Tusla is seeking to speed up efforts to move its data away from the HSE’s computer systems in the wake of the cyberattack that left its staff relying on pen and paper to carry out their work.
More than 90 per cent of the Child and Family Agency’s systems are hosted by or dependent on the HSE’s network, which was hit by a ransomware attack last month.
Among the Tusla systems affected by the cyberattack are its online portal for people to report child protection concerns, and its National Childcare Information System which contains highly sensitive information about children and their families.
It may be four weeks before the online portal is back in operation, and staff are currently writing down details of suspected abuse or neglect cases being reported over the phone.
Plans to move Tusla’s data away from the HSE date back as far as 2017 and the first phase of the project – the building of a new network and associated data centres – was completed last September.
‘Long way to go’
However, the project is not due to be completed until the end of 2022. Tusla chief executive Bernard Gloster last week said “there’s a long way to go”.
A spokeswoman for the agency said the second phase of the project involves moving data historically associated with the HSE to the Tusla-only data centres, and this started in January with the email addresses of some 500 staff.
She added: “However, as part of the recovery process from the recent cyberattack, Tusla will be expediting a significant volume of this work.”
Risks relating to cybersecurity were most recently articulated in Tusla’s National Corporate Risk Register at the start of 2021, which noted: “the potential failure to protect the availability of information due to Tusla not having control of its ICT infrastructure and ICT assets”.
Tusla highlighted weaknesses in the HSE’s computer systems including some related to security controls and disaster recovery protocols – particularly older and legacy systems – in its 2019 Annual Report.
The report says: “In the main, the systems utilised by Tusla are more current and less impacted by legacy issues, but where Tusla is dependent on these systems, these weaknesses may have an implication for its internal controls.”
It also notes: “The HSE has indicated that it is committed to improving controls in respect of cybersecurity.”
The Irish Times previously reported on a series of actions being taken by the HSE to improve the security of its networks, with some completed last year and other with target dates into 2021.
In recent weeks the HSE has not been able to say whether weaknesses identified in internal audits – highlighted in its own annual reports as far back as 2018 – were a factor in the success of the recent cyberattack.
The Tusla spokeswoman said its plans to move its data away from the HSE were not linked to the weaknesses that had been identified in the HSE’s system, saying this goal was included in ICT strategies published as far back as 2017.
The spokeswoman separately said Tusla normally receives approximately 1,500 referrals via its online portal for reporting child protection concerns each week.
She said: “As all systems are down, we cannot confirm the exact number of weekly referrals, but early indications are that the cyberattack has had marginal impact on our referral rates in most areas and that people are making referrals by phone.”
There have been media campaigns to promote phone referrals, including a national radio advertising campaign.
In an interview with RTÉ Radio, Mr Gloster said he does not envisage the portal being back in use until at least the end of June.
He said referrals currently have to be written by hand, adding “It really is back to 1970s/1980s social care service.”
Mr Gloster said a “semblance of normality” may return over the next month, but it will be six months for the recovery plan “to get us back to where we’d want to be”.
He said a specialist company is monitoring the internet including the dark web for any sign that Tusla’s data has been published, but this had not been detected as yet.
Ramón Estévez regrets his name change to Martin Sheen | Culture
At the beginning of the sixties, Ramón Estévez was desperate. His first steps as a television actor had gone well, but he felt stuck in that medium and wanted to get into theater and film. However, at the time, his name held him back: there were few successful Latinos in the United States. “Whenever I called for a position, whether for work or for an apartment, they answered me hesitantly when I gave my name, and when I arrived, I found the position already filled.” He said in 2003. And so, Ramón decided to create an artistic name by merging the name of Robert Dale Martin, the CBS network’s casting director, who had helped him in those essential appearances on the small screen, and that of Bishop Fulton J. Sheen, who, as Estévez’s little sister Carmen recalls, “regularly appeared on TV.”
This is how Martin Sheen came about, and owing to his great talent, he triumphed first in theater and, later as an actor in the movies, notably: Badlands, Apocalypse Now, The Departed, and Wall Street. However, the identity of Ramón Antonio Gerardo Estévez did not disappear: this name remains in all of Sheen’s official documents (passport, driver’s license and marriage license)… and in the actor’s soul. Last week, in an interview with Closer magazine, he confessed that one of the great regrets of his life was his change of name. He speaks with pride of the obstinacy of his son Emilio, who kept it despite “his agent’s advice to change it”. In relation to his own decision, he reflects: “Sometimes they convince you, when you don’t have enough insight or even enough courage to stand up for what you believe in, and you pay for it later.”
