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text:
Opened 21 months ago
Closed 16 months ago
#28281 closed task (implemented)
outline of high-level bootstrap tracker abstractions
|Reported by:
|Owned by:
|Tor: unspecified
|Core Tor/Tor
|s8-bootstrap, bootstrap-arch, 040-deferred-20190220
|brade, mcs
|Actual Points:
|Parent ID:
This is a placeholder to summarize the high-level bootstrap tracking abstractions I talked about with Nick.
Child Tickets
Change History (14)
comment:1 Changed 21 months ago by
Working from the list in #27103, this is a hopefully useful breakdown of the high-level phases of bootstrapping:
- making the initial OR_CONN to any relay or bridge (see #27103)
- this should track the farthest progress that any individual attempt has made so far
- "farthest progress" should probably be reset under some circumstances (see #27691)
- directory info
- one-hop circuit, if needed?
- bridge descriptor, if bridges are used? (see #11966)
- consensus
- descriptors (usually microdescs for clients)
- building a useful application circuit
- first OR_CONN to a guard if we're not using bridges
- intermediate progress such as noting when each hop gets built (see #27104)
In a pubsub framework, (1) will need to subscribe to events from connections, and keep track of the maximum progress any one connection has gotten.
There should be an abstraction that tracks circuit-building progress. We can use it for (2)(a) and (3)(b).
We could make separate trackers for (2)(c) and (2)(d). As a bonus, those trackers could handle the scaling of incremental progress for downloads.
If we make a tracker that subscribes to both circuit and connection events, we could cleanly solve bugs such as #25061. It would also work for (3)(a), which needs to know both circuit type (application circuit) and connection state.
[edit: fix comment ref]
comment:2 Changed 21 months ago by
|Tor: 0.3.6.x-final → Tor: 0.4.0.x-final
Tor 0.3.6.x has been renamed to 0.4.0.x.
comment:3 follow-up: 4 Changed 20 months ago by
After chatting some with ahf, I thought it might be a good idea to write down here a proposed new set of bootstrap phases. The numbering of the new phases is yet to be determined, but they're meant to be in order. (Some phases might get skipped, and that's OK.)
Some design considerations include the spacing between phases. Right now many of them seem separated by 5%, which seems to be a decent amount of progress as seen by the user's eye. Any increments smaller than this aren't necessarily meaningful to show to the user, but we could use the smaller increments to add phase names that could give a more accurate picture about where something is broken than the user currently gets.
There are two gaps in the existing phases, one of which corresponds to incremental progress downloading descriptors. (The other one doesn't seem to currently be used to display incremental progress downloading a consensus.)
- shouldn't be visible to controllers or users
- can stay the same
The following high-level grouping of phases should deal with the first outbound connection to a Tor relay. This might be to a directory cache, a proxy, or a guard/bridge. Here we use "first" to mean whichever one has made the most progress so far, in case we open multiple connections before any one is fully open.
the initial outbound TCP connection toward the Tor network, for any purpose, which might include a firewall-bypassing proxy, or a pluggable transport; corresponds to
the initial handshake with a firewall-bypass proxy or PT; corresponds to
OR_CONN_STATE_PROXY_HANDSHAKING; might be skipped if not using proxies or PTs
Maybe insert additional phases here for intermediate proxy handshaking steps?
the TLS handshake with the first relay; corresponds to
OR_CONN_STATE_TLS_HANDSHAKINGor related ORCONN states (some of these involve TLS protocol renegotiations to deal with older link protocol versions)
- the Tor link protocol is open to the first relay and can send and receive cells
The following high-level grouping of phases should deal with receiving and verifying directory information. Some of these might get skipped if we're starting from cached info.
corresponds to the
CREATEcommand opening the first circuit to a directory server; maybe reuse the existing
onehop_createtag, because it already mostly means this? it might be better to have the more normalized naming though
corresponds to the
CREATEDresponse that means the first directory circuit is created
corresponds to the
corresponds to the
CONNECTEDresponse to the
BEGIN_DIRcommand; the existing
requesting_statusphase actually gets sent here instead of where the corresponding work actually begins
- start downloading the bridge descriptor, if we're connected to a bridge; this is related to #11966
- this can stay the same
- this can stay the same
Right now there is a gap (from 20 to 40) between these two phases, but we don't currently fill it in with incremental progress in downloading the consensus. Maybe we should?
- this can stay the same
- this can stay the same
- this can stay the same
Right now there is a gap between
loading_descriptors and the next phase (from 50 to 80), which we fill in with incremental progress. Maybe we should retain this gap and the incremental progress display?
The next high-level grouping of phases corresponds to connecting to a guard, if bridges aren't in use. Similarly to the
connecting grouping, these represent the furthest progress that any one attempt has made so far.
same as
connectingbut for a guard
same as
proxy_handshakebut for a guard
same as
tls_handshakebut for a guard
same as
openbut for a guard
same as
dir_circ_createexcept for an application circuit
same as
dir_createdexcept for an application circuit
corresponds to
EXTENDcommand for the second hop
corresponds to
EXTENDEDresponse for the second hop
corresponds to
EXTENDcommand for the exit
corresponds to
EXTENDEDresponse for the exit
- same as existing phase
comment:4 follow-up: 7 Changed 20 months ago by
Good stuff!
Replying to catalyst:
Right now there is a gap (from 20 to 40) between these two phases, but we don't currently fill it in with incremental progress in downloading the consensus. Maybe we should?
A thought for this part in particular: incremental progress at fetching descriptors can be confirmed as we go (we verify that we got the bytes we wanted). But if we try to show incremental progress at fetching a consensus, but then we get it and we don't like it, we'll find ourselves going backwards in bootstrap progress. Not the end of the world but maybe something to avoid getting ourselves into if we can.
But most importantly of all: this particular incremental-progress dilemma can be totally deferred until everything else is done and in place. :)
comment:5 Changed 20 months ago by
I thought about this a bit more, and I think we might want to disambiguate the connection progress messages a bit. We probably shouldn't always report the first TCP connection the same way, because it means something different to the user if the TCP connection to the first proxy fails, compared to if the TCP connection to the first relay fails. So we shouldn't use the raw connection progress indications from the ORCONN code without decoding them first a bit.
