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This article includes two very different basic assemblies and a couple of test assemblies for WPF. The first basic assembly is GraphLayout which implements the Reingold-Tilford algorithm, described here, to determine the placement of nodes in a tree structure. This tree is structured as a top down tree with the root at the top and the leaves at the bottom. This algorithm is entirely independent of any actual drawing of those nodes and so can be used for any purpose where such positioning is required. It includes options for vertical justification for nodes, collapsing of nodes, distance between sibling nodes and distance between non-sibling nodes. This assembly is not WPF specific and could easily be used to produce a GDI+ tree drawer (though I haven't included any here). It also includes a list of endpoints for lines which can be drawn as connectors between nodes. Currently, these lines are simply straight lines from the bottom center of the parent node to the top center of the child node, though it would be easy enough to modify them to draw different kinds of connectors.
The second assembly is a WPF control subclassed from Panel which uses GraphLayout to determine where to place its child controls in a tree. Each non-root node has a dependency property for its parent node's name which is how the graph is strung together. Since this is a subclassed panel, the individual nodes can be any type of WPF control desired. This allows the tree to be specified in XAML as demonstrated in the TreeContainerTest test app or in code as demonstrated in the VisLogTree.
It also contains a Silverlight control which does the same thing. The primary difference with the Silverlight control is that the connections have to be added as a Path child to the tree container rather than painting the connections directly onto the control. Silverlight doesn't support the OnRender function for controls where they can be drawn to. I prefer the drawing method used in the WPF control so that there's not this "dangling" path control, but it really doesn't seem to be an option in Silverlight. I just got started with Silverlight a couple of days ago so if anybody knows better, I'd love to hear about it. The GraphLayout DLL had to be recompiled so it would be linked with the Silverlight libraries but otherwise was used unchanged. After figuring out all the little Silverlight quirks, the new Silverlight control worked the first time I tried it testifying to some extent to the universality of GraphLayout.
There are several WPF controls which I could locate which make some effort to produce trees in WPF but so far as I can find, there are no free assemblies/source code which give a proper implementation of the Reingold-Tilford algorithm in a standard WPF fashion (i.e., a subclassed panel which can be implemented in XAML) and it seems like an obvious and valuable thing to do, so I've done it. There are LOTS of extensions which I can think of making here, but this seems pretty valuable as it is so I'm putting it out there and moving on to other things for the moment.
The Reingold-Tilford algorithm can easiest be described as "recursively drawing all child graphs then jamming them all to the left as far as you can, leaving a fixed distance between nodes and finally cleaning up interior nodes which are jammed to the left but can be moved to the right for centering purposes". I know that's not incredibly intuitive - especially the last part - but reading the article cited above gives all the details (albeit not in a terribly clear manner in my estimation, nor in a way that corresponds very directly to my code which I implemented before reading this article and with not much more than the sketchy description given here - carefully slogging through the walkthrough is the only way I really understood it, even when I knew the basics of the algorithm).
I tried to test all the cases, but I might have missed a few - there are lots of trees out there, so please mail me if you find any bugs. For the most part, if I found inconsistencies with the Parenting within the WPF control, I just didn't position the corresponding controls at all so they end up in the upper left of the TreeContainer control. This is so XAML isn't constantly blowing up and showing you nothing because of a thrown exception. If you see nodes in the upper left of your TreeContainer control, go in and check for consistency in your Parent properties.
GraphLayout (which probably should more properly be called TreeLayout although in the future I may add other Graph type layouts to it) provides an ITreeNode interface which represents (you guessed it) the nodes in the tree. GraphLayout.LayeredTreeDraw is the class which calculates all node positions. Its constructor takes an ITreeNode which represents the root of the tree and some global parameters which affect the positioning (minimum distance between nodes, vertical justification, etc.) and sets properties on all the nodes giving their proper positions in the final graphical tree.The ITreeNode interface is fairly simple. It includes TreeWidth and TreeHeight properties which return the width and height of the node. It also includes the boolean Collapsed property which is a readonly property telling whether the node should be collapsed. How this information is kept and set on the node is up to the implementation. The most important property is TreeChildren which returns the children of this node in a TreeNodeGroup collection. TreeNodeGroup is a simple enough class with an Add function to add ITreeNode objects to its collection. Finally, LayeredTreeDraw needs a place to poke its own private information into each node. You must implement PrivateNodeInfo which takes an object, stores it into the node and retrieves it back later.
