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Indigenous Peoples Solidarity
About Indigenous Peoples Solidarity
Ongoing Projects
- Algonquins of Barriere Lake: Rapid Lake, Quebec, Canada
- Asubpeeschoseewagong Netum Anishnabek - Grassy Narrows, ON
- Kenora - Ontario, Canada
- Haudenosaunee Territory: Brantford, Ontario, Canada
- Kitchenuhmaykoosib Inninuwug: Northwestern Ontario, Canada
- Dish with One Spoon territory: Accompanying Haudenosaunee Hunters in Short Hills Provincial Park
Past Projects
- Dumpsite 41: Tiny Township, Ontario, Canada
- Algonquin Territory: Robertsville, Ontario, Canada
- Bear Butte - South Dakota, US
- Pierre - South Dakota, US
- EsgenoĂ´petitj - Burnt Church NB
- Indian Brook First Nation - Shubenacadie NS
- Caldwell First Nation - Blenheim ON
- Oneida Territory - Central New York, US
- Elsipogtog - New Brunswick, Canada
Join a Delegation!
One of the ways that we invite you to support Indigenous land defenders is by joining a Treaty 3 delegation.
From a base in Kenora, ON, we visit nearby Grassy Narrows First Nation to learn from their decades long struggle to survive and resist clearcut logging, mercury poisoning, racism, colonialism and violence against their land, bodies, and culture.
Delegates have the opportunity to develop their skills, hone their knowledge, build relationships and reflect on what this means for their own lives and solidarity work, wherever they come from.
Walk in solidarity
Live out reconciliation
Support Indigenous land defenders
Learn what it means to be an ally
2016 Schedule - 13-23 May; 12-22 August; 23 September- 3 October
CPTnet Stories
There aren't any events planned in this region at this time.


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The first teaser poster for Jim Carrey's upcoming movie A Christmas Carol is already online.
© ImageMoversDigital
With a fresh take on the classic Dickens tale, director Robert Zemeckis uses performance capture technology to bring out the many faces of Jim Carrey as he takes on the multiple roles of Scrooge and the ghosts of Christmas Past, Present, and Future in an exquisitely rendered Victorian London.
"A Christmas Carol" is set to open at Christmas 2009.

subset: commoncrawl


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I know I could post this at IDS forum, but I consider myself newbe in IDS and in Hacking in general so I will just post my questions here.
I need instruction (easy step by step) on installing either 'nmap' or 'snort' so that I can use it on a Windows GUI.
My personal attempt on looking for such information and trying to do it myself didnt work for the following reasons:
*most instruction I found on the web are outdated.
*Nmapwin is outdated
*Most of them consider the user as an advanced user, thus no step by step instruction.
While using Nmap on command prompt is fairly easy, I didnt have much luck with snort.
Few questions:
*What is the best Freeware IDS?
*What is the best Commercial IDS?
*Can IDS tell if a firewall is using spoofed (fake) open port? I have a friend from a differant country who has set up a box for me to play with. He says he has installed Cisco PIX firewall, which nmap found out , along with the filtered ports,instantly with the "-P0" option; but not without it. What could be the reason?
I am trying to find out if it's possible to break into a box that is firewalled, while I am sure it is possible, I am trying to learn it from ground up. I think setting up a proper IDS and getting the right information is important before I look for information for the next step.
Any help is appreciated.
ps, So many questions........... So much to learn!!


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IRVING, Texas (AP) - The Dallas Cowboys have taken Baylor receiver Terrance Williams with the first of two picks in third round of the NFL draft.
The Cowboys took the former Dallas high school player with the 74th overall choice on Friday night. They got the pick from San Francisco when they traded down in the first round on the draft's opening night.
Williams was a first-team AP All-America last season after catching 97 passes for 1,832 yards and 12 touchdowns. When Robert Griffin III was throwing to him in 2011, he had 59 catches for 957 yards and 11 scores.
The Cowboys took San Diego State tight end Gavin Escobar earlier in the second round and had another third-round pick at No. 80.


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Former UofL Coach Bobby Petrino Fired At Arkansas After 4 Seasons
Former UofL Coach Bobby Petrino Fired At Arkansas After 4 Seasons
FAYETTEVILLE, Ark. —
Arkansas has fired Bobby Petrino, saying he "knowingly misled" and engaged in reckless behavior in a relationship with a female football employee half his age.
The 51-year-old Petrino was injured in an April 1 motorcycle accident. He was put on paid leave last week after admitting he lied about the presence of the 25-year-old employee, Jessica Dorrell, who had been riding with him.
Athletic director Jeff Long says Petrino misled him and gave Dorrell $20,000 at one point, though he said he couldn't disclose what it was for. He says Petrino was fired "with cause" -- meaning he will not receive a multimillion-dollar buyout -- and there were no discussions about ways to keep Petrino at Arkansas.


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"The truth does not change according to our ability to stomach it."
Opinion > Politics
What the Presidential Election Reveals About the American Soul
With the death this week of Chiara Lubich, founder of the Focolare movement, the passing of the generation that founded the lay movements and greatly influenced Vatican II is accelerating. St. Josemaria Escriva, founder of Opus Dei, died in 1975, and Servant of God Dorothy Day, founder of the Catholic Worker movement, died in 1980. Within… READ MORE >
Opinion > Politics
None of the Above: The Only Vote Worth Casting in November?
As I listened to John McCain's victory speech Tuesday night, spelling out the themes of his general election campaign—no apologies for the Iraq war, fight the "global war on terror" like it's World War IV, keep taxes low, and global markets free—in other words, stay the course, the harsh reality of having to choose between him… READ MORE >
Opinion > Faith
Looking at the Pew Study: Danger Ahead?
What are we to make of the negative Catholic headlines last week from the Pew study of religious affiliation? "Catholicism has experienced the greatest net losses as a result of affiliation changes" … "Approximately one-third of the survey respondents who say they were raised Catholic no longer describe themselves as Catholic" …… READ MORE >
Opinion > Spirituality
The Joy of Nada—Doing Nothing for Lent
Pascal said "the sole cause of man's unhappiness" is that he doesn't know "how to stay quietly in his room." That suggests something you can do for Lent—nothing. It's not too late. If you've forgotten how, "All Nothing, All the Time," a travel article in today's New York Times, can help. "Aggressive… READ MORE >
Opinion > Science/Tech
Sunny Anand and the Hidden Pain of the Unborn
Annie Murphy Paul's "The First Ache," which appeared in last Sunday's New York Times Magazine, is the perfect companion piece to Austen Ivereigh's "A Question of Empathy." Both articles show how science is changing the terms of the abortion debate by "personifying" the unborn. In Paul's fascinating article, she zeros in… READ MORE >
Opinion > Faith
GodSpy 2.0: Engaging Secular Culture
After a lengthy hiatus, today—Ash Wednesday, the beginning of Lent— we resume publishing GodSpy in a new daily blog/magazine format. It's never been our style at GodSpy to do much public navel-gazing about what we're doing. We prefer to let individual writers have their say, and focus on what's happening in… READ MORE >
Opinion > Issues
The Pope, the 'La Sapienza' Protests, and the Death of Irony
The sad irony of the recent protests at Rome's La Sapienza University that kept Pope Benedict XVI from speaking there was that they were based entirely on a mistake. Not only was the source of the protests—a 1990 quote about Galileo lifted from a speech given by then Cardinal Ratzinger—taken out-of-context, the statement… READ MORE >
Opinion > Issues
Michael Massing: An Inconvenient Truth Teller
Two years ago for GodSpy I interviewed press critic Michael Massing about his Columbia Journalism Review essay that criticized the New York Times for ignoring public concern about the harmful effects of pop culture on children. In an interesting twist, Massing in the New York Review of Books this week cites a GodSpy interview in an essay he's… READ MORE >
News > Culture
Scholar sees a Catholic in the Bard
Another book arguing that Shakespeare's plays were written from a Catholic perspective. It's too bad, but until there's hard evidence that Shakespeare was a practicing Catholic, the literary establishment will keep ignoring these books. The best one so far is Claire Asquith's Shadowplay. READ MORE >
Opinion > Culture
Norman Mailer, subversive conservative
Since Norman Mailer's death two weeks ago there's been an outpouring of eulogies about the "passing of the sixties generation." As a Catholic, I've always been attracted to Mailer because he perfectly embodied the contradictions of that era. Part drunken orgy, part moral crusade, the sixties at times was like a distorted, bizarro… READ MORE >