Over time, Sheen recovered his Galician roots, the land where his father, Francisco Estévez Martínez, was born. His father was an immigrant who left Parderrubias, in Salceda de Caselas (Pontevedra), for Cuba at the age of 18 in 1916. He left with no Spanish, a language he learned on the Caribbean Island. In the early 1930s, he emigrated to the United States to a modest Irish neighborhood in Dayton (Ohio), where he married another immigrant, Mary-Ann Phelan.
Martin Sheen’s life has been profoundly marked by his childhood. His father worked at NCR Corporation, an industrial conglomerate that began manufacturing cash registers. Shortly after his marriage, the company sent him to the Bermuda Islands where his first children were born. Sheen was the seventh of ten children (nine boys and one girl), and the first to be born in Dayton, in 1940, after the family moved to the US. His left arm was clasped by forceps during birth, leaving it three inches shorter than his right arm. As a result of this, the character that Sheen interprets in the series The West Wing of the White House, President Josiah Bartlet, puts on his jacket with a strange twist of the body. As a child, he suffered from polio which kept him bedridden for a year, and at the age of 11 his mother died. Thanks to the support of a catholic charity and his own father’s efforts, the family remained united against the distribition of children to orphanages or foster homes, a common practice at the time.
He was the eccentric of the family: he decided to go into acting. Against his father’s objections, Ramón, the most reserved son only enjoyed the theater and decided to study acting. “You don’t know how to sing or dance!”, his father told him, to which his son replied: “You love westerns and in those nobody sings or dances”. “But you don’t ride a horse either!” was his father’s comeback. Despite this discouragement, he moved to New York, following in the footsteps of his idol, James Dean.
In the mythical episode Two Cathedrals of The West Wing, he explains how the character President Bartlet reflects the experiences of his own childhood and adolescence. Estévez/Sheen: a practicing Catholic and relentless campaigner against global warming, a man in favor of civil and immigrant rights, he was arrested several times during demonstrations outside the White House. His activism began when he was just 14 years old in a golf club where he worked. He led a strike of caddies, protesting against the club members’ use of bad language in front of children.
And then there’s the Spanish context. Francisco Estévez did not teach his children Spanish, but the Estévez family went back to their roots. Francisco was able to return to his hometown in Galicia in 1967 (just as Sheen landed his first big role in In the Custody of Strangers), where he began building a house, while making regular trips back to Dayton. He would never see this house finished. He died in Dayton in 1974, and was buried with his wife and son Manuel, who had died in 1968. His only daughter, Carmen, ended up working as an English teacher at a school in Madrid, where she married. For years people in Madrid have bumped into Sheen during his visits to his sister. Carmen finished building her father’s house and inaugurated a river promenade dedicated to his memory. Indeed, she has kept the memory of the Estévez alive in Salceda de Caselas.
The Camino de Santiago, a dream come true
In the early years of the 2000s, Sheen, his son Emilio Estévez and his grandson, Taylor, walked the Camino de Santiago. In Burgos, the grandson met a girl, and at the end of the walk he decided not to return to Los Angeles, but to remain in the Castilian city, where he got married. Influenced by that experience, Sheen and Estévez made the film El camino (2010), in which both co-starred and the latter directed. A few months ago, Sheen spoke proudly of El camino, a great success, and a faithful portrayal of his spirituality. During filming, at a lunch under huge pergolas at the back of Burgos cathedral, Sheen explained: “I am a Catholic, and a lot of that spirituality is in this movie. I have had an extremely happy life, with the normal highs and lows of a career. I have survived disease and my family is wonderful [his four children, including Charlie Sheen, are actors]… I believe in a church that does incredible work in the Third World. Other things, like some of the pronouncements from the Pope [at that time, Benedict XVI], are more difficult for me. I live my faith, and it is between God and I.” A few meters from Sheen and the journalist, at the long tables, was a strange group that didn’t not look like actors: “That’s my wife, that’s my sister and her husband, that my best childhood friend… I’ve invited them to come and have a good time with Emilio, Taylor [who worked as an assistant] and me”. Taylor Estévez currently works as a stunt coordinator in California.