There are three buffer distances associated with trees. The vertical buffer distance is the minimum distance between the layered rows of the tree. The horizontal buffer distance is the minimal distance between sibling nodes in the graph. The horizontal subtree distance is the minimal distance between nodes which are not direct siblings. This makes some graphs look better by further separating subtrees further than individual siblings.
After constructing the LayeredTreeDraw object, you simply call LayoutTree() on it and then retrieve the information back from it. The X and Y coordinates for a given node are retrieved from a LayeredTreeDraw object called ltd with ltd.X(treeNode) and ltd.Y(treeNode) where "treeNode" is the ITreeNode in question. ltd.PxOverallWidth() and ltd.PxOverallHeight() return the width and height of the resultant tree. ltd.Connections() returns a list of TreeConnection objects. Each object has a parent ITreeNode and a child ITreeNode along with a list of DPoints which give a path of lines from the parent to the child. Since WPF and GDI+ use different definitions for "Point" I decided to implement a very lightweight DPoint structure which always uses doubles for the coordinates and can be used from either WPF or GDI+ (or anywhere else for that matter). Currently, these connectors give a single line between the parent and the child but this wouldn't be hard to change. Really, I was going to provide a set of different types of connectors, but maybe that will be something for the future. As it is, it is possible with different sized vertical nodes that a connector from a short node could overlap with a taller sibling node. One of the things I thought about doing was giving broken lines which would avoid this possibility.
That is pretty much it for GraphLayout. It's simple enough to use but definitely the most complicated part under the covers.
TreeContainer is a WPF control subclassed from Panel which uses GraphLayout to layout its children. To be used properly, we have to know the tree structure of the children. This is handled by having a dependency property called "Root" which is set on the TreeContainer and has the string value of the name of the node which is the root of the tree. The children of the TreeContainer must all be TreeNodes which are content controls which may hold whatever controls you like. The TreeNodes have a TreeParent property which tells which node is their parent in the tree - again, a string value with the name of the parent node. Every TreeNode in the TreeContainer must have a parent property except the root node. There is also a Collapsible and Collapsed property on each TreeNode. If the Collapsible property is set to false for a node, it cannot be collapsed. It it is true, then the value of Collapsed determines whether a node is collapsed or not. In the VisLogTree sample, the nodes are buttons which toggle the collapse of the tree below them when pressed. These properties are all XAML settable.
TreeContainer also contains some utility routines for creating the TreeNodes programmatically. This includes Clear() which clears all nodes from the TreeContainer and routines to add roots or interior nodes. At their simplest, these never have to deal directly with names in which case the code produces internal names. So, for instance, AddNode(Object, TreeNode) wraps the object in a new TreeNode, gives it a name and sets its parent to the TreeNode passed in. The TreeNode produced to wrap the object is returned. See the VisLogTree for an example of how to use these to easily produce the trees in a TreeContainer at runtime.
AddNode(Object, TreeNode)
The TreeNode containers implement the ITreeNode interface and hence are themselves the ITreeNodes necessary for GraphLayout's calculations.
There are many additions which could easily be added to this control. I've mentioned several in the text already - arbitrary pen for drawing connections, different types of connections, different orientations for the graph (i.e., left to right or bottom to top), a routed event for when nodes get collapsed or uncollapsed, etc. It seems like a valuable control at this point, however, and to be honest, I'm anxious for new territory to cover so I'm putting it out there as is.