I think if we know we're connecting through a proxy, we should report the first TCP connection as something like
proxy_connecting and
proxy_connected. But then this gets confusingly named with the proxy handling code in connection.c that talks the proxy protocol and makes connection requests to the proxy. Maybe we should report the progress of asking the proxy to make the relay connection as
connecting and
comment:6 follow-up: 8 Changed 20 months ago by
We might need to further disambiguate between PT proxies and firewall bypass proxies.
I think we have a terminology quirk we need to be mindful of: Tor Browser refers to PT bridges as simply "bridges". It also uses "proxy" to refer to only firewall bypass proxies.
comment:7 Changed 20 months ago by
Replying to arma:
A thought for this part in particular: incremental progress at fetching descriptors can be confirmed as we go (we verify that we got the bytes we wanted). But if we try to show incremental progress at fetching a consensus, but then we get it and we don't like it, we'll find ourselves going backwards in bootstrap progress. Not the end of the world but maybe something to avoid getting ourselves into if we can.
We would like to avoid showing "backwards" progress in the Tor Launcher UI, but there are ways the situation you described could be addressed. Fr example, if each bootstrap phase that reports incremental progress was delineated clearly with "start" and "end" messages, then one could create a "checkmark" based UI that showed a second attempt rather than moving a simple progress bar backwards. For example:
Connecting to the Tor network ... x Fetching relay information [###### ] FAILED; will retry ✓ Fetching relay information (attempt #2) [#################] ...
A general principle that I mentioned before is that the tor daemon itself should enable many different types of user interfaces. Making a rich set of info available that includes start and end milestones will make that possible.
comment:8 Changed 20 months ago by
Replying to catalyst:
We might need to further disambiguate between PT proxies and firewall bypass proxies.
I think we have a terminology quirk we need to be mindful of: Tor Browser refers to PT bridges as simply "bridges". It also uses "proxy" to refer to only firewall bypass proxies.
Terminology used in the browser UI has evolved over time and will almost certainly do so again (especially if user testing shows that changing it will help users better understand what is going on). Also, Brave, Firefox, and other clients may choose to present completely different terminology to their end-users. To me this just means that tor log and control port messages should use whatever terminology will make the most sense to developers and experts.
+1 on making sure clients can disambiguate between messages related to PT proxies vs. firewall bypass proxies (and other similar components). It will be a big win if we can show users exactly where things went wrong. Today, in many cases, people need to guess at the next step to take if they are unable to connect to the network. Will a local proxy help? Will using a different PT bridge help? Maybe my device lacks a working Internet connection? Wait, what time is it?
comment:9 Changed 19 months ago by
|bootstrap-arch added
comment:10 Changed 19 months ago by
|s8-bootstrap added; s8-boostrap removed
comment:11 Changed 18 months ago by
|Sponsor8 → Sponsor19
comment:12 Changed 17 months ago by
|040-deferred-20190220 added
|Tor: 0.4.0.x-final → Tor: unspecified
Deferring 51 tickets from 0.4.0.x-final. Tagging them with 040-deferred-20190220 for visibility. These are the tickets that did not get 040-must, 040-can, or tor-ci.
comment:13 Changed 16 months ago by
I'll probably close this soon, under the assumption that #28928 took care of recording this knowledge somewhere more stable. People should please let me know if they think there's still stuff to document.
comment:14 Changed 16 months ago by
|Actual Points:
|→ 2
|→ implemented
|assigned → closed
I believe all the important information in this ticket is now captured in control-spec.txt.

subset: commoncrawl


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Stories not told Elsewhere: Bodies of famous dancers that don't stay buried
By The Dance Insider
Copyright 2004, 2018 Paul Ben-Itzak
Today marks the 214th anniversary of the birth of Marie Taglioni, the first dancer to use pointe artistically. In 2001, the Dance Insider lead a world-wide campaign to place pointe shoes on the dilapidated Montmartre cemetery grave (in the shadow of the impeccably maintained tomb of Nijinsky) identified by the city of Paris as Taglioni's final resting place. In October 2004, the DI capped the celebration of Taglioni's bicentennial, of which it was the lead organizer, with a conference and performance co-presented by the Italian Institute and co-organized by Sophie Parcen of the Paris Opera Ballet. As of May 2016, the city of Paris had yet to remove Taglioni's name from the stationary maps of the Montmartre cemetery. Founded in 1998 by a collective of professional dance artists and journalists to build the dance audience, tell stories not told elsewhere, and give a voice to dancers, the DI is celebrating its 20th anniversary. For information on purchasing your own copy of our archive of 2,000 reviews of performances and art from around the world by 150 leading dance critics, e-mail email@example.com .
PARIS — Officials at the Montmartre Cemetery this morning agreed to take Marie (also known as Maria) Taglioni's name off cemetery maps after an Italian Institute-Dance Insider conference revealed that Taglioni, the first dancer to use pointe artistically, is not buried in the cemetery tomb which bears her name, but in the Pere Lachaise cemetery under the name of Gilbert de Voisins, the ex-husband she divorced after he turned her away from their home because she wouldn't stop dancing, as confirmed by Edgar Allen Poe's contemporaneous translations of French newspaper accounts of the divorce proceedings.
The startling turn of events began Thursday, shortly after the opening of the bicentennial homage to and conference on Taglioni in the ballroom of the Institute's Hotel Gallifet, where Napoleon first encountered his nemesis Madame de Staehl. But that drama was nothing compared to what happened when Dance Insider publisher Paul Ben-Itzak began speaking about the Montmartre grave. As Ben-Itzak recalled first seeing Taglioni's name on the cemetery map when he visited the cemetery to view Nijinsky's grave in July 2001, DI webmistress and art director Robin Hoffman projected images of the Montmartre grave, which bears a cracked placard with the words "Marie Taglioni" and "a sa mere bien-aimee," or "to his/her beloved mother."
Seated in the first row of the audience was conference participant Pierre Lacotte, whose 1971 reconstruction of Filippo Taglioni's "La Sylphide" is considered the authoritative version.
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Women aren't just victims, III: How do you solve a problem like "Giselle"?
