The Devil Wears Prada can always be counted on to challenge themselves — and the world around them with their music.
The band —Mike Hranica [vocals], Jeremy DePoyster [vocals, guitar], Mason Nagy [bass], Kyle Sipress [guitar], Jonathan Gering [keys, synthesizers], and Giuseppe Capolupo [drums] — refuse to be hemmed in by boundaries.
With their new ZII EP, which arrives 21st May 2021 via Solid State Records, The Devil Wears Prada did not come to play. It's a discordant, dissonant exercise in excellence.
The band has also planned a livestream event for Saturday, 15th May, during which they will play the entire ZII EP in full. Fans can purchase tickets along with the pre-order of the EP.
The original Zombie EP dropped all the way back in August 2010 and remains an intense fan favourite. While not a chronological release in the TDWP catalogue, ZII is the next chapter.
"There's no question that the Zombie EP is a fan favourite and a record that really set the pace for us as a heavier band. A goal we had for this EP was to pay tribute to Z1 while honing in on the characteristics that we enjoy about heavy music today and the directions we want to see it heading.
We just had our first song go to radio with 'Chemical', and now in the same year we will be releasing the heaviest music of our career with Z2. This isn’t just a new chapter for the Zombie EP this is a new chapter for us as a band, and an opportunity to lean into both sounds in ways that feel better than ever. We’ve found our footing with these six members and now we're stepping on the gas and not letting up.
Before, there were five songs about how to fend off the apocalypse. Now there are five songs of hopelessness against the hoard.”
Rising Texan death metal force Cathexis has signed with Willowtip Records! The band will release debut album Untethered Abyss June 25 on CD, vinyl, and digital formats. The album's first single, "Mortuus In Perpetuum," has been released and is streaming now on YouTube and Bandcamp.
Untethered Abyss is the culmination of six years of painstaking songwriting and a carefully selected cast of international talent amassed to bring forward a finely tuned and unrelenting piece of modern death metal.
Untethered Abyss is eight tracks of tightly focused death metal with a production that captures the humanity and unfiltered energy each musician displays in every performance. The band’s focus on holistic songwriting seeks to create naturally flowing and memorable tracks where every riff’s place within the song is carefully considered to maintain internal consistency and create meaningful arcs within the music, rather than meander through detached ideas.
Cathexis strives to make unique and forward thinking death metal that pays tribute to the genres basest and most satisfying elements.
Floridian metalcore four-piece Afterlife have shared a brand new single and music video “Burn It Down”. The music video takes the new lyrics literally, complete with the band performing alongside some major pyrotechnics. Fans can listen to “Burn It Down” and watch the accompanying music video now at https://smarturl.it/burnitdownvideo
Vocalist Tyler Levenson shares his thoughts:-
“’Burn It Down’ was written towards the tail end of the recording process and at that time we were many months into the global pandemic which personally resulted in a lot of anger and frustration with how things were being handled in not only our country but around the world.
Writing and recording music in a time where there is this looming sense of fear and uncertainty put me in a place where I’ve never been before mentally and at that time I felt very hopeless and as if my “world” was on fire so I wanted the song to feel very empowering and anthemic in tone to counter how I was feeling which resulted in the lyrics “You bring the match, I’ll bring the gas, Together we’ll burn it and live among the ash” and “When push comes to shove, You gave us no choice” to really visualize that we’ve had enough and it’s time for change which I’m sure many others feel the same exact way as we do.”
“Burn It Down” follows late 2020 single release “Wasting Time,” an anthemic track that was written to inspire people. Afterlife released their debut album Breaking Point via Hopeless Records in early 2019, which immediately gained immense praise from fans while garnering adds to Spotify’s Rock Hard, New Core and New Blood playlists, Amazon’s Fresh Hard Rock and The Forge UK playlists and Pandora’s New Rock station. Additional support from BBC Radio 1, Kerrang!, idobi Howl and Alternative Press as well as multiple Number 1 spots on Sirius XM Octane has helped propel Afterlife into headphones of listeners around the world.
The album ambitiously tackles a variety of impactful topics from mental health and domestic assault to political apathy and the weight of guilt over the course of 10 unique tracks that blend influences like Slipknot, Linkin Park and modern hip-hop. Breaking Point is available to stream and purchase at http://smarturl.it/afterlifebp.
Blending singing, screaming and rapping over a heavy, yet satisfyingly melodic landscape for a unique sound coupled with socially conscious lyrics, Afterlife are poised to influence this generation of heavy music.
For more information, please visit www.hopelessrecords.com
Sensory Records presents "The Ironic Divide", the blistering third album from Chicago instrumental metal trio Aziola Cry. The album is out now and streaming in its entirety.
Aziola Cry has performed with Behold… The Arctopus, Don Caballero, Tiles, Far Corner, and many others, while appearing at progressive rock festivals including M.A.R.S. Fest. The band released their debut album, Ellipsis, in 2005, followed by Ghost Conversations in 2007, after which they went wholly dormant, until now.
With Mike Milaniak on guitar, Jason Blake on Warr guitar, and Tommy Murray on drums, Aziola Cry closes a nearly fourteen-year gap between records in 2021 with their third album, The Ironic Divide. Boasting their heaviest and most intricate work yet, the forty-eight-minute album features four songs which tell the story of one person‘s final descent. There are two types of people in this world. There are those who do good for others and make a positive contribution to society in some way. Then, there are those who do evil and hurt fellow humans. There is no rationale behind their behaviour. They are cowards. This is their story.
Aziola Cry‘s The Ironic Divide was recorded by Jim Siwek at Ultralownoise Studio and Transient Sound, mixed by Steven Gillis at Transient Sound, mastered by Ted Jansen at Sterling Sound (Alice In Chains, Lamb Of God, Gijora), and completed with artwork and design by Micka Klauck.
Stream Aziola Cry‘s entire The Ironic Divide now here: https://lasersedge.bandcamp.com/album/the-ironic-divide
Watch for additional video output and more from Aziola Cry to post over the weeks ahead and for new live announcements to come later this year once touring safely returns across the country.
Evanescence will release "Better Without You" this Friday 5th March. This is the next single to be taken from their forthcoming album 'The Bitter Truth,' out on 26th March via Sony.
Yesterday, they released a digital puzzle for fans to solve in order to hear a snippet of the new song - check it out HERE. Everyone who solves the puzzle will receive a free “Better Without You” ringtone and will be entered for a chance to be the first fan in the world (along with a guest) to hear the full song along with a private Q&A with singer Amy Lee.
'The Bitter Truth' is Evanescence's first album of original music in ten years, and its songs have already earned accolades from The New York Times, Rolling Stone, Elle, Billboard, and many more.
Watch the band perform on Jimmy Kimmel Live! HERE, and watch this space for more news about "Better Without You" on Friday March 5th!
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"Cleopatra", the epic second album from New Jersey symphonic metal quintet, Everdawn, is out now through progressive metal powerhouse Sensory Records.
Formerly known as Midnight Eternal, Everdawn is embodied by lead vocalist Alina Gavrilenko, guitarist / vocalist Richard Fischer, bassist Mike LePond (Symphony X), drummer Dan Prestup and keyboardist Boris Zaks. Through the course of eleven epic new songs, the band delivers forty-eight minutes of epic, progressive, symphonic metal on Cleopatra.
The vocals for "Cleopatra" were recorded at Soundmine Recording, the guitars recorded at Frightbox Recording with engineer Bobby Torres, the bass, drums, and keyboards recorded at RMF Recording Studios, and the bass engineered by Richard Fischer and additional editing by Bobby Torres. The album was mixed and mastered by Dan Swanö at Unisound (Opeth, Riverside, Katatonia) and completed with cover artwork by Gyula Havancsák of Hjules Illustration and Design and photography by Alexandra Hassan and Northern Luna. Additionally, the song "Your Majesty Sadness" features guest vocals from Therion / Candlemass vocalist Thomas Vikström.
Everdawn keyboardist Boris Zaks offers on Cleopatra:
"In times of uncertainty we all search for the little things that we can rely on - on the little moments that do offer us security, comfort and strength. Music, in its encapsulating and deeply moving way, has always been a haven for those who wish to put melody behind what they feel. And this has been a year of feeling. We at Everdawn have been relentlessly at work, crafting Cleopatra and shaping it up to perfection. Our intent was to let Cleopatra speak to the audience and blend with the world around us as well as its history, in the most fragile of times."
Stream Everdawn's entire Cleopatra album now through these digital service providers:
Laser‘s Edge division Sensory Records will release "Cleopatra" on CD and all digital platforms on February 5, 2021. Pre-order it HERE: https://www.plastichead.com/item.aspx?catno=SR3087
Connect with Everdawn
New England-based extreme metal quintet Aversed has revealed a video for the scientific-inspired track “Laboratory” from the band’s upcoming release, Impermanent.
Watch the video for “Laboratory” today via Toilet Ov Hell at https://toiletovhell.com/premiere-aversed-laboratory/.
Drummer Jeff Saltzman states that:
“‘Laboratory’ turns self-reflection and actualization on its head, discussing the consequences of ignoring and exploiting the natural world for our own gain regardless of its spiritual or intellectual benefit. In this interconnected world, we sow the seeds of our mechanized destruction if we only look inward rather than aim to help others."
“Laboratory” was inspired by Saltzman’s own time working in a biology laboratory and its effects on the world outside of the lab. “Despite our cutting-edge research, we weren’t helping a soul. What’s the point? ‘Laboratory’ is my criticism of the pursuit of scientific progress just for the sake of progress.”
AVERSED’s Impermanent is set for release on March 19. Mixed and mastered by Christian Donaldson (Cryptopsy, The Agonist, Shadow of Intent), Impermanent illustrates AVERSED’s unique approach to songwriting with nine diverse compositions full of catchy hooks and vast melodies. Pre-orders for Impermanent are available now at https://aversed.bandcamp.com/merch. In addition to the album, a variety of bundles are also available, as well as a brand new t-shirt design.
AVERSED offered fans a glimpse of the album last month with a video for the title track. Watch the video for “Impermanent” now at https://youtu.be/mVqdIzCtqxM.
With the release of Impermanent, AVERSED presents a metal experience cultivated of unprecedented beauty and torment. The third release following 2011’s self-titled EP and 2016’s Renewal EP, Impermanent marks a turning point for the New England scene veterans as they pivot from melodic death metal towards a nuanced balance of blackened and orchestral melodic metal.
Linkin Park continue the Hybrid Theory 20th Anniversary Celebration with the release of One Step Closer (100 gecs Reanimation). One Step Closer was the lead single from the band’s debut album, Hybrid Theory. One Step Closer (100 gecs Reanimation) available HERE via Warner Records.
The band recruited the critically adored, groundbreaking pioneers to re-envision, reimagine, and reanimate this generational anthem as they see fit. The results bridge the gap between eras of musical revolution as 100 gecs—Dylan Brady and Laura Les—cook up an otherworldly interpretation of One Step Closer, which preserves the signature intensity of the original as it pushes into new territory altogether with gecs adding their own vocals in addition to production. As kindred spirits, Linkin Park set a precedent for genre-bending in 2000, and 100 gecs pick up this mantle and run with it in 2021.
“Part of the spirit of Reanimation was to take the Hybrid Theory songs that people knew so well, and let innovative artists flip them in ways nobody expected. I think 100 gecs did exactly that.” said Mike Shinoda of Linkin Park.
100 gecs also created the official visualiser, which debuts with the reanimation’s arrival. Check it out HERE. Additional remakes from other disruptors are in the works and could very well materialise soon. Stay tuned for more, as the next era of Linkin Park dawns now.
Linkin Park capped off 2020 with the triumphant unveiling of the Hybrid Theory: 20th Anniversary Edition. The album roared back onto the charts, surging to #3 on the Billboard Top Album Sales Chart 20 years since its initial release. It marked the record’s highest position on the respective chart since 2002.
100 gecs is the groundbreaking pop duo of Dylan Brady and Laura Les, who planted their flag on the proverbial pop culture moon with their 2019 debut album 1000 gecs. The innovative project captured the hearts of fans and critics alike with The New York Times calling it, “Some of the savviest pop music of the year,” and Interview Magazine suggesting that it is, “A blueprint for what pop music might sound like in the year 2050.” In just a few months the band went from playing their first concert from inside the video game Minecraft to selling out shows across the country, proving that their rabid fanbase doesn't only exist in the far corners of the internet. After their world tour was postponed in the summer of 2020, Brady and Les returned with 1000 gecs and The Tree of Clues, a rework of the original album featuring collaborations from the likes of A. G. Cook, Fall Out Boy, Charlie XCX, Rico Nasty, as well as crowd sourced contributions by fans. The transformative release was described by NME as a “brain-melting, genre-crushing vision of pop’s future.”
Latin metal kings Ill Niño are back with a brand new song, “Máscara,” featuring a guest performance from AJ Channer of Fire From The Gods along with vocalist Marcos Leal.
Available now via all digital music providers, Loudwire is offering fans a sneak peek at the video for “Máscara” today at https://loudwire.com/ill-nino-mascara-song-lyrics/.
“I’m very stoked to introduce ‘Máscara’ as a great addition to the Ill Niño legacy, and a highlight of my vocal career,” Leal says. “I’m honoured to have collaborated with our very good friend and one of my favourite vocalists in the game, AJ Channer, of Fire From The Gods. As someone who’s grown up as a fan of Ill Niño, and as a musician inspired by the band, I take pride and honour in crafting the vocals for the next generation. It’s something fans new and old will appreciate, and I look forward to throwing some chingasos in the pit with our Niño Familia in 2021!”
Channer adds, “Ill Niño is a band that will leave a strong lasting legacy on heavy music. Some of my earliest show experiences were Ill Niño shows. To be able to lend my voice to one of their songs includes me in that legacy. I was more than honored to sing on ‘Máscara.’”
“Máscara” (the mask) will be available tomorrow via Break Silence Music (BSM), which is distributed through ONE-RPM. Pre-order/pre-save the track at https://ps.onerpm.com/mascara. The magic of “Máscara” was captured by director/videographer Hunter Chapman (Motionless In White, A Day To Remember, In Hearts Wake).
Stronger than ever, Ill Niño’s revamped line-up now consists of original members bassist Laz Pina, drummer-founder Dave Chavarri, dominant frontman Marcos Leal (Shattered Sun), returning veteran percussionist Daniel Couto, crushing guitarists Jes DeHoyos (Sons Of Texas) and Sal Dominguez (ex-Upon A Burning Body).
The revitalized Ill Niño has acquired an incredible new team, and now represented worldwide by powerhouse booking agent Tim Borror of Sound Talent Group (Lamb Of God, Breaking Benjamin, I Prevail, Black Veil Brides). A new album titled IllMortals is planned for 2021 with additional guest appearances by long-time friend Sonny Sandoval of P.O.D. on "All Or Nothing" and extended familia, Benji Webb (Skindred) and many others to be announced.
Industrial Metal veteran Rob Zombie announces his seventh studio album The Lunar Injection Kool Aid Eclipse Conspiracy, to be released March 12th, 2021 via Nuclear Blast. The LP marks his first new album in nearly five years. The Lunar Injection Kool Aid Eclipse Conspiracy is a classic Zombie album to its core with high-energy rages like “The Eternal Struggles of the Howling Man” and “Get Loose” to heavy-groove thumpers like “Shadow Of The Cemetery Man” and “Shake Your Ass-Smoke Your Grass.” The new album is produced by ZEUSS.
Listen to the new first single “The Triumph of King Freak (A Crypt of Preservation and Superstition)” HERE.
Rob Zombie releases an exclusive 7” available immediately, featuring the new single and B-side, “The Serenity of Witches.” Order the new single and pre-order The Lunar Injection Kool Aid Eclipse Conspiracy HERE.
As a rock icon and film maker with a unique vision, Rob Zombie has continuously challenged audiences as he stretches the boundaries of both music and film. Rob Zombie is a 7-time Grammy nominee, has sold fifteen million albums worldwide to date, and is the only artist to experience unprecedented success in both music and film as the writer / director of eight feature films with a worldwide gross totalling more than $150 million. His re-imagining of John Carpenter’s Halloween in 2007 debuted at #1 and still holds a Box Office record for Labor Day Weekend.
Rob Zombie Online
Global Metal Apocalypse