The algorithm proved to be much trickier than I had initially supposed. There are a fair number of exceptions and gotchas to the algorithm as I originally read it. It might have been easier to just blindly follow the algorithm as described in Dr. Dobb's article in the hyperlink above, but I didn't have that article ahead of time and there are a few things I'm not fond of in the algorithm as written there.
There are two samples. One is an XAML version of the graph used in the paper mentioned above just to verify that it turned out correctly as described in the paper. The other gives the visual and logical tree for a dialog loosely based on one in "WPF Unleashed" by Adam Nathan, an excellent book. It's the dialog that Nathan uses to illustrate logical and visual trees so you can check that it gives the right information. The nodes in the second one are buttons which toggle whether their subgraphs are collapsed or not. There is also a button to remove or add back in the label at the top of the dialog which I used for debugging and left in there.
A point I wasn't aware of until working on this control is the RegisterName/UnregisterName methods on FrameworkElements. When I first tried to create the tree control programmatically, I naively set the name on my TreeNodes and then used FindName() to locate them later. Wrong! If you do the same, you will be told that no such control name exists. You must use the RegisterName() method to register the name with the parent in order to make this work. Similarly, if you remove a control you really should do an UnregisterName(). I've read a lot on WPF and this is the first time I've ever seen this. It seems like this should be a little more visible in the documentation out there. The utilities on the TreeContainer which allow easy production of the TreeNodes takes care of all this automatically.
This article, along with any associated source code and files, is licensed under The Code Project Open License (CPOL)
<tc:TreeContainer HorizontalAlignment="Center" VerticalAlignment="Center" x:Name="Tree" HorizontalBuffer="38" VerticalBuffer="48" HorizontalBufferSubtree="40" VerticalJustification="center" RenderTransformOrigin="0.5,0.5"/>
private void BuildTree() { Button btn_Root = new Button(); btn_Root.Content = "ROOT"; TreeNode root = Tree.AddRoot(btn_Root); for (int i = 0; i < 4; i++) { Button btn = new Button(); btn.Content = "Button_l1_" + i; TreeNode ch1 = Tree.AddNode(btn, btn.Content.ToString(), root); for (int j = 0; j < 2; j++) { Button btn2 = new Button(); btn2.Content = "Button_l2_" + i + "_" + j; Tree.AddNode(btn2, btn2.Content.ToString(), ch1); } } //Rotate Tree first here Tree.RenderTransform = new RotateTransform(-90); //Then rotate all TreeNode content children foreach (TreeNode n in Tree.Children) { Button btn = n.Content as Button; btn.LayoutTransform = new RotateTransform(90); } }
private void DetermineFinalPositions(ITreeNode tn, int iLayer, double pxFromTop, double pxParentFromLeft) { double pxRowHeight = _lstLayerHeight[iLayer]; LayeredTreeInfo lti = Info(tn); double pxBottom; DPoint dptOrigin; lti.pxFromTop = pxFromTop + CalcJustify(tn.TreeHeight, pxRowHeight); pxBottom = lti.pxFromTop + tn.TreeHeight; if (pxBottom > PxOverallHeight) { PxOverallHeight = pxBottom; } lti.pxFromLeft = lti.pxLeftPosRelativeToParent + pxParentFromLeft; dptOrigin = new DPoint(lti.pxFromLeft + tn.TreeWidth / 2, lti.pxFromTop + tn.TreeHeight); iLayer++; TreeNodeGroup tng = GetChildren(tn); foreach (ITreeNode tnCur in tng) { List<DPoint> lstcpt = new List<DPoint>(); LayeredTreeInfo ltiCur = Info(tnCur); lstcpt.Add(dptOrigin); DetermineFinalPositions(tnCur, iLayer, pxFromTop + pxRowHeight + _pxBufferVertical, lti.pxFromLeft); //If parent node has only one child then no changes here, just a normal TreeConnection if (tng.Count == 1) { lstcpt.Add(new DPoint(ltiCur.pxFromLeft + tnCur.TreeWidth/2, ltiCur.pxFromTop)); _lsttcn.Add(new TreeConnection(tn, tnCur, lstcpt)); } else { //If parent node has more than one child then add the extra connection points double halfHeight = (ltiCur.pxFromTop - dptOrigin.Y)/2; DPoint p2 = new DPoint(dptOrigin.X, dptOrigin.Y + halfHeight); lstcpt.Add(p2); DPoint p3 = new DPoint(ltiCur.pxFromLeft + tnCur.TreeWidth / 2, dptOrigin.Y + halfHeight); lstcpt.Add(p3); DPoint p4 = new DPoint(ltiCur.pxFromLeft + tnCur.TreeWidth / 2, ltiCur.pxFromTop +5); lstcpt.Add(p4); _lsttcn.Add(new TreeConnection(tn, tnCur, lstcpt)); } } }
base.OnRender(dc); if (Connections != null) { RenderOptions.SetEdgeMode(this, EdgeMode.Aliased); ...
