u/jwelsh8it

I am wondering if someone in this sub could lend a hand. I use SonicWall Mobile Connect to access my work computer remotely. And I would like to use my Apple Password manager to autofill the 2FA window. But unfortunately it takes a few steps.

1. I open SonicWall, log into the VPN, and the 2FA prompt opens.
2. I right click to select "Autofill Password"
3. My Apple Password manager opens, but only for Passwords.
4. I need to click again to open up the larger Apple Password manager, and select Codes.
5. I then copy and paste.

Any way to set it up so that it automatically knows to enter a Code from the password app?

Thanks!

I use SonicWall to access my work computer remotely. And I would like to use my Apple Password manager to autofill the 2FA window. But unfortunately it takes a few steps.

1. I open SonicWall, log into the VPN, and the 2FA prompt opens.
2. I right click to select "Autofill Password"
3. My Apple Password manager opens, but only for passwords.
4. I need to click again to open up the larger Apple Password manager, and select Codes.
5. I then copy and paste.

Any way to set it up so that it automatically knows to enter a Code from the password app?

Thanks!

Hi there! Just wondering if anyone has any recommendations for a A6 top-bound (or landscape) notebook that is fountain-pen friendly. I have just gotten into fountain pens (need to slow down, lol), and I am used to orienting my notebooks at work and at home horizontally -- to fit with my keyboards, etc.

I am currently using a Rhodia spiral (not a fan of coils) at home and a Leuchtturm 1917 at work (like them, but a bit thin paper-wise and doesn't seem to dry too quickly).

Thanks so much!

Made my first stop at Bicchiere last night, located west of York on East 81 Street (behind OM). According to the waiter, they opened two months ago; though, I had only noticed a week or so ago. Really lovely restaurant and wine bar.

Nice atmosphere (despite the AC being down), with about sixteen chairs in one room. Attentive service. And really tasty food at a rather reasonable price. We tried two of the cicchetti options; they are kind of like bruschette. And then two of the pastas (bigoli; thicker than spaghetti, similar to bucatini but without the hole). And a free dessert to send us back out into the humidity.

Really glad this is in the neighborhood. We need more places like this.

Made my first stop at Bicchiere last night, located west of York on East 81 Street (behind OM). According to the waiter, they opened two months ago; though, I had only noticed a week or so ago. Really lovely restaurant and wine bar.

Nice atmosphere (despite the AC being down), with about sixteen chairs in one room. Attentive service. And really tasty food at a rather reasonable price. We tried two of the cicchetti options; they are kind of like bruschette. And then two of the pastas (bigoli; thicker than spaghetti, similar to bucatini but without the hole). And a free dessert to send us back out into the humidity.

Really glad this is in the neighborhood. We need more places like this.

I wanted to share some thoughts on Newport Jazz Fest this past weekend (just Saturday and Sunday). This was our third year in a row, and absolutely love that it has become a tradition for us. 

Saturday

By the time we arrived on Saturday, we were directed to a distant lot and found the security line to be quite long (although, we did appreciate how they changed up the "holding pen" before bag check). But we got in without hassle.

Olive Jones (end) > Brandon Woody's Upendo (end) > Mei Semones > Butcher Brown > Maya Delilah (end) > Linda Oh w/ Ambrose Akinmusire & Tyshawn Sorey > Snarky Puppy > Gotts Street Park w/ Olive Jones > Atomic Habitz > Kamasi Washington & Chief Adjuah

After walking past the closing notes of the *Billy Hart Quartet*, we settled at the Quad Stage to catch some of *Olive Jones*. She has quite the lovely voice and I found it a nice way to start the festivities.

*Mei Semeones* and her band have this bossa nova flair; appreciated her guitar playing accompanied by the two violinists.

As much as I was enjoying Mei, I should have left for *Butcher Brown* earlier. Really great set that was both chill and danceable; they had the Fort Stage crowd grooving. (Not often you get to see someone play both saxophone and trumpet as Marcus Tenney does.) This wouldn't be the last time we got to see some of those musicians. 