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BHGS pupils and staff donate 624kg of food and hygiene products for Hatfield Food Bank
For the 4th year running, pupils and staff at BHGS took part in the Reverse Advent Calendar project to donate much needed food and hygiene products to local families in need through The Hatfield Foodbank.
Pupils and staff were encouraged to donate a non-perishable item every day from the 9th November until the 6th December and decorate the boxes used for the food to be later delivered to the Foodbank.
Once again, the pupils and their families made us very proud and supported this amazing cause. On Tuesday 7th December, all the beautifully decorated boxes were brought down to the canteen and laid out for judging in Year Group tables. Mrs Hughes had a very difficult job but in the end, she decided that 7Au, 8Pa, 9Pa, 10Fr and 11Pa were the deserving winners of the decorating competition.
After the judging was over, Mr Underwood and I began the process of filling the minibus with all the (very) heavy boxes before Mrs Ruffhead drove the minibus down to the Foodbank accompanied by Dr Venz, Mrs Fautrero-Sayer and me.
We would like to say a massive thank you to everyone involved in donating the food stuff, decorating the boxes and helping with the transportation. This year, we surpassed all our hopes for the collection and we donated a staggering 623.95 kg of goods for local families in need. This has been a tough year for everyone, but yet again the spirit and generosity of the Bishop’s community shone through.
Thank you and I hope you all have a happy and safe Christmas.

