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Friday, December 18, 2020

Last week, on December 8, US-based software company Red Hat announced plans to shift their focus away from CentOS in favour of CentOS stream.

Started in 2004, CentOS has been a free-of-cost free/libre open source software which provided binary-code compatibility with Red Hat Enterprise Linux (RHEL) — Red Hat’s GNU General Public Licensed paid operating system. Gregory Kurtzer told Wikinews he started CAOS Linux around the time when Red Hat announced End of Life for their Red Hat Linux in favour of subscription-based Red Hat Enterprise Linux. CAOS was succeeded by CentOS when Rocky McGaugh, a developer of CAOS rebuilt the source code of RHEL to provide a monetarily free alternative. CentOS was absorbed into Red Hat in 2014, with Red Hat gaining the trademark rights of “CentOS”.

Red Hat also sponsors the development of the Fedora operating system. Until now, software development took place on Fedora, which was later adopted in RHEL, which the Red Hat maintained and provided support for, for those customers who had RHEL subscription. CentOS would then follow RHEL’s release cycle to provide the same features free of cost, but without the support.

Stream was announced in September 2019, just two months after Red Hat was acquired by IBM. CentOS Stream’s development cycle had new features added to it before the features became a part of RHEL. Stream receives more frequent updates, however, it does not follow RHEL’s release cycle.

With CentOS Stream, developments from the community and the Red Hat employees would take place beforehand on both Fedora, and Stream as a rolling release, before those features are absorbed into RHEL. CentOS followed the release cycle of RHEL and therefore it was a stable distribution. Features available in CentOS were tried and tested by Fedora, and then RHEL maintainers.

Red Hat’s Chief Technical Officer Chris Wright wrote in the announcement “CentOS Stream isn’t a replacement for CentOS Linux; rather, it’s a natural, inevitable next step intended to fulfill the project’s goal of furthering enterprise Linux innovation.” Since the announcement was made, many people expressed their anger on Internet Relay Chat (IRC), Reddit and CentOS project’s mailing list. CentOS 8’s End of Life (EOL) has been moved up from May 2029 to December 31, 2021, while CentOS 7 is expected to receive maintenance updates through June 2024, outliving CentOS 8.

Soon after Red Hat’s announcement, Kurtzer announced his intentions to develop Rocky Linux, to fill the role CentOS had been playing for so long. Kurtzer said Rocky Linux was named after Rocky McGaugh. “Thinking back to early CentOS days… My cofounder was Rocky McGaugh. He is no longer with us, so as a H/T [hat tip] to him, who never got to see the success that CentOS came to be, I introduce to you…Rocky Linux”, Kurtzer wrote. Wikinews discussed with Kurtzer the beginning of CentOS, and future of Rocky Linux.

While no formal date of release has been announced for Rocky Linux, Kurtzer said they are planning to release the CentOS replacement before the end of life of CentOS 8. Kurtzer also said Rocky Linux will run on both x86-64 and ARM-based processors, and CentOS users would be able to convert their OS to Rocky Linux just by running a single command.

Saying Rocky Linux is for the community, Kurtzer said he “take[s] the responsibility of ensuring that all decisions are in favor of the community and the project and free from corporate control” including his own company. Talking about the attention from the userbase Rocky Linux has received, Kurtzer said, “I have never seen an open community come together this fast and be this passionate about working together towards a common goal.”

Tuesday, April 1, 2008

Many media outlets traditionally deliberately spread hoaxes on April Fools’ Day, including notable quality sources such as National Geographic and Science.

The popular British tabloid The Sun wrote that French President Nicolas Sarkozy is to undergo stretch surgery to make him taller than his wife, Italian artist and model Carla Bruni. The report claimed the 5 foot 5 inch leader would be made 5 inches taller in one year using a method by Israeli professor Ura Schmuck. The Sun noted that during his visit to Britain last week, Sarkozy had high-heel shoes while his wife wore a pair of flat pumps.

The Guardian on the other hand ran an article that suggested that Carla would head an initiative by Prime Minister Gordon Brown to bring more glamour, good taste and sophistication to the U.K. general population. This would involve collaboration with Marks & Spencer for high-street fashion and Jamie Oliver for meals and wine.

BBC News had real-looking footage of flying penguins fronted by documentary host Terry Jones, which were actually an advertisement for its new iPlayer.

