origin of a God is actually an old verse I wrote several years ago when I had virtually no understanding of the world around me. I was 18 and where the lyrics came from for me to illustrate that song has me convinced that I tapped into something truly divine, and I've been chasing it ever since.
- Are your lyrics predominantly base on real events and personal experience, or are they drawn from your creative storytelling skills?
Miles Casella: The lyrics for my songs come from both personal experiences and creative storytelling. I think it's important to have a good mixture of both. Draw from instances in your own life, but also know when to juice the story up with a little creativeness at times.
- What would you consider a successful or high point in your career so far?
Miles Casella: A high point in my career thus far would have to be the day I released this album to the public. I know that doesn't seem like the climax to the start of some prosperous music career but it was important to me. I spent some time reflecting on myself to come up with these songs, and in the midst of it you find out things about yourself that you may not have known before. Now that I can share this with people it actually gives me a feeling of relief. I guess self-expression is important to any artist so you're happy when it's finally conveyed the right way. I feel like all of my projects up until this point were just practice.
- What has been the most difficult thing you've had to endure in your life or music so far?
Miles Casella: In music, it would certainly be promotion. Sometimes whoring my music out to be heard is harder than making the songs themselves, but it's necessary if you want a fan base and to be able to book shows. Also, I think personally my sound is a little different than most rap, some people may not be open minded to listen. I'm afraid they'll throw on that first track off the album and here that gritty guitar blues tone, then be turned off of it completely not even giving me a chance.
- What key ingredients do you always try and infuse into your songs, regardless of style or tempo?
Miles Casella: I guess what key ingredients I work to infuse in my songs ultimately depend on the point/message I'm trying to convey. In 'The Sidewalk Flower', I wrote about the 9 to 5 corporate desk job worker, and the rat race to land yourself in a little 5' by 5' cubicle paying off your student loans… I wrote about this because it's happening to me in my everyday life. The flower is a metaphor for my creativity, blossoming from the cracks of this corporate jungle to make music. Much of the lyricism in my album uses this concept as a play on words; the message is what creates the ingredients I use for my songs.
- Do you also produce the beats or do you just handle the lyrics on your songs and collaborate with other producers?
Miles Casella: I co-produced alongside Ben Bryan of Muse & Maker Productions to make this album. I have collaborated with other producers in the past but Ben and I have chemistry, I believe we will continue to work together on projects to come.
- Which aspect of being an independent artist and the music making process excites you most and which aspect discourages you most?
Miles Casella: What excites me the most is I know that the sky is the limit. I have plenty of room to grow and expand as an artist and I'm excited to see it all unravel. My favorite part of the music making process is when the beat is created and it's time for me to write lyrics for the song. It's like I'm starring at a blank sheet, and I can manipulate the feel of the song however I please because I am the creator.
- How do you market and manage your music? Do you have a management team or do you control everything by yourself?
Miles Casella: Thomas Sandford is my manager; we started working together a couple of months back. We are currently looking for online promotional teams to help market my music, but for now, it's just he and I doing the dirty work. If you would like to book me for a show contact Thomas at; firstname.lastname@example.com.
- If you had the opportunity to change one thing about how the music business works right now, what would that be?
Miles Casella: I'm sure many of aspiring artist feel this way, but I wish it was easier to get my music in to the mainstream. It's so hard to make it to the top when the industry is flooded with so many artist in the same predicament I am in. I wish it didn't matter how many fans I had, or who I know in the business, if the music is good that is all that should matter. Now days you have to sell an image alongside the music.
- If someone has never heard your music, which keywords would you personally use to describe your overall sound and style?
Miles Casella: I'd probably use words like: Lyricism, Jazzy, New Age, Conscious Rap, and Experimental.
- Do you consider internet and all the social media websites as fundamental in building a career in music today, and what is your personal relationship with the new technology at home?
Miles Casella: Unfortunately, yes I do. Like I was saying, now days you have to sell an image alongside the music. People want to see what you're up to, who you're hanging out with, etc. and I've never been one to have my personal life all up online like that. It has taken a great deal of discipline for me to remain consistent with posting to social media and maintain my social image. I never had a twitter/instagram until I became Miles Casella. Follow Me at; @milescasella (instagram); and @casellamiles (twitter)
- Tell us something about your latest album release "The Sidewalk Flower". Who did you work with on it? Does it have any special message etc.?
Miles Casella: Of course it has a message! The ingredients for my songs are pulled from the overall message of this album. So I work this desk job as an aspiring rapper, to me, The Sidewalk Flower symbolizes my creativity sprouting up from the cracks of the corporate world; and I'm just dying to be picked and carried away to the promise land haha …. But the truth is 'The Sidewalk Flower' has many meanings, it can mean rising up through adversity when the odds are against you, it can mean feeling out of place like a flower in the cement. Whatever it means to you, it is all subjective.
- How do you search, discover and choose the features, sometimes performing on your tracks?
Miles Casella: I actually have no rap features on this album. A couple people I used to sing on the album were friends of friends, but I was very choosey when selecting a singer because I wanted to find people with a very soulful voice, to help give the album that old jazzy feel.
- What is your relationship with visual media? Do you think they are important to your songs? And do you have a specific video you would recommend fans check out?
Miles Casella: Well it has been a little over a month since the album was released and I do feel that visual media is important but for now I just have one music video until I can make more. The name of the video is 'Hey Fine' it's a performance I did of one of the songs off of my album.
- What's next on the upcoming agenda for Miles Casella? What can fans expect in 2018 from Miles Casella?
Miles Casella: People can certainly expect another project from me this year. I am currently working on an EP called 'My Language' and basically the instrumentation for the album will solely be made up of sounds of my voice. I'm planning on including some bass elements and drums but the songs construction will be made from layered/effected sounds of my voice, get it? 'My Language' I want to play a lot of shows this year, fans can see if I'm performing in a location close to them at milescasella.com.


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subset: commoncrawl


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For Tech Deals, Wait Until Black Friday
'Tis the season to buy tech products -- almost. If you're looking to upgrade, it's probably best to wait till Black Friday.
As we saw with Walmart's (WMT) blockbuster $200 laptop last year, tech products like computers, phones, TVs and tablets will see sharp discounts for the holidays. Expect to see more deals on computers at the $200 range this year, says Brad Wilson, CEO of Bradsdeals.com, a coupon web site that monitors retailers' promotional strategies year round.
Wilson says that prices on most tech products will get haircuts: High-end smarthpones with HD video recording, fast processors and high-quality camera phones for as little as $125 (with a two-year contract) from retailers like Walmart, Amazon.com (AMZN) and Best Buy (BBY). "That's pretty remarkable. Typically high end phones are $200 or more," he says.
Also on the chopping block: TVs prices. Retailers will be selling 32-inch flat-screen HDTVs for $200, compared to almost $300 today, Wilson says. Blu-Ray players will see price drops, as well.
Probably, the sharpest cuts will be to tablet computers -- though not to Apple's (AAPL) blockbuster iPad. The new Kindle Fire tablet sparked a price war when it launched at $199. In response, Barnes and Noble's (BKS) Nook, which bills itself as "the reader's tablet," will drop from $139 to $99, and the Nook Color to drop from $249 to $199 or less," Wilson says.
Shoppers will also find "no-name" 7-inch and 10-inch tablets for $60 and $90, respectively, Wilson says.
Amazon itself will likely sweeten the Kindle Fire deal with a short-term sale akin to its $50-off Kindle promotion from 2008, he says.
More from DailyFinance:
- Surprise! Here's Where Your Tax Dollars Go- Buying Halloween Candy Without the Scary Prices- Trick or Treat, the Personal Finance Edition: Sweet Deals and Scary Mistakes