domain: sociology


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Following yesterday's release of Fwupd 1.8.15, Fwupd 1.9.1 is now available as the latest release of this open-source firmware updating solution for Linux systems.
LVFS News Archives
69 LVFS open-source and Linux related news articles on Phoronix since 2017.
LVFS/Fwupd lead developer Richard Hughes of Red Hat today released Fwupd 1.8.15 with fixes and allowing some additional devices to now enjoy firmware updating under Linux.
Fwupd/LVFS lead developer Richard Hughes of Red Hat released Fwupd 1.8.13 as the newest feature update to this open-source firmware/BIOS updating solution for Linux and other platforms.
For those wondering how Cloudflare keeps their thousands of servers around the world up-to-date for the latest BIOS and firmware, Cloudflare's engineering blog has put out an interesting post that outlines their process of handling system BIOS updates as well as various other firmware updates.
Fwupd 1.8.11 was released earlier today as the newest update to this open-source firmware updating solution largely used on Linux systems for flashing motherboard/system firmware as well as various peripherals/devices.
Fwupd 1.8.9 was just released as the newest version of this open-source firmware updating solution for Linux systems.
Fwupd 1.8.8 is available today as the newest update to this excellent solution for allowing system and device/peripheral firmware updates to happen under Linux and other platforms when paired with the Linux Vendor Firmware Service (LVFS).
Fwupd 1.8.7 is out today with support for updating more device firmware under Linux for different hardware as well as various fixes and other enhancements.
Fwupd 1.8.6 is out today as the newest stable release of this open-source firmware updating tool most notably used by Linux systems but also supported on various BSDs and even Windows.
Fwupd 1.8.5 is out today for continuing to improve the firmware updating experience on Linux systems in conjunction with the Linux Vendor Firmware Service (LVFS).
Currently when it comes to shipping new/updated device support for firmware updating under Linux with FWUPD/LVFS, it requires making/adjusting a Fwupd plug-in for carrying out the actual firmware copying/updating of the device and then adding in the device VID/PID to a quirks table so Fwupd knows about what to match a given device to for the firmware plug-in to use. Even in new devices where no plug-in changes are required, new device entries are still needed in the quirks table and it makes it challenging when Linux distributions don't quickly move to new FWUPD releases. Moving forward a better solution is being explored.
Richard Hughes as the lead developer of the Linux Vendor Firmware Service (LVFS) and Fwupd at Red Hat announced the release this morning of Fwupd 1.8.4 as a nice update to this open-source firmware updating utility. Fwupd 1.8.4 not only adds support for some new hardware and fixes but notably begins adding the infrastructure to allow facilitating BIOS changes to the system from within Linux.
Just shy of two weeks since fwupd 1.8.2 was released with supporting more hardware for system and peripheral firmware updating under Linux, Fwupd 1.8.3 has now arrived as the newest version.
LVFS/fwupd lead developer Richard Hughes at Red Hat has released Fwupd 1.8.2 as the newest version of this open-source solution for handling firmware updates under Linux and other platforms.
Fwupd 1.7.8 was released this morning as the newest version of this open-source utility built around the Linux Vendor Firmware Service (LVFS) for easy and practical updating of system and component firmware under Linux.
It was just March of last year that the Linux Vendor Firmware Service (LVFS) served up a total of 25 million firmware downloads to Linux users for updating their system firmware and peripheral devices supporting Fwupd. Just over one year later it has successfully served more than 52 million downloads!
Mario Limonciello just released a new version of fwupd, the open-source firmware updating utility that integrates with the Linux Vendor Firmware Service (LVFS) for making it easy to update system firmware/BIOS on Linux as well as firmware for various peripheral devices.
In addition to "Fwupd Friendly Firmware" getting off the ground, this week also marks Fwupd 1.8 as the newest version of this open-source solution paired with the Linux Vendor Firmware Service (LVFS) for easy system and component firmware updating on Linux and other platforms.
The Linux Vendor Firmware Service (LVFS) has launched Fwupd Friendly Firmware as a new initiative for selecting original equipment/device manufacturers to select ICs that already boast Fwupd plug-ins for easing the integration of firmware updating support under Linux.
Fwupd 1.7.7 is out this morning as the newest version of this open-source firmware updating solution that pairs with the Linux Vendor Firmware Service (LVFS) for allowing robust BIOS/firmware updating under Linux.
Fwupd 1.7.6 is out today as the newest version of this open-source software for facilitating system and peripheral firmware updating under Linux in conjunction with the Linux Vendor Firmware Service (LVFS).
Fwupd 1.7.5 is out as the latest feature update to this open-source solution for updating system and component firmware under Linux that is easily distributed by the Linux Vendor Firmware Service (LVFS).
The Linux Vendor Firmware Service (LVFS) for delivering firmware updates with the fwupd client for system and component firmware updates from Linux continues experiencing massive growth. Q4'2021 by far saw the most usage ever and that has continued into 2022 with serving more than two million firmware downloads the past month.
The Linux Vendor Firmware Service (LVFS) with Fwupd for firmware updating on Linux could soon be making it easier to transition older, end-of-life devices off official firmware packages and onto the likes of open-source Coreboot for capable aging PC hardware. This not only would make the system run on more free software but would extend the life of the hardware with firmware updates where the vendor has ceased their support.
The Linux Vendor Firmware Service (LVFS) that integrates with Fwupd for delivering firmware updates primarily to Linux users is surging with around three times the normal traffic volume. Unfortunately, this boost in traffic appears to be due to vendor(s) releasing new system firmware updates ahead of disclosing a presumptive security issue.
Fwupd 1.7.3 is out today as the newest version of this open-source software that integrates with the Linux Vendor Firmware Service (LVFS) for offering streamlined system and device firmware updates under Linux.
With the accelerating growth of the Linux Vendor Firmware Service (LVFS) for serving up system and component firmware files to Linux users for flashing via the fwupd utility, today it crossed the milestone of having served up more than 40 million firmware files.
The Linux Vendor Firmware Service (LVFS) and FWUPD on their great upward trajectory has in recent times been expanding beyond their initial focus of desktop/laptop hardware to supporting more server platforms for firmware updating. The latest feature driven by their growing server interests is "best known configuration" handling for where there are multiple independently-versioned firmware packages for a given system and may be support recommendations or potential version conflicts between the the different firmware packages.
FWUPD 1.7.2 is out as the latest release of this leading open-source solution for handling firmware updates under Linux for devices from motherboard UEFI to peripheral firmware.
FWUPD 1.7.1 is out today as the newest release of this leading open-source solution for allowing firmware updates from UEFI motherboards to various peripherals under Linux and other platforms.
FWUPD and the Linux Vendor Firmware Service (LVFS) continue to serve as a resounding open-source success for allowing an increasing amount of hardware to support firmware updates on Linux from system/motherboard UEFI to disk drives and various peripherals. LVFS is now serving up more than two million firmware downloads a month while FWUPD 1.7 is out today with supporting firmware updates on even more hardware.
The Linux Vendor Firmware Service (LVFS) in conjunction with FWUPD for offering easy-to-deploy firmware updates on Linux continues its meteoric rise.
While FWUPD 1.5.12 released last week with expanded support for Poly web cameras, FWUPD 1.6.2 is out today as the newest feature release in their latest series. FWUPD 1.6.2 brings several significant improvements for advancing open-source firmware update capabilities on Linux.
For those looking to purchase a high-end Linux-friendly web camera for your home office or other environment, there are a few more options now compatible with Linux's fwupd if interested in having the capability of updating the camera firmware under Linux.
For those wondering about the recent skyrocketing in LVFS/FWUPD usage for Linux firmware updates, it appears to be attributed to Dell pushing out a massive number of updates with more than one hundred models impacted by newly-disclosed BIOS/UEFI vulnerabilities.
The Linux Vendor Firmware Service (LVFS) with Fwupd has been serving on average around 40k~50k firmware updates per daay to Linux users relying on this cross-vendor, open-source firmware distribution service with FWUPD for applying firmware updates under Linux. But yesterday its usage just skyrocketed with more than 100,000 firmware updates in a single day... That's great for adoption but the motivation for the mass firmware updates may be something rough on the horizon.
A new feature point release is available for FWUPD for handling of system/component firmware and BIOS updating on Linux and other platforms.
Version 1.6 of FWUPD is now available for firmware updating of motherboard BIOS and other device firmware under Linux.
It was just this past September that LVFS served its 20 millionth firmware file to Linux users updating their system BIOS or device firmware using Fwupd while this week the Linux Vendor Firmware Service crossed the 25 million milestone!
With the incredible success of FWUPD and the Linux Vendor Firmware Service (LVFS) where most major hardware vendors are supporting it in some capacity for distributing firmware updates to Linux customers, there are BSD developers working to it port it over to their camp to support firmware updates.
ASUS has been evaluating the Linux Vendor Firmware Service (LVFS) for distributing firmware updates to their Linux customers for flashing in turn via Fwupd. Their first motherboard firmware update has now been volleyed onto this open-source platform for easing firmware updates on Linux.
Version 1.5 of the Fwupd utility is available for updating various component firmware/BIOS natively on Linux and integrating with the Linux Vendor Firmware Service (LVFS) for the easy distribution of said firmware images.
It was just earlier this summer that the Linux Vendor Firmware Service (LVFS) crossed 17 million firmware downloads while today the Linux hardware community is celebrating that already surpassing 20 million downloads!
The Linux Vendor Firmware Service (LVFS) for hosting firmware files to be consumed by Fwupd for firmware updating from Linux is on quite a streak.
The Linux Vendor Firmware Service (LVFS) for serving up firmware/BIOS files to Linux users has now served over 16 million downloads thanks to cooperation from over 80 vendors that have uploaded more than 4,000 firmware files.
Fwupd 1.4 is available today as the latest major update to this open-source, Linux-focused firmware updating solution that ties into the Linux Vendor Firmware Service (LVFS).
Moving forward it will hopefully become easier updating NVMe solid-state drive device firmware under Linux.
Red Hat's Richard Hughes has released Fwupd 1.3.8 as the latest version of this Linux utility for performing firmware updates of various system components.
Intel firmware expert Brian Richardson was at FOSDEM 2020 to talk up UEFI Capsule Update functionality and the Linux Vendor Firmware Service (LVFS) for allowing OEMs/ODMs to easily distribute firmware updates to Linux users for application with the Fwupd firmware updating utility.
Fwupd 1.3.6 was released today for ending out a very successful year for this firmware updating utility that works in-step with the Linux Vendor Firmware Service (LVFS) for allowing hardware firmware/BIOS updating on Linux systems.
69 LVFS news articles published on Phoronix.