InvalidOperationException The NameScope to register the Name '_TreeNode0' was not found
private void SetName(TreeNode tn, string strName) { tn.Name = strName; RegisterName(strName, tn); }
TreeContainer.TreeContainer tree = new TreeContainer.TreeContainer(); System.Windows.Controls.Button button = new System.Windows.Controls.Button(); button.Content = "root"; button.Name = "root"; tree.AddRoot(button);
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Maybe someday I'll stop making wardrobe mistakes. But when I gaze into my closet, I often wonder who chose these clothes. What look was she going for? Agent 99 from "Get Smart"? I should shop with a note pinned to my chest: "Do not sell this person another: trench coat, pair of jeans, or black turtleneck."
Actually, I shouldn't go anywhere near a store. Buying new clothes seems like the thing to do only when you've got nothing to wear. But, then again, maybe not. With the high-stakes fall-fashion season upon us, and with apparel sales rising, I conducted rack-side interviews around the city, heard woeful sagas of bad shopping habits and various personal theories about why so many keep repeating the same mistakes. But one thing seems clear: Friends shouldn't let friends shop — they should stage interventions.
Listen to Cheryl Absi, 54, a dental hygienist from West Roxbury. She routinely buys clothing too small in hopes it will motivate her to lose weight: "I bought four dresses for my niece's wedding," she said, as if reporting on someone else's behavior, "but I couldn't fit into any of them."
Hear Kristen Calvo, 23, an intern at Karmaloop, an online retailer in Boston. She's a fashionista who's unable to resist new trends. "I'll want the style so much that I can't stop until I get it," she said. She recently bought three tops with of-the-moment cut-out shoulders. That's a look recognized by fashion editors, but not Bostonians.
"A man on the T told me my clothing had a hole in it," Calvo said. She also asked herself a question. "What was I thinking?"
It's the same story in Weymouth, where Karen Donovan periodically buys bright colors to perk up her mainly black wardrobe, and then can't bring herself to put on the pinks and blues she's paid for, seemingly of her own free will. "This isn't me," she thinks even as she's handing over her credit card.
Many of us confess to questionable shopping habits, but it doesn't seem to be slowing us down much. US apparel sales hit $199 billion in 2011, up 4 percent from 2010, according to the NPD Group . Marshal Cohen, the market-research firm's fashion-industry analyst, attributes the growth to "frugal fatigue" after a handful of years of recession.
The NPD Group doesn't track the ups and downs of the unworn-apparel market. But the challenge posed by the seemingly simple act of purchasing clothing is so enormous that a clinical psychologist has written an entire 272-page book on the subject.
In "You Are What You Wear: What Your Clothes Reveal About You," Jennifer Baumgartner argues that what seem like superficial wardrobe issues are actually manifestations of deeper life issues. "Over-shopping," she explained, "can be a form of avoidance, from facing an immediate stressor or chronic emotional difficulty.
"Dressing the same you did in high school can be a way to hold onto the best time in your life when the here and now is not a happy place," she added. "A disorganized wardrobe can indicate a life in chaos."