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Paul Van Dyk's favourite music software
Ableton Live
"I used to do most of my productions in Logic, and then five or six years ago I started with Ableton in my live setup. The more I learnt about the program, the more I started making music with it.
"For my latest album, 90% of it was produced, composed and arranged in Ableton. To me it has a more organic, natural flow. It seems much faster, too - if you have an idea, it's quicker to make it happen.
"Of course, you can make a lot of mistakes in Ableton. When it comes to the different elements, you have to be very careful with what you use. Drums should really be within the beat as otherwise they lose their kick, their impact. You really need to handle that program well in order to have things sounding right. So in that way Logic is easier, but in terms of composing, I prefer Ableton these days."
Apple Logic Pro
"I've been using Logic since the mid-90s. I really like some of the stuff that comes with it - like the compression. So, sometimes I make a track, take all the channels, render them down in Ableton and then put everything into Logic and mix it all down in there.
"How much I use it depends on the track - if I want a certain sound that I can't get anywhere else, I'll do it in Logic. But it's become more and more a secondary program in my studio."
Rob Papen SubBoomBass
"I like all Rob Papen's stuff, and SubBoomBass is one of my favourites. There are some really great bass sounds in there. The sequencer is a cool, funky, creative tool to play around with - it enables you to have some creative moments just by trying things out. I used it for the bassline on Rock This from the new album - it's a dirty, farty bass."
iZotope Ozone 5
"I have a clear idea about how things should sound, so before I start, I put Ozone in on a very neutral level. Then I produce against the mastering, so that everything still sounds as crisp and cool and not crunched or punched, but is already being compressed. In the end, everything sounds the way I want it without afterwards putting compression on it.
"Why do I like it so much? It just makes amazing sounds. If you have a production where the vocals are a little low, you can really get something out of it. And if you use it not for mastering but, for example, put it on some hats or something, you get some amazing stereo imaging - wide open space."
Paul Van Dyk's new album Evolution is out now.


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The subtlety of Prof Reiss's position was lost in some media reports, while the headlines in many newspapers- including this one - did not convey the nuance of his message. This appears to have cost him his job.and:
But Prof Reiss's shabby treatment smacks of an organisation that is frightened of a debate about how creationist views should be tackled by teachers.
You can bet that this is the line that will be taken by those who would wish to pollute science with creationist nonsense. This seems like a spectacular own goal to me.


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Red X'es? The maps in this atlas are made using a variety of different styles which are provided with different products. If you see red X'es in the map you just downloaded, check out the 'Required Products' map note found in the downloaded map, it lists all the products you need to have installed to view that particular map properly. Note that these products can be either official ProFantasy add-ons, and/or the free community packs found in the forum.
Also note that some maps have additional resources provided with the map. These are included when you download the complete atlas, but if you download single maps, you also need to download any required map resources (if present), and put them in the correct folder.
Please do not link directly to files or images on this server. Either link to the atlas main page (http://atlas.monsen.cc), or for links to individual maps, use the link that appear below each map in the map browser. Thank You.
This Atlas is a community project, and is not affiliated with ProFantasy Software Ltd.


text: Surrounded by close friends and family, Ryan and Liz were married up in Stanley, Idaho at Redfish Lake in the incredible Sawtooth Mountains in central gorgeous pristine Idaho. They made their vows on the north shore of the lake, with breathtaking views of the Sawtooths. The setting was truly idyllic and the love between these two was just beautiful to witness. Ryan and Liz , it was a joy to photograph you on your lovely wedding day. Much love to you both!


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P!nk Performs on 'Saturday Night Live': Watch
Following Sam Smith's musical appearance last weekend for SNL's second episode of Season 43, this week's musical guest brought in the powerful performances with her vocals.
Making her appearance after more than a decade ago on the late night comedy show, Pink took the SNL stage performing her new released songs "Beautiful Trauma" and "What About Us."
Pink's performance on Saturday Night Live followed the recent release of her new album Beautiful Trauma.
Watch Pink's performances from last night below:
Beautiful Trauma
What About Us


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Steering Compasses
A good compass and chart are always useful. Having a compass and knowing how to use it are invaluable when there is darkness, fog, or a storm. Therefore, it's a good idea to take a basic course in navigation, usually available from the U.S. Coast Guard Auxiliary, U.S. Power Squadrons, American Sailing Association, and others.
A compass, which is used to assist in navigation, is an instrument that shows magnetic north. You must apply a correction to determine the direction of true north. The ability to steer a boat by a compass is useful if land is out of sight, visibility is reduced, or the boat operator is disoriented.
Mount a boat compass away from iron, magnets, and electrical wiring and equipment. Practice with your compass and other navigation equipment in good weather. Make sure you know how to use them. This will give you confidence during bad weather.


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Friday Links!
Man, we are LOADED this week.Starting off this week is a stunnering, shattering article by Wright Thompson. Ghosts of Mississippi is a beautifully written, unforgettable piece of journalism, exploring the Deep South through the lense of the 1962 University of Mississippi football team. It was both painful to read and impossible to stop reading.
Next, a story about Carl Joseph, who must be one of the greatest athletes in history (and you've probably never heard of him). He was a football star in high school, playing the defensive line on one leg. Literally--he was born with only one leg, and he played without a prosthesis. He also played on the basketball team and won his district in the high jump (jumping 5'10") He was recently inducted into the Florida High School Athletic Association Hall of Fame, and his story (and the video you can watch, which is just freaking incredible) is completely inspiring.
I know that Roger Ebert can be a blowhard at times, but Ben Younkins sent me a link to a beautifully written tribute to Gene Siskel on the tenth anniversary of his death.
From Chris Meyer, a wonderful link to the history of slot car racing.
From Tim Jones, a link to another epic series of photos from the Boston.com feature "The Big Picture." This time, it's Carnival.
From Allen Varney, a link to time-lapse snails, and the video is oddly compelling. Also, a link to a wacky and wonderful Samsung commercial featuring--well, hell, I can't even pretend to explain this. Just watch it.
From George Paci, a link to a logging machine that must be seen to be believed. I had no idea that technology like this existed.
From Sean, a link to an incredibly thorough (and quite interesting) of why water is blue.
From Andrew B, a story that has to be read to be believed: golf ball found embedded in tree trunk.
From Jesse Leimkuehler, a link to the discovery of a gamma ray blast that exceeded the power of approximately 9,000 supernovas.
From Steven Kreuch, a link to a clever, clever idea--replacing world landmarks with cheap souvenirs. Look at one and you'll be hooked.
From the Edwin Garcia Links Machine, it's a story about stealing a train. I had no idea anyone ever did that. Next, and you have to see this picture, it's a fish with a see-through head. Next, it's a programmer's at-home paradise. And impossible mirrors. Don't think we're done, because next is a Dalmation riding a bike, and I mean riding AND pedaling. Oh, and one last link and it's remarkable: 3-D street art, and by street art I mean the entire street (they're fantastic).
From Sirius, a link to a story about (believe it or not) the future of lab-grown teeth. Next, an interactive atlas of the world's endangered languages. Next, it's 9 Real-Life Mad Scientists, and this article is as bizarre as it sounds (and potentially disturbing, so please be warned).