Wednesday, October 21, 2009

Kapil Sibal, India’s Minister of Human Resource Development (HRD) held a meeting Monday to present his reform plans for the Indian Institutes of Technology (IIT) sector by increasing the entrance percentage to 80% and above in the class XII (final year) board exams. A three-member committee was set up to review the proposal.

Sibal said, “The present criteria is that students need to secure 60% in class XII for appearing in IIT-JEE. This is not acceptable”, pointing out that the current criteria where students getting more than 60% in the board exam of the twelfth class are eligible for IIT-JEE is not good enough and that it has to be raised to 80-85%.

He also stated that students undervalue final year board exams, preparing instead for the Indian Institute of Technology Joint Entrance Examination (IIT-JEE); they enrol in coaching institutes and concentrate on their study material in order to enter IIT. He wants to abolish these “teaching shops.”

The meeting decided that they would set up two committees, one headed by Anil Kakodkar, Atomic Energy Commission (Chairman) and other by T. Ramasamy, Department of Science and Technology (Secretary). The first committee is scheduled to decide final year board percentage and the second one is scheduled to set the curriculum.

The Kakodkar committee also plans to decide how to abolish coaching institutes and how to move IIT field forward with a greater emphasis on research. The committee is expected to submit its report in the next six months. The minister also clarified that some of these will be implemented from the 2010 academic year and some from 2011.

The meeting was also expected to reduce the fee for African and South Asian Association for Regional Cooperation (SAARC) countries as their fees are higher than those of Indians. The review committee says that people of other countries are tempted to study in India but they refrain due to high fees. The Ramasamy committee is expected to submit its report in the next three months.

Lastly, the meeting said that it will appoint board members and directors on the basis of nominations and independent rank and power to ensure IIT’s activity.

Friday, September 28, 2007

Bat for Lashes is the doppelgänger band ego of one of the leading millennial lights in British music, Natasha Khan. Caroline Weeks, Abi Fry and Lizzy Carey comprise the aurora borealis that backs this haunting, shimmering zither and glockenspiel peacock, and the only complaint coming from the audience at the Bowery Ballroom last Tuesday was that they could not camp out all night underneath these celestial bodies.

We live in the age of the lazy tendency to categorize the work of one artist against another, and Khan has had endless exultations as the next Björk and Kate Bush; Sixousie Sioux, Stevie Nicks, Sinead O’Connor, the list goes on until it is almost meaningless as comparison does little justice to the sound and vision of the band. “I think Bat For Lashes are beyond a trend or fashion band,” said Jefferson Hack, publisher of Dazed & Confused magazine. “[Khan] has an ancient power…she is in part shamanic.” She describes her aesthetic as “powerful women with a cosmic edge” as seen in Jane Birkin, Nico and Cleopatra. And these women are being heard. “I love the harpsichord and the sexual ghost voices and bowed saws,” said Radiohead‘s Thom Yorke of the track Horse and I. “This song seems to come from the world of Grimm’s fairytales.”

Bat’s debut album, Fur And Gold, was nominated for the 2007 Mercury Prize, and they were seen as the dark horse favorite until it was announced Klaxons had won. Even Ladbrokes, the largest gambling company in the United Kingdom, had put their money on Bat for Lashes. “It was a surprise that Klaxons won,” said Khan, “but I think everyone up for the award is brilliant and would have deserved to win.”

Natasha recently spoke with David Shankbone about art, transvestism and drug use in the music business.

DS: Do you have any favorite books?

NK: [Laughs] I’m not the best about finishing books. What I usually do is I will get into a book for a period of time, and then I will dip into it and get the inspiration and transformation in my mind that I need, and then put it away and come back to it. But I have a select rotation of cool books, like Women Who Run With the Wolves by Clarissa Pinkola Estés and Little Birds by Anaïs Nin. Recently, Catching the Big Fish by David Lynch.

DS: Lynch just came out with a movie last year called Inland Empire. I interviewed John Vanderslice last night at the Bowery Ballroom and he raved about it!

NK: I haven’t seen it yet!

DS: Do you notice a difference between playing in front of British and American audiences?

NK: The U.S. audiences are much more full of expression and noises and jubilation. They are like, “Welcome to New York, Baby!” “You’re Awesome!” and stuff like that. Whereas in England they tend to be a lot more reserved. Well, the English are, but it is such a diverse culture you will get the Spanish and Italian gay guys at the front who are going crazy. I definitely think in America they are much more open and there is more excitement, which is really cool.

DS: How many instruments do you play and, please, include the glockenspiel in that number.

