Aktuelles Verzeichnis nicht mehr Teil von @INC

Gerade beim Wechsel zwischen verschiedenen Perl-Versionen über ein Feature (und keinen Bug) gestolpert: seit Version 5.26 ist das aktuelle Verzeichnis nicht mehr im Standard-Include-Pfad @INC enthalten.

Als Grund hierfür gibt perldelta zur Version 5.26 unschöne Begleiterscheinungen der bisherigen Vorgehensweise an:

While convenient, this has security implications: for example, where a script attempts to load an optional module when its current directory is untrusted (such as /tmp), it could load and execute code from under that directory.

Der Beitrag listet auch einige Möglichkeiten auf, wie man das bisherige Verhalten auf sicherem Weg wiederherstellen kann.

Wer es (quick & dirty) genauso unsicher wie vorher haben will, kann auch

use Cwd qw(abs_path);
use File::Basename qw(dirname);
use lib dirname(abs_path(__FILE__));

in seinem Skript verwenden.

 

Eurovision Song Contest 2019

Auch wenn Lordi 2006 den Wettbewerb gewonnen haben, glänzt der Eurovision Song Contest nicht unbedingt mit besonders rockigen Beiträgen. Ab und an ist dann aber doch ein metallischer Ton zu hören …

So hatten nicht nur die isländischen Teilnehmer von Hatari über weite Strecken alle Regler auf 10, auch Madonna erinnerte als Pausenact an Rob Halford vor rund 10 Jahren: verpackt in eine Mischung aus Leder und Metall, gesanglich vor allem in den Höhen nicht sonderlich treffsicher und man hatte permanent Angst, daß der nächste Schritt auf der Treppe kein gutes Ende nimmt. Last but not least hatten dann Griechenland für die Punktevergabe Gus G. ins Studio geschickt, um die Wertung(en) der griechischen Jury zu verkünden.

Die persönliche Favoriten-Liste sieht allerdings etwas anders als das offizielle Ergebnis aus:

  1. Nevena Božovic – „Kruna“ (Serbien, Platz 17)
  2. Leonora – „Love Is Forever“ (Dänemark, Platz 12)
  3. KEiiNO – „Spirit In The Sky“ (Norwegen, Platz 5)
  4. Hatari – „Hatrið mun sigra“ (Island, Platz 10)
  5. Kate Miller-Heidke – „Zero Gravity“ (Australien, Platz 9)
  6. Sergey Lazarev – „Scream“ (Russland, Platz 3)
  7. Serhat – „Say Na Na Na“ (San Marino, Platz 20)
  8. Zala Kralj & Gašper Šantl – „Sebi“ (Slowenien, Platz 13)
  9. Tamara Todevska – „Proud“ (Nordmazedonien, Platz 8)
  10. Kobi Marimi – „Home“ (Israel, Platz 23)
 

Lesenswert XXIV

 

Paice Ashton Lord – Malice In Wonderland

When DEEP PURPLE disbanded in 1976, Jon Lord and Ian Paice decided to start a new band, not trying to recreate what they already had with DEEP PURPLE but to explore new musical directions.

As frontman they recruited singer and keyboard player Tony Ashton. Jon Lord had already collaborated with Tony Ashton composing the soundtrack for “The Last Rebel” (published 1971 as “Musical score composed by Tony Ashon & Jon Lord, performed by Ashton, Gardner & Dyke”) and on “First Of The Big Bands” (published 1974 as “Tony Ashton & Jon Lord”), an album which could be seen as some sort of blueprint for “Malice in Wonderland”.

The lineup was completed with Paul Martinez on bass and Bernie Marsden on guitar, a brass section fronted by Howie Casey and two female background singers, Sheila McKinley and Jeanette McKinley.

The recordings took place in Munich in autumn 1976 in basement studio of the Arabella hotel (inspiration for the song “Arabella”) and the album was released in early 1977, surprising many DEEP PURPLE fans with a mix of Rock, Blues, Funk and Jazz.

To promote the album, a tour covering major European cities had been planned, but as tickets didn’t sell as expected, most dates were dropped from the oncoming tour, leaving just five British dates to be performed.

As time went by, Tony Ashton felt more and more uncomfortable with his role as frontman of PAL and it also turned out the fans needed more time to adjust to the sound of Paice Ashton Lord as expected. By the end of 1977, the band started the recordings for a second album, but as the momentum was gone the album was never finished and the band called it quits in 1978.

“Malice In Wonderland” will be reissued on May 17 2019 by earMUSIC, using the 2001 remaster by Nick Watson for the tracks of the original album. The release will also include eight bonus tracks from the never finished second album, remastered in 2019 by Eike Freese. The booket contains previously unpublished photographs by Alan Messer and detailed liner notes by Simon Robinson.

Sadly the reissue misses the opportunity to include the “Sight & Sound In Concert” live recording, which would have been a perfect addition to this otherwise fine release of an impressive album.

 

Lesenswert XXIII