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MAIDUGURI, Nigeria (AP) — Police on Thursday blamed a radical Islamist sect for attacks that witnesses say left 18 people dead over the past two days in Nigeria's troubled north, part of a cycle of spiraling violence that is exacerbating religious tensions and that the government has been powerless to stop.
Meanwhile, members of a largely Muslim community in the small village about 30 miles (50 kilometers) from Nigeria's largest northern city of Kano turned against its Christian minority after a trader was accused of insulting the Prophet Muhammad, police said Thursday. Although police say nobody died in the violence, a witness reported seeing four dead bodies.
Christians and Muslims have lived together peacefully across the country of 160 million for years, but the growing violence is creating a climate of religious distrust and local communities have lost faith in the government's ability to protect them.
Suspected members of the radical lslamist sect known as Boko Haram carried out three attacks Wednesday and Thursday in different parts of the northeastern city of Maiduguri, said Borno state police spokesman Gideon Jibrin. Jibrin declined to say how many people had been killed overall, but witnesses said 18 people died — including three children.
Boko Haram did not immediately claim responsibility. The group is believed to be responsible for more than 740 deaths this year alone, according to an AP count, and is also blamed for attacks targeting mosques, churches, schools, phone masts and government buildings.
Separately, Kano state police chief Ibrahim Idris said Thursday nobody died in the religious violence in a town in the state, but resident Sadiq Ahmed said he saw four dead bodies outside Christian-owned shops that had been set ablaze. Ahmed also said he saw a burned-down church.
Idris said he believes the trader was misunderstood and that the situation is now calm.
Earlier this week, a Christian vigilante group in central Nigeria killed a Muslim resident after he defied an illegal checkpoint the group had put up to protect their church from a Boko Haram attack, even though the sect had not previously struck in that area. The killing sparked riots that left 10 people dead.
President Goodluck Jonathan, whose government has responded to the crisis by sending more troops to the most affected areas, recently said on state-run television that Boko Haram remained a "faceless" group and that there was nobody for the government to meet with to seek peace.
Associated Press writer Salisu Rabiu contributed to this report from Kano, Nigeria.


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The Shoebox Inn's Ode-to-the-50's Kitchen
Carol and Jeff Sayre own a small vacation home in Seaview, Washington, just three hours south of Seattle. Since the family spends most of its time in the city, they've opened the home to friends and family who need a quiet getaway. Dubbed "The Shoebox Inn," the home is a charming, cozy little cottage, befitting the small, cozy town it's in! The kitchen is a delightful throwback to the 1950's, too, especially with the original 1957 Zenith Range...
As Carol tells Apartment Therapy, "I'm sure it was the height of modern luxury and convenience when it was first made. It reigns like the 'homecoming queen' in the kitchen, setting just the right mood."
In fact, the 1950's feel of the kitchen—with its peach and turquoise color scheme and vintage accessories (all intentionally done by Carol)—is her favorite element in the cottage. She cites her Grandma Betty as inspiration, "a woman who had both an aesthetic eye and a good sense of practicality."
→ See the Full Tour: The Shoebox Inn at Apartment Therapy
Related: Before & After: Modernizing a 1950's Bungalow Kitchen
(Images: Bethany Nauert)


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There's never been a better time
to apply to Otterbein University.
Apply online today!
Read our newsletters and crime alerts for updates and tips to keep yourself from becoming a victim of crime.
Cardinal Safety Newsletter
Crime Alerts
National and local coverage of survival training provided by the Otterbein Police Department in the aftermath of the Chardin, Ohio school shootings:
Thursday, March 1, 2012
School Shootings: Otterbein Trains Students to Respond to Campus Shooters
StudentAdvisor, a Washington Post Company, details how Otterbein University actively trains students, staff and faculty members on how to respond in a shooting crisis.
Wednesday, February 29, 2012
Otterbein University Teaches Students Survival Skills
ABC 6 TV in Columbus, Ohio provides a firsthand look at survival training conducted at Otterbein.
Training is key when facing a school shooter
The Columbus Dispatch publishes an op-ed on survival by Otterbein University Police Chief Larry Banaszak.
Chardon High School emergency plan prepared community for shooting tragedy
More from Otterbein Police Chief Larry Banaszak on surviving a crisis.
How to respond when a gunman roams the halls
Otterbein Police Chief Larry Banaszak shares survival advice with CBS News.
More tips on surviving a school shooting
Police Chief Banaszak shares his survival expertise with Fox News.
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One of the most talented (and imitated) artists working in California in the 1940s and 1950s was Hedwig "Hedi" Schoop (1906-1996). She designed and modeled almost every piece in her line. Though her ceramic creations include vases, plates, bowls, ashtrays and other forms, Schoop's figurines of men and women are the most popular with collectors.
In 1933, Hedi Schoop fled Nazi Germany with her husband, composer Friedrich Hollander, and immigrated to Hollywood, Calif. Schoop amused herself by creating figural plaster dolls dressed in fashions of the day. Upon successfully showing them at the Barker Brothers department store in Los Angeles, Schoop switched to the more permanent slip-cast ceramic medium and opened a small Hollywood studio where she produced and sold her creations.
In 1940, shortly after a move to larger quarters, Schoop began calling her business "Hedi Schoop Art Creations"; it would remain under that name throughout the life of the business. Schoop's company employed more than 50 workers turned out as many as 30,000 pieces per year in the late 1940s.
Hedi Schoop's creations are often figures caught in motion – with arms extended, skirts aflutter, heads bowed – and serve a purpose in addition to decoration. She designed shapely women with skirts that flared out to create bowls and women with arms over their heads holding planters. She also produced charming, bulky-looking women with thick arms and legs.
When TV lamps became popular, Schoop used her talents to create them in the form of roosters, Art Deco Tragedy and Comedy masks, and elegant women in various poses.
Hedi Schoop Art Creations used a variety of marks ranging from the stamped or incised Schoop signature to the hard-to-find Hedi Schoop sticker. The words "Hollywood Cal." or "Hollywood, Calif.," can also be found in conjunction with the Hedi Schoop name. Items with a production number and artists' names or initials are also found.
Hedi Schoop was imitated by many artists, especially some decorators who opened businesses of their own after working with Schoop. Mac and Yona Lippen owned Yona Ceramics, and Katherine Schueftan of Kim Ward Studio used many of Schoop's designs and today have their own following among collectors.
There were others, but Schueftan lost a lawsuit Schoop had brought against her in 1942 for design infringements.
A fire destroyed the Schoop pottery in 1958, at which time she sold many of her molds and did some freelance work for other California companies.
Schoop retired from working full-time as a ceramic designer in the early 1960s, but her talents would not let her retire from art completely; she focused on her painting throughout her semi-retirement, which lasted until she died in 1995.
It is important to buy pieces marked "Hedi Schoop" or buy from a reputable dealer if you want to be sure you have an original Schoop piece.
Considering the number of products created, it would be easy to assume that Schoop pieces are plentiful. However, surprisingly few are offered at any given time.
Collectors will find Schoop figurines selling for anywhere from $20 to several hundred dollars, depending upon the design and condition. To amass a large Hedi Schoop Art Creations collection will take time, patience, dedication and determination.
For more trade news, auction reports, research and expert columnists, get a year (26 issues) of Antique Trader magazine for just $1 per issue!
More California Pottery news from Antique Trader:
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• For more trade news, auction reports, research and expert columnists, get a year (26 issues) of Antique Trader magazine for just $1 an issue!