By Alicia Mosier Chesser
Copyright 2001, 2017 Alicia Mosier Chesser
(First published on the DI on May 22, 2001, today's re-publication of this aesthetic tour-de-force — next time someone tells you ballet's too old-fashioned, throw this one in their face — is sponsored by Nutmeg Conservatory Ballet, Freespace Dance and and Slippery Rock Dance .)
NEW YORK — Absurd, incoherent, misogynistic, hopelessly outdated: thus do many dance lovers of today describe the story of "Giselle," written by Vernoy de Saint-Georges, Theophile Gautier, and Jean Coralli, and choreographed in 1841 by Coralli and Jules Perrot. You know how it goes. Act I: Young girl with a love of dancing and a weak heart (or, in the opinion of some dance historians, a bun in the oven) falls for a count disguised as a peasant, who falls for her too but turns out to be engaged to a high-falutin' prince's daughter, which revelation sends girl to a frenzied demise. Act II: slightly creepy "ballet blanc" idealization of ghostly virgins, who dance their former fiancees to death in revenge for the fact that they (the virgins) have died before their wedding day. (Or something.) And here's the worst of it: the girl actually spends the whole second act defending the guy who deceived her and ends up saving him from death-by-exhaustion. Almost every newcomer to dance whom I've taken to see "Giselle" has no patience for Act I — all that pantomime! — but the chilling purity of Act II (in which, in today's productions, there's very little story left) always leaves them breathless. Is it possible for viewers today — especially, perhaps, for feminist young women — to appreciate "Giselle" as a whole?
That's really a question about how we look at art. We generally expect art to reflect our political and ethical values, or at least to express the artist's individual, uncompromising point of view. This approach makes an artifact like "Giselle" very hard to swallow (although, ironically, this approach is just as much a part of our inheritance from the Romantic movement as this ballet is). It may seem an obvious and somewhat banal suggestion, but I'd propose that "Giselle" be taken as the artifact it is — that is, as the embodiment of Romantic values in a fully integrated dance-drama. Taken that way, the ballet can still have two different effects on an audience. It can excite only the most antiquarian sentiments, as American Ballet Theatre's Ashley Tuttle and Angel Corella showed in their performance last Tuesday at the Metropolitan Opera House. Or, as Julie Kent and Jose Manuel Carreno showed on Thursday, it can shoot us deep into the enduring mysteries of drama, dance, and life on earth.
Tuttle's "Giselle" was a confused girl-child from the start, a little thing whose lack of personality made it easy to see how she could be so taken in by Albrecht. In the Mad Scene at the end of Act I she became an overwrought 12-year-old with quivering arms, grabbing her head and shuddering on the floor. (Much of "Giselle," it's true, is ridiculous. Arlene Croce once described the Mad Scene as "an extended absurdity that an incurably cultish sentimentality has elevated to the status of a touchstone.") For all the meltingly sweet balances and brisk hops on point Tuttle executed in the famous Act I solo, I couldn't see that this Giselle had anything in her — any fire — that would make her go crazy from betrayal. She projected a sort of mild blankness and nodded her head in the same dumb way every time someone asked her a question. Albrecht would really have been a lout to take in a child like her — except if, as in the case of Corella, he was just as much a kid. When Corella came on at the beginning of Act II with a cape two sizes too big, stepping around "aristocratically" with toes so pointed he could hardly get one foot in front of the other, it was the perfect image of his undercooked interpretation.
With Kent's Giselle, Albrecht faced a more complex situation. Act I can only make sense if Giselle is a fully fleshed out woman. From the beginning Kent had a mind of her own, a distinctive private life. We saw her imaginary world (centered on the hunter's cottage, out of which she daydreamed a handsome gentleman emerging); her self-regard and smart self-protectiveness at the advances of the manly, magnetic Carreno; and most of all her sense that love was almost too beautiful for her to bear. In this performance it was Giselle's love, and her loving nature, that defined her. She took love so seriously that it could literally kill her. In Kent's lush Act I solo, it was as if love was coming out through her toes. (Love and dancing — and the love of dancing — are magically knotted together in this ballet; it's a 19th-century instance of meta-narrative.)
Carreno wanted to come into this Giselle's light; here the high and low of castle and village was transformed. When Kent invited him to join in a little peasant dance, it took him a moment to learn the dance (he's used to doing the allemande, at court), but he picked it up quickly and thus entered into the heart of Giselle's world. Kent's Mad Scene continued the modern sensibility that marked her whole performance. She began to yank the petals from her invisible flower as if bitterly remembering Albrecht's first deception, when he secretly pulled off the petal that would have said "he loves me not." You could almost hear her clenching her teeth and saying, damn him, damn him, I love him and he dares to play games with love! Her death is his indictment.
Giselle's defense of Albrecht in Act II, then, is two things at once: mercy for the sinner (with a little heaping of ashes on his head), and justice for the true love who was true of heart too late. Kent does not interpret Giselle simply. In Act I she is both wily and easily moved, generous and covetous, trusting and proud. Her entrance in Act II is terrifying. Whereas Tuttle appeared to be spun around by the wind in that whirling opening dance, and only took off around the time of her traveling entrechat quatres (making up for her limitations in the meantime with bizarrely elongated phrasing), Kent was wild and wraithlike, spinning out a continued perplexity that might never be resolved.
A big part of that perplexity is caused by the presence of Myrtha, Queen of the Wilis, danced by Michele Wiles on Tuesday and Gillian Murphy on Thursday. Wiles's Myrtha was chillier (those wide, bone-white shoulders, that forthright presentation, those tall arabesques), Murphy's more authoritative and more exciting. Murphy brought to the part the dramatic power that is crucial for a coherent Act II. When Kent covered the deeply pensive Carreno at the grave, we saw Murphy trumped for a moment; she bowed slightly as she turned away to come up with another plan to get Albrecht out in the open. Murphy's Wilis had absolutely no love left (behind her, they had personalities, whereas Wiles's crew were mere shades). In front of them, Kent's Giselle stood out all the more. There were a few shaky moments in her deft-as-a-spiderweb solos, but I didn't care. I was listening, with Carreno, to her otherwordly, very present voice.