NK: [Laughs] I think the number is limitless, hopefully. I try my hand at anything I can contribute; I only just picked up the bass, really—

DS: –I have a great photo of you playing the bass.

NK: I don’t think I’m very good…

DS: You look cool with it!

NK: [Laughs] Fine. The glockenspiel…piano, mainly, and also the harp. Guitar, I like playing percussion and drumming. I usually speak with all my drummers so that I write my songs with them in mind, and we’ll have bass sounds, choir sounds, and then you can multi-task with all these orchestral sounds. Through the magic medium of technology I can play all kinds of sounds, double bass and stuff.

DS: Do you design your own clothes?

NK: All four of us girls love vintage shopping and charity shops. We don’t have a stylist who tells us what to wear, it’s all very much our own natural styles coming through. And for me, personally, I like to wear jewelery. On the night of the New York show that top I was wearing was made especially for me as a gift by these New York designers called Pepper + Pistol. And there’s also my boyfriend, who is an amazing musician—

DS: —that’s Will Lemon from Moon and Moon, right? There is such good buzz about them here in New York.

NK: Yes! They have an album coming out in February and it will fucking blow your mind! I think you would love it, it’s an incredible masterpiece. It’s really exciting, I’m hoping we can do a crazy double unfolding caravan show, the Bat for Lashes album and the new Moon and Moon album: that would be really theatrical and amazing! Will prints a lot of my T-shirts because he does amazing tapestries and silkscreen printing on clothes. When we play there’s a velvety kind of tapestry on the keyboard table that he made. So I wear a lot of his things, thrift store stuff, old bits of jewelry and antique pieces.

DS: You are often compared to Björk and Kate Bush; do those constant comparisons tend to bother you as an artist who is trying to define herself on her own terms?

NK: No, I mean, I guess that in the past it bothered me, but now I just feel really confident and sure that as time goes on my musical style and my writing is taking a pace of its own, and I think in time the music will speak for itself and people will see that I’m obviously doing something different. Those women are fantastic, strong, risk-taking artists—

DS: —as are you—

NK: —thank you, and that’s a great tradition to be part of, and when I look at artists like Björk and Kate Bush, I think of them as being like older sisters that have come before; they are kind of like an amazing support network that comes with me.

DS: I’d imagine it’s preferable to be considered the next Björk or Kate Bush instead of the next Britney.

NK: [Laughs] Totally! Exactly! I mean, could you imagine—oh, no I’m not going to try to offend anyone now! [Laughs] Let’s leave it there.

DS: Does music feed your artwork, or does you artwork feed your music more? Or is the relationship completely symbiotic?

NK: I think it’s pretty back-and-forth. I think when I have blocks in either of those area, I tend to emphasize the other. If I’m finding it really difficult to write something I know that I need to go investigate it in a more visual way, and I’ll start to gather images and take photographs and make notes and make collages and start looking to photographers and filmmakers to give me a more grounded sense of the place that I’m writing about, whether it’s in my imagination or in the characters. Whenever I’m writing music it’s a very visual place in my mind. It has a location full of characters and colors and landscapes, so those two things really compliment each other, and they help the other one to blossom and support the other. They are like brother and sister.

DS: When you are composing music, do you see notes and words as colors and images in your mind, and then you put those down on paper?

NK: Yes. When I’m writing songs, especially lately because I think the next album has a fairly strong concept behind it and I’m writing the songs, really imagining them, so I’m very immersed into the concept of the album and the story that is there through the album. It’s the same as when I’m playing live, I will imagine I see a forest of pine trees and sky all around me and the audience, and it really helps me. Or I’ll just imagine midnight blue and emerald green, those kind of Eighties colors, and they help me.

DS: Is it always pine trees that you see?

NK: Yes, pine trees and sky, I guess.

DS: What things in nature inspire you?

NK: I feel drained thematically if I’m in the city too long. I think that when I’m in nature—for example, I went to Big Sur last year on a road trip and just looking up and seeing dark shadows of trees and starry skies really gets me and makes me feel happy. I would sit right by the sea, and any time I have been a bit stuck I will go for a long walk along the ocean and it’s just really good to see vast horizons, I think, and epic, huge, all-encompassing visions of nature really humble you and give you a good sense of perspective and the fact that you are just a small particle of energy that is vibrating along with everything else. That really helps.

DS: Are there man-made things that inspire you?