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Bold shot gives Villegas lead, jolt of confidence
Bold shot gives Villegas lead, jolt of confidence
Mar. 01, 2013
PALM BEACH GARDENS, Fla. (AP) — So much has gone wrong for Camilo Villegas that it would have been easy to play it safe in the Honda Classic.
He was one shot out of the lead and in the middle of the fairway on the par-5 18th hole at PGA National, 263 yards from the flag with a big lake between the end of the fairway and the green. Villegas never gave it a second thought.
"I had a perfect number there," he said Thursday. "It was just a normal 3-wood. My caddie said, 'Where are you going to go with this one?' And I said, 'I'm looking straight at the flag.' And I hit a great shot."
The 31-year-old Colombian drilled his shot over the water and onto the green about 8 feet away to close with an eagle for a 6-under 64, his lowest opening round on the PGA Tour in more than a year. It also gave him a one-shot lead as he heads into the second round Friday when the greens at PGA National are at their best.
The eagle put him atop the leaderboard over four players, including rising South African star Branden Grace and Rickie Fowler. Grace finished with four straight birdies for his 65 in his first round at the Honda Classic.
Defending champion Rory McIlroy and Tiger Woods each opened with a 70 and walked away feeling much differently about their day.
Woods played in the cool, cloudy morning and was in danger of a big number late in his round when he decided to take off his socks and shoes, don rain pants and step into a creek to play a shot half-submerged in the water. Instead of taking a drop that could have led to double bogey, he escaped with par and rallied for a 70.
"I wasn't trying to advance it very far, just make sure I got it back in the fairway and give myself some kind of wedge shot in there, which I did," Woods said.
McIlroy was 1 under for his day when his wedge from 105 yards sailed over the 18th green, he chipped to just inside 8 feet and took bogey when he missed the putt. It felt even worse coming on the easiest hole at PGA National, which played about a half-shot below par.
"I only had 105 yards in for my third shot and ended up taking a 6," McIlroy said. "Wasn't the nicest way to finish. I saw enough pretty good golf out there to be positive going into the next few days."
Villegas will take just about anything positive at this stage in his career.
He was a rising star when he won back-to-back FedEx Cup playoff events in 2008, and rose to a career-best No. 7 in the world the following year. But the last 18 months have brought nothing but trouble, a slump so severe that Villegas lost his full status and didn't come particularly close to getting it back at Q-school last year.
Villegas is playing this year on sponsors' exemptions and is popular enough to build a full schedule. But he needs to perform, and he hasn't had a great start to the year with two missed cuts and a middle-of-the-pack finish in the California desert.
"This game is great when you're playing good," Villegas said. "When you're out here missing cuts and missing cuts, I don't care what people say. Yes, we're blessed to have this job, but it's not that much fun. ... The game was kicking my butt a little bit. That's a good way to put it. But I know who I am. I know I belong out here. I know how good I can be, and therefore, that's why you're just going to keep your head up and keep working."
Villegas won the Honda Classic in 2010 at PGA National, so he at least has that to build on.
Grace, part of the core of young South Africans on the rise, had heard plenty about the water and trouble on Nos. 15, 16 and 17 , a stretched dubbed "Bear's Trap" in honor of course designer Jack Nicklaus. He saw it on TV and talked to Charl Schwartzel about it last week.
And he brought a little trepidation with him to PGA National.
"I sat down with Charl last week at the Match Play and he said, 'Listen, the four finishing holes are quite a beast out there.' So I was a little nervous coming here," Grace said. "I just thought, 'What's going to happen around that corner?'"
The first one was easy after a tee shot into 2 feet on the par-3 15th. He holed birdie putts of about 18 feet on the next two holes, and then his 3-iron barely cleared the water in front of the green on the par-5 18th, leading to a simple up-and-down to finish in style.
Dustin Johnson, coming off two missed cuts and a first-round loss in the Match Play, sorted out his issues with the driver and opened at 66 to join a group that included Lee Westwood, Sean O'Hair, Boo Weekley and Ben Kohles, who won back-to-back Web.com Tour events last year in his two starts after turning pro to earn a tour card.
Woods didn't hit it all that poorly, except for his tee shot on the par-4 sixth, with the tees moved forward 40 yards. He drove it left and down the bank into the water. Because of where it first crossed the hazard, he would have had no chance to get near the green after a penalty drop. Woods saw enough of the ball to give it a shot.
He removed his shoes and socks as the gallery came to life. The ball shot out with a big splash, leaving Woods about 80 yards to a front pin. He hit wedge to 8 feet and saved par.
"I was 1 over at the time, and if that ball is not playable from where it's at, where I crossed was pretty far back," Woods said. "Looking at 6 — 3 over — and all of a sudden I flip it, make par there and birdie the next."


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Maya This sounds really good.. what kind of activities are you looking at doing? This will sound dumb but i made a trip today and profile but cant see where to post my link into on my profile?
Trip | Around the world with the tightest budget starting frm Asia
Travel Forum 6 years ago
Travel Forum 6 years ago


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It's Election Day! Regardless of which side of the political platform you stand on, involve your kids in this historical day, take them to vote with you and help them understand what democracy means.
There are a handful of great online resources that can provide kids with everything they would want to know about this election, the candidates, the Electoral College process and much more:
For elementary school-age kids, this mini site provides an in-depth overview of everything from the candidates to a chronology of major events leading up to today's election.
Nickelodeon provides kids with background on Obama and Romney, their platforms and even lets them figure out what their best-suited government job through a fun quiz.
Aimed for kids in grades 3-6, The Democracy Project provides interactive election-themed exercises, educational tidbits and fun facts including the candidates' favorite foods!
In addition to current election information, this mobile app takes a deep dive into American Presidential history, with detailed information about past leaders.
Aimed for kids ages 7 and up, Basher's Presidents is another great app about the Presidents, past and present, which is accompanied by quirky illustrations.
If you have a question for Screen Play or would like to submit a product for consideration, please contact firstname.lastname@example.com.


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The Comfortable and Affordable Rena Lounge Chair and Ottoman
Jan 17, 2011 1:43:09 PM
Most people have the idea that modern classic furniture, because of its sleek lines and spare styling, is uncomfortable, but nothing could be further from the truth. Take, for instance, EZ Mod Furniture's Rena Comfort Lounge and its matching ottoman. Its simple lines are far from traditional furniture styles, yet the effect is more plush and inviting than cold and uncomfortable. Upholstered in high-quality dark brown leather, the Rena Comfort Lounge and Ottoman makes an ideal place to sit back, put your feet up and relax.
The backrest on this inviting lounge chair angles back and features "wings" on either side to either rest your head or lean up against. The generous dimensions of the chair give you plenty of room to take a cozy nap or relax while you watch your favorite television show: just over 23 inches in width, with a backrest of 32.6 inches in height. The matching ottoman is 23.6 inches wide and equally long. Both the ottoman and the seat of the lounge chair rise just over 15 inches from the floor, making it easy to sit down on or get up from when you are done relaxing.
The Rena lounge chair and matching ottoman have the familiar sleek styling of modern classic furniture that makes it an elegant, functional and sophisticated addition to any room in your home you wish to relax in. While supported by a sturdy wooden frame for shape and durability, the lounge and its matching ottoman are completely encased in foam padding and topped by luxurious dark brown leather. Since no wood or framing elements are visible, the chair has a very clean, organic line that gives it the look of a living organism that grows up from the ground especially for your comfort. While still looking plush, the simple lines and uncomplicated features put it firmly in the modern classic furniture design group rather than the more traditional fabric upholstery and wood concoctions that are seen in so many homes.
EZ Mod Furniture is proud to offer people the bestmodern classic furniture
designs such as the Rena Lounge Chair and Ottoman. We pride ourselves on offering high quality furniture for your home or office at unbeatable prices and the Rena chair and ottoman are no exception. Where most furniture stores would sell this stylish and comfortable modern classic duo for nearly $1,400, EZ Mod offers it for just $899. To save you even more money, EZ Mod offers free shipping on any order within the continental United States. For the best quality and prices inmodern classic furniture
designs, shop EZ Mod Furniture
Emily G
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March 28. 2014 5:39PM
Deadly Seabrook mobile home fire not intentionally set
SEABROOK - The Attorney General's Office has identified the person found dead in a Seabrook mobile home fire Thursday, but is not releasing the name pending notification of the next of kin.
In a press release late Friday, the office said fire investigators have found no indication that it was an intentionally set fire.
The office said two adult men were living in the mobile home at 50 B Street, where Seabrook fire fighters found a body in a bedroom while bringing a fire under control Thursday morning.
Despite original conflicting reports about how many people lived in the home, authorities detemined it is most likely there were two adult men living in the home.
One of those men was found alive at the scene, while the other is unaccounted for and appears to be the man whose body was found in the home. An autopsy was conducted at the office of the chief medical examiner, but the exact cause and manner of death is undetermined at this time.
The investigation into the fire and the discovery of the body is ongoing and no additional news releases are expected until next week.


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In my recent post, I talked about the need for Agility, Authenticity and Passion, along with the "four C's" which describe the pillars of great marketing today. Let's take a look at some examples of great marketers and great companies who are putting these pillars into practice.
• Customer-centric. Customers are in control. They decide how and when to connect with you and your company and they vote with their online voice, dollars and attention. Customer engagement—an elusive achievement—is the No. 1 asset to a business today and the No. 1 goal for marketing to pursue. Customer engagement is only possible when customers' wants and needs are put at the center of everything we do.
A simple and elegant example of customer-centricity is My Starbucks Idea. By encouraging customer-generated ideas, Starbucks allows individuals to post and vote on new ideas for Starbucks offerings. During the last five years, there have been 275 customer ideas that have been turned into Starbucks products. Customer-centric innovation enhances customer loyalty and customer experience, and in turn drives business results.
• Curious. Navigating channels and capabilities that crop up overnight requires an innate sense of curiosity and a proactive zest for continual learning. Staying current with and then leveraging warp-speed trends and developments is a must-have tool in every marketer's toolkit.
For example, Sony Music Entertainment, with the help of Universal Mind, was able to create an emotional and engaging connection between fans and artists with a special customer experience via the latest digital and mobile technologies. Jimi Hendrix—The Complete Experience is an iOS 5 app built on Universal Mind's pioneering Digital Experience Framework which provides customers with a rich story via videos, text, photos, audio, gaming and interactive graphics for mobile devices. During its first week in the App Store, the Jimi Hendrix app became No. 2 among free iPad music apps.
• Communicative. Content and communication are cornerstones of marketing today. It is no longer viable to broadcast messaging; true interactive communication that is relevant to your customers is the way to win hearts and minds. More communication is not better. Relevant, meaningful content and conversations that cut through the clutter is what matters.
American Express is a great example of a company that understands how to communicate openly and relevantly with their small-to-midsize business customers. American Express OPEN is a branded community that leverages social media to connect, communicate and engage SMBs in highly relevant content—not about AmEx products, but about topics most important to SMBs. Relevance drives revenue and for AmEx, knowing how to help their customers via relevant content and connections, has resulted in high levels of SMB engagement and loyalty.
• Connected. The rise in peer-to-peer marketing networks is indicative of the power and importance of building bridges and networks. As Porter Gale, former CMO of Virgin America, eloquently points out in her latest book title, "Your Network is Your Net Worth."
For me personally, as a member of several peer-to-peer marketing associations such as The CMO Council, The CMO Club, BMA and others, I have experienced tremendous benefits as a result of my peer-to-peer marketing connections.
As our marketing and business landscape shifts incessantly, we need to redefine how to survive the shifts, switches and turns. Adopting a new mindset, approach and skills requires courage and determination. I suggest starting with the "four C's" : being Customer-centric, Curious, Communicative and Connected.
What do you think?
Sandra Zoratti is an author, speaker and marketer. You can find Sandra on LinkedIn, Twitter @sandraz and on her website, sandrazoratti.com.