We then saw the end of *Maya Delilah* to make sure we were able to grab seats up front for *Linda Oh with Ambrose Akinmusire and Tyshawn Sorey*. Maya was fine - but the trio set was one of the highlights of the festival for me. Three incredible players at the top of their game. First time seeing Linda lead her own group, and I was very impressed. A trio I would love to see at the Vanguard. 

*Snarky Puppy* are good at what they do. (Although I must admit, I think I fell asleep in my chair for little bit. A nice nap.)

*Gotts Street Park* was enjoyable; a kind of post-rock jazz? Although, I think I preferred the songs where they backed up Olive on vocals.

I did not know what to expect with *Atomic Habitz* \- Marcus King with MonoNeon on bass and Chris Dave on drums. But I came away enjoying what I heard; little soulful, little funky. (Marcus singing "Gangsta Lean" - uh, okay.)

To close out Saturday, *Kamasi Washington* (and his crew) and *Chief Adjuah* played a set of mashed-up Miles Davis and John Coltrane ("All Blues"/"Impressions" I believe, "Little Church"/"Ole", Miles Tune/"Acknowledgement") with a little Sonny Rollins thrown in there ("Tenor Madness"/"Oleo"). It was a bit messy, to be honest, but still enjoyable. I appreciated what they were trying to do. (Kind of made me want to see Kamasi in a stripped down setting where he doesn't have to play the role of bandleader.)

Sunday

We made sure we were nice and early on Sunday. We got a good parking spot and made it into the festival before the stages were opened, allowing us to set up our chairs at the Fort Stage.

Fonville X Fribush > Marquis Hill > Michael Mayo (end) > SML > Dana and Alden > Flea and the Honora Band > Charlie Hunter & Ella Feingold > The Bad Plus

Sunday morning started perfectly with a little organ trio, *Fonville X Fribush*, featuring organist Sam Fribush and drummer Corey Fonville as well as Morgar Burrs from Butcher Brown. Everything you would have wanted from a relatively straight ahead Hammond-led trio. Groovy, throw-back, lots of soul. 

I wasn’t sure what to expect from *Marquis Hill*, to be honest, not having been familiar with the trumpeter's music. But any time you have *Makaya McCraven* on drums and *Joel Ross* on vibes, it is going to be enjoyable. At times, Marquis set aside his trumpet for percussion which contributed to the overall feel of the music. As did the guitar playing of *Emmanuel Michael* - his tone and effects reminded me at times of a prog guitarist; more textural in his contributions. So glad we caught them.

Wanting to be in the front row for SML, I put up with the last song from Michael Mayo's set. (Sorry, but his music was my least favorite of everything I saw. His Broadway-like vocals did nothing for me.)

*SML*, on the other hand, kicked much ass, as expected. Their set at the Sultan Room last December was one of my favorite concerts in some time. And their Newport set met my high expectations. An hour of improvisation, with ebbs and flows, each of the five musicians taking turns leading and listening. The unspoken communication between the five of them is something else . . .

What I saw of *Dana and Alden* was fun. Hard to take the brothers too seriously. Kind of ironic, indie, jazzy pop?

I loved the fact that Anna Butterss and Josh Johnson made their way from playing with SML on the Quad Stage to playing with *Flea* on the Fort Stage. Flea's set was good, although maybe less commanding than the show at Webster Hall? It started off quite mellow, with a string of instrumentals (including the covers "Thinking Bout You" and "Wichita Lineman") before ending with his "A Plea" and a cover of "Maggot Brain."

Raced back over to the Harbor Stage to catch the end of *Charlie Hunter and Ella Feingold* (along with busy man Corey Fonville on drums). It had been ages since I had last seen Charlie Hunter - still a whiz on his eight-string instrument, smiling away while Ella brought some deep funkiness to the stage. They had the crowd dancing.

And standing to the side of the Harbor Stage allowed me to get a front row seat for *The Bad Plus*, their set billed as part of their "Farewell Tour." To be honest, I had not listened to The Bad Plus in some time; I knew that Ethan had left, but I actually was not aware that Dave and Reid added a guitar and tenor sax. With the change in instrumentation, I found the music reminded me of The Messthetics with James Brandon Lewis. This is a good thing. They made the most of their time on stage, and the crowd was audibly appreciative of the set along with - and their 25-plus years of music. Highlights for me included the more restrained "Salvages" and the closing "Tyrone's Flamingo" (which really allowed Dave to let go on the drums). Really glad I got to see them. 