A few words about the ballet's supporting characters. The role of Berthe, Giselle's mother, centers on one bit of pantomime in which she tells about the Wilis: they get awful little wings, she says, and spend eternity tormenting men who get lost in the woods. Erica Fischbach did her duty by this moment on Thursday, but Karin Ellis-Wentz made my skin crawl Tuesday night as she sank into her terrible reverie, made more terrible by the knowledge that it could happen to her own daughter. As Hilarion, John Gardner was good and bitter, Ethan Brown more sturdy and more mocking in his scenes with Albrecht. I liked Xiomara Reyes better on Tuesday as Moyna, Myrtha's first deputy, than in the Peasant Pas de Deux she performed with Joaquin de Luz on Thursday. Although her natural love of risk worked splendidly in the pas de deux (a big difference from the floating, serenely classical interpretation of Ekaterina Shelkanova and Gennadi Saveliev), her love of rubato brought a surprising richness to the part of Moyna. Carmen Corella, with her perfectly straight pointes and thoughtful port de bras, did the same for Zulma (Deputy Wili No. 2) on Thursday.
For sheer high excitement, almost nothing in classical ballet can match the dance of the Wilis at the beginning of Act II. The audience always applauds the long sequence of traveling chugs in arabesque, partly because it's famous, but mostly because of the way it builds and builds as more Wilis take the stage and the music's tension rises. I always wish there were about eight more dancers in the pack, and that it would go on about two minutes longer than it does. It's a dance of death — as all of "Giselle" is, in a way — which Giselle turns into a dance of life-sustaining love. Giselle and Albrecht dance all night; they dance *through* death; and the love that remains in the morning of this ballet is as charged and haunted as any you or I have ever known.


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Author Nick Redfern provides a mini review of a Bigfoot conference he attended and spoke at in October 2010.
Click here for Mr. Redfern's review
Saturday, October 30, 2010
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Nick Redfern: A Profile (of sorts)
Noted paranormalist and author Nick Redfern is profiled (almost). We know more about the esteemed writer and his Fortean predilections, and will be presenting those insights here, upcoming.
Meanwhile, click here for a precis of Mr. Redfern
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text: Am 24.06.2011 um 22:01 schrieb soumya dipta: > My question is, if it is really worth the investment going for the > 8GB RAM. Yes. With 8 GB of RAM you can easily delete unnecessary copies of this list's digests from your eMails. > > Is there a major difference between core i5 and i7? In marketing value, mostly. -- Greetings Pete (This space left blank for technical reasons.)


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Tech firm Azzure IT gains £2m funding
Sheffield-based tech firm Azzure IT has received £2m from the Northern Powerhouse Investment Fund to continue its growth.
Azzure IT helps organisations across the UK to improve their productivity and enhance growth by using smart business applications in the form of Microsoft Dynamic Solutions.
The funding will allow the business to strengthen its management team, recruit additional implementation consultants and expand sales and marketing operations. Overall this will create around 12 new jobs over the year ahead.
Founded in 2011 by Craig and Sharon Such, Azzure IT has achieved significant growth over the years and now employs 57 people.
Will Clark, joint fund manager of NPIF - Mercia Equity Finance, said: "Azzure IT's success is due to its focus on service, quality and the ability to deliver real-world solutions to meet its clients' challenges.
"Founded in the last economic downturn, the company itself used technology to take on emerging market challenges and to thrive and grow. Its goal is to support other growing businesses to achieve digital transformation. The funding will allow the business to scale up to meet growing demand and create 12 new jobs in Yorkshire."
British Business Bank MD Ken Cooper added: "This deal, which is the largest to date, highlights the range of support provided by our fund managers and demonstrates the existence of potentially world beating companies in Sheffield. The fund will be supporting many other similar opportunities across the Northern Powerhouse region."
Neil MacDonald of the Sheffield City Region Local Enterprise Partnership (LEP) said: "This sort of project is exactly why we've invested in NPIF and the British Business Bank. This is all part of our wider package of funding to support business across the Sheffield City Region.
"The 'let's get it done' work-ethic in Sheffield City Region harnesses drive and ambition. With everyone pulling together, and a significant sense of community, we are achieving transformation and building a thriving economy. This is helping to attract, retain and develop skills in the region which are so important for the SCR's sustainable growth."
Azzure IT is ranked 29th in the Northern Tech 100 league. The company has also been listed in the Deloitte Tech Fast500 EMEA over the past three years and was recently recognised in the Financial Times 1000 list of the fastest growing companies in Europe.
Enjoy extra content and interactive videos in the interactive digital magazine below


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Digital Signage – Fitness and Recreation
Fitness and recreation centers typically have scores of televisions conveniently located throughout their facilities. Members are used to tuning in to TVs to pass the time while they exercise.
At the same time, fitness centers thrive when their services are used and their classes are well-attended. By adding a few digital signage video displays or redirecting displays in lobbies, registration areas, lounges and locker rooms, StrandVision can help them achieve both of these goals.
To hear more about StrandVision's digital signage solutions for your fitness or recreation center, visit www.StrandVision.com or call 715-235-7446 (SIGN).
Rubber Duck floats onto digital billboards in China
Dutch artist Florentijn Hofman's giant public sculpture "Rubber Duck" — literally a gigantic floating rubber duck — has appeared in cities around the globe, floating into waterways and bays from Hong Kong to Pittsburgh. It also recently floated onto digital signage displays across China as part of 2013 Beijing Design Week events.
To read more, please, visit: http://www.digitalsignagetoday.com/article/221563/Rubber-Duck-floats-onto-digital-billboards-in-China?utm_source=NetWorld%20Alliance&utm_medium=email&utm_campaign=EMNADST10232013


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Bishop Thomas J. Paprocki of the Diocese of Springfield, Illinois has issued an order that bars Senator Dick Durbin from receiving Holy Communion for his pro-abortion vote.
Senator Dick Durbin voted against a bill that would have prohibited all abortion procedures occurring twenty weeks after conception, entitled the "Pain-Capable Unborn Child Protection Act." Citing Canon Law, Bishop Thomas said Senator Durbin would be prohibited from the sacrament until "he repents of this sin."