That sounds pretty sad. But perhaps it's a good thing. Recognition may be the first step toward persuading employers to offer the sartorial version of mental health days — "wardrobe days" — for those times when you just can't stand to put on one thing you own.
Baumgartner, a clinical psychologist at EHP Behavioral Services, LLC, in Maryland, with a wardrobe consulting firm on the side, warns that once a shopper gets into a bad habit, purchase-wise, it's hard to break free. "As with rote learning," she said, "the repeated task no longer becomes something that requires any further mental energy. It's practically an involuntary response."
And who has time to think outside the box — or the black cardigan? Not a lot of working moms, Baumgartner said — or the president of the United States.
"I'm trying to pare down decisions," Barack Obama told Vanity Fair in October, explaining why he keeps only blue and gray suits in his closet. "I don't want to make decisions about what I'm eating or wearing. Because I have too many other decisions to make."
I wonder if that's really true, or if he was pandering to the crucial "nothing-to-wear moms" voting bloc? How do so many of us go so wrong so often?
Adam Galinsky, a professor at Columbia Business School who studies clothing's psychological effects, has a theory. He says stores are very good at creating their own worlds, and shoppers get sucked right in. "We get into an adventurous mindset when we're shopping," he said. "But when it comes time to wear things, we're not in the same mindset.
"My guess," he added, "is that we buy the things we'd like to wear in a perfect world, but then we get back to our world and realize it's not possible. Unfortunately we hold on to that [mistaken] idea past the 30-day return policy."
Vivek Patel, co-owner of Vira boutique, on Charles Street, is among those who get sucked in by a store's atmosphere — even though he's in the business himself. "Music is a big thing for me," Patel said, "so if the music is really happening, and the people in the store seem happy and cheery, I might not even have money but I need to leave with something. I want to bring the fun home."
"It makes me feel better," he said — except when he realizes what he bought doesn't really fit or he doesn't like it. "Then it's a different story."
I love the idea of blaming retailers for my own failings. Or better yet — individual garments. And, I'm apparently not the only one. That phenomenon is so common — and misguided — that a marketing expert has a term for it. "Scapegoating," is the term used by Alastair Tombs, a lecturer in marketing at Queensland University in Australia. "People do transfer their emotions to their clothing," he said in an e-mail.
(As Shakespeare might have said: The fault is not in our 7 for all Mankind jeans, but in ourselves.)
For example: One woman Tombs interviewed wore new clothes to go on a date with her boyfriend, only to have him end the relationship that night. "When she got home she threw off her clothes into a corner, and they sat there for about a month," he wrote.
"She said she would never wear them again. This behavior appears to be a coping mechanism where people will transfer the negative emotions to their clothing in some form of cathartic experience."
Back in Boston, Lauren Beckham Falcone, a WROR radio personality, also has a very charged relationship with her wardrobe. "All mistakes," she said of the many unworn miniskirts, skinny jeans, and endless satin and ruffled tops, which she keeps buying and not wearing.
"It's like dating someone, breaking up, and getting back together only to realize you are terrible for each other," she said. "Then you see each other across Macy's and you think, maybe this time. My wardrobe's soundtrack should be a Taylor Swift CD."
Beth Teitell can be reached at firstname.lastname@example.com. Follow her on Twitter @bethteitell.

subset: commoncrawl


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And we're back with our thirty-sixth installment of Your Comments. Here are our favorites from the past week, from Makezine, our Facebook page, and Twitter.
In response to CNCed Child's Climbing Wall, miroslava von schlochbaum says:
do you ever play this game?: "unhmh…just given that photo i can guess what sort of comments there are. i guess at least …3 are related to the kid's safety no-helmet status. ok… show me 3 safety comments!" [click] hm, hard to score, but i think i underestimated.
In the piece The Mystery and Joys of Strange Crates in the Mail, SPENCER remarks:
I need a job where I get to make things like this and send them out as buzz marketing.