domain: news


'Once it's all over and you're attempting to put together in your mind what happened,' Capitol Police officer Harry Dunn says about the Capitol riot. 'It's a lot more to unpack than the actual physical trauma we endured.'
Black officers described a harrowing day in which they were forced to endure racist abuse as they tried to do their job of protecting the Capitol building. One of those officers was Harry Dunn, who said a lot of Black officers fought a different battle than everybody else fought.
Weather reporter 'multiplies' in hilarious graphics error on live TV - CNN Video
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Last week talented and charming Nutcase product designer Meghan Sinnott lead a new kind of ride, in search of the latest set of art murals painted in the town of Portland, Oregon.
Meghan is a veteran leader of a number of epic bicycle rides: she has helped organize Portland’s World Naked Bike Ride, a number of Portland’s Tweed rides, the Midnight Mystery rides and numerous others.
Meghan loves to dress it up and dress it down and she’s a master of ride orchestration.
This fall Meghan decided to encourage us all to see more art, not just inside of frames and museum walls, but out on the streets of the city.So, working with the excellent local organization Forest For The Trees, Meghan took the list of murals around town just put up in 2015 (!) and proceeded to design an excellent bike ride to visit many of them.
Forest For The Trees (FFTT) dedicates itself to creating public art in Portland. For the last three years, FFTT has had a festival where artists, both local and international, come and paint murals.
Meghan pieced together a ride that showed us a lot of art in a short space of time via two wheels. She also encouraged everyone on the ride to actually see that art exists all over the city, not just on big, bold, wall-sized murals, but also in smaller-sized bits.
And, best of all, Meghan got to show off our own contribution to street art, a helmet from this year's Unframed campaign called Freakalicious.
Freakalicious is one of three 2015 Unframed helmets. It's the second year of this successful campaign to take fresh art and put it on our helmets, and three of the helmets designed by Unframed artists are already available – Cloud Nine, Locombia, and Boogie.
Designed by Brazilian-born artist Tiago DeJerk, the Freakalicious helmet is a party on your head. Just debuted at the Eurobike and Interbike 2015 shows, Freakalicious will be available to distributors and in our online store next spring.
Even better, it's that time again!
Right now, from this very moment (actually from last Friday at around 2:30 p.m.) you can start working on a design for our next iteration of the Unframed campaign – Unframed 2016.
Our official start for this, the third annual 'Call for Artists,' is one week from today, but you can get the jump on now by downloading the design template and/or passing it along to friends and family.
We hope to challenge you to make a piece of art that everybody wants to have on their head.
Have fun, get creative, and SEE ART!


Enjoy spectacular views, experience a variety of habitats and see the Nanguluwur art site.
Burrungkuy (Nourlangie) is a large sandstone outlier that stands above the surrounding woodland like an island. An initial steep climb takes you to the top of this rocky outcrop where you’re greeted by Kakadu’s unique plants and animals.
Halfway through this rugged walk you’ll find one of the park’s cultural wonders at the Nanguluwur art site. Paintings depicting spirits, animals, ships and people from different periods are all found here.
As you leave Nanguluwur you will pass through a transitional zone of sandstone outcrops, rock slabs, prickly spinifex and open woodland.
Bongka, the black-palmed monitor marauds the bush, and barrk, the black wallaroo calls this place home.
During the wet season you may also find alyurr the colourful Leichhardts grasshoppers sitting on their favourite food plants, the pityrodia bush.
Meanwhile the camouflaged doddorok, the chestnut-quilled rock-pigeon, may not be easy to see but you’ll certainly hear it if it takes off near you.
The final stretch along the woodland floor offers spectacular views of Burrungkuy’s western cliffs.


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[Author: Text & Illustration: Bill Fischer]
Production methods, environmental influences, proximity to other colors, and human sensory variation all affect how we perceive color. Universal design principles call for color choices that provide the maximum attainable quality across all of these factors.
There are several ways that color is produced and reproduced. And, each has its own capabilities and limitations. Primary color systems are human constructs and have no foundation in the laws of physics or biology. However, the achievable range of color for any construct is affected by how physical light creates color coupled with the biological limitations of the human eye.
RGB Color System
RGB (red, green, blue) are the light-emitting, additive primaries utilized by digital devices to create colors. This system has the broadest color gamut (number of produce-able colors that can be sensed by the human eye) and can produce the most intense colors. Red, green, and blue are also the colors of the light sensing cones in the human eye.
CMYK Color System
CMYK (cyan, magenta, yellow, black) are the light-reflecting, subtractive primaries used by common off-set and many digital printing processes. Cyan, magenta, and yellow are used because they are lighter colors than red, green, and blue. This provides a larger color gamut in a reflective system. However, the color gamut is narrower than the RGB additive system.
RYB Color System
RYB (red, yellow, blue) are the light-reflecting, subtractive primaries initially defined by fine art painters prior to the development of modern pigments. Though it offers the narrowest color gamut, it persists in educational environments. Students would be able to achieve better color mixing results with any physical media using CMYK colors.
There is a vast array of custom color applications that include ink, powder coat, paint, anodization, and a variety of other chemically induced surface treatments. Since the goal of these colors is, typically, to stand-alone, without the burden of being part of a color system, they are limited only by their individual production methods.
Color does not exist in a vacuum. It's profoundly affected by the environment in which it finds itself. Color combinations that hold up in a variety of conditions utilize high contrast to each other and their surroundings.
High C = high contrast
In the case of printing ink on paper, the type of paper can profoundly influence the color. On the left, in the image above, vibrant colors are obtained using high-gloss paper. On the right, colors are subdued dramatically when applied to matte paper such as newsprint.
Low C = low contrast
The digital display on the left demonstrates the color dulling effect of a low-light-energy-saving mode. On the right, glare from direct sunlight can wash out the brightest digital display.
A yellow chair in a yellow room could be a difficult object to find, let alone sit-upon for a sight impaired person.
Objects that are complimentary (opposite) in color to their surroundings will allow them to be seen and therefore easily accessed.