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The New York State Board of Regents will be meeting on Monday and Tuesday, April 23-24, in Albany. The meeting overlaps with the Museumwise/MANY conference in Albany which I will be attending and the Public Historians meeting in Long Island which I will not be able to attend since I already had registered for the Albany meeting. Communication and planning among the various groups leaves a lot to be desired.
The Monday morning session of the Regents covers k-12 education. In addition to various charter school items, the agenda includes "Proposal to Create Multiple Pathways to a NYS High School Diploma." Technically this is not a Core Curriculum item but it does provide an opportunity for the Regents to set the direction of NYS education for the near future and it does include history proposals.
Before turning to the Regents' proposals, please be aware of an article from the Wall Street Journal, "Students' Regents Test Scores Bulge at 65" by Barbara Martinez and Tom McGinty, which the New York Council for the Social Studies sent to its (unfortunately too few) members. It paints a stark picture that calls into question the honesty of the test scores even ignoring the issue of their educational validity.
The question arises due to the severe drop-off in the number of students who are graded between 60-64, just below failing, compared to 65-69, just passing. The discrepancy suggests that chance and the bell curve are not at work but that collusion has occurred to help students who come close to passing get that little extra push they need to pass – that push coming from the teachers who are grading the exams who understand what's at stake, including their own evaluations, even if not directly ordered to assist the students.
Here are some excerpts:
A Wall Street Journal analysis of high-school Regents test scores shows that a disproportionate percentage of New York City students barely got the passing score they needed to receive a diploma in the past two years, while very few received scores just below passing.
For the 2009 English Regents exams, for instance, students were more than five times as likely to get a 65—the minimum passing grade—than they were to score one point below. In the U.S. History and Government Regents, students were 14 times more likely to get a 65 than one point lower. 'There's no question that there's something fishy going on,' said Jonah Rockoff, a professor at Columbia University's business school who frequently analyzes schools-related data sets.
In New York state, high-school teachers score their own students' tests—which differs from tests in most other states, as well as New York's own third- through eighth-grade tests. Mr. Rockoff, who reviewed the Regents data, said, 'It looks like teachers are pushing kids over the edge. They are very reluctant to fail a kid who needs just one or two points to pass.'
Based on these studies, it would seem that this skewing only occurs in tests which are graded by the teachers themselves.
Mr. Rockoff points to the eighth-grade math scores in New York City for 2009, which aren't graded by the students' own teachers. There is no similar clustering at the break point for passing the test. He estimates that 3% to 4% of the students who passed the Regents test last year should have failed, based on the DOE data. He said teachers have effectively lowered the passing score on Regents tests to 62 or 63.
Regardless of the official denials, the practice appears to like Code Red in the movie A Few Good Men: officially it doesn't exist but in the real world, everyone knows that it does.
Teachers refer to the practice of lifting test scores as "scrubbing." After teachers grade tests—many times their own students or those of their colleagues—they set aside tests in which the students just missed passing. Teachers say that is generally from 60 to 64, but can go as low as 57. The teachers then ask the original scorer to take another look at the test to see if an argument could be made for giving the student an extra point or more.
The phenomenon appears to be state-wide so it can not be attributed to the Department of Education in NYC attempting to make Mayor Bloomberg looked good for improving high school graduation rates.
But the concentration around 65s can be seen in other major New York cities, like Albany, Syracuse and Buffalo, where such school-accountability systems don't exist. Looking at past New York City data, Mr. Rockoff said the patterns around the score of 65 were "just as strong in 2000, so it's hard to argue that accountability under Bloomberg and Klein pushed teachers to pass more kids."Here are some history exam examples.
At Sheepshead Bay High School, out of more than 1,100 children who took the U.S. history test last year, 219 got scores from 65 through 68, and only 12 tests were marked with scores from 60 through 64. In the global history exam, out of more than 400 children who took the test, four scored from 60 through 64, while 93 students scored from 65 through 68.
The school's principal, Reesa Levy, dismissed any suggestion that teachers were purposely moving students to a 65. She said she has never heard of the term 'scrubbing.' She said all of her teachers have been "working harder to get up to 65 this year and push to get up to 75" and are "the strictest graders in the entire world." Ms. Levy said, 'To our dismay way too many kids failed the exams and we are working to improve the situation.'….
(A)t Fort Hamilton High School, out of just under 1,000 students who took the U.S. history exam in 2010, none scored from 60 through 64, while 139 scored from 65 through 68. In global history, two scored from 60 through 64, while 280 scored from 65 through 68. JoAnn Chester, the principal of Fort Hamilton, declined to comment.
In New York state, most students must pass five Regents tests—English, math, global history, U.S. history and science—in order to receive a high-school diploma.In those subjects, Regents exams have a multiple-choice section and also a part for responses such as essays or showing work in math questions. The state provides a rubric for teachers to guide them about when to give a student a point for reaching certain thresholds in their answers.
'Going forward,' the state is moving toward an online computer-based testing and scoring system where responses that require teacher judgment would be randomly assigned to teachers across the state, said John King, deputy commissioner at the state department of education. The state is also working on raising graduation requirements, given that the state has determined that even a 65 doesn't indicate students are ready for college.
That last comment harkens to the goal of the Common Core curriculum whereby high school students would be ready for college upon graduation. Think of the cost saving to colleges if they could eliminate remedial classes. Think of the chaos in the k-12 system if colleges suddenly did that. In the meantime, the very Regents are under review in the meeting Monday on providing multiple pathways to them including involving American History. The proposals on global history and geography are not included here. Note the attention given to citizenship, a subject of a previous post. Note also the absence of state and local history in the discussion.
Agenda Item NYS Board of Regents
Proposal to Create Multiple Pathways to a NYS High School Diploma Recommendation #3: The Department recommends that the Board continues to require the Regents exam in United States History and Government. Currently, two exams have been identified as Department-approved Alternative Examinations acceptable for meeting the United States History and Government requirement for a Regents Diploma:
• Advanced Placement United States History.
• SAT II United States History.
Students' lack of knowledge and performance on social studies subject-area assessments has been well-documented nationwide over the past century. The National Council for the Social Studies (NCSS) advocates that a social studies education is about "creating effective citizens." Yet that focus is seen as diminished with national attention on accountability for other subject-area assessments (i.e., English language arts and mathematics). The Department, in partnership with the NYS Bar Association, has supported the Law, Youth, and Citizenship (LYC) Program to strengthen education in civics, citizenship, and government statewide. While there have been some achievement gains nationwide, American students continue to demonstrate large gaps in their knowledge of United States history and government. For example, results from the 2010 National Assessment of Educational Progress (NAEP) in U.S. History found increased gains since 1994 from the lowest-performing 4th graders and in average scores for 8th and 12th graders.
Scores increased since 2006 for Black, Hispanic, and male eighth-graders. Nevertheless, less than one-quarter of students performed at or above the Proficient level in 2010 (20 percent of 4th graders, 17 percent of 8th graders, and 12 percent of 12th graders)8, and there were no significant changes in percentage of students at the Advanced level. To put it another way, most 4th graders were unable to say why Abraham Lincoln was an important figure, fewer than one-third of 8th graders could identify an important advantage that American forces had over the British in the American Revolution, and less than one quarter of the 12th graders knew that China was North Korea's ally during the Korean War.
Further, on the 2010 NAEP assessment in Civics, students' knowledge was also weak11. Only 27 percent of 4th graders, 22 percent of 8th graders, and 24 percent of 12th graders performed at the Proficient level on this examination. Fewer than half of the 8th graders knew the purpose of the Bill of Rights, and three-quarters of the 12th graders were unable to name a power granted to Congress by the Constitution. NAEP results for Civics are not broken down on a state level. New York's social studies standards typically receive high rankings in national publications. In discussing Recommendation # 1, Recommendation # 2, and Recommendation #3, the following data could be considered:
• 11 of the 25 states with exit examinations for high school diplomas include a history/social studies test in exit examinations or as a required end of course ("EOC") examination.
• Texas currently implements three separate EOC examinations in social studies: U.S. History, World History, and World Geography. It is the only state besides New York with a separate EOC exam in World History and Geography.
• Massachusetts was scheduled to offer History and Social Science assessments that included world history beginning in the 2010-11 school year, but they were suspended due to a lack of funding.
• New York is the only state with a separate essay component (the Document-Based Question, or DBQ). Other state EOC exams weigh heavily on multiple-choice questions, and occasionally constructed-response questions. New York already incorporates the Common Core State Standards into the DBQ essay, which requires students to analyze a series of documents and use their knowledge of social studies in order to address a specific topic. The DBQ – a long-time feature on the Advanced Placement (AP) examinations – is a hallmark of the New York State social studies testing program.
What is the role of the New York State History community in this discussion? Not what has been the role of the New York State History community in this discussion, but what should it be? And even if the community did want to participate, what are the mechanisms whereby it could do so? Perhaps these will be topics of discussion at the two history conferences this week.
Peter Feinman founder and president of the Institute of History, Archaeology, and Education, a non-profit organization which provides enrichment programs for schools, professional development program for teachers, public programs including leading Historyhostels and Teacherhostels to the historic sites in the state, promotes county history conferences and the more effective use of New York State Heritage Weekend and the Ramble.


text: Let us introduce a new 2 players game when it comes to driving cars and parking them onto the right spot. Featuring 12 super fancy, futuristic and quite challenging parking missions, the objective of this 2 players parking game is to drive the car onto the right parking spot. Once a player reach its parking spot, the current stage is completed. Have fun!