In a statement, Bishop Thomas addressed the fourteen Catholic senators who voted against the bill, saying
"Fourteen Catholic senators voted against the bill that would have prohibited abortions starting at 20 weeks after fertilization, including Durbin, whose residence is in the Diocese of Springfield."
After addressing the senators, he cited the Canon Law which gave him the authority to bar Senator Durbin from taking part in the sacred rite, and issued the final order.
"Canon Law states that those 'who obstinately persist in manifest grave sin are not to be admitted to Holy Communion.' Failing to protect the lives of innocent and defenseless members of the human race is to sin against justice. Because his voting record in support of abortion over many years constitutes 'obstinate persistence in manifest grave sin,' the determination continues that Senator Durbin is not to be admitted to Holy Communion until he repents of this sin."
In the past, Senator Durbin was pro-life voter, but changed his view in the late 1980s. Bishop Paprocki hopes the order will help him see the truth and change his perspective.
"This provision is intended not to punish, but to bring about a change of heart. Sen. Durbin was once pro-life. I sincerely pray that he will repent and return to being pro-life."
In 2004, Senator Durbin was denied from receiving Holy Communion by then-Monsignor Kevin Vann of Blessed Sacrament Church in Springfield because of Durbin's stance that abortion should be legal.


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A report in the Drug and Therapeutics Bulletin (DTB) suggests that many people taking anti-epileptic medication who are seizure free could have their medication withdrawn.
The report cites research showing that around 60 per cent of adults who have been free of seizures for 2 years or more will not experience further seizures when they are then completely weaned off medication.
However, in some patients, withdrawal of treatment may lead to further seizures. This risk is higher in patients whose epilepsy started in adulthood or who were on more than one antiepileptic drug. Patients who had experienced seizures while using medication are also more prone to a seizure recurrence.
The DTB suggests that when withdrawing treatment, the dose should be reduced by about 10 per cent every 2-4 weeks for carbamazepine, lamotrigine, phenytoin, sodium valproate or vigabatrin and by 10 per cent every 4-8 weeks for barbiturates, benzodiazepines and ethosuximide.
Professor Joe Collier, from the Drug and Therapeutics Bulletin, said:
"In any patient with epilepsy who has been free of fits for 2 years there is good reason to consider stopping medication. This should be gradual and under close medical supervision, with around a 60 per cent success rate in patients."
A spokesman for Epilepsy Action stressed that people should not reduce or change their epilepsy medication without the supervision of their doctor or neurologist. They also stressed that should seizures recur, people need to be aware of regulations in such areas as driving to ensure that they comply with the law.


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Whether you're booking a pro or doing it yourself, makeup is one thing you'll want to nail when it comes time to get ready for the Denizen Heroes Gala this Friday. In a bid to help you land on the perfect look for you (and also something that will complement your outfit) we have lined up some of our favourite styles of the moment, to get you inspired and as excited as we are.
Bare-faced beauty
While this minimalist makeup look is the quickest and easiest, in theory, it's probably the one that requires the most pre-event groundwork in order to pull off effectively. Nailing all-natural beauty requires radiant, glowing skin, best achieved by treating the face to a quality treatment a few days beforehand. We suggest perusing East Day Spa's glorious medley of facial peels, all perfect for rejuvenating and brightening your face before the big day. To really encourage dewy skin, a hydrating moisturiser is key. Janesce skincare's Nourishing Skincare Reviver brightens and doubles up perfectly as a pre-makeup primer. Keep skin looking natural and radiant by covering blemishes with nothing more than a light concealer or BB Cream, before achieving that subtle, pinched-cheek flush with a dusting of pink blush or soft bronzer. Finish off with a final slick of mascara.
The dark, sultry lip
A failsafe evening option, the dark lip elevates any look to siren-like, bold new heights. Before applying makeup, prep the face with an illuminating moisturiser, like Sothys Brightening Fluid, and make sure the lips are conditioned and nourished by using a lip mask. KNC Beauty's collagen-infused Lip Mask is renowned for its plumping, hydrating formula, containing a sublime blend of rose flower oil, cherry extract and Vitamin E. Before application, buff lips with foundation to neutralise the natural lip colour and line your pout with a durable liner — M.A.C's array of lip liners ensure there's a shade for every occasion. Use a soft lip brush and gently build up from the outer corners to the centre of your pout, the best way to keep mistakes to a minimum. Whether you're veering towards deep magentas or plum tones, Urban Decay ensures that all bases are covered with its array of bold, vampy lipsticks in its all-encompassing Vice collection. To keep things balanced and modern, be sure to keep the rest of the face simple — dewy skin and nothing more than a swipe of mascara or a soft, contouring shadow on the eye.
Old Hollywood Glamour
A timeless makeup look, the classic red lip and slick of simple eyeliner is the pairing that transcends all beauty trends. Keep the cat eye flick thin and subtle, using a precise liquid liner and a steady hand. Clinique's Pretty Easy Liquid Eyelining Pen makes lining the lid a breeze. For the lip, whether matte or glossed, try to use a red hue that matches your skin tone. For those with a pink or cool undertone, choose a blue-based red. If you have warmer undertones, red lipstick with an orange undertone is most flattering. If you're still baffled by undertones and feel intimidated by the neverending options, we recommend opting for a failsafe option that is flattering on all skin types, like M.A.C's Retro Matte Lipstick in Ruby Woo. Keep skin matte and flawless with a full coverage foundation, like Yves Saint Laurent's All Hours Full Coverage Matte Foundation — and don't forget to prep the brows, we find that Bobbi Brown's Natural Brow Shaper & Hair Touch Up delivers the ultimate arch.
Pink is having a bit of a resurgence, and there's no place better to tap into the trend than with a bit of playful makeup. While some may approach the hue with caution, a pink tint spread across the eyelids can be surprisingly versatile, and an added rose-tinted lip looks elegant and on trend, rather than excessive. Fresh, dewy skin is the best base for this whimsical look. The Facialist's recently crafted SuperFacial overhauls dull and tired complexions in a luxurious, all-encompassing treatment, or — if you're short on time — La Mer's Treatment Lotion Hydrating Mask is the next best thing for an at-home treatment. Prep skin with a glow-giving primer, before applying a foundation that gives quality coverage without overly mattifying the skin. When it comes to picking the shade of pink, there really are no rules, but we recommend opting for something erring on the petal pink shade as opposed to garish fuschia. Clarins' Ombre Velvet Eye Shadow and Tom Ford's Private Shadow Sateen Eyeshadow are just a few of our favourites.