NK: Things that are more cultural, like open air cinemas, old Peruvian flats and the Chelsea Hotel. Funny old drag queen karaoke bars…

DS: I photographed some of the famous drag queens here in New York. They are just such great creatures to photograph; they will do just about anything for the camera. I photographed a famous drag queen named Miss Understood who is the emcee at a drag queen restaurant here named Lucky Cheng’s. We were out in front of Lucky Cheng’s taking photographs and a bus was coming down First Avenue, and I said, “Go out and stop that bus!” and she did! It’s an amazing shot.

NK: Oh. My. God.

DS: If you go on her Wikipedia article it’s there.

NK: That’s so cool. I’m really getting into that whole psychedelic sixties and seventies Paris Is Burning and Jack Smith and the Destruction of Atlantis. Things like The Cockettes. There seems to be a bit of a revolution coming through that kind of psychedelic drag queen theater.

DS: There are just so few areas left where there is natural edge and art that is not contrived. It’s taking a contrived thing like changing your gender, but in the backdrop of how that is still so socially unacceptable.

NK: Yeah, the theatrics and creativity that go into that really get me. I’m thinking about The Fisher King…do you know that drag queen in The Fisher King? There’s this really bad and amazing drag queen guy in it who is so vulnerable and sensitive. He sings these amazing songs but he has this really terrible drug problem, I think, or maybe it’s a drink problem. It’s so bordering on the line between fabulous and those people you see who are so in love with the idea of beauty and elevation and the glitz and the glamor of love and beauty, but then there’s this really dark, tragic side. It’s presented together in this confusing and bewildering way, and it always just gets to me. I find it really intriguing.

DS: How are you received in the Pakistani community?

NK: [Laughs] I have absolutely no idea! You should probably ask another question, because I have no idea. I don’t have contact with that side of my family anymore.

DS: When you see artists like Pete Doherty or Amy Winehouse out on these suicidal binges of drug use, what do you think as a musician? What do you get from what you see them go through in their personal lives and with their music?

NK: It’s difficult. The drugs thing was never important to me, it was the music and expression and the way he delivered his music, and I think there’s a strange kind of romantic delusion in the media, and the music media especially, where they are obsessed with people who have terrible drug problems. I think that’s always been the way, though, since Billie Holiday. The thing that I’m questioning now is that it seems now the celebrity angle means that the lifestyle takes over from the actual music. In the past people who had musical genius, unfortunately their personal lives came into play, but maybe that added a level of romance, which I think is pretty uncool, but, whatever. I think that as long as the lifestyle doesn’t precede the talent and the music, that’s okay, but it always feels uncomfortable for me when people’s music goes really far and if you took away the hysteria and propaganda of it, would the music still stand up? That’s my question. Just for me, I’m just glad I don’t do heavy drugs and I don’t have that kind of problem, thank God. I feel that’s a responsibility you have, to present that there’s a power in integrity and strength and in the lifestyle that comes from self-love and assuredness and positivity. I think there’s a real big place for that, but it doesn’t really get as much of that “Rock n’ Roll” play or whatever.

DS: Is it difficult to come to the United States to play considering all the wars we start?

NK: As an English person I feel equally as responsible for that kind of shit. I think it is a collective consciousness that allows violence and those kinds of things to continue, and I think that our governments should be ashamed of themselves. But at the same time, it’s a responsibility of all of our countries, no matter where you are in the world to promote a peaceful lifestyle and not to consciously allow these conflicts to continue. At the same time, I find it difficult to judge because I think that the world is full of shades of light and dark, from spectrums of pure light and pure darkness, and that’s the way human nature and nature itself has always been. It’s difficult, but it’s just a process, and it’s the big creature that’s the world; humankind is a big creature that is learning all the time. And we have to go through these processes of learning to see what is right.

Monday, September 24, 2007

Marion Schaffer is running for the Green Party of Ontario in the Ontario provincial election, in the Oakville riding. Wikinews’ Nick Moreau interviewed her regarding her values, her experience, and her campaign.

Stay tuned for further interviews; every candidate from every party is eligible, and will be contacted. Expect interviews from Liberals, Progressive Conservatives, New Democratic Party members, Ontario Greens, as well as members from the Family Coalition, Freedom, Communist, Libertarian, and Confederation of Regions parties, as well as independents.

Tuesday, May 31, 2005

Ryanair, the Irish low fares airline, which last week celebrated twenty years in business, has reported a 19% increase in profits. The airline, which operates over 200 routes, revealed in its annual results that after tax profits had increased to €268.9m (US $332 million), comfortably beating the median analyst forecast of €248m ($306 million).