In response to NEWS FROM THE FUTURE: Assault for wearing Digital Eye Glass?, user Tommy Phillips says:
If you read the link, there is a reference to at least one other foreign visitor to that Paris McD's being accosted, for trying to take a picture of the menu. In that case, though, the camera wasn't bolted to her head.
I would be careful of generalizing to all of Paris, all of France, or all of McDonalds, but you won't find me in that McDonald's in Paris.
Of course, you won't find me in any McDonald's anywhere.
Still, Dr. Mann may have just been overloaded by Frenchiness and looking for a little reminder of America.
In the piece Tool Review: Schröder 9″ Hand Drill, KC8RWR says:
If you are in to RF projects at all those little eggbeater hand drills are great for making trifiliar wire for transformers. (Winding multiple pieces of wire together very tightly) Clamp one end of your wires in a vice. Put a bent nail in the drill in place of the bit. wrap the other end a few times around the nail. Now start turning the 'egg beater' and you can control your windings very easily. Used that way I suppose it could be good for jewelry too.
I picked one up at a flea market to use for this. It's probably more likely to be your grandfather's than to be the one you just reviewed but it works great!
In the article 15-Year-Old Maker Astronomically Improves Pancreatic Cancer Test, user C. Lee Smith writes:
You GO Jack! There will always be naysayers – most of them jealous because they didn't think of it or too insecure to believe in someone who doesn't know what they can't do. (I placed 4th in my category at the 1984 ISEF)
Like these comments? Be sure to sound off in the comments! You could be in next week's column.
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I'm attempting to prepare for Yom Kippur, and among the preparations is the issue of determining what, exactly, I should be focusing on during viduy this year. I'm curious whether there are any particular techniques espoused by either chazal, modern Roshei Yeshiva, or other notable Torah personalities regarding this topic. Currently, I'm simply attempting to compile a list of aveiros or la'avim that I find myself struggling with; if there are any better ways of going about this, I'm curious.
Note: I'm not sure whether this question is appropriate for this more halachic-oriented forum, so feel free to close it if necessary.


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When it comes to tiny houses, we need to get creative, in many ways we are breaking new ground in the way our culture views housing. Let's face it folks, downsizing our homes is radical. We are rejecting social conventions, overhauling housing as we know it, and dealing with institutions like zoning. This comes with tackling design challenges of getting so much in small space, how to rethink our lives, and much more. So I wanted to share 10 tips on spurring creativity around design challenges
1. Extend your social circle
The old saying goes, birds of a feather flock together, and it's true. We often find ourselves in the company of very similar people with overlapping viewpoints on things. Liberals tend to keep liberal friends, as do conservatives with conservatives, or really any other division. But I have found some of the most growth occurs when two groups of people come together. The conversations have opposing viewpoints, but can be done in a constructive way. The other view point can also tease out weaknesses that need to be addressed.
2. Travel
For those of us who have the ability to get out and see the world it is an amazing opportunity, America is a really an odd ball, a microcosm in this world, things outside of it are quite different for most. Traveling brings out an ability to cope with new things, step out of you comfort zone, meet new people and be exposed to new ideas. One thing I have found is that in many other cultures they often have simple solutions to problems that seem to pop up in tiny houses.
3. Take a shower
I thought I was the odd one when I said my best thinking happens in the shower. I don't know what it is about taking a shower, but it brings a clarity and peace that can be hard to find in the modern world. Well it turns out that I am not as weird as I thought, because a study has been done about the power of showers to spur creative thinking. I find it useful to clean up with a hot shower, then gradually switch to cool water.
4. Just start
Sometimes the solution is in process, you can get into a major block of analysis paralysis if you try to figure it all out from start to end. There is certainly value in pre planning, particularly on bigger things that carry more risk, but sometime you just need to take the first step.