We had full intentions of seeing the fest-closing set from Herbie Hancock, but nature had different plans. And rather than sit through the downpour, we made our way to the car. Fully satisfied and smiling. 

Already looking forward to next year . . . 

I wanted to share some thoughts on Newport Jazz Fest this past weekend (just Saturday and Sunday). This was our third year in a row, and absolutely love that it has become a tradition for us. 

Saturday

By the time we arrived on Saturday, we were directed to a distant lot and found the security line to be quite long (although, we did appreciate how they changed up the "holding pen" before bag check). But we got in without hassle.

Olive Jones (end) > Brandon Woody's Upendo (end) > Mei Semones > Butcher Brown > Maya Delilah (end) > Linda Oh w/ Ambrose Akinmusire & Tyshawn Sorey > Snarky Puppy > Gotts Street Park w/ Olive Jones > Atomic Habitz > Kamasi Washington & Chief Adjuah

• After walking past the closing notes of the Billy Hart Quartet, we settled at the Quad Stage to catch some of Olive Jones. She has quite the lovely voice and I found it a nice way to start the festivities.
• Mei Semeones and her band have this bossa nova flair; appreciated her guitar playing accompanied by the two violinists.
• As much as I was enjoying Mei, I should have left for Butcher Brown earlier. Really great set that was both chill and danceable; they had the Fort Stage crowd grooving. (Not often you get to see someone play both saxophone and trumpet as Marcus Tenney does.) This wouldn't be the last time we got to see some of those musicians. 
• We then saw the end of Maya Delilah to make sure we were able to grab seats up front for Linda Oh with Ambrose Akinmusire and Tyshawn Sorey. Maya was fine - but the trio set was one of the highlights of the festival for me. Three incredible players at the top of their game. First time seeing Linda lead her own group, and I was very impressed. A trio I would love to see at the Vanguard. 
• Snarky Puppy are good at what they do. (Although I must admit, I think I fell asleep in my chair for little bit. A nice nap.)
• Gotts Street Park was enjoyable; a kind of post-rock jazz? Although, I think I preferred the songs where they backed up Olive on vocals.
• I did not know what to expect with Atomic Habitz - Marcus King with MonoNeon on bass and Chris Dave on drums. But I came away enjoying what I heard; little soulful, little funky. (Marcus singing "Gangsta Lean" - uh, okay.)
• To close out Saturday, Kamasi Washington (and his crew) and Chief Adjuah played a set of mashed-up Miles Davis and John Coltrane ("All Blues"/"Impressions" I believe, "Little Church"/"Ole", Miles Tune/"Acknowledgement") with a little Sonny Rollins thrown in there ("Tenor Madness"/"Oleo"). It was a bit messy, to be honest, but still enjoyable. I appreciated what they were trying to do. (Kind of made me want to see Kamasi in a stripped down setting where he doesn't have to play the role of bandleader.)

Sunday

We made sure we were nice and early on Sunday. We got a good parking spot and made it into the festival before the stages were opened, allowing us to set up our chairs at the Fort Stage.

Fonville X Fribush > Marquis Hill > Michael Mayo (end) > SML > Dana and Alden > Flea and the Honora Band > Charlie Hunter & Ella Feingold > The Bad Plus