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The Daily Word in the U.S. winning, Chick-fil-A kiss-in, Jenna Jameson hearts Mitt
U.S. Olympians had a record-setting day with Gabby Douglas becoming the first African American to win the women's gymnastics all-around and Michael Phelps three-peating gold in the 200-meter individual medley.
Oh, and the men's bball team put up an Olympic-best 156 points against Nigeria. That still doesn't answer my question as to why we haven't been able to view their games on regular TV.
Not much change in the job market.
Balloon Fiesta vendors are worried about what they say could be price-fixing at this year's event.
Where Chick-fil-A ranks in terms of major companies with controversial policies.
Speaking of which, today is "National Same Sex Kiss Day at Chick-fil-A."
Santa Fe bus driver admits to multiple instances of sexual misconduct, but isn't jailed.
Sexist photography at the Olympics?
French president fulfills his promise of cracking down on the rich.
Wojdan Shaherkani became the first Saudi woman ever to compete in the Olympics.
It's tax-free weekend in New Mexico.
The worst commercial for ice cream of all time.
Mitt Romney gains the support of what appears to be a hunk of humanoid plastic that calls itself Jenna Jameson.
Proof that Ryan Lochte is the frat-boy version of Jeff Spicoli.
And because you know you need to know, a little more info on "Gangnam Style."