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The Senator and the Gangsters
Americans had seen nothing like it before—not in their own living rooms. Three years before the Army-McCarthy hearings and 22 years before Watergate, the Kefauver Committee hearings in the winter of 1951 brought a parade of gamblers, hoodlums, crooked sheriffs and organized-crime figures out from the shadows to sit and testify before the white-hot lights and television cameras. Housewives were glued to their sets day after day, while in barrooms and cafeterias, men gathered on their lunch breaks to witness the proceedings. Stores and offices across the country piped in day-long radio broadcasts. Colorful criminals, sweating and tapping their fingers nervously, seemed to step off the set of Hollywood gangster movies, speaking in broken English, under oath, about their activities. Some just sat in stony silence, refusing, as one witness said, to "criminate" themselves.
All of it came courtesy of a deliberate-speaking, endlessly polite Southern senator in horn-rimmed glasses named Estes T. Kefauver. Chairing the Senate Committee to Investigate Crime and Interstate Commerce, the Tennessee Democrat organized a barnstorming tour across the country, handing down subpoenas from New York to New Orleans to Detroit to Los Angeles and sweeping into local courtrooms to expose thugs, politicians and corrupt law enforcement agents. The tour began quietly in January of 1951, but by February, in a serene postwar America where house and apartment doors were not always locked, "Kefauver Fever" gripped the nation, and the perception of a ubiquitous underground crime wave added to the country's anxieties over communism and nuclear confrontation during the Cold War.
Born in 1903, Estes Kefauver studied at the University of Tennessee and at Yale University where he received his law degree in 1927. He returned to Tennessee to practice law, taking an interest in finance and taxation, married a Scottish woman, Nancy Pigott, and started a family that would include four children. Kefauver was elected to the House of Representatives in 1939 and re-elected four times; his support for President Franklin Roosevelt's New Deal legislation made him stand out in conservative Tennessee. Kefauver then made a bid for a Senate seat in 1948, running against E. H. Crump, the mayor of Memphis and boss of Tennessee's Democratic Party. After Crump accused Kefauver of being a raccoon-like communist sympathizer, Kefauver calmly donned a coonskin cap for his next speech and said, "I may be a pet coon, but I'm not Boss Crump's pet coon."
With his new cap (which he was later depicted wearing in a portrait on the cover of Time), Kefauver was elected to the U.S. Senate and assumed office at a time when newspapers were beginning to report on extensive political corruption and government ties to organized crime. In 1950, he introduced a Senate resolution to establish a committee to investigate labor racketeering in interstate commerce. In January of the next year, the Kefauver Committee took to the road, crisscrossing the country to ferret out likely targets who could be exposed.
Lawyers for the Committee arrived ahead of the chairman, terrifying local law enforcement as the committee drew up subpoenas and prepared for hearings to be broadcast on both television and radio. Kefauver would then arrive, as he did in the Committee's first stop in New Orleans, and begin his questioning of, say, corrupt sheriffs, who would admit they did not exactly enforce the law when it came to gambling and prostitution in the parishes of Louisiana. "Diamond Jim" Moran, the owner of La Louisiane Restaurant in New Orleans, took advantage of the free publicity and repeatedly plugged his restaurant, which was teeming with illegal slot machines. "Food for kings," he said.
When the Committee arrived in Detroit two weeks later, two local stations interrupted their regularly scheduled programming to cover two days of hearings featuring, as the Daily Boston Globe put it, "a parade of hoodlums of every description… the records of their dealings with murderers, dope peddlers, gamblers." It was estimated that 9 out of 10 televisions had been tuned in. The general manager at WWJ-TV, where the station's switchboard was jammed with appreciative callers, said the hearings were "the most terrific television show Detroit has ever seen."
In St. Louis, the city's squirming police commissioner said he couldn't recall any details about his net worth before his life as a public official. Then the betting commissioner, James J. Carroll, refused to testify on television, stating that it was an invasion of privacy.
"This is a public hearing and anyone has a right to be here," Kefauver told him. "Mr. Carroll, I order you to testify!"
"This whole proceeding outrages my sense of propriety," Carroll shouted back. "I don't expect to be made an object of ridicule as long as television is on."
Kefauver warned Carroll that he'd be cited for contempt by the Senate, but Carroll refused to answer any questions, meandering nervously around the courtroom. The argument was captured by television cameras, as Carroll simply picked up his coat and began to walk out.
"Television," Kefauver said calmly with a smile, "is a recognized medium of public information along with radio and newspapers. We've had several witnesses who seemed much less timid and experienced … I refuse to permit the arrangements for this hearing to be dictated by a witness."
The bars and taverns in St. Louis did more business than they did when the World Series was broadcast three months earlier. But the Kefauver hearings were only beginning to capture the public's attention. The Committee went west to Los Angeles, taking testimony from a handcuffed Allen Smiley, one of mobster Benjamin "Bugsy" Siegel's former associates. Then Kefauver headed north to San Francisco, uncovering a vast pattern of illegal payouts from lobbyists to state legislators. The hearings on the West Coast drew the largest audiences recorded in daytime television.
By the time the Kefauver Committee arrived in New York, in March of 1951, five of the city's seven television stations were carrying live proceedings, broadcast to dozens of stations across the country. The entire metropolitan area had become obsessed with the drama. There were "Kefauver block parties," and attendance on Broadway wilted. For eight straight days, mobsters were dragged before the committee. None of the witnesses made the impact of Frank Costello, who started out by refusing to testify because, he said, the microphones would prohibit him from privately consulting with his attorney, sitting next to him.
Kefauver arranged a compromise. The television cameras would not show his face, but focus only on his hands. Never mind that newsreel cameras captured Costello's entire face and body as he spoke—the highlights of which were shown on newscasts later that evening. On live television, the cameras zoomed in on the mobster's meaty hands as he nervously fingered the eyeglasses resting on the table, or moved to dab a handkerchief to his off-screen face as he dodged question after question, making him appear all the more sinister to daytime viewers. When asked by the Committee to name one thing he'd done for his country, Costello snapped, "Paid my tax!" The Los Angeles Times said it was "the greatest TV show television has ever aired," and Variety estimated that ratings were "among the highest ever achieved" to that time.
Costello was a tough act to follow, but Kefauver found the star of the show in Virginia Hill Hauser—an Alabama-born former waitress and moll to the late Bugsy Siegel. Wearing a mink cape, silk gloves, and a large hat, and with the presence of a movie star, Hauser strutted into the U.S. Courthouse in Foley Square. She wasn't about to let some stuffy senators from Washington, D.C. rough her up the way they had Costello.
In a defiant tone and her nasal voice, Hauser regaled the Committee with remarkable stories of friendships with "fellas" who gave her gifts and money. But as to how those men came into their money, Hauser said, she didn't know "anything about anybody." She and Bugsy had had a fight in a Las Vegas hotel, she said, after "I hit a girl at the Flamingo and he told me I wasn't a lady."
When she finished, she had to fight her way past the throng of scribes, slapping one female reporter in the face and cursing the photographers. "I hope the atom bomb falls on every one of you," she shouted as she left the building. Hauser soon after hopped on a plane and fled the country to evade a tax evasion charge by the Internal Revenue Service.
After seeing Hauser's appearance at the hearings, the columnist Walter Winchell contemplated the seemingly timeless paradox of reality television when he wrote, "When the chic Virginia Hill unfolded her amazing life story, many a young girl must have wondered: who really knows best? Mother or Virginia Hill? After doing all the things called wrong, there she was on top of the world, with a beautiful home in Miami Beach and a handsome husband and baby!"
The hearings made Estes Kefauver so popular that he decided to seek the Democratic Party's presidential nomination in 1952. Remarkably, Kefauver beat the incumbent, Harry S. Truman, in the New Hampshire primary, leading Truman to abandon his campaign for renomination. Although Kefauver won the majority of Democratic primaries, he lost the nomination to Adlai Stevenson, who then lost the general election to General Dwight D. Eisenhower. And even though Kefauver ran as Stevenson's vice presidential candidate in the Democrats' losing 1956 bid, it was the crime hearings that would cement the Tennessee senator's legacy.
The Committee ultimately produced an 11,000-page report and exposed millions of Americans to organized crime for the first time. But in fact, the Kefauver hearings had little impact in the cities the Committee visited: He and his men swept in and then just as quickly swept out, leaving behind titillating news coverage and an unforgettable television experience. The Committee's recommendations on how to clean up organized crime were largely ignored, and the crime syndicates went back to business as usual, often with the same shadowy characters from the hearings still in control.
Articles: "Frank Costello's Hands: Film, Television and the Kefauver Crime Hearings," by Thomas Doherty, Film History, Volume 10, No. 3, 1998. "Hearings to Recall Earlier Investigations in Same Setting: McCarthy and Kefauver," by John Chadwick, The Lewiston Daily Sun, May 13, 1973. "Remembering Estes Kefauver," by Theodore Brown, Jr. and Robert B. Allen, The Progressive Populist, 1996, http://www.populist.com/96.10.kefauver.html. "'Outraged' Over Video at Hearing, Carroll, Bet Expert, Defies Senators," by William M. Blair, New York Times, February 25, 1951. "Sheriff's Ex-Wife Tells Senators How He Accumulated $150,000," New York Times, January 27, 1951. "Crime Attracts 1,000,000 TV Fans," by John Crosby, Daily Boston Globe, March 4, 1951. "Costello Defies Senators, Walks Out of Hearing Here; Faces Arrest on Contempt," by James A. Hagerty, New York Times, March 16, 1951. "Slain 'Bugsy' Siegel's 'Girl Friend' Steals Senate Crime Inquiry Show," by Emanuel Perlmutter, New York Times, March 16, 1951. "Senator Kefauver Wows 'Em on TV," by John Crosby, New York Herald Tribune, March 5, 1951.