Group revenue rose by 24% to a record €1.34bn ($1.66 billion), on the back of a 19% rise in passenger numbers to 27.6m ($34.1 million). By 10:30am UTC, Ryanair shares had risen by 4.48% to €6.53 ($8.06) ( on the Irish Stock Exchange (ISE), having hit €6.66 ($8.22) earlier in the morning – briefly valuing Ryanair above the €5bn ($6 billion) mark.

Despite the increase in profits, the firm told investors that the increased cost of fuel posed a serious threat for the future, however Ryanair has hedged 75% of next winters fuel needs at €38 ($47) a barrel. CEO Michael O’Leary, told the media in relation to fuel costs, “Our outlook for the coming 12 months is more positive than it was this time last year”…”Clearly fuel costs remain high, and the market is volatile.” He also reiterated that Ryanair would not impose fuel surcharges on customers.

Ryanair’s 2004 record profit is larger than that of Easyjet ($74m), British Airways ($240m), and even its role model Southwest Airlines ($313m). The fact that it made €248m on turnover of just €1.34bn makes it by some margin the world’s most profitable major airline. One of the key methods of keeping costs to a minimum at Ryanair is by using less staff to carry more passengers, in comparison to its main competitors:

• Ryanair employs 2,300 staff and carries 27m people a year;
  • 11,700 passengers per staff member
• easyJet employs 3,600 staff and carries 24m people a year;
  • 6,666 passengers per staff member
• Aer Lingus employs 3,900 staff and carries 7m people a year;
  • 1,795 passengers per staff member
• Air France-KLM employs 64,000 staff and carries 65m people a year;
  • 1,015 passengers per staff member
• British Airways employs 51,939 staff and carries 35m people a year;
  • 674 passengers per staff member

Ryanair has a stated aim of raising its passenger numbers to above 70m within five years time, making it Europe’s largest airline. The Dublin-based airline currently is awaiting delivery of 200 new planes from Boeing which it hopes to use to achieve this ambitious aim and to replace its older aircraft.

Thursday, December 13, 2007

Controversial and explicit Canadian workplace safety ads have been pulled from television, and paper ads from some bus shelters for the Christmas season. However, the ads will return to air in January.

“It’s totally erroneous to suggest we’re pulling anything,” chairman of the Workplace Safety and Information Board of Ontario, Steve Mahoney said. “Our plan from Day 1 was to stop the ads around the middle of December when most of the advertising that’s in the media is focused on Christmas and purchasing gifts. We just didn’t want to be competing with all that stuff.”

In one of the TV ads a woman accidentally slips on grease on the floor and a large steaming pot falls onto her face, and she starts screaming to death. The ads end with the message “There really are no accidents”.

A paper ads shows a construction worker who is in a pool of blood with a forklift operation manual stuck in his chest. Another with a man who is slit by a “Danger” sign with his leg stuck in a machine. They show the messages: “Lack of training can kill” and the other “Ignoring safety procedures can kill”.

“The critics amount to about 25 per cent rating, and I’m delighted they’re upset about the ads because I wouldn’t want anyone to enjoy watching them.”

The videos have been viewed more than 70,000 times on the Board’s website and are gaining large amounts of views on YouTube.

The transit authorities of Hamilton and Mississauga will show modified advertisements. The transit authority of Guelph will show the ads in bus shelters, but the transit authority of Windsor will not because of the graphic nature.

“We’re not against workplace safety, but this is too graphic,” said Caroline Postma, chair of the Transit Windsor board.

Mississauga city councillour Carolyn Parrish said: “My son-in-law was telling me that they shouldn’t be on in prime time because when [my grandson] watches them he just about bursts into tear. Now he follows his mom around the kitchen to make sure she doesn’t spill grease. And he’s only four. There’s too much of a chance that … people are really badly affected by it, and can’t really do anything about it anyway.” She suggested the ads only be aired to workers with the jobs shown in the commercials.

Mahoney changed the earlier promise to air the ads only after 8:00pm to after 9:00pm at last nights meeting with Mississauga city council.

Mahoney said the commercials and paper ads are not “too graphic at all”. And they are “absolutely appropriate and they’re doing what they’re intended to do, they’re creating what I call a water cooler topic of conversation.”

Ninety-eight Canadian workers so far have been killed on the job this year.