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Not another brilliant movie being made into a bloody opera…
November 7, 2017 by norman lebrecht
We had The Exterminating Angel, by Thomas Ades, after the film by Luis Bunuel. An evening-length meander by a huge cast of characters, none of them defined. All the hype in the New York Times can't get audiences excited about it.
In London, we're about to see Marnie by Nico Muhly, after Hitchcock, at English National Opera.
Sophie's Choice was a dire opera at Covent Garden. Dire, dire, dire.
What ever became of Brokeback Mountain, the movie composed by Charles Wuorinen? It premiered in Madrid, was seen once in Germany (at Aachen) and then faded from sight.
Now here's another one: Ingmar Bergman's Persona, composed by Keeril Makan, is showing at LA Opera.
Has opera lost all creative invention?
Do we have to cannibalise movies?
Can no-one think of any new stories?
Oh, here's another: Houston Grand Opera presents, The House without a Christmas Tree, based on a 1972 TV film.
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Comments (56)
Should we discount all the operas made from Shakespeare plays or from ancient Greek drama? But I think I hear what you're saying.
Both are going strong in the oevre of Aribert Reimann.
Actually, Norman, Brokeback Mountain will be staged at New York City Opera finally in Spring 2018, in a way where it was originally intended to be premiered, although not strictly the same company. As you will know already, it has been produced previously in Madrid, Aachen, and Salzburg, which is not bad for a contemporary opera. There is good reason to think there will be more productions as well.
I think you mean Sophie's Choice dear
Given the huge 'revision' done by Hitchcock to the Graham novel, I think we can say that 'Marnie' is based on the book not the film!
Of course there are people who can invent new stories. They can even invent new music that audiences actually want to hear. But then, they have to turn their back to trendy nonsense and that requires – for people writing operas and librettos – giving-up their cultural identity as "Modern Individuals", as it has been practiced since 1950.
When opera houses, after very long periods of deep deliberation and struggle to overcome both financial and aesthetic inhibitions, decide to produce a Modern Opera, they look into the New Music Circuit, a field they usually try to avoid on all costs, and see what is 'hot' there. And then, they pick-out the composer who is talked about most of the time – i.e. within that circle – without realizing that, like a drain pipe, the new music which is talked about most, is the Most Conventional Outdated Music possible, the type which sinks the most easily to the level of degradation which has been cultivated with special care since Le Grand Macabre by Ligeti:
Isn't "The Marriage of Figaro" the greatest opera of all time? Isn't it based on a pre-existing play?
I don't think I understand this objection.
No. Don Giovanni is the greatest opera of all time.
I would have agreed with you had not that silly ending entailed people coming on stage and saying "well, that's what happens to people who…."
Here's a fun game. Try coming up with the name of an opera that's NOT adapted from a prior source such as a book or play; film is simply a relatively younger storytelling medium (at 100+ years) that required the invention of new technologies.
"Dardanus" (Rameau)?
Add Cold Mountain, Dead Man Walking, The Fly, Lost Highway, and Silent Night, among others. Disney has turned nine of its films into stage musicals.
A good list. I enjoyed Dead Man Walking, the Jake Heggie one, but then I wasn't familiar with the movie. Would you call that movie brilliant?
Another angsty Bergman flick just opera-ized: AUTUMN SONATA.
(Nobody now has a problem with Sondheim's A LITTLE NIGHT MUSIC, though–since it's got "tunes.")
Some of these operas are, in the long tradition of opera, based on literary works, not movies.
Sophie's Choice is a novel by William Styron. Alan Pakula directed and produced a film based on the novel. (Spielberg had nothing to do with it despite being mentioned above).
Brokeback Mountain is a short story by Annie Proulx, which was adapted into a movie.
Marnie is a novel by Winston Graham.
Opera is a dead art from. The only way to get audiences these days to go to the opera house is to have the work be a staged orgy with techno music in the background. Everything else is derivative.
In agreement with NL. Given the choice between film and post-film opera I will opt for the former. These new operas are nothing but post-modern (post-mortem?) deconstructivist exercises in art school "process" or "method". But hardly inspirational let alone noteworthy aesthetically or dramatically. They will be as quickly forgotten and discarded as any student art project exhibit up in flames.
In case anyone is interested, here's an opera that's not based on a movie, or even a novel, and it's entirely original, with a libretto by David Cote, and music by yours truly. It was recently premiered by Nashville Opera, and had it's NYC premiere at BAM Fisher this past June. We have John Hoomes and Nashville Opera to thank for having the courage to tackle a premiere that doesn't try to use pre-existing movies or novels to sell the work.
Here are a few links…
Three Way page: http://robertpaterson.com/three-way
Amazon: https://www.amazon.com/dp/B0777H2BH7/ref=sr_1_1?ie=UTF8&qid=1510091538&sr=8-1&keywords=three+way+robert+paterson
iTunes: https://itunes.apple.com/us/album/robert-paterson-three-way-a-trio-of-one-act-operas/1308614959
Parterre Box Review: http://parterre.com/2017/06/16/triple-header/
Opera News: https://www.operanews.com/Opera_News_Magazine/2017/9/Reviews/BROOKLYN__Three_Way.html
Schmopera: https://www.schmopera.com/in-review-three-way/
Interesting: a new opera firmly rooted in tradition (what the authors call 'convention' – apparently unaware of the difference). Their point of departure is postmodern, in the sense that every sort of means are permissable and thus, also 'operatic conventions'. According to the clip, the music seems enjoyable, expressive and lyrical, and well-made. But why such incredibly trivial subject, treating the most abject and primitive underling pastimes as a lighthearted, ironic comedy? The plot of Cosi (a comparison made in the reviews) is also trivial and lacking credibility, but its treatment explores much deeper meaning. But then, Cosi's triviality is innocent and decent in comparison with this distasteful 'postmodernist' expository. How could the music, ANY music, redeem such plot? What could be heard in the clip did not encourage jmuch confidence.
Also the well-meaning, lighthearted and welcoming treatment of the reviews is quite distasteful: as if 'we all know' that this is life as it is. Imagine the plot of Strauss' "Salome" being described as an enjoyable, 'naughty' evening at a king's court.
If any sort of means are postmodernistically available, why are the best available means so conspicuously avoided?
Your comments and observations ALWAYS interest me. You may find this discussion enlightening too: these two great public intellectuals go hammer and tongs at post modernism and it's difficult to disagree with either of them.
I looked into that video until 13:46 and will see out the rest at a later moment, but obviously, Camille is going-off like a canon against poststructuralists in academia.
Sir Roger Scruton has already minced the movement, also called 'deconstruction', to very small pieces and then thrown into the dustbin, a movement which is often seen as a submovement of postmodernism, in his 'Modern Culture', in the chapter 'The Devil's Work'. Especially Michel Fuckhaule is found-out as some sort of philosophical criminal. And Derrida has given the terms 'derrision' a new meaning.
But postmodernism in the arts merely means: the situation after modernism, somewhere in the seventies when people began to realize that what was called 'high modernism' with all of its ideological assaults on culture and the past, had run its course. So, a default term. But in philosophy and in academia, something else happened, an infestation of philistine demagogy, well-described by Camille, although her diction somehow undermines her points.
I admire Dr. Paglia for her outspoken bravery. One need not always agree with what is said here but it's stimulating to hear two phenomenally intelligent people exchanging ideas like this. And I'm forever grateful that the internet provides us access to all that.
The most important thing about opera is the music, not the dramatic action. It's this combined with the dual nature of opera that limits its ability to come up with new stories. A novel or a play is not hampered by having to coordinate the story with a second medium, music. So it can be, inherently, more original. The same with film – the music is utterly secondary to the telling of the story. When the music has to come first, as with opera, original storytelling is radically more difficult. This is why no one has ever heard of the librettist (unless you're an opera buff).
Much to be said for all of this. One could say that in opera, the music offers emotional involvement with what happens inside the plot, and what we see is the outside. The music explores what happens in and between the protagonists, which – in case the music is truly expressive – can be subjectively experienced by the audience, while we can follow the actions and situations visually.
But it seems to me that the 'newness' of the story is less important than the way a subject is treated. Hence the immense differences in all the operatic variations of doomed love triangles and conflicts between love and obligation, etc. To mention only one striking and extreme example of difference: the subject of Wagner's Tristan is more or less imitated in Debussy's Pelléas but the works could not be further apart in the way such subject is treated.
In principle, I see no reason why art in any form ought not to be made into an opera if it is done well enough. As has been noted several times, many operas are based on plays, novels, epic poems, works of history, etc. Perhaps films do present particular problems. Whereas a play, a novel, an epic, a history, etc. is a narrative that can be adapted in countless different ways, a film is at once both more and less than that. A film is a complete work of art (a Gesamtkunstwerk if you like) which combines script, direction, performance, location, set, costume, lighting, makeup, soundtrack, etc. Furthermore, all of these things are preserved permanently in one definitive form (allowing for a director's cut or a remake). Whereas in the theatre no two performances are the same, in the cinema no two performances are different. Therefore to adapt a film is to do something that the artist almost certainly never intended. Shakespeare would have known that his plays would be performed by different actors in different theatres, often with very significant changes to the script (since so many of his plays are based on Greek and Latin classics he presumably also foresaw the likelihood that he would himself be translated). Sets, props, costumes, lighting (such as it was), and music would all be different with each production. He probably would not be astonished to see that his plays have been adapted as films, operas, and ballets. A film is intended to be replicated exactly every time it is screened, shown on TV, streamed online, etc. The other problem I foresee with many potential film-to-opera adaptations is that music is already an essential part of many films. If Psycho, The Third Man, Schindler's List, or any film in the oeuvre of Woody Allen were to be adapted as operas the soundtrack would need in some way to be carried over into the opera score. An opera of Hannah and Her Sisters with the music of Bach, Puccini, and Cole Porter, or an opera of Manhattan that does not open with Rhapsody in Blue? It sounds impossible. No doubt good film-to-opera adaptations are possible, but I think it presents very particular problems.
very interesting assay! – to adapt the original music for the opera. Imagine 'Lawrence of Arabia', by Maurice Jarre – the main theme could be composed into a wonderfull aria – T.E overlooking the desert…..plenty of drama
Or perhaps an "original" opera based on "The Seven Pillars of Wisdom" by T.E. Lawrence (which was the basis for the movie)…
Yes! How did I forget the score to that film?
Coming soon: The Lego Opera, which is based on the Lego Movie, which is based on Legos, which are little plastic shapes that snap together.
A Lego opera looks perfect for serial Music (sorry, sonic art).
The Sopranos : The Opera
I can't wait
This Marnie is based on the book, not the film.
and let us not forget Previn's Streetcar Named Desire much as one might wish to. I've long thought that opera composers choose stories already known because audiences are more likely to attend – for a start there'll be no impenetrable plot to deal with – and, because they know what's going on, they are more likely to focus on the music or at least return after the interval.
Brokeback Mountain? You mean the one having its US premiere in New York in May 2018..?
Andrew Lloyd Webber could cobble an opera together I am sure if he was asked and paid.
Every prostitute, if well-paid, will be subservient.
Its very odd the 21st century has seen advances in medicine, science and technology undreamed of 100 years ago. The same cannot be said of "classical" music, the quality of which is worsened in 100 years! Fancy that. Two world wars killed off any talent for sure.
It's a bit more complicated than that…. In art, there is no progress as there is in science and technology, and apart from the wars depleting the amount of spiritual hope, which is the basis of serious music, since the 19th century composers have felt the need to imitate the progress noticed in other fields. (But the only thing getting 'better' is the cumulative territory of means, NOT artistic quality.) Hence the extreme fear of composers to be seen as using means 'from the past', which may give them an image of being 'conservative'. It is all an enormous misunderstanding, eating away at the art form. For audiences, music by Beethoven or Chopin is not old at all, but something timeless and much alive. For composers, it is merely a historic relict, so that they cannot learn anything from that music. Interestingly, many 'modern composers' who consider themselves 'progressive', perpetuate the 'new' of half a century old. They don't seem to understand that if you are looking back to go forward, you better look farther back, to better periods.
This taboo has meanwhile also spread in the orchestral field: if obligation requires, occasionally, a 'new work', programmers are very anxious to put something hip or modernistic in the program, not based upon quality or wether it will be accessible to the audience, but whether it will be a 'modern gesture'. So, audiences remain oblivious of the few composers who explore older musical languages and turn them into their own personal expression, like David Matrthews (UK), or Nicolas Bacri (FR), or Peter Fribbins (UK), or a composer I recently discovered and who writes superb chamber music rooted in 1900 France: Jeremy Cavaterra (USA). http://www.youtube.com/watch?v=Rq4DZEd_S94
I'm not sure that it needs to be as complicated as that. I tend simply to say that there is music that I like and music that I do not like, and it does not necessarily have anything to do with when the music was written or whether the composer was self-consciously modern.
For example, I enjoy Valentyn Sylvestrov, Sofia Gubaidulina, and Arvo Pärt, but I do not enjoy Boulez, Stockhausen, or Birtwistle. Is this because Sylvestrov, Gubaidulina, and Pärt are less modern? Is it because something in their melody, harmony, counterpoint, orchestration, and so on is somehow grounded in earlier models? Interestingly, Gubaidulina, and Pärt are devout Eastern Orthodox Christians. I am not sure about Sylvestrov's personal faith, but I do know that he at least draws inspiration from the same Eastern Orthodox Christian tradition.
I've also long admired that group of Polish composers who came to prominence either side of the Second World War: Lutosławski, Panufnik, Górecki, and Penderecki. I understand that Panufnik eventually rejected the Catholic faith, whereas the other three were all more or less religious people. Certainly a strong religious influence is seen in the work of Górecki and Penderecki. If not grounded in a strong religious faith, Panufnik was nonetheless profoundly interested in Polish history and the history of Polish music. Perhaps there is a correlation between this sense of connection to something ancient, and perhaps even timeless, and the ability to produce a modern kind of music that nonetheless retains an appeal to a wider public and to the ear and the heart as well as the mind.
That said, John Rutter, though I believe not himself a believer, composes explicitly Christian music which I find wholly lacking in interest, if superficially pleasing. And Karl Jenkins's The Armed Man draws upon Christian and non-Christian religious traditions, classical, English, and Japanese poetry, musical history, and the history of warfare, and, though hugely popular, is generally considered to be a work of little musical interest.
and let us please not forget Gerald Barry's "The Bitter Tears of Petra Von Kant" which word for word sets all of the Fassbender film and dispatches it in less time. A wonderful, bracing experience, and one of ENO's finest commissions.
Spot-on, by the way in your judgement ("an evening length meander") on Adès's latest opera.
Barry likes to insult and humiliate:
Ades is gifted but has difficulties to get under the surface and thus should better avoid such undertaking like an opera.
Thanks for the link to this typically deadpan piece from Barry. A thin line between success and disaster with this kind of aesthetic , and Barry gets it 'right' on this occasion. His recent opera 'Alice' slipped into self-parody.
Whatever the case, wildly different from either John Barry or the composer who shares his same initials: George Benjamin.
Not another tiresome opinion about something that hasn't even been written yet
It should be noted that on the announcement page of LA Opera, the name of the composer is not mentioned, and can only be found in the list of the 'creative team', among other contributors. This clearly demonstrates that the 'music' is considered only a minor part of the whole production and quite inconsequential. So, if the opera company already thinks beforehand that the music is inconsequential, this shows that it thinks that it is normal that de music cannot contribute much. So, the degeneration of the art form is already entirely accepted by the company, hence the LOUDLY advertised link with the Bergman movie.
So, a theatre play with sounds between the thoughts, really.
I don't know what you mean, Keeril Makan's name is on the top of the Persona page – https://www.laopera.org/season/1718-Season/persona/
Maybe see the work before passing judgment.
Indeed I was wrong – I missed it, scrolling down.
Alex, it sounds a bit 'stupid' that Karl Jenkins's The Armed Man, is, 'though hugely popular, is generally considered to be a work of little musical interest'.
What I mean is that it is very popular but is not very interesting. It ranks at no. 88 in the Classic FM Ultimate Hall of Fame and is the 13th most popular work by a living composer in the most recent edition of the Hall of Fame. And yet it is simply not a very interesting piece of music. It fails to stimulate the mind and does nothing to reward further listening. Of course, that is only my personal opinion. I prefer to listen to the composers mentioned above: Sylvestrov, Gubaidulina, Pärt, Penderecki. Similarly, Thomas Kinkade and Jack Vettriano are considerably more popular than, say, Lucian Freud and Francis Bacon, or Klee and Kandinsky, but I do not believe that anybody with a serious interest in art would describe them as better or more interesting painters.