Carmen Estévez says that for decades the family did not understand their father’s deeply Galician sense of humor, until they realized that for much of the time he was not being serious. This sarcasm was inherited by his son Ramón/Martin, and he made a display of this in Burgos. In response to a question about his career, he said: “With my resume full of bad movie titles, what can I say. I’m an actor and that’s how I’ve supported my family. But I’ve been in about 10 films that I can be proud of…” at which point he dropped his cup of coffee and blurted out: “See? For gloating over my career. Divine punishment”.
Buzz Lightyear: To Lesbians and Beyond | Culture
The first homosexual kiss in a Disney movie has been more than expected. Many of us wanted to see it in Frozen: some interpret the ice princess’s song “Let it Go” as a reference to being gay. Lots of people awaited it in Luca, where the love between protagonists Luca and Alberto was at times more obvious even than that of the cowboys in Brokeback Mountain. We longed for a legendary, effervescent kiss, the fruit of a rebellious and passionate love. It was going to be a vindictive kiss, full of fireworks. It would be one of those kisses that precede the mythical The End, when the screen fades to black behind the lover’s mouths. It was a kiss that was going to take everything over. Above all, it was going to be the great kiss of the 21st century, undoubtedly the century of homosexual visibility and the century of the gender revolution, the moment when women fall in love and kiss for the first time and do all of it on the big screen. (Well, not all of it.)
The first lesbian kiss in Disney history appears in the recently released Lightyear, and it has sadly led to the censorship of the film in 14 countries in the Middle East and Asia. The kiss takes place in 1995, that is, 27 years ago. The first homosexual kiss of the Disney Pixar factory recognizes that it is years late. It is a 90′s kiss. It comes not from the 21st century, but the 20th. How? The film starts with the following premise: in 1995 Andy, the protagonist of Toy Story, went to the cinema to see Lightyear. This is the movie he saw then. Lightyear, therefore, is not the end of the saga but its prequel. In addition, the controversial kiss does not happen between a young protagonist and her girlfriend, but between two mature women who have been married for years. We are not facing a rebellious kiss, much less a political or ideological one. This kiss is not intended to be a novelty or to make anything visible. It is an absolutely conventional gesture. Thank you, Disney Pixar for going beyond my wildest dreams when it comes to normalizing visibility. And thank you for listening to your workers and refusing to remove the scene. In the long run, it will be more profitable to sacrifice box-office earnings than dignity.
In addition to being between two women, the kiss happens between two mothers, on the day that they celebrate their son’s birthday. It is not the classic Disney kiss, a culmination of the romantic love between the leading couple, but a stolen moment of quotidian happiness. It is a fleeting kiss, insignificant in the history of lovers. It lasts just seconds. It is not charged with any special meaning in the love story. It speaks of a way of building affections and meaning different from that imposed by the traditional heterosexual canon: seemingly unimportant gestures of are everything. It represents a kind of love where kisses do not represent a turning point in the lovers’ lives, but rather small anchor points in their story history. In this gesture, romantic love is not ultimately the center of life but part of it. In Lightyear, we witness the anodyne kiss on the lips between space explorer Alisha Hawthorne and her wife, and we realize that partners are not at the center of any story, but rather one of those fragments that give meaning to life. It is a sapphic kiss in the sense that it is another way of building love, more horizontal, quieter and healthier.
Alisha—a female, lesbian and black—does not have as much screentime as Buzz Lightyear—male, white and the story’s protagonist. She is the protagonist’s friend, confidante and inspiration. Together they are trapped on an uninhabitable planet due to a mistake he made. From that moment on their lives run parallel but radically different–almost like the story of lesbian and heterosexual love. She adapts to the circumstances and begins to live the life that has befallen her, without rejecting its difficulties. The conditions are not the best, but Alisha falls in love–with a woman–and celebrates her luck. Together they have a son. Along the way, she takes care of those she loves, she has a granddaughter, she fights and she investigates. She fills her life with meaning, and she dies. Buzz, on the other hand, insists on “finishing the mission,” “being important,” “saving the world,” “succeeding,” “being a hero,” “doing things alone” and “being the first.” Buzz, who will never know love, embodies many of the traditional values of heteronormative love, starting with the desire for protagonism and the sense of a linear life narrated through love or milestones, leading only to deep, intimate failure.