Statement Eye
Whether opting for a classic smoky look or something that's a little more daring, there's nothing that screams 'black tie' more than black eye makeup. To ensure that eyes are prepped and in prime condition, start incorporating a plumping, rejuvenating eye cream into your daily skincare regime — Bioelements Multi-Task Eye Cream will reduce dark circles to deliver bright, awakened eyes. As far as makeup goes, you should be acquainting yourself with a quality concealer — La Mer's The Concealer is forever our go to — and eyeliner. Use a smudgeable, soft pencil variation so that you have more freedom to play around with the look — NARS' Larger Than Life Long-Wear Eyeliner is an easy to use crayon that delivers a statement, long-lasting, budge-proof colour. Whether smoky and classic or a bolder, more angular take, make sure you keep your lips as minimalistic as possible — with either a soft, nude lipstick or a swipe of simple lip balm — Ecostore's fuss-free, Nourishing Manuka Lip-Balm will do the trick.
Bold, experimental
Those who really want to make an entrance only need to look at the recent MET Gala to gain a bit of daring inspiration. From bold hues to crystal-adorned skin, this year's camp theme really brought out the fun, experimental side of makeup. Play around with attention-grabbing, glittery eyeshadows like Tom Ford's gilded Acqua Metal Shadow or one of NARS' saturated, high-pigment Hardwired Eyeshadows. Adorn your face with shimmering jewels — like In Your Dreams' pack of Midnight Moon Face Gems — or even sport pair of dramatic, fluttery eyelashes, like this showstopping 44 Lash set from M.A.C. There are no rules.


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Here's some music I completely forgot to tell you about last week when the Research Turtles told me they'd released an EP.
So let's start this post properly…
The Research Turtles have released an EP. It's actually part two of an album called Mankiller. Part one was released last year.
Which leads me to the following pondering:
Quite why the band decided to release an album in two parts, a year apart, is a bit beyond me. Maybe they did it as a novelty (or, as the band might put it: "We're tryin' somethin' new, man!") Maybe they didn't have enough songs when it came time to record the album (or, as the band might put it: "No way! We had this planned all along!").
Anyway, the upshot of all of this is that them thar Turtles released Part 2 of Mankiller, told me about it, and now I'm telling you about it – albeit belatedly. (Sorry about that, chaps.)
As I may have done in my post for Mankiller Part 1 (I'll have to check), I'll present you with Part 2's six tracks and comment on each one. Feel free to ignore my comments and just listen to the music. (That's the part of the post that matters: the music.)
Announcement Before You Hear Mankiller Part 2
In what appears to be a case of the entire band going mad, they told me that Mankiller Parts 1 and 2, as well as their first, self-titled album, and other things they've recorded, are all available completely free of charge. You can grab everything on the band's Music page, and you don't even have to join a mailing list or provide details of any kind. You just click on the links and start downloading. Mad.
Another Announcement Before You Hear Mankiller Part 2
Those turtlesque chaps ("They're turtle-y wild!") told me that the main Research Turtle, Jud Norman, has recorded a solo album. He's a productive blighter, because in addition to writing the bulk of the Research Turtles material this is his second solo album. It's apparently a collection of home demos that were lying around not being heard by other people. It sounds to me like a tidy-up of loose bits and pieces. A bit of housekeeping, eh Jud?
Anyway, Jud's album is also free on the band's Music page.
Unless Jud expressly forbids me to, I'll have a listen to his solo album sometime and let you know what I think of it.
But first I have to finish this post.
Summary Of Mankiller Part 2 Before You Hear Mankiller Part 2
Mankiller Part 2 is, reassuringly enough, a continuation of Part 1. There aren't any major musical surprises along the lines of "Oh no – the band's gone completely calypso and replaced all their instruments with steel drums! They sound nothing like they did last year!".
If there's a standout track (or, as the band might put it: "They're all standouts, you idiot!"), it might be "Into You". maybe.
Mankiller – Part 2 of 2
1. "Guy Like Me"
I like the main tune in this one, and how it presents itself very unobtrusively (with solo voice), and then builds little by little until it settles into a nice, low-key track. I think it's an interesting way to open an EP/second-half of an album.
Incidentally, the way "Guy Like Me" starts reminds me of "The Way I Feel Inside" by The Zombies. It's not a huge musical coincidence or anything – it's just an excuse for me to hear Colin Blunstone's voice again:
The Zombies – "The Way I Feel Inside" (1966)
2. "The Fancy"
This is a moody mid-tempo guitar-going-chk-chk-chk-chk New Wave-ish rocker with bizarre singing. And I mean bizarre. Whoever sang this decided to adopt an affected accent along the lines of the overly emotive New Romantics of the early 1980s. This really is bizarre singing. I'm mystified as to why Mr. Singin' Man chose to sing with that out-of-character singing. But I'm reassured that mercifully no other vocal in the Research Turtles canon sounds anything like what you hear in this song.
Update: It's just occurred to me that, after listening to the song again and this time paying attention to the lyrics, The Singing Dude is probably singing in an extremely mannered manner deliberately, to emphasise the "fanciness" of the object of his
lust affections.
3. "Break It Up"
When this one started I thought "Oh-oh – this verse is a bit ordinary." But then the chorus came along (0:14) with some very enjoyable vocal harmonies (0:18). I liked the glam guitar sound after right after the chorus (0:28). Unfortunately, the ordinary verse came back (0:34), and I was waiting fairly impatiently for that chorus which duly arrived (0:47) to relieve the (admittedly mild) tedium. The middle eight appeared (1:03) right on schedule (i.e., after the second chorus – as it does in almost every rock song ever recorded). I liked it. For a moderately straight-ahead rocker, the end of the middle eight contained some weird vocal harmonies immediately after the singers says how much he likes a particular girl's skin. ("I see you everywhere / the color of your hair / the dimples in your grin / and most of all, your skin".) Now, I don't know much about the modern courting procedures of young people, but telling a girl the thing you like most about her is her skin – is that creepy? In this case I'm guessing yes, because the background vocals when he mentions her skin (1:26-1:31) do sound a little… odd.