text:
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Media Contact: Lisa Tree, firstname.lastname@example.com


text:
Search the Community
Showing results for tags 'Friendship'.
Found 1 result
"A friend loves at all times, and a brother is born for adversity." Proverbs chapter 17, verse 17. Your true friend will never judge you, will never mock you (maybe playfully,) and will never put you down. The definition of adversity is misfortune, and he will stay with you regardless of a situation. If your mate cheats on and leaves you, if you lose your job and even your home, if you move around with the military (I hope he's not gonna move too, but he'll try to keep in contact,) &c, he'll stick with you and make it known that he's all for you, albeit not necessarily what you stand for. He cares, and he cares for you by showing it. He will not always defend you, for sometimes you are in the wrong. Instead, he'll take the side of right and, even though it totally pisses you off, he'll point out right from wrong, condemning your actions or intent, but not condemning you. He won't use you, abuse you, take from you and not give back. He will respect you. "A man of many companions may come to ruin, but there is a friend who sticks closer than a brother." Proverbs chapter 18, verse 24. What's so bad about having a goodly number of friends? Well, can you really give them all the time some of them need? The ones who you'll grow a deep connection with need the most time. Those will last. *Has a lizard walking down my chest right now* You can try to give each the time he needs, but you may experience burn-out from trying to do too much for too many in too little time. And if you don't take care of those friendships, they'll die and suck the life out of you as well. Really, do you like losing friends? Don't you try (well, why am I asking that when I question if people even try much anymore) to salvage friendships and relationships instead of letting them sink? *Has lizard on paw now.* Doesn't it seem like a lot of work? And where is the room for growth if you keep too many to give any real amount of one-on-one time to? You grow more one-on-one rather than in groups. You begin to truly see who is your friend. As for the brother part, any brother worth half of his salt will keep you in line, rebuke you, educate you. That is your true friend-- not the one who condemns you or never lets you know you've done wrong, but the one who gently tells you wrong from right in your actions and intents, the one who will not judge you by comparison but will be almost like a parent. He's someone to look up to, respect, learn from, and lean on. He's trustworthy. He's your friend. Are your friends like this, or are you in want as such as this? Love is patient, love is kind, love does not boast, nor does it take revenge. Do your friends love?
- 8 replies
- Friends
- Friendship
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The privacy policy below is provided, in compliance with article 13 of General Data Protection Regulation (GDPR) UE 2016/679, to those who use the web services available over the internet by MASSERIA SAN PAOLO GRANDE and the Group.
The privacy policy is also based on Recommendation no. 2/2001 adopted on 17/05/2001 by the European personal data protection authorities, meeting as the Working Party on Protection of Individuals established under article 29 of Directive 95/46/EC, to set out the minimum requirements to be implemented to protect the collection of personal data online. The policy also sets out the minimum measures that must be enacted to safeguard people who use web pages, to ensure that their data is processed lawfully and fairly.
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The up-to-date list of responsibles is available among the controller.


text:
high moby
/hi:' mohb'ee/ The high half of a 512K PDP-10's physical address space; the other half was of course the low moby. This usage has been generalised in a way that has outlasted the PDP-10; for example, at the 1990 Washington D.C. Area Science Fiction Conclave (Disclave), when a miscommunication resulted in two separate wakes being held in commemoration of the shutdown of MIT's last ITS machines, the one on the upper floor was dubbed the "high moby" and the other the "low moby". All parties involved grokked this instantly. See moby. [Jargon File]Nearby terms:
high memory area ♦ high moby ♦ High Performance Computing and Communications
Try this search on Wikipedia, Wiktionary, Google, OneLook.


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Elias and Israel Britton--whether brothers or cousins, I am not quite certain--volunteered their services to the Union during the summer of 1861, and in mid-September were mustered into service as privates, in Company A, 48th Pennsylvania Infantry. Israel hailed from Tamaqua and listed his occupation as farmer; Elias, the older of the two at age 25, was a miller from Auburn. He stood 5'6" in height, with a dark complexion, dark eyes, and dark hair.
The Brittons served throughout the four years of the conflict. Both fell wounded at 2nd Bull Run on August 29, 1862, and in early 1864, both would reenlist, offering to serve another three years, or until the war was decided. It appears Elias fell ill near war's end, and was absent when the regiment mustered out of service on July 17, 1865. The records indicate that Israel deserted on March 15, 1865. Both, however, are listed as "Veterans" in the regimental muster rolls, having served nobly in the ranks of Company A and even shedding some of their blood in combat.