Lightyear attempts to travel into space to escape from the planet where he is trapped, failing over and over again. Additionally, though, time is altered every time he subjects his ship to hyperspeed. Every time he returns, a few minutes have passed for him and a few years–four, ten or twenty–for Alisha. He burns through life, while she lives it. In one of the final moments, Buzz Lightyear explains to Alisha’s granddaughter why he and her grandmother became space rangers. “We just wanted to be important,” he says. “Trust me, she was,” she says. And the hero understands that his whole life has been a huge misunderstanding. He will have to return home, knowing that his home is the one he has tried to flee all his life.
The film is a masterpiece, full of action, emotion, humor and imagination. Its commitment to diversity includes a warrior over seventy years old, a rebel whose role is essential in saving the world. No one is talking about the old woman for the simple reason that old age remains invisible even when it occupies the center of the scene. The film also gives us Sox, an adorable robotic cat that demonstrates how the only technology that works is that which helps people, not that which attempts to change them. It is truly one of the great Pixar movies, much more than action and stars.
At this point, it had gotten hard to explain why we humans want to keep going to infinity and beyond. But there is a moment, at the end of the film, when we understand: when the elite protectors of the universe excitedly observe the bronze statue of Alisha, a black lesbian woman, the source of meaning for humanity, because she is the one who knew how to live a small life with greatness.
George Michael revisited: binge-eating ice cream, sex and ecstasy | Culture
George Michael abhorred fame and avoided interviews. Over his 30-year career, the singer of “Faith” released only four studio albums as a solo artist. But his figure left a lasting impact on popular culture. The public’s fascination with him lingers even today, as demonstrated by the recent release of both a documentary and a book about his life, just when the artist would have turned 59. The two works depict the pop star’s life from dramatically different perspectives.
The musician himself worked on the film George Michael: Freedom Uncut with his former collaborator, David Austin. It follows the career of one of the best voices in pop, starting in the eighties and ending in 2016, the year of his death. Narrated in the first person, the documentary gives a partial glimpse of the star. In contrast, journalist James Gavin’s book George Michael: A Life explores the singer’s dark side in great detail. The biography chronicles Michael’s addiction to GHB, also known as liquid ecstasy, his depression and his dependence on sex. According to the account, Michael spent his later years sinking into drugs and prostitution and alienating his friends, including Andrew Ridgeley, the other half of Wham!. Gavin spoke with more than 200 friends and acquaintances of the artist, resulting in a portrayal of an emotionally fragile and insecure man. According to the author’s thesis, which several friends corroborate but his family denies, the performer died not of a heart condition, as was said at the time, but of an intentional overdose: suicide.
The documentary film focuses on the eighties and nineties, the artist’s creative peak. The book, meanwhile, primarily describes his last years of life, when he made headlines more for his arrests than for his music. Both are pieces of a puzzle that the artist created before the public over three decades.
It is difficult to understand the career of George Michael, who would turn 59 this June 25, without delving into his biography. Born Georgios Kyriacos Panayiotou in 1963, he rose to worldwide fame alongside his school friend Andrew Ridgeley. Together they formed Wham!, a group adored by teenage girls and despised by critics. Michael enjoyed a global fame that he never wanted. He felt undervalued as an artist, relegated to the status of a teen star. He also didn’t take well to playing the role of a heterosexual idol in order to sell records to the female public. He was ready to embrace his sexuality, but society wasn’t. At the time, both Elton John and Freddy Mercury were married to women. In Spain, Miguel Bosé walked hand in hand with Ana Obregón. A mainstream artist couldn’t afford to be gay.
Still, George Michael represented his sexuality with a certain impudent joy in public. In his later years, looking back, Michael said his sexuality had been an enigma, even to him, but his music was always honest. “I do want people to know the songs I wrote when I was with women were really about women and the songs that I’ve written since have been fairly obviously about men,” he said. “So when it comes to my work I’ve never been reticent about defining my sexuality.” George Michael was sex. His music was too.