I'm spending way too much time talking about this song.
After the middle eight the band plays an instrumental break (1:33-1:40, which is basically a foot-stomping version of the verse with the vocals) until the singer finishes the verse with some warbling. Then it's into the last chorus (1:53). As prescribed in The Unwritten Rules Of Modern Rock Song Writing, it's a double chorus to end the song. Also in the rules, a band has a choice of ending their song with either a bang (i.e., the band all stops together) or with a fade-out. (According to the rules, they're the only two choices a band has. Apparently you're not allowed to do something like fade back in, or stop multiple times.) The Research Turtles chose to end their song with the bang.
And I'll try to be a bit more succinct in describing the rest of the songs on this EP.
4. "Space"
This is a garage-y rocker, and I enjoyed it – especially the bit from 1:07-1:27 where the band really takes off. (Pun definitely not intended. Because it's awful.) When the song started, it reminded me of early Hoodoo Gurus. (Thank you, Research Turtles, for reminding me of Hoodoo Gurus.)
With the stop-start drums in the verses, and then the flying-off-into-space choruses, I can imagine "Space" sounding good live.
5. "Into You"
No, this isn't the Atlanta Rhythm Section song, "So Into You".
Despite the drum beats for both the verses and choruses (they're not my favourite rhythms), I liked this song. I think this one might have the best tunes in it. After an ill-fitting middle eight (1:47-2:03 – I don't think it suits the rest of the song), there's a frisky guitar solo. It's divided into two parts. The first part (2:03-2:16) features a guitar playing a pattern notes, but it's had a digital delay applied to it to such a degree that I thought it was silly (but not the good kind of silly). The second part (2:16-2:28), however, is magnificent. It's a cascade of fast note runs (sort of like playing scales, but hyperactively). I loved it. After the guitar solo it was time to repeat the chorus until the end of the song. I liked the little background vocal touches in this part of the song. For example, someone sings a cute "You" in the left channel at 2:34-2:35. And soon after that, when the lead singer finishes singing the word "mine" at 2:39 the background vocals keep going by stretching out their "mine" with its own tune. And they don't stop singing their "mine" until lead singer chappy comes back for the next line. I thought it was nice of them to keep singing until he came back. They waited for him. Awww. When the band finishes the song with an extended flourish (2:52 onwards), the drummer lets loose with some tasty fills.
6. "What Can I Say?"
This track I find a little hard to describe adequately. To me, this is simultaneously a relaxed and polished garage rock song – if that's possible. It also has little elements of early-60s songs such as the "oo-oo-oo-oo" background vocals from 0:17-0:19. I like this. Actually, there were a lot things I liked about this particular song. I thought the middle eight (1:12-1:26) suited the song beautifully. Although it had a couple of dodgy aspects to it – using the drum beat from "That Thing You Do", and using the horrendously overused phrase "I know that our love will never die" – I liked it a lot. I really liked the harmonised twin-guitar solo (1:27-1:41). Very Thin Lizzy. (Yum.) And I liked how the bass player played an enthusiastic run of notes when everybody else got quieter for the bit between the middle eight and the next section, from 1:41-1:55 (The Bass Player: "Now it's my chance to shine!"). I liked the arpeggiated guitar in the right channel (1:55-2:06) as the band gradually built the song up to the final choruses – although I don't quite know why it was accompanied by what sounded like jingle bells. With a time of 2:32, I enjoyed this song so much that I thought it was way too short. But I know how to rectify that: I'll play it again.
Well, that's what I thought of Mankiller Part 2. My comments about Part 1 are somewhere around here. Hang on…
OK. Here they are.


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This post is in collaboration with Vacation Myrtle Beach.
Myrtle Beach is one of my favorite vacation destinations when I'm not trying to travel and absorb a new culture, but am rather just trying to get away and chillllllllll.
It's ripe for Pittsburghers. Next time you go down you'll notice Steelers and Penguins gear spread around disproportionately. It's because so many of us go there!
Your Chance to Win a Myrtle Beach Condo
What if you could go to Myrtle Beach without having to pay for a rental or timeshare? What if you actually owned your own condo?
So much less money stress, right?
Vacation Myrtle Beach is giving away a condo (worth $100,000). The person who wins can choose $50,000 in cash instead of the condo. ENTER HERE!
Second place gets a 7-day vacation to Myrtle Beach, and third place gets a 3-day vacation.
If you want to take a look at the condo yourself, here you go, friend!
Should I take the condo or the cash?
Only one person will win the condo or $50,000, but if that person ends up being you, which should you take?
Fifty thousand in cash is tempting. But personally, I'd take the condo. Not only will it allow you to go to Myrtle Beach whenever you want, but you'll be able to rent it out during all those weeks you're not there. So it wouldn't just be a nice vacation every year, it would also be a source of income.
Of course, you have to factor in maintenance and taxes. While I still have to delve into the specific math for this property, I'm willing to assume that the profit you'd get from renting it out would more than cover these expenses while still turning a profit.
No matter which grand prize you'd choose, best of luck! Enter here today!


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In recognition of World Hypertension Day, Kaiser Permanente gassed-up their mobile health vehicle and headed to Upper Marlboro to provide free blood pressure screenings to County employees on Tuesday, May 31st.
The vehicle provided blood pressure screenings to all County employees, retirees, their dependents and community residents. The blood pressure screenings will be held from 10:00 a.m. through 2:00 p.m. in front of the County Administration Building.
The Prince George's County Health Department's Lead Poisoning Prevention Program is hosting a free, one day Lead Awareness Training Seminar on Thursday, June 2, 2011 at the La Fontaine Bleue in Lanham, Maryland.
Early this morning more than 250 preschool students gathered at Bethesda Country Day School in Bethesda, Md., to be recognized by a representative from the Leukemia and Lymphoma Society for their efforts in raising more than $5,000 for the Pennies for Patients campaign.
One of more than 400 participating schools in the Washington D.C. area, Bethesda Country Day School placed in the top 20 for the amount of money raised and greatly surpassed their original goal of $2,500.