• Sunday morning started perfectly with a little organ trio, Fonville X Fribush, featuring organist Sam Fribush and drummer Corey Fonville as well as Morgar Burrs from Butcher Brown. Everything you would have wanted from a relatively straight ahead Hammond-led trio. Groovy, throw-back, lots of soul. 
• I wasn't sure what to expect from Marquis Hill, to be honest, not having been familiar with the trumpeter's music. But any time you have Makaya McCraven on drums and Joel Ross on vibes, it is going to be enjoyable. At times, Marquis set aside his trumpet for percussion which contributed to the overall feel of the music. As did the guitar playing of Emmanuel Michael - his tone and effects reminded me at times of a prog guitarist; more textural in his contributions. So glad we caught them.
• Wanting to be in the front row for SML, I put up with the last song from Michael Mayo's set. (Sorry, but his music was my least favorite of everything I saw. His Broadway-like vocals did nothing for me.)
• SML, on the other hand, kicked much ass, as expected. Their set at the Sultan Room last December was one of my favorite concerts in some time. And their Newport set met my high expectations. An hour of improvisation, with ebbs and flows, each of the five musicians taking turns leading and listening. The unspoken communication between the five of them is something else . . .
• What I saw of Dana and Alden was fun. Hard to take the brothers too seriously. Kind of ironic, indie, jazzy pop?
• I loved the fact that Anna Butterss and Josh Johnson made their way from playing with SML on the Quad Stage to playing with Flea on the Fort Stage. Flea's set was good, although maybe less commanding than the show at Webster Hall? It started off quite mellow, with a string of instrumentals (including the covers "Thinking Bout You" and "Wichita Lineman") before ending with his "A Plea" and a cover of "Maggot Brain."
• Raced back over to the Harbor Stage to catch the end of Charlie Hunter and Ella Feingold (along with busy man Corey Fonville on drums). It had been ages since I had last seen Charlie Hunter - still a whiz on his eight-string instrument, smiling away while Ella brought some deep funkiness to the stage. They had the crowd dancing.
• And standing to the side of the Harbor Stage allowed me to get a front row seat for The Bad Plus, their set billed as part of their "Farewell Tour." To be honest, I had not listened to The Bad Plus in some time; I knew that Ethan had left, but I actually was not aware that Dave and Reid added a guitar and tenor sax. With the change in instrumentation, I found the music reminded me of The Messthetics with James Brandon Lewis. This is a good thing. They made the most of their time on stage, and the crowd was audibly appreciative of the set along with - and their 25-plus years of music. Highlights for me included the more restrained "Salvages" and the closing "Tyrone's Flamingo" (which really allowed Dave to let go on the drums). Really glad I got to see them.

 

We had full intentions of seeing the fest-closing set from Herbie Hancock, but nature had different plans. And rather than sit through the downpour, we made our way to the car. Fully satisfied and smiling. 

Already looking forward to next year . . . 

I’ve been thinking about this as we are heading into the dying light. What features would you have imagined for the game?

Two that come to mind are the ability to sell back or trade-in tickets, and seeing how many balloons are left during a battle. After you max out your tiers of characters and gliders and karts, it would be cool if you could do something with those thousand of extra tickets.

One of my go-to non-UM Jake appearances is this Conspirator show from 2005. The opening "Macina Verde" features some restrained playing from Jake that fits quite well with this side project.

https://archive.org/download/consp2005-07-30.akg483.flac16/consp2005-07-30akg483-16bitd1t02.mp3

I first wanted to thank everyone on this sub. You have all been so friendly and accommodating, answering my questions and being patient. So happy I have been able to add four cool pens to my growing collection with some of your help.

As a budding fountain pen enthusiast, and a native Pittsburgher, I am enamored by the Birmingham Pen Company. I see how popular their inks are, but it appears I am late to the game with the pens.

I am looking to buy a pen or two, if I could.

Model-C: Starless
Model-C: Eye of Fire
Sixth Avenue: Beetle Juice
Sixth Avenue: Mandarin Marmalade
Sixth Avenue: Secretariat

Thanks!

Wondering if anyone can help me out. We have been asked to review a proposed change to a swing for an apartment entry door here in New York City. The entry door is at the end of a corridor; and the shareholders want to change the swing from the hinges being against the perpendicular wall (corridor dead end) to the latch being against that wall.

Now, I have tried to explain how inconvenient that is going to be to have to unlock and open a door with your body against the end of the corridor - but that itself wasn't a deterrent. So I am turning to code.

The 2003 ANSI A117 guidelines require you to have at least 12 inches on the latch side of a manual push door (with both a self-closing hinge and latch), for both front and hinge side approaches. But in 2017, the hinge side approach requirements changed such that you no longer require the 12 inches on the latch side.

Does anyone know why those 12 inches were removed from the requirements? I would like to be able to cite code with confidence; just not sure why it would have become more lax.

Thanks!

2003

2017