On his first solo album, he broke away from his good-boy image to present himself as a sexually liberated man–in a trajectory later imitated by many pop artists, including Britney Spears and Christina Aguilera. His first solo song, “I Want Your Sex,” was dedicated to a man, but his then-girlfriend, makeup artist Kathy Jeung, appeared in the music video. “[Kathy] was in love with me but she knew that I was in love with a guy at that point in time. I was still saying I was bisexual,” he explained in a 2004 interview with the British magazine Attitude. The song caused controversy for defending promiscuity in the harshest years of AIDS, and its explicitly sexual lyrics were censored on several radio networks.
In the music video for his second single, “Faith,” Michael played the role of the American macho, wearing a leather jacket, jeans and cowboy boots, combined with close-ups of his butt swaying to the beat. The singer was asserting himself as a mature composer. At the same time, he was sexualizing himself. The song made him a worldwide success. He began to rub shoulders with pop royalty, including Michael Jackson, Madonna and Prince. At that time, pop stars were at the heart of popular culture. But only George Michael used his role to confront record companies and eventually renounce media overexposure.
If singers were kings, MTV was their palace. In the 1990s, a good music video could boost a song’s sales and its artist’s fame. That’s when George Michael decided to disappear. He barely promoted his long-awaited second album, much less commercial than the first. Its first music video, “Freedom,” featured the five most important top models of the moment. The video was directed by first-timer David Fincher, who before revolutionizing Hollywood already revolutionized MTV. It has gone down in history as one of the best video clips of all time.
Freedom: Uncut, the new documentary, focuses on that creative stage of the singer. Some of the participants in that video, such as Cindy Crawford, Kate Moss and Naomi Campbell, give interviews about Michael, and the film includes discarded footage that Fincher did not use. While the documentary focuses on his art, it also touches aspects of his personal life, including the deaths of his mother and Anselmo Feleppa, his great love, who died of complications from AIDS in 1993.
The two deaths had a devastating effect on Michael, and they triggered the spiral that Gavin focuses on in his book. The author calls the singer a “pathetic, lonely and broken figure.”
George Michael did not publicly come out of the closet. He was wrenched out in the most shameful way possible. In September 1998, a plainclothes officer made a pass at him in a public restroom in Los Angeles, California. When the artist played along, he was arrested. Searching him, police found marijuana and crack. The former leader of Wham! was fined only $810, but the media’s penalty was devastating. Tabloids on both sides of the Atlantic lashed out at him. It was no longer the eighties, but a scandal like that could still end anyone’s career. He explained himself the best way he could: with a song. The video clip for “Outside,” the single from his greatest hits album, was based on the famous incident. It portrays several men dressed as police kissing in the bathroom of a club, while a press helicopter records different couples having sex. Michael took control of the narrative, as sexual and as honest as ever.
But no song could silence the news that followed. A few months later, the musician was arrested again after a car accident. The police found him “drenched in sweat” with “eyes open and pupils dilated.” It was his seventh arrest in 12 years. In the biography, Gavin expands on this stage, at the time portrayed by the press at the time in a disjointed and sensationalistic way. The author places it in the context of the impulses of a depressed, frustrated man taking refuge in drugs and sex. “For Michael, GHB seemed heaven-sent,” the journalist writes about the drug, a central nervous system depressant closely associated with sex parties. “Apart from fueling his sexual compulsiveness, it made a depressed, self-hating man feel attractive. It brought joy where there was little. GHB gave him confidence … but it also took him to a new and terrifying level of self-destruction.”
Gavin describes one of the music industry’s brightest stars as a lonely, friendless man, secluded in his mansion. He spent his days watching episodes of his favorite soap opera, Coronation Street, while binging on Haagen Dazs ice cream and junk food and using GHB. The author writes that the singer held parties with prostitutes and large amounts of drugs in his mansion in north London.
The journalist’s description is consistent with statements made this week by Kenny Goss, who had a relationship with the singer between 1996 and 2009. In an interview on the English program Piers Morgan Uncensored, the art dealer recounted that everyone around him knew that Michael would die soon. “I spent a lot of time worrying about him,” he recalled. “What’s the line he says in one of his songs? He says, ‘I can see it in your eyes when you look at me that way, it tears me in two’. And it really did.”
George Michael died on Christmas day of 2016. The official report says that the death was due to heart failure. His fans remembered him with “Last Christmas,” a song that many read as a Christmas carol, but which actually tells a tragic story about heartbreak and distrust. “All my songs are autobiographical,” the singer used to say.
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