text:
CCON(1p) | User Contributed Perl Documentation | CCON(1p) |
ccon - Cluster administration tool
This documentation is for version: 4.16
ccon [-K <seconds>] [-q] [-c '<filename>'] [-x <cols>] [-C '<filename>'] [--debug [[...] || <INTEGER>]] [-d] [-e '<[user@]<host>[:port]>'] [--fillscreen] [-f '<font>'] [-h] [-L '[tag]'] [-H] [-M '<STRING>'] [-p <port>] [-Q] [-y <rows>] [-s] [-r '<filename>'] [-t '<STRING>'] [-g] [-T '<title>'] [-u] [-?] [-A] [-v]
Also see the individual man pages for each of these utilities
The command opens an administration console and an xterm to all specified hosts. Any text typed into the administration console is replicated to all windows. All windows may also be typed into directly.
This tool is intended for (but not limited to) cluster administration where the same configuration or commands must be run on each node within the cluster. Performing these commands all at once via this tool ensures all nodes are kept in sync.
Connections are opened using console which must be correctly installed and configured.
Extra caution should be taken when editing files as lines may not necessarily be in the same order; assuming line 5 is the same across all servers and modifying that is dangerous. It's better to search for the specific line to be changed and double-check all terminals are as expected before changes are committed.
Further Notes¶
Please also see "KNOWN BUGS".
- The dotted line on any sub-menu is a tear-off, i.e. click on it and the sub-menu is turned into its own window.
- Unchecking a hostname on the Hosts sub-menu will unplug the host from the cluster control window, so any text typed into the console is not sent to that host. Re-selecting it will plug it back in.
- If your window manager menu bars are obscured by terminal windows see the "screen_reserve_XXXXX" options in the $HOME/.clusterssh/config file (see "FILES").
- If the terminals overlap too much see the "terminal_reserve_XXXXX" options in the $HOME/.clusterssh/config file (see "FILES").
- When using ClusterSSH on a large number of systems to connect to a single system using an SSH utility (e.g. you issue a command to to copy a file using scp from the remote computers to a single host) and when these connections require authentication (i.e. you are going to authenticate with a password), the sshd daemon at that location may refuse connections after the number "MaxStartups" limit in sshd_config is exceeded. (If this value is not set, it defaults to 10). This is expected behavior; sshd uses this mechanism to prevent DoS attacks from unauthenticated sources. Please tune sshd_config and reload the SSH daemon, or consider using the ~/.ssh/authorized_keys mechanism for authentication if you encounter this problem.
- If client windows fail to open, try running:
"ccon -e {single host name}"
This will test the mechanisms used to open windows to hosts. This could be due to either the "-xrm" terminal option which enables "AllowSendEvents" (some terminals do not require this option, other terminals have another method for enabling it - see your terminal documentation) or the configuration of "console".
Some of these options may also be defined within the configuration file. Default options are shown as appropriate.
- --autoclose <seconds>, -K <seconds>
- Number of seconds to wait before closing finished terminal windows.
- --autoquit, -q
- Toggle automatically quitting after the last client window has closed (overriding the config file).
- --cluster-file '<filename>', -c '<filename>'
- Use supplied file as additional cluster file (see also "FILES").
- --cols <cols>, -x <cols>
- Number of columns
- --config-file '<filename>', -C '<filename>'
- Use supplied file as additional configuration file (see also "FILES").
- --debug [[...] || <INTEGER>]
- Enable debugging. Either a level can be provided or the option can be repeated multiple times. Maximum level is 9.
- --dump-config, -d
- Dump the current configuration in the same format used by the $HOME/.clusterssh/config file.
- --evaluate '<[user@]<host>[:port]>', -e '<[user@]<host>[:port]>'
- Display and evaluate the terminal and connection arguments to display any potential errors. The <hostname> is required to aid the evaluation.
- --fillscreen
- Resize terminal windows to fill the whole available screen
- --font '<font>', -f '<font>'
- Specify the font to use in the terminal windows. Use standard X font notation such as "5x8".
- --help, -h
- Show basic help text and exit
- --list '[tag]', -L '[tag]'
- List available cluster tags. Tag is optional. If a tag is provided then hosts for that tag are listed. NOTE: format of output changes when using "--quiet" or "-Q" option.
- --man, -H
- Show full help text (the man page) and exit
- --master '<STRING>', -M '<STRING>'
- The console client program polls master as the primary server, rather than the default set at compile time (typically ``console'').
- --port <port>, -p <port>
- Specify an alternate port for connections.
- --quiet, -Q
- Do not output extra text when using some options
- --rows <rows>, -y <rows>
- Number of rows
- --show-history, -s
- Show history within console window.
- --tag-file '<filename>', -r '<filename>'
- Use supplied file as additional tag file (see also "FILES")
- --term-args '<STRING>', -t '<STRING>'
- Specify arguments to be passed to terminals being used.
- --tile, -g
- Toggle window tiling (overriding the config file).
- --title '<title>', -T '<title>'
- Specify the initial part of the title used in the console and client windows.
- --unique-servers, -u
- Toggle connecting to each host only once when a hostname has been specified multiple times.
- --usage, -?
- Show synopsis and exit
- --use-all-a-records, -A
- If a hostname resolves to multiple IP addresses, toggle whether or not to connect to all of them, or just the first one (see also config file entry).
- --version, -v
- Show version information and exit
The following arguments are supported:
- [user@]<hostname>[:port] ...
- Open an xterm to the given hostname and connect to the administration console. The optional port number can be used if the server is not listening on the standard port.
- <tag> ...
- Open a series of xterms defined by <tag> in one of the supplementary
configuration files (see "FILES").
Note: specifying a username on a cluster tag will override any usernames defined in the cluster.
The following key shortcuts are available within the console window, and all of them may be changed via the configuration files.
- Control-Shift-plus
- Open the 'Add Host(s) or Cluster(s)' dialogue box. Multiple host or cluster names can be entered, separated by spaces.
- Alt-n
- Paste in the hostname part of the specific connection string to each
client, minus any username or port, e.g.
"scp /etc/hosts server:files/<Alt-n>.hosts"
would replace the <Alt-n> with the client's name in each window.
- Alt-l
- Paste in the hostname of the server cssh is being run on
- Alt-q
- Quit the program and close all connections and windows.
- Alt-r
- Retile all the client windows.
- Alt-u
- Paste in the username for the connection
- Alt-1
- Alt-2
- Alt-3
- Alt-4
- Run the matching user defined macro on the server and send the output to the client
- Open up a session to 3 servers
- $ ccon server1 server2 server3
- Open up a session to a cluster of servers identified by the tag 'farm1' and give the controlling window a specific title, where the tag is defined in one of the default configuration files
- $ ccon -T 'Web Farm Cluster 1' farm1
- Connect to different servers using different login names. NOTE: this can also be achieved by setting up appropriate options in the configuration files. Do not close the console when the last terminal exits.
- $ ccon user1@server1 admin@server2
- Open up a cluster defined in a non-default configuration file
- $ ccon -c $HOME/cssh.extra_clusters db_cluster
- Override the configured/default port to use 2022 instead
- $ ccon -p 2022 server1 server2
- /etc/clusters, $HOME/.clusterssh/clusters
- These files contain a list of tags to server names mappings. When any name
is used on the command line it is checked to see if it is a tag. If it is
a tag, then the tag is replaced with the list of servers. The format is as
<tag> [user@]<server>[:port] [user@]<server>[:port] [...]
# List of servers in live live admin1@server1 admin2@server2:2022 server3 server4
All comments (marked by a #) and blank lines are ignored. Tags may be nested, but be aware of using recursive tags as they are not checked for.
Servers can be defined using expansion macros:
"webservers websvr{a,b,c}"
would be expanded to
"webservers websvra websvrb websvrc"
"webservers websvr{6..9}"
would be expanded to
"webservers websvr6 websvr7 websvr8 websvr9"
Extra cluster files may also be specified either as an option on the command line (see "cluster-file") or in the user's $HOME/.clusterssh/config file (see "extra_cluster_file" configuration option).
NOTE: the last tag read overwrites any pre-existing tag of that name.
NOTE: there is a special cluster tag called "default" - any tags or hosts included within this tag will be automatically opened if nothing is specified on the command line.
- /etc/tags, $HOME/.clusterssh/tags
- Very similar to clusters files but the definition is reversed. The
format is:
<host> <tag> [...]
This allows one host to be specified as a member of a number of tags. This format can be clearer than using clusters files.
Extra tag files may be specified either as an option (see "tag-file") or within the user's $HOME/.clusterssh/config file (see "extra_tag_file" configuration option).
NOTE: All tags are added together
- /etc/csshrc & $HOME/.clusterssh/config
- This file contains configuration overrides - the defaults are as marked.
Default options are overwritten first by the global file, and then by the
user file.
NOTE: values for entries do not need to be quoted unless it is required for passing arguments, e.g.
"terminal_allow_send_events="-xrm '*.VT100.allowSendEvents:true'""
should be written as
"terminal_allow_send_events=-xrm '*.VT100.allowSendEvents:true'"
- auto_close = 5
- Close terminal window after this many seconds. If set to 0 will instead wait on input from the user in each window before closing. See also --autoclose and --no-autoclose
- auto_quit = 1
- Automatically quit after the last client window closes. Set to 0 to disable. See also --autoquit
- auto_wm_decoration_offsets = no
- Enable or disable alternative algorithm for calculating terminal positioning.
- command_pre =
- command_post =
- Add extra commands around the communication method. For example:
command_pre= . $HOME/virtualenvs/default/bin/active ; command_post= | ct
would allow for using Python virtual envronments and then piping all shell output through "chromaterm" for syntax highlighting. Note: you must use appropriate command separators/terminators to keep the meaning of the command pipline (such as ";" and "|" between commands).
These are not put through macro parsing.
- comms = console
- Sets the default communication method (initially taken from the name of the program, but can be overridden here).
- console_position = <null>
- Set the initial position of the console - if empty then let the window manager decide. Format is '+<x>+<y>', i.e. '+0+0' is top left hand corner of the screen, '+0-70' is bottom left hand side of screen (more or less).
- external_command_mode = 0600
- File mode bits for the external_command_pipe.
- external_command_pipe = <null>
- Define the full path to an external command pipe that can be written to
for controlling some aspects of ClusterSSH, such as opening sessions to
more clusters.
"open <tag|hostname>" - open new sessions to provided tag or hostname
"retile" - force window retiling