domain: artistic


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Perhaps one of the most distinctive features of J. M. Coetzee’s 1981 novel Waiting for the Barbarians is the setting—an imaginary empire, one lacking a specified place and time. Yet, when Coetzee penned the first draft of the novel, it was set in Cape Town, South Africa.
David Attwell, a Professor of English at the University of York in the U.K., provides an in-depth look at the development of Coetzee’s third novel. He visited the Ransom Center this year to explore Coetzee’s archive.
Coetzee, who was born in Cape Town and graduated from the University of Cape Town, enrolled in The University of Texas at Austin in 1965 to pursue his Ph.D. in English, linguistics, and Germanic languages.
“I’m ready for my close-up, Mr. DeMille,” says Norma Desmond in the famous end scene of Sunset Boulevard. Gloria Swanson, the actress who portrayed Desmond, is ready, as well. Bowdoin Professor Tricia Welsch received fellowships, which were funded by the Andrew W. Mellon Foundation Endowment, to conduct research in the Ransom Center’s Gloria Swanson collection. The University Press of Mississippi recently published Welsch’s book, Gloria Swanson: Ready for Her Close-Up. Below, Welsch writes on her time at the Ransom Center.
When I took an exploratory trip to the Ransom Center to see if there was enough material to support a biography of Gloria Swanson (1899-1983), I was floored by the breadth and depth of the collection as well as the exceptional helpfulness and insightfulness of the staff. The Center’s holdings cover Swanson’s personal and professional life, from the first pictures she made in 1915 with Charlie Chaplin in Chicago through her movie stardom and her work in theater, television, radio, publishing, fashion, politics, and health activism. She lived in New York, California, Rome, London, and Paris. She traveled widely, and corresponded with everyone from Carol Burnett and Noel Coward to Eleanor Roosevelt and Ronald Reagan. I felt like I hit the biographer’s jackpot every day.
Over the months I spent at the Ransom Center, I saw the records of a fully lived life. I examined Swanson’s grade school report cards, read the fan mail she received, pored over seven decades’ worth of business correspondence, and looked at thousands of photographs. Swanson’s contract specified that she was to receive a complete set of film stills from each of her pictures, and they provide a valuable record of many films considered lost today. Swanson also had a vibrant love life, and there are amazing love letters from her six husbands and her many lovers—including hourly telegrams sent by an enraptured Herbert Marshall. There is even one surviving love note from her producing partner Joe Kennedy, who left few records of his private affair and preferred that his assistants refer to Swanson in code even in their business papers.
Swanson considered writing her autobiography for decades and made some wire recordings of her memories in the 1950s, which the Ransom Center converted to digital format. Hearing Swanson talk about her life in her low, thrilling voice—imperious, wry, yearning, and philosophical by turns—was a special pleasure.
I particularly enjoyed one recording where she and her long-time friend actress Lois Wilson reminisced about their early Hollywood escapades—in particular, Swanson’s reputation for scandal: “If I was in a room fully clothed for five minutes with some men, mayhem! Lois could walk out of a room with a dozen men in a black chiffon nightgown after two hours and they’d say, ‘Oh, somebody must be ill in there. She’s taking care of them.’” The peals of laughter throughout their conversation were infectious.
I also heard Swanson’s voice in her extensive correspondence, in the many drafts she prepared of her memoirs, in published interviews, in her TV talk show appearances, and—unexpectedly—in a series of dispatches she wrote for the United Press from Europe in the mid-1950s. These appeared as twice-weekly syndicated newspaper columns. In them she wrote about whatever grabbed her: Roman fireworks and French perfume manufacturing, bullfighting, her visit to a camp for Iron Curtain refuges, Princess Grace’s wedding in Monaco. Swanson called her 117 articles “the hardest and most disciplined work” she ever did. They chronicle the mid-life adventures of a fascinating woman who was prepared to be fascinated by every new experience.
Swanson called herself a “mental vampire” because she had a voracious appetite for learning of all kinds, and the Swanson collection affirms that. It is the ideal archive.
Although best known for her role as Norma Desmond in Sunset Boulevard (1950), Gloria Swanson was a legendary actress even before then. She starred in countless silent films, working with celebrities Cecil DeMille and Charlie Chaplin. Vivacious and enigmatic, Swanson was known for her extravagant clothing, spending, and love life.
In his new biography Gloria Swanson: The Ultimate Star, Stephen Michael Shearer utilized the Ransom Center’s Gloria Swanson collection, which includes personal correspondence, professional contracts, and ephemera.
Swanson was not known for being revelatory or reflective, and an interesting quotation from one of Swanson’s 1943 diary entries, held in the Ransom Center’s collection, stands out in Shearer’s book. She writes, “God’s wisdom finds no solace, no satisfaction in sin, since God has sentenced sinners to suffer.” This introspective quote is at a discord with her usual attitude of rarely expressing remorse, whether for her inveterate spending and debts or the many hearts she broke.
Swanson also worked hard to gloss over anything negative and to cultivate an image of perpetual stardom. Her dramatic and charismatic persona was always on display, drawing men and women alike to her. “Swanson was drenched in her concept of her own allure and femininity,” said Shearer. Swanson’s carefully crafted autobiography Swanson on Swanson reflects this tendency to conceal the negative aspects of her life and showcase her greatness, but holdings such as this diary entry help paint a portrait of Swanson that goes beyond Norma Desmond and Swanson on Swanson.
Casey McKittrick is an Associate Professor of English at Western Michigan University. He spent June and July of 2012 researching the David O. Selznick and Myron Selznick archives at the Harry Ransom Center. His work, which was funded by the Warren Skaaren Research Fellowship Endowment, produced the first chapter, and informed several others, of his forthcoming book Hitchcock’s Appetites: The Corpulent Plots of Desire and Dread.
When I learned of my Warren Skaaren fellowship from the Harry Ransom Center, I had just begun work on a book-length project examining how Alfred Hitchcock’s experiences as a fat man influenced his filmmaking and the path of his career. After reading that Hitchcock had undergone a 100-pound weight loss upon moving from London to Hollywood in the 1940s, I became convinced that his relationship with David O. Selznick, the Hollywood “super-producer” who provided him with a seven-year contract, must have been partly responsible for this radical body change. Thus, I approached the Selznick archive at the Ransom Center with the working hypothesis that Hitchcock lost weight under the auspices of Selznick (renowned for tightly controlling his employees) to conform to the rigid bodily standards that Hollywood visibility necessitated.
The archive told a completely different story. For five weeks, I not only revised my thinking, but through the marvelously kept records—memos, legal documents, publicity material, scripts-in-process—I developed a narrative about the Selznick-Hitchcock relationship that had never been addressed at length. To be sure, a lot of research has been done on this historically important and largely successful collaboration, but Hitchcock’s fatness had never been suggested as a meaningful factor in their negotiations or their relationship dynamics.
First of all, it became clear that Selznick marketed Hitchcock as Europe’s greatest export by focusing on his fatness. Selznick capitalized on Hitch’s enormity to build a literally larger-than-life profile of the director. He was proud that he had managed to enlist the “Master of Suspense” in the face of great studio competition, and he wanted to ensure that Americans could look to Hitch as a celebrity figure—one belonging to Selznick International Pictures (SIP). The publicity photos for Hitchcock’s first American film Rebecca revealed this reliance on making Hitchcock a spectacle. For example, in one photo, Hitchcock holds a fake barbell while yawning; the photo caption reads: “Heavyweight in light mood.” In four different pictures Hitch is captioned as either a “239-pound Englishman” or a “239 pound director,” and in yet another, the caption reads, “‘Hitch,’ who likes to talk about movies and himself, doesn’t mind allusions to his 239 pounds.” Thus, far from encouraging the director to lose weight, Selznick commodified his body and did so quite successfully. In fact, when Selznick heard of Hitchcock’s drastic weight loss, he became concerned and in a memo urged him to “Drink a Malted!”
Another guiding idea that I uncovered through careful examination of the archive was that Selznick and his cronies at SIP would often use Hitchcock’s size against him in a shaming capacity. For example, Dan O’ Shea, one of Selznick’s vice presidents, sent a scathing memo to Hitchcock that scolded him for his prima donna attitude, and he capped off the missive with the taunt, “How’s the metabolism?” In nearly every altercation between the director and producer, communications emerged that referred to Hitchcock’s greed, his “big appetite,” or the notion that he was getting “too big for his britches.” Even as Hitchcock complied with Selznick’s publicity strategies and realized that his popularity hinged on this kind of “body marketing,” he still retained a great deal of shame surrounding his size, and Selznick exploited this shame many times in an attempt to “manage” him—to control what cinematic projects he took on, how fast he completed them, his other collaborations, and what he said to the press.
My research in the Selznick archives generated the first chapter of my recently completed monograph Hitchcock’s Appetites: The Corpulent Plots of Desire and Dread, and the data I collected there is evident throughout the book. The book truly could not have been completed without this research. I look forward to using materials from the Center on future projects.
Born in Omaha, Nebraska, Ruscha moved to Oklahoma City in 1941 and to Los Angeles in 1956 to attend the Chouinard Art Institute. He had his first solo exhibition in 1963 at the Ferus Gallery in Los Angeles. In the years since, he has been widely recognized for his paintings, drawings, photographs, and artist’s books.
Ruscha is known for art that often manipulates words and phrases in unconventional ways. Ruscha’s art is deeply influenced by his love of books and language, as reflected by his frequent use of palindromes, unusual word pairings and rhyme. He has often combined the cityscape of Los Angeles with vernacular language, and his early work as a graphic artist continues to strongly influence his aesthetic and thematic approach.
Ruscha’s archive comprises five personal journals filled with preliminary sketches and notes; materials related to the making of his artist’s book of Jack Kerouac’s On The Road (2010); notes, photographs, correspondence and contact sheets relating to the creation and publication of his many other artist’s books, including Twentysix Gasoline Stations (1962), Every Building on the Sunset Strip (1966), and Some Los Angeles Apartments (1965); and materials relating to his short films Miracle (1975) and Premium (1971); his portfolios; and several art commissions.
Once processed and cataloged, the materials will be accessible in the Ransom Center’s reading room to students, researchers and the public.
The purchase of the archive was primarily supported by generous donors, including Michael and Jeanne Klein, the Marlene Nathan Meyerson Foundation, Mark Wawro, and Melanie Gray. The University provided additional support for the acquisition.
Ruscha, who continues to live and work in Los Angeles, donated a substantial portion of the archive to the Ransom Center, including a complete set of his artist’s books, print portfolios, 16 mm reels of his films, and a complete set of exhibition posters.
A small selection of materials from the archive will be on display in the Ransom Center’s lobby through December 1.
The digital collections platform provides access to the Ransom Center’s collections for students, scholars and members of the public who are unable to visit the Center. It also provides a way for visitors to access fragile materials or collections that exist in challenging formats, such as personal effects and costumes. One example is a collection of glass plate negatives that documents theater performances in the late-nineteenth and early-twentieth centuries. The fragile collection was previously inaccessible, but the negative plates were digitized and converted to positive images for the digital collection.
Visitors to the Ransom Center’s website can search within collections or across collections, often revealing related materials. Additional tools provide users with the ability to virtually flip through books, enlarge images and compare page images with accompanying transcripts, which are text-searchable.
Collections are being added on an ongoing basis, and planned digitization projects include the photographs of nineteenth-century photographer Julia Margaret Cameron and photographs and ephemera from the Fred Fehl dance collection.
This project was made possible with funding from the Booth Heritage Foundation.
The Ransom Center recently published a new finding aid for one of its richest collections of early manuscripts: the Carl H. Pforzheimer collection of English manuscripts. The bulk of the manuscripts were acquired in 1986, along with 1,100 other rare early printed editions of English literature that form the Pforzheimer library. The manuscripts include nearly 2,000 items dating from 1485 to 1844 that feature original correspondence from European monarchs, nobles, and aristocrats. Represented are works and letters by notable figures in British history such as Oliver Cromwell, John Donne, Queen Elizabeth I, John Evelyn, John Locke, Samuel Pepys, and Sir Walter Raleigh.