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|Anonymous | Login | Signup for a new account
|Main | My View | View Issues | Change Log | Roadmap
|View Issue Details [ Jump to Notes ]
|[ Issue History ] [ Print ]
|View Status
|Date Submitted
|Last Update
|2011-04-25 20:03
|2017-02-13 18:49
|Assigned To
|OS Version
|Product Version
|Target Version
|4.05.0 +dev/beta1/beta2/beta3/rc1
|Fixed in Version
|4.05.0 +dev/beta1/beta2/beta3/rc1
|0005256: Processes opened using Unix.open_process* inherit all opened file descriptors (including sockets)
Processes opened using Unix.open_process in POSIX systems are spawned using fork(). Therefore, they inherit all file descriptors opened by the calling process.
This leads to many unfortunate minor issues. For instance, if the calling process has opened a port and crashes after calling the external process, then the port remains open until the external process terminates..
More importantly, this is a source of potentially important security issues. By default, processes spawned with Unix.open_process* will have access to any opened file or socket, allowing them to read files' content or sniff network traffic..
I am attaching a simple file that spawns an external process reading a "secret" file.
I do not know whether this is considered as a bug or not for you (or maybe even already known) but I think this may be of sufficent importance to put a Private status until you decide what to do.
Concerning a possible fix, I think the problem is not obvious. In believe that at least this issue should be properly documented in Unix.mli.
I have been reading through different source code and I found the following interesting portable implementation of "closefrom" from openssh's code:
http://anoncvs.mindrot.org/index.cgi/openssh/openbsd-compat/bsd-closefrom.c?view=markup [^]
I believe that a good OCaml solution would consists of the following:
* A optional hook in Unix.open_process* to execute any given function before spawning a process
* A default implementation of closefrom
This way, the programmer could simply pass fun () -> Unix.closefrom 3 to Unix.open_process* and make sure that all file descriptors >= 3 are closed before spawning the external process.
Finally, I have no idea at all whether this issue is present or not under windows. It should be relatively easy to test, though.
I am willing to provide some patches/fixes if you wish so.
|No tags attached.
|Attached Files
|secret.ml [^] (508 bytes) 2011-04-25 20:03 [Show Content]
toots (reporter)
2011-04-25 20:33
I forgot to add: the issue also happends with Unix.create_process.
A quick check through ocsigen's source code shows that create_process is isued for their implementation of CGI script handlers. I have not actually written an exploit but I would not be surprised if in this case CGI scripts executed through ocsigen could possibly do some non expected things..
Also, I am aware of Unix.set_close_on_exec. However, file descriptors can be opened by external modules and it may be impossible to track them all and mark them close_on_exec...
toots (reporter)
2011-04-28 03:56
Hi again,
Just a follow-up concerning the possible fix mentioned above. I realize now that "closefrom" is not ideal because by default Unix fd are abstract objects..
I see two possibilities:
* Implement "closeall" which closes all fd except std{in,out,err}. Win32 has such function and it would not be hard to implement it for POSIX. However, this is not a POSIX function per-say..
* Implement a int_of_fd function in OCaml and, then, "closefrom".
I personally preffer the second one because I also believe int_of_fd could be useful for other uses, such as passing the C descriptor to an external process/code.
toots (reporter)
2012-03-14 00:22
Any input on this one? I really think it should be taken care of.. If nothing, I'm considering making it public so that it is at least documented..
xleroy (administrator)
2012-03-14 09:22
Feel free to publicize this PR so that Unix experts out there can chime in.
This is an old issue that popped up during the development of Cash (the Caml shell), in particular. The "ideal" solution is to have all file descriptors in close-on-exec mode, but it requires discipline from the programmers. (File descriptors created by Pervasives.open_in and Pervasives.open_out are close-on-exec, but not those created by Unix.openfile or Unix.socket, for compatibility with the Unix specs.)
Also, a long time ago we experimented with a closeall()/closefrom() function that did not use /proc/<pid>/fd, and it was really slow to call close() on thousands of potential file descriptors. The /proc/<pid>/fd trick is nice but not terribly portable.
toots (reporter)
2012-03-15 01:08
Thanks for the details! I totally understand your concern from the language point of view.
I'll write about the issue but I do not know of any way to switch this into a public issue. If you know one, it'd be nice to do it in order to preserve the history, otherwise I'll submit another one..
xleroy (administrator)
2012-03-15 09:30
PR is in public mode now.
gerd (reporter)
2012-03-15 15:26
The Shell library in Ocamlnet solved this problem in deed by iterating over all possible descriptors, and by closing them, ignoring errors. I cannot say that this solution is terribly slow - but it is of course Unix-only. I'd not expect that reading /proc/<pid>/fd is generally faster, at least for the default 1024 descriptors (but if the limit is higher it could be).
Generally spoken, this is a design error of the Unix API. Descriptors should have better been close-on-exec by default. Currently, there is even a race condition if you exec when you have multiple threads, because the exec can happen between open() and the fcntl() setting close-on-exec. So you'd not catch this descriptor, and it remains open. (Recently, Linux added a new bunch of syscalls to address this issue, e.g. pipe2 allows one to set the flag from the beginning.)
That said, requiring from the programmer to set close-on-exec is not a safe solution (in multi-threaded programs).
My wisdom points into the direction to let the user select what is best in his case, i.e. add a switch to open_process_* whether to close.
goswin (reporter)
2012-04-04 18:50
There seems to be 4 ways to close all FDs:
- close 3-1024 - totaly unsave if dup2() is used
- closefrom(lowfd) - not present on my linux (Debian unstable, kernel 3.2)
- fcntrl F_CLOSEM - not present on my linux (Debian unstable, kernel 3.2)
- /proc/<pid>/fd - /proc might not be mounted, I would rather not rely on that
The first three also will be lots of fun if some library uses dup2(0, max_int) and the user needs that FD to remain open. There is a function fdwalk() that might be more suitable there, but again not present on my linux.
In conclusion: There simply is no sane way to close all filedescriptors, which is why CLOEXEC was added. If defaulting to CLOEXEC is not an option then the Unix API should be extended to allow the user to specify the flag (e.g. open_files) or have 2 flavours of functions (e.g. socket + socket_close_on_exec).
gerd (reporter)
2012-04-04 20:49
|goswin: under Unix, you cannot do dup2(0,max_int). At most you can do dup2(0,sysconf(_SC_OPEN_MAX)-1), where sysconf(_SC_OPEN_MAX)-1 is the current maximum value for a file descriptor (e.g. 1023 on Linux or 255 on OS X). So refined method 1 is totally applicable, although inelegant. This means that there is a safe fallback method if the OS does not provide something better.
goswin (reporter)
2012-04-05 11:21
Yes, there usualy is an upper limit. My point was rather that the limit might be large:
#include <stdio.h>
#include <unistd.h>
int main() {
int max = sysconf(_SC_OPEN_MAX);
int fd = dup2(0, 1000000);
printf("max = %d, dup2(0, 1000000) = %d\n", max, fd);
return 0;
# ./foo
max = 1000001, dup2(0, 1000000) = 1000000
The usual value of 1024 (or 256 on OS X) isn't a hard limit. It can be raised and there are situations where more than 1024 file descriptors can be needed by an application under normal operations. Specifically P2P software or fuse filesystems can easily exceed the normal limit.
Having to iterate over all possible file descriptors on every exec is a fallback option but it is not something I want to do. POSIX does provide something better called CLOEXEC so I would rather use that.
gmelquiond (reporter)
2012-08-02 20:56
I just want to chime in to say that I just encountered this issue. And it is not just a matter of security; it is also a matter of usability! In order to achieve some portability, I tried to replace fork with create_process in a program; the program stopped working on Linux as a consequence (and presumably on any fork-based system too).
Basically, using create_process + pipe does not work (except on Windows). Here is a toy example that just executes the pipeline "echo toto | cat":
open Unix
let (pin,pout) = pipe ()
let p2 = create_process "cat" [|"cat"|] pin stdout stderr
let _ = close pin
let p1 = create_process "echo" [|"echo"; "toto"|] stdin pout stderr
let _ = close pout
let _ = waitpid [] p2
On Linux, this program never terminates!
Indeed, cat never receives an EOF on its input pipe, since fork has duplicated the output pipe and it can no longer be closed. Obviously, changing the creation+closing order solves the issue. But in my actual use case, this is not possible because the second process has to be created before the output pipe stops being useful.
Using closefrom in the create_process call was a lightweight and efficient solution, but it kind of defeated my goal of having a portable program. So, in the end, the best I could come with was to redefine create_process and pipe (and all the other file-descriptor producers):
let pipe () =
let (a,b) = pipe () in
set_close_on_exec a; set_close_on_exec b;
let create_process m n a b c =
clear_close_on_exec a; clear_close_on_exec b; clear_close_on_exec c;
let p = create_process m n a b c in
set_close_on_exec a; set_close_on_exec b; set_close_on_exec c;
For the sake of readability, this is just the short version without any error handling. The correct code is much uglier.
xleroy (administrator)
2012-08-06 18:09
I agree something should be done to address this issue. Trying to make progress, let me list several options.
- Option 1: change the Unix library so that all file descriptors it creates are in close-on-exec mode by default.
Probably what we should have done in the first place, in retrospect. However, this change will break all codes that use fork + exec instead of create_process. Too risky?
- Option 2: record all file descriptors created by the Unix library (we have a nifty skip list implementation in the OCaml runtime system that would be perfect for this usage); provide a "Unix.close_all_except [list of FDs]" function that uses this list; use it in Unix.create_process.
Pros: backward compatible; portable. Cons: doesn't close FDs not created by OCaml.