e.g.: "echo 'open localhost'" /path/to/external_command_pipe >>
- external_cluster_command = <null>
- Define the full path to an external command that can be used to resolve
tags to host names. This command can be written in any language. The
script must accept a list of tags to resolve and output a list of hosts
(space separated on a single line). Any tags that cannot be resolved
should be returned unchanged.
A non-0 exit code will be counted as an error, a warning will be printed and output ignored.
If the external command is given a "-L" option it should output a list of tags (space separated on a single line) it can resolve
- extra_cluster_file = <null>
- Define an extra cluster file in the format of /etc/clusters.
Multiple files can be specified, separated by commas. Both ~ and
$HOME are acceptable as a reference to the user's
home directory, e.g.
"extra_cluster_file = ~/clusters, $HOME/clus"
- extra_tag_file = <null>
- Define an extra tag file in the format of /etc/tags. Multiple files
can be specified, separated by commas. Both ~ and
$HOME are acceptable as a reference to the user's
home directory, e.g.
"extra_tag_file = ~/tags, $HOME/tags"
- key_addhost = Control-Shift-plus
- Default key sequence to open AddHost menu. See "KEY SHORTCUTS" for more information.
- If set to 1, hide the menu bar (File, Hosts, Send, Help) in the console.
- key_clientname = Alt-n
- Default key sequence to send cssh client names to client. See "KEY SHORTCUTS" for more information.
- key_localname = Alt-l
- Default key sequence to send hostname of local server to client. See "KEY SHORTCUTS" for more information.
- key_paste = Control-v
- Default key sequence to paste text into the console window. See "KEY SHORTCUTS" for more information.
- key_quit = Control-q
- Default key sequence to quit the program (will terminate all open windows). See "KEY SHORTCUTS" for more information.
- key_retilehosts = Alt-r
- Default key sequence to retile host windows. See "KEY SHORTCUTS" for more information.
- key_username = Alt-u
- Default key sequence to send username to client. See "KEY SHORTCUTS" for more information.
- key_user_1 = Alt-1
- key_user_2 = Alt-2
- key_user_3 = Alt-3
- key_user_4 = Alt-4
- Default key sequence to send user defined macros to client. If the matching macro_user_1 macro is undefined, the sequence is passed straight to the terminal. See "KEY SHORTCUTS" for more information.
- macro_servername = %s
- macro_hostname = %h
- macro_username = %u
- macro_newline = %n
- macro_version = %v
- macro_user_1 = %1
- macro_user_2 = %2
- macro_user_3 = %3
- macro_user_4 = %4
- Change the replacement macro used when either using a 'Send' menu item, or when pasting text into the main console.
- macro_user_1_command =
- macro_user_2_command =
- macro_user_3_command =
- macro_user_4_command =
- User defined macros - the macro is run through the shell on the server and
the output is sent to the client. For example,
"macro_user_1_command=echo echo macro_user_1"
would send the text C<echo macro_user_1> into the terminal session.
"macro_user_1_command=env | grep CSSH"
would send the CSSH environment variables to the client.
The following environment variables are set in the shell of the macro process
- macros_enabled = yes
- Enable or disable macro replacement. Note: this affects all the "macro_*" variables above.
- Maximum number of entries in the 'Add Host' menu cluster list before scrollbars are used
- Maximum number of hosts to put into the host menu before starting a new column
- When set to non-0 will automatically tear-off the host or send menu at program start
- mouse_paste = Button-2 (middle mouse button)
- Default key sequence to paste text into the console window using the mouse. See "KEY SHORTCUTS" for more information.
- rsh = /path/to/rsh
- ssh = /path/to/ssh
- telnet = /path/to/telnet
- Set the path to the specific binary to use for the communication method, else uses the first match found in $PATH
- rsh_args = <blank>
- ssh_args = "-x -o ConnectTimeout=10"
- telnet_args = <blank>
- Sets any arguments to be used with the communication method (defaults to
ssh arguments).
NOTE: The given defaults are based on OpenSSH, not commercial ssh software.
NOTE: Any "generic" change to the method (e.g., specifying the ssh port to use) should be done in the medium's own config file (see "ssh_config" and $HOME/.ssh/config).
- screen_reserve_top = 0
- screen_reserve_bottom = 60
- screen_reserve_left = 0
- screen_reserve_right = 0
- Number of pixels from the screen's side to reserve when calculating screen geometry for tiling. Setting this to something like 50 will help keep cssh from positioning windows over your window manager's menu bar if it draws one at that side of the screen.
- terminal = /path/to/xterm
- Path to the X-Windows terminal used for the client.
- terminal_args = <blank>
- Arguments to use when opening terminal windows. Otherwise takes defaults from $HOME/.Xdefaults or $HOME/.Xresources file.
- terminal_chdir = 0
- When non-0, set the working directory for each terminal as per 'terminal_chdir_path'
- terminal_chdir_path = $HOME/.clusterssh/work/%s
- Path to use as working directory for each terminal when 'terminal_chdir' is enabled. The path provided is passed through the macro parser (see the section above on 'macros_enabled'.
- terminal_font = 6x13
- Font to use in the terminal windows. Use standard X font notation.
- terminal_reserve_top = 5
- terminal_reserve_bottom = 0
- terminal_reserve_left = 5
- terminal_reserve_right = 0
- Number of pixels from the terminal's side to reserve when calculating screen geometry for tiling. Setting these will help keep cssh from positioning windows over your scroll and title bars or otherwise overlapping the windows too much.
- terminal_colorize = 1
- If set to 1 (the default), then "-bg" and "-fg" arguments will be added to the terminal invocation command-line. The terminal will be colored in a pseudo-random way based on the host name; while the color of a terminal is not easily predicted, it will always be the same color for a given host name. After a while, you will recognize hosts by their characteristic terminal color.
- terminal_bg_style = dark
- If set to "dark", the terminal background will be set to black and the foreground to the pseudo-random color. If set to "light", then the foreground will be black and the background the pseudo-random color. If terminal_colorize is "zero", then this option has no effect.
- terminal_size = 80x24
- Initial size of terminals to use. NOTE: the number of lines (24) will be decreased when resizing terminals for tiling, not the number of characters (80).
- terminal_title_opt = -T
- Option used with "terminal" to set the title of the window
- terminal_allow_send_events = -xrm '*.VT100.allowSendEvents:true'
- Option required by the terminal to allow XSendEvents to be received
- title = cssh
- Title of windows to use for both the console and terminals.
- unmap_on_redraw = no
- Tell Tk to use the UnmapWindow request before redrawing terminal windows. This defaults to "no" as it causes some problems with the FVWM window manager. If you are experiencing problems with redraws, you can set it to "yes" to allow the window to be unmapped before it is repositioned.
- use_all_a_records = 0
- If a hostname resolves to multiple IP addresses, set to 1 to connect to all of them, not just the first one found. See also "--use-all-a-records"}
- use_hotkeys = 1
- Setting to 0 will disable all hotkeys.
- use_natural_sort = 0
- Windows will normally sort in alphabetical order, i.e.: host1, host11, host2. Setting to this 1 will change the sort order, i.e.: host1, host2, host11. NOTE: You must have the perl module Sort::Naturally installed.
- user = $LOGNAME
- Sets the default user for running commands on clients.
- window_tiling = 1
- Perform window tiling (set to 0 to disable)
- window_tiling_direction = right
- Direction to tile windows, where "right" means starting top left and moving right and then down, and anything else means starting bottom right and moving left and then up
NOTE: The key shortcut modifiers must be in the form "Control", "Alt" or "Shift", e.g. with the first letter capitalised and the rest lower case. Keys may also be disabled individually by setting to the word "null".
- $HOME/.clusterssh/send_menu
- This (optional) file contains items to populate the send menu. The default
entry could be written as:
<send_menu> <menu title="Use Macros"> <toggle/> <accelerator>ALT-p</accelerator> </menu> <menu title="Remote Hostname"> <command>%s</command> <accelerator>ALT-n</accelerator> </menu> <menu title="Local Hostname"> <command>%s</command> <accelerator>ALT-l</accelerator> </menu> <menu title="Username"> <command>%u</command> <accelerator>ALT-u</accelerator> </menu> <menu title="Test Text"> <command>echo "ClusterSSH Version: %v%n</command> </menu> </send_menu>
Submenus can also be specified as follows:
<send_menu> <menu title="Default Entries"> <detach>yes</detach> <menu title="Hostname"> <command>%s</command> <accelerator>ALT-n</accelerator> </menu> </menu> </send_menu>
The following replacement macros are available (note: these can be changed in the configuration file):
- %s
- Hostname part of the specific connection string to each client, minus any username or port
- %u
- Username part of the connection string to each client
- %h
- Hostname of server where cssh is being run from
- %n
- "RETURN" code
NOTE: requires XML::Simple to be installed
If you have any ideas about how to fix the below bugs, please get in touch and/or provide a patch.
- •
- Swapping virtual desktops can cause a redraw of all the terminal windows. This is due to a lack of distinction within Tk between switching desktops and minimising/maximising windows. Until Tk can tell the difference between the two events, there is no fix (apart from rewriting everything directly in X).
If you have issues running ccon, first try:
"ccon -e [user@]<hostname>[:port]"
This performs two tests to confirm cssh is able to work properly with the settings provided within the $HOME/.clusterssh/config file (or internal defaults).
- 1.
- Test the terminal window works with the options provided
- 2.
- Test console works to a host with the configured arguments
Configuration options to watch for in ssh are:
- SSH doesn't understand "-o ConnectTimeout=10" - remove the option from the $HOME/.clusterssh/config file
- OpenSSH-3.8 using untrusted ssh tunnels - use "-Y" instead of "-X" or use "ForwardX11Trusted yes" in $HOME/.ssh/ssh_config (if you change the default ssh options from "-x" to "-X")
A web site for comments, requests, bug reports and bug fixes/patches is available at: <https://github.com/duncs/clusterssh>
If you require support, please run the following commands and create an issue via: <https://github.com/duncs/clusterssh/issues>
"perl -V"
"perl -MTk -e 'print $Tk::VERSION,$/'"
"perl -MX11::Protocol -e 'print $X11::Protocol::VERSION,$/'"
"cat /etc/csshrc $HOME/.clusterssh/config"
Using the debug option (--debug) will turn on debugging output. Repeat the option to increase the amount of debug. However, if possible please only use this option with one host at a time, e.g. "cssh --debug <host>" due to the amount of output produced (in both main and child windows).
<https://github.com/duncs/clusterssh/wiki/>, "ssh", Tk::overview, X11::Protocol, "perl"
Duncan Ferguson, "<duncan_j_ferguson at yahoo.co.uk>"
Copyright 1999-2018 Duncan Ferguson.
This program is free software; you can redistribute it and/or modify it under the terms of either: the GNU General Public License as published by the Free Software Foundation; or the Artistic License.
See http://dev.perl.org/licenses/ for more information.
2023-01-03 | perl v5.36.0 |