The new finding aid represents the first-ever online description of the Center’s Pforzheimer manuscripts and provides a new wealth of detail about the collection. Each manuscript has been individually cataloged, and digitization of all of the Pforzheimer manuscripts is ongoing. As digitization is completed, the descriptions and images will be added to the Ransom Center’s publically available digital collections.
The Pforzheimer manuscripts have several thematic strengths. For example, there are letters signed by Queen Elizabeth I relating to the ultimately failed negotiations for her marriage to François, Duke of Anjou. Another theme encompasses letters and documents signed by participants in the regicide of King Charles I of England, including two letters by Oliver Cromwell. Another grouping is anchored by a significant collection of letters by philosopher John Locke and additional letters by other English Enlightenment-era thinkers from the late seventeenth and early eighteenth centuries. Several founding members of the British Royal Society are represented in this group, especially Samuel Pepys and John Evelyn—two famous diarists of the period who provide modern-day historians with first-hand perspectives on English culture, politics, and science in the period. Among Evelyn’s materials are original hand-drawn sketches of gardens and naval battles, and letters to colleagues discussing the classification of herbs.
Another highlight is a beautifully extra-illustrated 1833 biography of Sir Walter Raleigh, created by nineteenth-century collector John Dillon to hold his extensive collection of original manuscripts by Raleigh and his contemporaries along with nearly 500 rare prints and original art. Other items of significance to the history of art and literature include letters by seventeenth-century poet John Donne and eighteenth-century playwright William Congreve; a rare early seventeenth-century copy of Edmund Spenser’s Shepheardes Calendar translated into Latin; and a vellum handwriting showcase book from 1606 by Esther Inglis, one of very few known women calligraphers of her era. There are also two letters by members of the early Quaker religious movement, Margaret Askew Fell Fox and Isaac Penington.
The largest group of manuscripts in the collection originated from the Bulstrodes, an aristocratic English family prominent in Middlesex in the seventeenth and eighteenth centuries. By far the bulk and the most significant of these manuscripts are 1,469 handwritten newsletters dating from 1667 to 1689 received by Sir Richard Bulstrode (1610–1711) while he was stationed in Brussels as an English diplomat. These newsletters provided Bulstrode with information from England that could not be printed in public newspapers, such as parliamentary business. The reportage in the newsletters offers today’s readers a first-hand insider’s perspective on English history and London culture in a tumultuous time. Readers will find reports on England’s involvement in North America, hostilities with the Dutch and French, court hearings about government censorship, parliamentary debates on the right of habeas corpus, the formation of the Whig and Tory political parties, the Popish Plot and persecutions of Catholics, the uneasy succession of Charles II by the Catholic James II, the Rye House Plot, the Duke of Monmouth’s Rebellion, the Glorious Revolution of William and Mary, and accounts of court gossip in the 1670s and 80s that involved Mary’s sister—the future Queen Anne.
Supported by additional correspondence between Bulstrode, the newsletter office owner Joseph Williamson, and some of Williamson’s clerks, the Pforzheimer collection preserves one of the world’s largest records of early correspondence journalism. And through its digital collections, the Center will provide access to a large collection of manuscript newsletters from this era, showcasing the immense value these documents have as primary sources for historical and cultural research.
Leslie Delassus worked as a graduate intern in public services at the Ransom Center in 2005–2006, and she returned to the Center in 2013 as a dissertation fellowship recipient to conduct research in the Dawn collection. Below, she explores Dawn’s working method and approach to special effects.
Norman O. Dawn was a relatively obscure yet historically significant early special effects cinematographer, inventor, artist, and motion picture director, writer, and producer. The image above is an example of the 164 cards in the Dawn collection that illustrate special effects processes.
Produced by Dawn himself during the 1970s, these 16×20-inch cards explicate the process of special effects Dawn produced during his career as a filmmaker, dating back to as early as 1907. Between 1907 and 1951, Dawn created more than 800 special effects for more than 80 films, ranging from his early non-narrative “scenic” films to his subsequent narrative films. All of these effects consist of the juxtaposition of two or more images, a process Dawn refers to as “image manipulation.” The cards include artifacts from the production process including oil, watercolor, pencil, and ink sketches; film clips; frame enlargements; camera records; and production stills. The cards also contain ancillary documents such as movie reviews, advertisements, other trade press clippings, and sections from textbooks and pages from an unpublished autobiography.
This wealth of materials visually traces the history of cinematic special effects, situating their development within film scholar Tom Gunning’s notion of the “cinema of attractions,” a much earlier period vastly different from popular narrative film. The cinema of attractions was a more sensational cinema that appealed to audiences through overwhelming spectacle and images of the unfamiliar associated with tourism.
The card above explains the production process of the footage Dawn shot for Hale’s Tours of the World (1907), a cinema of attraction par excellence. Combining spectacle and tourism, Hale’s Tours was an amusement park ride set in a trolley, which simulated the sensations of a train ride as riders watched films shot from the point of view of a train in motion. In his footage for the ride, Dawn deployed arguably his most famous special effect innovation, the glass-shot, in which he shot a live scene through a large glass painting. In this particular shot, Dawn juxtaposed footage of members of an indigenous community in Mexico with a painting of ancient Mayan ruins situated in the background, thus combining two spatially distinct objects of tourism into one view. With his glass-shot, Dawn raised the stakes of spectacle by transporting his audience to a place otherwise inaccessible, one only possible through special effects cinema.
Significantly, images of spectacle and tourism resurface in Dawn’s fiction films, which are largely underrepresented in film history. While Dawn produced effects for—and in many cases directed—over 80 films, most of these films no longer exist. The few that remain reveal the way in which Dawn’s work in early cinema, like Hale’s Tours, influenced his narrative filmmaking. Often shot in remote and unfamiliar locations, such as the Arctic tundra, these films emphasize spectacle and tourism as integral narrative elements. Much like the audience of the attraction film, the protagonist of these films is overwhelmed by spectacular locations and charged with the task of navigating this unfamiliar terrain. This emphasis on spectacle over narrative links Dawn’s fiction films not only to the much earlier period of the attraction but also to the high-budget blockbuster of contemporary cinema. In this sense, Dawn’s protagonists have much in common with archetypal figures of New Hollywood cinema such as Indiana Jones, thus bridging the gap between the distant past of early cinema and the present moment of popular film.
A one-year, grant-funded project to digitize, catalog, and process the collection is complete, and the collection is accessible via the Center’s new digital collections website. The online resource includes images of the fronts and backs of 217 artworks that comprise the Frank Reaugh art collection. Viewers are able to see both framed and unframed images of the works.
During the 1930s, artist Frank Reaugh (1860–1945) earnestly sought an institution in the Southwest to preserve his artwork. In 1937, eight years before his death, he gave a portion of his private collection to The University of Texas at Austin.
Interest in Reaugh has grown steadily over the years. Today, Reaugh is considered an influential artist of his time, and his artwork is sought by private collectors and museums alike.
The works in the Reaugh collection are primarily pastel landscapes of the American Southwest, spanning the duration of his career from his early field sketches to his later large-scale works. The native Longhorn, one of Reaugh’s favorite subjects, is often present in his work. Reaugh’s life and work will be the subject of a 2015 Ransom Center exhibition and publication.
“A unique element of the Frank Reaugh project was how we decided to photograph and present each artwork as an artifact,” said Ransom Center digital collections librarian Elizabeth Gushee. “The project revealed previously unknown notes and sketches on the backs of paintings, and it also told us a lot about the materials that the artist used to create his frames. By giving this level of detail about Reaugh’s creative process, we hope to provide opportunities for scholarly interactions with the collection that have not been previously possible.”
The project also enhanced cataloging information to facilitate access to the collection, including the creation of a finding aid for the collection.
The process of removing these delicate pastels from their frames, many of which were still within their original mats and frames constructed by Reaugh, presented some challenges. Each artwork posed unique needs for handling and photographing, especially the largest pastels, some of which were nearly 50 inches in length.
The project to digitize and catalog the Frank Reaugh art collection was made possible with support from the Institute of Museum and Library Services and the Texas State Library and Archives Commission.
Image: Library Assistant Megan Dirickson works on a project to digitize and catalog the materials of artist Frank Reaugh, including rehousing works after they have been documented. Photo by Edgar Walters.
In January 1971, J. Michael Lennon wrote a letter of encouragement to Norman Mailer after watching the author get into a raucous televised debate with Gore Vidal. Mailer responded, sparking a lifelong correspondence between the pair.
Lennon went on to become Mailer’s personal archivist and authorized biographer, as well as Emeritus Vice President and Emeritus Professor of English at Wilkes University. He has written and edited a number of books about Mailer, including Norman Mailer: Works and Days (2000). His most recent book, Norman Mailer: A Double Life, comes out today. This biography draws on unpublished documents, including Mailer’s letters, as well as Lennon’s personal relationship with the author. In 2009-2010, Lennon visited the Ransom Center on a fellowship funded by the Norman Mailer Endowed Fund to conduct research for the biography. Cultural Compass spoke with Lennon about his new book, his work in the Ransom Center’s archive, what first attracted him to Mailer’s writing, and more.
You knew Mailer well before starting work on Norman Mailer: A Double Life. While researching and writing, were you ever surprised by anything you learned about him?
I was surprised at the intensity of his depression after his second novel, Barbary Shore, received extremely negative reviews in 1951. He became more depressed (but not clinically) than I had previously thought and actually investigated the possibility of working in a prison or becoming a lawyer. The other things that surprised me were the extent of his many passionate love affairs and the number of young writers, hundreds of them, with whom he corresponded, and encouraged, something that went on from the 1950s until his death in 2007.
What do you hope readers will take away from the book?
I hope readers will see how immersed Mailer was in the great events and issues of the latter half of the twentieth century and the first years of the next one. He saw and wrote about World War II, the Cold War and the espionage and counter-espionage that accompanied it, the Civil Rights and Women’s Liberation movements, technology and the environmental movement, and the early space exploration effort. Mailer not only wrote about these things, he also debated them publicly on just about every major talk show in existence. He is the most important public intellectual from the literary world in my lifetime. He was also a terrific biographer and wrote memorable biographical books and essays on a score of iconic figures, from Marilyn Monroe and Madonna to JFK, Muhammad Ali, and Hemingway. Also some infamous individuals—Gary Gilmore, Lee Harvey Oswald, and Hitler. And Jesus Christ, in his 1997 novel, The Gospel According to the Son.
What first drew you to Norman Mailer as an author?
His daring, his edgy style, his exploration of his identity, and his self-awareness.
The Mailer archive is the largest single-author collection at the Ransom Center. Have you been through every box? How do you organize and prioritize your work in the archive?
Yes, I think I have handled every piece of paper in it. Building on the pioneering work of Robert F. Lucid, my mentor, my wife and I organized Mailer’s papers and then helped the Ransom Center’s staff create the Mailer finding aid. During my several visits to the Center, I used the finding aid to organize my request list so that I could spend my time reading and note-taking. The system devised by Steve Mielke and his team made my research efforts considerably easier. I am indebted to the Ransom Center for expert and thoughtful help over the past eight years.