- Option 3: provide and use a "Unix.close_all_except" function, as in option 2, but that works over all file descriptors, created by OCaml or not. The implementation would use all tricks in the book: scanning /proc/fd, using closefrom() if available, and falling back on a "for" loop up to SC_OPEN_MAX.
Pros: a radical solution to the problem; backward compatible. Cons: #ifdef fest; can be slow in the worst cases.
[ FYI: I ran once into an IBM AIX server that had SC_OPEN_MAX = 2^15. ]
gmelquiond (reporter)
2012-08-06 21:51
Forget what I said about my small testcase working fine on Windows, it doesn't. It was just a local setup issue that was causing the waitpid call to fail, and therefore the program to terminate properly. The program does deadlock on Windows too. And that is not really surprising: the Windows port goes to great lengths to ensure that all the open file descriptors are actually inherited by the child process (while the default behavior on Windows is that they are not). So on Windows too, set_close_on_exec is mandatory for my testcase to pass.
Anyway, back to the topic at hand. If one were to start from a blank state, then option 1 would be the most sensible solution in my opinion. Breaking current programs isn't even too bad, since it is easy to modify them in a way that would work for both newer and older versions of the caml runtime. But it still feels a bit too disruptive unfortunately.
For option 2, the cons you mention are probably mitigated in practice. On Windows, a library would presumably not bother marking its descriptors as inheritable, so they would be closed anyway. And on Unix-like systems, hopefully libraries are good citizens that mark them cloexec.
Regarding option 3, I'm not so sure any longer that closefrom is a good idea. I'm thinking about bug 0005266 here. Note that I don't know if this bug can actually occur in practice; I somehow doubt it. But still, assuming it is a valid concern, what the forked process can do is rather limited. Thus it might be impossible to implement a clever closefrom, if the system does not provide it.
In the end, I'm not even sure there is something that needs to be done, except perhaps on the documentation side. Explicitly telling the user in the documentation of open_file, pipe, dup, and so on, that set_close_on_exec should systematically be called on the values returned by these functions would go a long way toward solving the problem. Then create_process could be changed to take care that the passed fds are not flagged cloexec.
gmelquiond (reporter)
2012-08-07 08:06
And for the sake of completeness, here is the suggested addendum to the documentation of openfile, dup, dup2, pipe, socket, socketpair, accept (I may have missed some):
"For backward-compatibility reasons, the file descriptor is created in a way such that it is automatically inherited by any child process (fork+exec, system, create_process, open_process*). This can lead to unexpected behaviors and has severe security implications. As such, it is mandatory to call set_close_on_exec on the returned file descriptor. For multi-threaded processes, use instead the variant XXX, which combines both calls into a single one to avoid race conditions."
gerd (reporter)
2012-08-07 12:46
gmelquiond: So far I understand, bug 5266 makes it mainly impossible to call malloc - most system calls are in fact async-signal safe, but library calls are often not. But you are right, using the Ocaml runtime is not allowed, and an implementation of the post-fork part needs to be done in C.
IMHO, the most reasonable option is number 3, together with a fast path the user can enable where descriptors are not closed - for the case the user controls the file descriptors carefully. I don't really see the slowness - even if you increase OPEN_MAX you normally do this only for processes also using that many descriptors (or you did not understand how Unix works).
Option 1 is too risky, and it will create a lot of confusion when the functions in the Unix module have different defaults than specified by POSIX. At most, one could add a ?cloexec:bool optional parameter everywhere.
Option 2: The real problem are descriptors that are partly controlled from Ocaml, and partly from a C library. You cannot e.g. track when the C library closes or dups a descriptor that was opened before on the OCaml side. So, it is also possible that there are too many descriptors in the skip list, not only too few. Overall, I think this will make the behavior more random.
I'd like to point out that I went through the implementation of option 3 already, and the result is the Netsys_posix.spawn function:
https://godirepo.camlcity.org/svn/lib-ocamlnet2/tags/ocamlnet-3.6/src/netsys/netsys_posix.mli [^]
https://godirepo.camlcity.org/svn/lib-ocamlnet2/tags/ocamlnet-3.6/src/netsys/netsys_c_spawn.c [^]
Note that it always iterates over the file descriptors and closes them (controlled by the Fda_close_except array), i.e. it does not even try to use closefrom or another accelerator. A different kind of optimization seems to be far more important, namely using posix_spawn instead of fork/exec. posix_spawn is often implemented via vfork or is a system call itself (OS X), and it is way faster then fork/exec even on an OS like Linux that delays the most expensive parts of duplicating a process. (The downside of posix_spawn: closing possibly closed descriptors requires a trick, and not all OS have it - although the "important" OS do have it - but you need a traditional fallback using fork/exec.)
If there is anything useful in netsys_c_spawn.c, feel free to copy it.
gerd (reporter)
2012-08-07 14:38
Note that we are not the only ones thinking about the problem. There was a hot debate in LKML about whether to add a nextfd() syscall:
https://groups.google.com/forum/?fromgroups#!topic/fa.linux.kernel/YCmgXbgH7qo [^]
AFAIK, there is no resolution yet, neither in the kernel nor in glibc.
There is also a very interesting description of the problem space from the Austin Group (i.e. the POSIX maintainers):
http://www.austingroupbugs.net/view.php?id=149 [^]
But they seemed to have delayed any work on the problem. The opinion is that it is more important to work on new system calls allowing to atomically set the CLOEXEC flag (like they are available in Linux now), and avoid the problem altogether.
Interestingly, if you add up all arguments, the conclusion is that there is no generic full solution (what we've called option 3 is - from the standpoint of POSIX - illegal, because you may also close internal descriptors the system needs for proper function).
xleroy (administrator)
2013-06-14 13:55
edited on: 2013-06-14 13:55
Ten months later, do we have new information to help choose a fix for this issue? For what is worth, I have a first cut of solution number 3 ("close_all_except" with a reasonably efficient implementation), but it won't be ready for release 4.01.
gmelquiond (reporter)
2014-03-17 20:59
For the record, in the freshly released Python (that is, 3.4), they went from inheritable by default to non-inheritable by default. They also switched to non-inheritable by default in Ruby 2.0, which was released last year. As for Go, they went for non-inheritable right from the start, but that is only in 1.3 (about be released) that it will be effective on all supported platforms.
http://legacy.python.org/dev/peps/pep-0446/ [^]
frisch (developer)
2015-12-02 16:08
|No obvious strategy, so I don't think anything will be done for 4.03.
goswin (reporter)
2015-12-08 10:47
|Might I suggest going a step further than "close_all_except"? When you start an external program you often want to catch the output and not have it go to stdout, which means running dup2() after fork. So closing unwanted FDs is not the only issue. So instead of a "close_all_except" list I would like the option of a "map_fds_to_and_close_rest" list.
xleroy (administrator)
2015-12-08 11:54
|@goswin : for this use case you'd better use higher-level functions such as Unix.create_process rather than fork + dup2 + exec. (For one thing, Unix.create_process also works under Windows.) The "close_all_except" function mentioned here would be a low-level function used e.g. in the implementation of Unix.create_process.
xleroy (administrator)
2016-06-30 17:01
|I restarted work on this issue. Please see https://github.com/ocaml/ocaml/pull/650 [^] for a proposal.
xleroy (administrator)
2017-02-13 18:49
|Resolved as described in Github pull request 650. Commit [ ab4e3be ].
|Issue History
|Date Modified
|2011-04-25 20:03
|New Issue
|2011-04-25 20:03
|File Added: secret.ml
|2011-04-25 20:33
|Note Added: 0005869
|2011-04-28 03:56
|Note Added: 0005871
|2011-04-29 11:43
|new => acknowledged
|2012-03-14 00:22
|Note Added: 0007061
|2012-03-14 09:22
|Note Added: 0007067
|2012-03-15 01:08
|Note Added: 0007083
|2012-03-15 09:30
|Note Added: 0007084
|2012-03-15 09:30
|View Status
|private => public
|2012-03-15 15:26
|Note Added: 0007088
|2012-04-03 15:18
|Relationship added
|related to 0005568
|2012-04-03 15:18
|Relationship added
|related to 0005569
|2012-04-04 18:50
|Note Added: 0007279
|2012-04-04 20:49
|Note Added: 0007280
|2012-04-05 11:21
|Note Added: 0007283
|2012-07-06 16:23
|Target Version
|=> 4.01.0+dev
|2012-07-31 13:36
|Target Version
|4.01.0+dev => 4.00.1+dev
|2012-08-02 20:56
|Note Added: 0007877
|2012-08-06 18:09
|Note Added: 0007907
|2012-08-06 18:09
|acknowledged => feedback
|2012-08-06 18:09
|Target Version
|4.00.1+dev => 4.01.0+dev
|2012-08-06 21:51
|Note Added: 0007921
|2012-08-07 08:06
|Note Added: 0007926
|2012-08-07 12:46
|Note Added: 0007927
|2012-08-07 14:38
|Note Added: 0007928
|2012-09-06 19:23
|Target Version
|4.01.0+dev => 4.00.2+dev
|2013-06-06 23:11
|Target Version
|4.00.2+dev => 4.01.0+dev
|2013-06-14 13:55
|Note Added: 0009490
|2013-06-14 13:55
|Target Version
|4.01.0+dev => 4.02.0+dev
|2013-06-14 13:55
|Note Edited: 0009490
|View Revisions
|2013-07-12 18:15
|Target Version
|4.02.0+dev => 4.01.1+dev
|2014-03-17 20:59
|Note Added: 0011048
|2014-05-25 20:20
|Target Version
|4.01.1+dev => 4.02.0+dev
|2014-07-17 16:16
|Target Version
|4.02.0+dev => 4.02.1+dev
|2014-09-04 00:25
|Target Version
|4.02.1+dev => undecided
|2014-09-24 20:21
|Target Version
|undecided => 4.03.0+dev / +beta1
|2015-11-16 11:41
|Relationship added
|related to 0006947
|2015-12-02 16:08
|Note Added: 0014952
|2015-12-02 16:09
|Target Version
|4.03.0+dev / +beta1 => later
|2015-12-08 10:47
|Note Added: 0015071
|2015-12-08 11:54
|Note Added: 0015072
|2016-06-30 17:01
|Note Added: 0016025
|2016-12-07 17:58
|OCaml general => OCaml otherlibs
|2017-02-13 18:49
|Note Added: 0017251
|2017-02-13 18:49
|feedback => resolved
|2017-02-13 18:49
|open => fixed
|2017-02-13 18:49
|Fixed in Version
|=> 4.05.0 +dev/beta1/beta2/beta3/rc1
|2017-02-13 18:49
|Target Version
|later => 4.05.0 +dev/beta1/beta2/beta3/rc1
|2017-02-23 16:42
|OCaml otherlibs => otherlibs
|Copyright © 2000 - 2011 MantisBT Group