text:
Legal note: I declare, that I do not have any influence on design and contents of the linked websites. I distance myself from all contents of all linked websites. This declaration is valid for all links on my website.
Stereoscope Applet and Stereoscope Applet Standalone Edition Version 2.2beta is available now! (Sep 29 2002)
Now working with page-flipping shutter glasses like ELSA Revelator or H3D. Look here how to set up!
My selfmade stereo camera! I built it in the spring of 1998. It took about 150 hours to complete this very difficult project, but the efford was worth it! Until now I have taken about 30 film rolls with this camera and all pairs were excellent! Finally I have managed it to take a stereo photo of the completed camera:
Stereoscope Applet!
1998 in september I begun to develop a little Java Applet to make the
presentation of stereo pairs easier on the Net.
You only need a JAVA 1.1 compatible browser, for example Communicator 4.06 or
Explorer 4.
More information can you find
The Stereoscope Applet Gallery:
The stereoscopic image gallery
Last revised: Saturday October 2 2010
Created by Andreas Petersik


text:
The ORIGINAL gathering place for a merry band of Three Percenters. (As denounced by Bill Clinton on CNN!)
Monday, May 10, 2010
7 comments:
- May 10, 2010 at 10:54 AM
Remember, kids. They at their most vulnerable when they are on the ground. We are everywhere.
- May 10, 2010 at 10:57 AM
Our gubment would NEVER lie.
Texas - May 10, 2010 at 1:01 PM
- Dedicated_Dad said...
Of COURSE they wouldn't.
Dear Reader and all his many minions... er... helpers love each and every hoi-po... er... citizen -- and anyone who suggests otherwise is a racist, homophobic knuckle-dragging, tea-bagging sub-human.
While at the linked site, I followed a "related" link and saw this: http://www.wired.com/dangerroom/2010/05/nycs-terror-spotting-spycams-stuck-in-traffic/
Read it -- ESPECIALLY the section talking about license-plate readers.
I've been saying - ever since cams began appearing at intersections - that it's just a matter of time before they start using them to track people.
THINK: If every cam-equipped intersection you pass through was to write your license-plate # (and all related info) to a database, then it would be easy to know within a couple of blocks of wherever you went.
Add to this the facial-recognition capabilities hinted at in the article - mature technology that's been in use for more than a decade - and they can track YOU on the street after you leave your vehicle.
Use a credit or debit card? Ha!
The bottom line is that even in my one-horse town, there are cams on the street -- we truly have become a surveillance-state.
Now here's the - to me - most terrifying part: Suppose -- by pure, 100% coincidence -- you happen to end up within a few dozen yards of Mohammed abu-Durka-Durka, who is under intense surveillance by non-existent Alphabet Agencies.
The computers, told to find any possible associates/co-conspirators, cross-reference all of his known, recorded positions and look for patterns of interactions with other recorded lic.-plate and facial data.
Guess who gets a 3AM wake-up visit by jackbooted wannabe-ninja storm-troopers?
Still hanging with me? I knew 'ya could!
Something else I've been saying for many years: I'll take my chances with abu-Durka-Durka, the TERRORISTS that worry me all wear officially-sanctioned .gov uniforms.
Those who would give up Essential Liberty to purchase a little Temporary Safety, deserve neither Liberty nor Safety. -- Benjamin Franklin
DD - May 10, 2010 at 1:05 PM
"Never believe anything until it has been officially denied."--Otto von Bismarck
MALTHUS - May 10, 2010 at 3:28 PM
King Air 200 with all those antennas on it must be a STONE BITCH to fly. Hate to think what all those things sticking out into the air stream must do to stability.
I wouldn't balk at using assets like that if they only did it to catch real terrorist. Course I trust 'em to do that like I trust 'em to do anything in my favor - NOT! - May 10, 2010 at 6:28 PM
- W W Woodward said...
The government does not exist to protect us ... anymore.
[W3] - May 11, 2010 at 4:40 PM


text:
Jasper Jacob 10x8 signed in Silver with Character name Return of the Jedi
Tax included.
- Autographed 10x8 Photo
- This was signed at one of our events or private signings
- Signed in sharpie pen on the front
All items are signed by the guests direct for us and come with one of our small holographic proof labels attached to the reverse of the item signed. Guaranteed to pass ACOA Authentication . But rest assured you are buying direct from the source.Please note we have several of each item and placement of autograph may change slightly.Please feel free to contact us with any questions you may have. - Autographed 10x8 Photo
Signature placement, appearance and size may differ from example image


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text:
The American Rescue Plan Act (ARPA) retroactively excluded some 2020 unemployment benefits from taxable income. Generally, taxpayers with modified adjusted gross incomes below $150,000 do not have to pay tax on their first $10,200 of 2020 unemployment compensation. Unfortunately, many people who qualify for this exclusion filed their 2020 federal tax returns before the new law took effect in mid-March.
If the filer overpaid as a result of paying tax on excluded unemployment benefits, the IRS will either issue a special refund or reduce the balance of tax owed.
The IRS has started with the simplest returns affected by ARPA rules for 2020 unemployment benefits. Most of these returns belong to single filers without dependents who did not claim any refundable tax credits. After correcting all these returns and issuing appropriate refunds, IRS personnel will move on to adjust more complicated returns, such as joint returns filed by married couples.
Refunds will be sent by direct deposit to those who provided banking information on their 2020 returns, and by paper checks otherwise. The refunds will be subject to offset rules, which allow the IRS to withhold refunds to cover past-due taxes, unpaid child support or other debts. Any taxpayer whose return is adjusted will also receive an IRS notice explaining the changes made.
IRS officials have projected that this process will continue throughout the summer. In the meantime, most taxpayers who may have paid tax on excluded unemployment benefits do not have to take further action. Calling the IRS or filing an amended return will not result in a faster refund, and could even delay processing due to the need to reconcile multiple returns.