domain: library


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The original PlayStation Gold wireless headset is the perfect headset for gaming. In fact, it's one of the better headsets you can use for just about anything. While it is a great headset, Sony has released a new updated version of the Gold headset. It looks very similar on the outside, but Sony promises a better all-around experience from this new model.
Is this new headset really that much different from the old headset, and is it worth the money? Here's my thoughts on whether you should upgrade your headset.
Original Gold Headset
The original Gold headset is rather big, which makes it less comfortable for every head size, but it's great for gaming with friends online. The microphone is clear and your friends can here you very well. These are not noise-cancelling, but the over-the-ear design does surround you with sound rather well. Sometimes it shares that sound with the person next to you, though, so be careful!
There's a lot of detail in the sound on these headsets, with loud booms and soft whispers coming through as clearly as if you were in the game. The positive side of the large headset is that you will have no problem using it for extended periods of time, making it easier for you to be immersed into each world. The size makes it a little awkward for VR, which makes sense since it was made long before the PlayStation VR, but it's still a great option when you want to play wired.
You can currently purchase this headset for $88 if you're looking to save some money on a great headset.
New Gold Wireless Headset
This new headset has improved on quite a bit of the complaints many people have had of the old headset. With the 7.1 virtual Surround sound to improve the sound as well as improved ear cushions for refined comfort, this headset will definitely improve your game play. The mic cancels out the sound around you so all your friends hear is your voice, and the controls for the volume of the the mic, the game, and the mute button are all easier to access.
Another great thing about this headset is that you will have access to special audio modes in certain games. Created by developers exclusively, these modes use the special additions of this headset to enhance game play. You can download these custom modes onto your PlayStation through the Headset Companion app on your PlayStation 4, and it's a special audio experience that will only exist for Sony fans.
Sony improved the design with PlayStation VR in mind, helping with the immersion into which ever world you enter into. With a thinner band and improved comfort, it makes it easier to wear with your VR headset without any discomfort you usually feel with over the ear headphones. With the sound improvement of the 7.1 virtual Surround sound and all the added design features, you're sure to enjoy your experience in each VR world you enter.
Right now, this headset is only available for pre-order until February 22nd, but you should grab it before it's no longer available.
Ready to upgrade?
Whether you're going to keep your Gold headset or upgrade to the new one, you'll have a great headset no matter what. If you're someone who enjoys gaming, then either headset is a great choice. The new design makes it a bit more comfortable, especially if you're a smaller person like I am. If the sound quality is something that you're looking to improve as well, then I would definitely go for the newer headset. The individual audio profiles alone will make it worthwhile to you.
If you're looking for a new headset to fully immerse yourself into the world of VR, then this new headset is exactly what you need. It's design has been tailor-made for the VR experience, and the added sound quality will make your immersion even better.
Here's where you can pick up the new PlayStation Gold Wireless headset!
Depending on what kind of gaming you're looking to get out of the headset, you could use either headset for your gaming experience. However, the newer headset will give you the noise-cancelling that you might be looking for, and has improved on a lot of the qualities the old headset lacks.
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domain: game


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Erie enacts moratorium when positioning from 2018 as hot oil