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text:
Marcelo Bielsa has received the backing of Lille's owner to turn around their awful start to the Ligue 1 season.
Lille won their first league game under Bielsa before picking up just two points from the next six matches, with pressure building on the former Argentina coach after Friday's 4-0 defeat at home to Monaco.
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What Do You Get When You Put Writers in a Room…
"So, do you guys all sit around a table and write the scripts together?"People used to ask me this and I'd wonder where they got this idea. "The Dick Van Dyke Show"? It couldn't have been farther from our reality on "Law & Order: Criminal Intent". Not only did we not have a table around which we could all SIT, let alone write scripts together —we didn't even have a writer's room. That's right. No room at the inn. Our showrunner believed in his writers' abilities to, well, write and that's what he wanted us to do. It requires a completely different skill set to be able to pitch ideas out loud, respond to other people's ideas spontaneously, and to cobble together story lines in your head or on a marker board than it does to write. Not to discount that method, many writers do excel at it. Some have reputations for being "great in the room." I have heard some shows rely on the writer's room so much they even have exercise equipment in them! But Rene Balcer was not one to have his writers toss out motives for murder while sweating it out on the elliptical.
Instead, each writer met individually with Rene to break story – based on an idea we brought to him or one that he offered to us. Sure, L&O shows are "ripped from the headlines" and we often came in with articles from newspapers, magazines, foreign newspapers we'd found online, etc. But the headline story would serve the purpose of setting the episode in motion. It was just a jumping off point. We couldn't surprise, unnerve or reward the viewer if we merely added dialogue to stories whose endings they knew. We would twist the story away from the original headline story.
For example, Marlane Gomard Meyer's episode "Happy Family" was loosely based on the murder of investment banker Ted Ammon. He was found bludgeoned to death in his East Hampton home while in the middle of a divorce and bitter custody battle with his wife. In the end, it was his wife's plumber-boyfriend with the mile-long rap sheet who was ultimately found to be the killer. We would never do that. In Marlane's script, the estranged wife's boyfriend is looked at as a suspect, but so is the nanny, and the wife herself, but the killer turns out to be one of the couple's adopted sons, who'd been brainwashed by his mother that when she died (she has terminal cancer), their father would send the boys back to the Ukrainian orphanage they'd come from.
Meeting one on one in Rene's office we would spend hours talking about who the characters were so we would know why they did what they did. Characters that only appeared in one or two scenes still had complicated back stories. That's what distinguished "Criminal Intent" from the other shows in the franchise. We were to explore the psychological motives of everyone involved. Even the red herrings had plausible, complicated reasons for killing the victim – even though they didn't. After spending around two weeks breaking story with Rene in his office, we would go off and write our drafts. And when I mean off, I mean off-campus, off-site, off to wherever it was we were most comfortable writing. For some people it was home. For me, it was The Writers Room in the Village, a non-profit urban writer's colony where writers of every persuasion – novelists, poets, journalists, etc — share a loft space partitioned into, one must say, rather attractive carrels. I discovered it in 1997 and have written every play, and just about every screenplay and TV script there ever since. It is my writing home. I'd email my scripts to Rene from The Writer's Room and he'd fax the script back with notes. Meanwhile, he'd started meeting with the next writer "at bat." That's how I started to think of it. We were batters in a lineup. And it remains, several shows and years later, my favorite way of working.
But after 5 years at "Criminal Intent," including 2 years under the showrunnership of Warren Leight, the friend who first mentioned the job opening to me so many years ago, I decided to leave. I took a year off to hang out with my kids – including newborn twins – and work on (and not finish) a spec pilot. By the time I was ready to go back on a writing staff, I was to find out that getting on a show in NYC was not going to be as easy as running into a friend on the 1 train.
3 Responses to "What Do You Get When You Put Writers in a Room…"
Enjoyed this a lot.
Really enjoyed this. Always fun to learn about the writing process in other mediums.
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