"Pennies for Patients" is a nationwide fundraiser that raises money to help cure leukemia and other blood-relation cancers. Students of all ages collect pennies, nickels, dimes and quarters throughout the program.
From Montgomery County:
Montgomery County's African American Health Program, funded by the Department of Health and Human Services, is sponsoring its seventh annual Health Freedom Walk on Saturday, June 11 at the Woodlawn Cultural Park in Sandy Spring. The event will take place rain or shine.
From Montgomery County Schools:
Troy, NC: Preparing healthy school meals, teaching healthy nutrition habits, and offering a friendly greeting are all in a day's work for the 50 school nutrition employees in Montgomery County Schools. The non-profit School Nutrition Association celebrates this professional commitment with School Nutrition Employee Week, May 2-6, 2011. The week is an opportunity for parents, students, school staff and communities to thank those who provide healthy school meals to more than 32 million children each school day.
Members of Congress, local athletes, philanthropists and the fashion industry are assembling for DC's Modus Union Spring 2011 – a unique event supporting prevention and early detection of cancer in women.
Modus Union Spring 2011 features a full runway show by acclaimed fashion designer Marc Bouwer (www.MarcBouwer.com), a 3-D film presentation previewing Bouwer's Fall 2011 line, and an art installation and silent auction featuring some of the most talented visual artists in DC. The proceeds from this one-of-a-kind gathering will benefit Cancer Schmancer (www.CancerSchmancer.org), an organization founded by actress Fran Drescher to prevent cancer in women through education and early detection.
WHAT: Modus Union Spring 2011
WHEN: Wednesday, May 4
Sheraton Silver Springs
The Writer's Center
W*USA9, 4100 Wisconsin Ave NW, Washington, DC 20016
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Copyright 2020


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text: "As a Youth, Bruce Lee had no interest in study,instead he was obsessed with Kung Fu. Bruce resolved to master Kung Fu under the tutelage of Master Ye Wen after losing a fight with a punk on the street. Bruce was targeted by street gangs for protecting the weak. Left with no other option, Bruce Lee left for the far and strange land that is America all by himself. After a period of hard times, Bruce Lee was admitted into Washington and founded the Kung Fu house there. Bruce Lee befriended Linda, an American girl. With the support of Linda, Bruce Lee's Kung Fu house became more established. Meanwhile, the success of the house also provoked Japanese martial artists. Having defeated the Japanese karate champion, Bruce Lee became famous overnight, and the Kung Fu house flourished as well. Bruce Lee's extraordinary performance at a national karate championship competition was caught on film by Hollywood producer George. That was the beginning of Bruce's film career. With the help of George, Bruce Lee entered the world of Hollywood. Each one of Bruce Lee's films exceeded his previous one in the box office."


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ÿþWe re all patiently beige nike trainers waiting for a first look at the LeBron 14, and while we do have some new NIke LeBron shoes to show you, these aren t the XIV. This appears to be the next installment of a LeBron takedown line, possibly the Ambassador 9, in a familiar wine/gold color-up that has become synonymous with LBJ s name (except during the Miami era). It features a forefoot Swoosh, 2 and 3 placed on the tongues, and the now-common SFG designation on the heel-strip. We ll drop more info on these new Nike LeBrons soon, so get a detailed look below.There s even a creepy number 13 on the forefoot for Friday The 13th .
Of course, depending on where you live there might not be such thing as a winter shoe , but if you re struggling through a polar vortex or something like that, you definitely don t want to be doing it in Roshes. But that s no excuse to turn a blind eye to this new burgundy nike trainers pair of the Nike Roshe Run Woven , which gets even more open design-wise than the normal build thanks to the criss-crossing upper. Continue reading to see the full shoe and watch for word on its retail arrival via Sneaker News.The Roshe gets woven this summer with the already-classic casual silhouette in its latest iteration featuring an interlaced toe gold nike trainers box.
The suede upper looks like a standard Roshe Run NM upon first glance, but take a closer look and you ll find that the shoe features a unique woven toe piece. contrasting the simple all-black upper is a multi-colored fade on the midsole to add plenty of summertime-appropriate vibrancy. Expect the Nike Roshe Run NM Woven in stores in the coming months.The NFL combine is where all the major brands bring their latest training footwear products as a means to lure the nation s top-level talent to sign endorsement deals. Nike, adidas, and Under Armour are are players in that game, with the Swoosh brand holding onto that pole position as we gear up for a new season jd nike air max later this year.
Get an exclusive look below and we ll bring you more updates as they develop, and stay tuned for an exclusive look at Nike s cleats at the NFL Combine later today.Nothing piques Flyknit fans interest more than the word multi-color , so this next release of the Nike Flyknit Lunar 3 is definitely one to pay attention to. This new take on the mixture of colors within the Flyknit weave features Radiant Emerald, Black, and Hyper Punch along with neon green Flywire accents for a tropical look (don t say South Beach ) that s perfect for summer. Expect to see the Nike Flyknit Lunar 3 soon at select Nike Running retailers.
The Nike LeBron 13 returns today in a colorway fit for a king. Or at least a King. DeMarcus Cousins has been a known proponent of the LeBron signature line over the years, and this black based pair sees accents of an enticing purple with premium metallic gold landing on the Swoosh outline and medial side branding for an aesthetic that would match rather well with Sacramento s uniforms. The colorway is also reminiscent of Nike Basketball s 2013 Black History Month collection thanks to the combination of gold and purple. So far, the LeBron 13 sees the return of Hexagonal Air units on the bottom while a rather LeBron 9 overlay on the ankle and heel is camouflaged in a matching black hue here.
While Nike SB Dunks during its peak of 2003-2006 is remembered for the jd nike trainers bright colors and unprecedented details, the muted colorways often stood aside, gaining quite notoriety for simply having color-combos that were more palatable to the general public. Such is the case for 2005 s Fog releases a high-top that featured a solid black suede upper and fog-grey midsoles, Swooshes, laces, and inner lining. This new 2016 release is by no means a retro of any kind, but the all-black colorway is a great reminder of some of the low-key hits from a decade ago. These will hit stores in the U.S. soon and are currently available overseas.
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