domain: health


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Wednesday, March 5, 2014
Is Your Why Working Well?
By Micky Wolf
Most of us desire to make good choices, to act in ways befitting a Christian. And yet, we can find ourselves floundering at times, wondering what our next step might be. It seems there are occasions (too many?) when the more we struggle to understand what God is calling is to, the more uncertain we become. The seriousness of this muddling is addressed in James 1:5-8:
But if any of you lacks, wisdom, he should ask God who gives to all generously and ungrudgingly, and he will be given it. But he should ask in faith, not doubting, for the one who doubts is like a wave of the sea that is driven and tossed about by the wind. For that person must not suppose that he will receive anything from the Lord, since he is a man of two minds, unstable in all his ways.
In listening to well-intentioned folks over the years, I have discovered one question in particular, if thoughtfully reflected upon, will provide the seeker with invaluable insight to living in God’s will: “Why am I choosing or doing A, B, or C?”
Seem too simple or obvious? Surprisingly enough, those truly desiring God’s will find this to be much more challenging than they initially anticipated. However, for those willing to delve deeper, the revelation can prove to be well worth the time spent in prayer or reflection.
We know being honest about what we are thinking and feeling regarding any person or situation is a good thing. At the same time and on any given day, we can be pretty effective at deceiving ourselves—about ourselves. Who wants to look at the yuckier stuff? The pride? The impatience? The self-centeredness of my way is the best way?
If we hope to ask God for wisdom for direction (who gives to all generously and ungrudgingly) we have to prepare our hearts to receive that wisdom. Which means, the more forthright we are, the better.
An easy ‘out’ on this one is to exclaim, “But God knows what’s going on, so it’s not like I need to point this stuff out to him.” True. But, that’s not why He wants to hear it from our own lips. Giving voice to what we are thinking and feeling about our strengths and weaknesses, informs us—about us.
Whether we actually speak out loud, or simply form our thoughts into words which we whisper from our hearts, the result is what is important.
This was brought home to me in a very personal way in recent months.
I recently rejoined a group I had been a (welcomed) member of for a number of years, but had stepped away from for a number of ‘honest’ reasons: I needed the time for writing, for meeting with directees, for being a good wife, for this…and for that…Well, you get the idea.
The truly honest reason I discovered when I allowed God to search my heart with the “Why was I staying away question?” Fear. Fear of being misunderstood or rejected for being me, warts and all. Fear of not having it all together. Fear of making a fool of myself.
Did that mean I had not been me earlier? No. It simply meant that in passing through several deeply life-changing experiences, (the death of my mother, returning to school, a painful relationship issue), I was now much more comfortable being me. It had nothing to do with them. They had been accepting of me all along.
I don’t know about you, but my requests to the Lord asking for wisdom are too often shrouded in a veil of unbelief. For all that I know about God, especially through Scripture, there can be the tiniest bit of d-o-u-b-t. “Really, God? Are you really going to give me insight that I can apply to daily life? I mean the specifics, God?”
I used to get really impatient with myself for doubting God. Yep, one of those aforementioned fears of appearing to not have it all together. My attitude these days? So what? Maybe the first and foremost reason we have the story of ‘doubting’ Thomas is to assure us that even the most faith-filled and believing saint is going to have one-of-those-days now and then.
Getting honest about our tendency to doubt is to find the courage to wield the key called faith—and that most assuredly opens the door to hearing and receiving the wisdom of the Lord.
Spirit and flesh…
Being brave enough to ask the “Why” question takes us to the root of our motivations, which is probably one of the more powerful incentives to dodge this process.
When the Lord pointed out my fear, it became obvious that if I hoped to behave as a Christ-follower, I had to accept I was, in effect, cooperating with the motivation behind the fear—self-protection rather than trusting God in all things.
The unsettling truth is that anytime an examination of our motivations shows us we are more interested in playing it safe or looking or sounding good than we are in being real and authentic, we have made the choice to move from the flesh rather than the Spirit. Had Jesus made that choice, he would have passed on the cup and walked away from the Cross.
In the end…
If we’re being honest, it’s no fun and gets mighty wearisome trying to cover or disguise our yucky places rather than surrender to God’s Truth in Love and be the unique person He has created each of us to be.
If we’re cavorting with doubt, our double-mindedness will effectively serve as a barrier in preventing us from moving forward in faith.
And if we are more interested in making choices that assuage and massage our ideas of self rather than embracing the promises of God, we will be tossed about in a sea of discontent, unsure and unstable.
“Why am I about to make this choice and take this action?”
Ask. From the heart. Wisdom awaits.
Do I find it difficult to get honest with myself, about myself?
Am I more inclined to dance with doubt or embrace God’s Truth?
How do I feel about going before the Lord with my “Why(s)?”

domain: literature


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Businesses will learn first-hand how to compete for contracts with local, state, and federal governments at the annual Greater Pierce County Purchasing Forum, presented by Pierce County’s Economic Development Department and City of Lakewood’s Economic Development Department.
This free event takes place Thursday, Oct. 17 from 8 a.m. to 12 p.m. at the McGavick Conference Center located on the campus of Clover Park Technical College, 4500 Steilacoom Blvd. SW, Building 23, in Lakewood. Registration is available online.
The program will be highlighted by a morning keynote from Mr. Vincent Marsh, Director of the Joint Base Lewis-McChord office of Mission and Installation Contracting Command (MICC-JBLM).
Attendees may also join in Q&A sessions with local IT, construction, and small business procurement experts and connect with over 20 government agencies and organizations.
Participants include: American Indian Chamber Education Fund PTAC, City of Lakewood, City of Tacoma Procurement & Payables, Defense Logistics Agency (DLA) Maritime Puget Sound. Joint Base Lewis McChord, MBDA Tacoma Business Center/City of Tacoma Community & Economic Development, Municipal Research and Services Center-MRSC Rosters, Naval Facilities Engineering Command Northwest, NAVSEA-Naval Undersea Warfare Center Division, Keyport, NAVSUP Fleet Logistics Center Puget Sound, Pierce County, Pierce Transit, Port of Tacoma, Sound Transit, Tacoma School District, Tacoma-Pierce County Health Department, U.S. General Services Administration (GSA), U.S. Small Business Administration (SBA), Washington Procurement Technical Assistance Center (PTAC), Washington State Department of Enterprise Services, Washington State Department of Transportation (WSDOT), Procurement & Materials Management Office.
Register online at www.piercecountywa.gov/forums or for more information contact Sara Garner at 253-798-2335 or [email protected].
Sara Garner, Pierce County Economic Development

domain: economics


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FAA Administrator Marion Blakey said that “aircraft greenhouse gas emissions might become a serious barrier to aviation growth long-term” in a speech last week to an emissions colloquium at ICAO in Quebec. Also at the colloquium, Massachusetts Institute of Technology professor Ian Waitz presented preliminary research that says in one estimation, U.S. commercial aviation emissions may be correlated to a few hundred premature deaths a year and have climate costs of $16 billion a year. But, Waitz said, “There is a very positive side to the story.” He stressed that while aviation accounts for approximately 3 percent of the nation’s fuel burn, the rate of premature deaths as a result of the emissions is only “a small fraction of one percent” of the yearly total attributed to poor air quality. Waitz added that there has been a 95-percent reduction in the number of people affected by aviation noise in the last 30 years despite a massive increase in air travel.
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Exports of cotton from Brazil have jumped many folds in terms of value and volume in the last two months as the new marketing season began in August 2022.
According to TexPro, Brazil exported 189.733 million kg of cotton amounting to $382.944 million in September 2022, up from 65.040 million kg of cotton (valued at $127.434 million) in August 2022.
The monthly shipment in terms of value increased two-fold during September over the shipment in August. In terms of volume, the exports witnessed a 190% rise over the previous month.
The shipment during August increased about two times in terms of volume and value over July 2022. Brazil had exported 23.715 million kg fibre worth $53.391 million in July, TexPro showed.
Brazil’s fibre exports stood at $168.117 million (69.404 million kg) in June, $197.566 million (87.648 million kg) in May and $315.845 million (142.666 million kg) in April 2022. Brazil exported fibre worth $2.329 billion (1,139.887 million kg) in the first nine months of this year. Its total fibre exports stood at $3.489 billion (2,078.208 million kg) in 2021, $3.314 billion (2,190.566 million kg) in 2020 and $2.733 billion (1,664.626 million kg) in 2019.
Brazil is the fourth largest cotton producer country in the world.


The United Nations, through the Nigeria Humanitarian Fund, has allocated $13.4 million to help thousands of children, women and men in need of urgent humanitarian assistance in crisis-hit north-east Nigeria.
The humanitarian emergency in the northeastern Nigeria is one of the most severe in the world today, with 8.5 million people in need of life-saving aid in 2017 in the worst-affected states of Borno, Adamawa and Yobe.
The Nigeria Humanitarian Fund (NHF) allocation will help address this devastating situation by financing 24 projects in the sectors of protection, nutrition, water and sanitation, health, education, shelter and non-food items, rapid response and early recovery, targeting a total of 950,000 people.
In line with commitments made at the World Humanitarian Summit, five local responders are being supported through direct funding in this allocation. By empowering national partners, a more integrated and localized response will be possible, and their capacity will also be strengthened.
“Humanitarian needs in north-east Nigeria are still vast,” said Mr Edward Kallon, the Humanitarian Coordinator in Nigeria. “The United Nations and our partners, in support of the Government of Nigeria, are committed to assisting those in need, especially in pivotal areas such as protection and health.”
In particular, the funds will be used to expand and improve sexual and reproductive health services for nearly 130,000 women and adolescent girls in areas of Borno, the epicentre of the crisis, and boost mental health services for vulnerable children, women and men. Gender-based violence will also be addressed by providing more accessible medical care. In light of the recent cholera outbreak and to mitigate the risk of faecal contamination and poor hygiene, funds have also been allocated to improve the availability of safe water and sanitation for 125,000 people.
The NHF is one of 18 country-based pooled funds and was launched during the Oslo Humanitarian Conference on Nigeria and the Lake Chad Region in February 2017. Managed by the UN Office for the Coordination of Humanitarian Affairs (OCHA) on behalf of the Humanitarian Coordinator, it plays a vital role in ensuring an effective, coordinated, prioritized and principled humanitarian response in Nigeria.
To date the NHF has received $41 million in contributions and pledges, thanks to the generous support of Sweden, Germany, the Netherlands, Denmark, Belgium, Ireland, Norway, Switzerland, the Republic of Korea, Canada, Spain, Luxembourg, the Arab Gulf Program for Development, Malta, Azerbaijan and Sri Lanka.