5. Fail
There is often little harm in failing, but only if you work into the process of working through the failure and extracting important lessons. There was a story about an up and coming star in IBM, he was given a big project by the CEO. After some time the project was implemented and failed miserably, it ended up costing the company $600,000. The event was so noteworthy that a reporter interviewed the CEO and asked him, "are you planning on firing the employee, he just cost you $600,000?" The CEO looked at him and said "are you crazy, I just spent $600,000 in training and development on him!" It's okay to fail, just learn from it.
6. Take a tech break
I love computers, always have, but I realize they do come at a price. We need to make sure we take some time to step away and detach. This could be turning off the cell phone and computer for an hour or two, or you could go as far as go on a tech fast for a week or month.
7. Get tactile
There are times where I get plugged into what I am doing on the computer, but this tends to be with things that I am very familiar with and skills I am good at.
The trick seems to be when you need to spur new ideas, brain storm, or push boundaries I need to get more physical with the process. It is at this point I go to my white board. I am standing, writing fast and with my stream of consciousness, when I am mulling something over, I am pacing, tossing a ball, doing something other than sitting still. I think the big space of the white board and hand writing are key. Often after a session like this, I will copy the board into a mind map on my computer.
8. Take a break
It's really too bad that our current jobs have us sitting in one place for far too long and schedules that might not necessarily be in sync with our body's cycles. In my times working at home, I have found that even though I take more breaks, even sometimes a true power-nap, I am way more productive than my best day in the office. This fact has also been proven in dozens of studies, taking a break increases productivity and quality.
9. Work somewhere different
Recently a study came out showing that working in a new place can help productivity. In fact, working in coffee shops has been shown to increase creativity. So when you seem to hit a road block, pick up shop and move.
10. Meditate
I am still exploring this option myself, weather it is using to clear my mind and release things weighing heavy on my mind or clearing a space to make room for more intense thinking, for some this is a powerful tool.


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What to think about when utilizing endpoint securities
There's a lot to consider when establishing a proper endpoint security plan for your organization. Often times, organizations get so caught up with new defense tools that they forget some of the basics of security. This e-guide will help you refocus your priorities. View now to explore:
- Whether to choose, keep or upgrade your endpoint security systems
- Key performance and data protection considerations
- 3 ways to prioritize endpoint security over perimeter defenses
- And much more


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Just northeast of the giant Sony Sony/M-G-M Studios, you'll find the smaller, but equally historic Culver Studios. Over the years, this film lot has been home to such names as RKO, Laird, Howard Hughes, and Desilu studios. The exteriors of most Hollywood studios are notoriously plain, typically resembling large industrial plants. Culver Studios is the exception to that rule; its exterior facade is a grand colonial mansion, a virtual copy of George Washington's Mount Vernon, fronted by sweeping green lawns, sculpted hedges, flowering rose bushes, and the picturesque white "mansion" itself. Without doubt, this is the most attractive of all movie studios, and one that is clearly visible to everyone driving down Culver City's Washington Boulevard. If you're a fan of classic motion pictures, you will immediately recognize the studio's colonial mansion from the opening credits of the David O. Selznick International productions, such as "Gone With the Wind," and "Duel in the Sun." Ironically, like its giant neighbor M-G-M, this studio isn't even located in Hollywood. Instead, it's in Culver City, a sleepy little town with a big Hollywood history. It was at Culver Studios that some of the greatest movies of all time were filmed: Orson Welles' classic "Citizen Kane" (1941), the original "King Kong" with Fay Wray (1933), Alfred Hitchcock's first American film, "Rebecca" (1940), and yes, the unforgettable "Gone With the Wind" (1939). They even staged the famous "burning of Atlanta" scene from "Gone With The Wind" here on the back lot of Culver Studios, on December 10, 1938. The city of "Atlanta" was actually made up of various old sets from previous films made on the lot, which David O. Selznick set ablaze to make room for the construction of the exterior of Tara. (The fire consumed old sets from "King Kong," "The Last of the Mohicans" and "Little Lord Fauntleroy.") Yet the key role of Scarlett O'Hara still had not been cast. As Selznick watched from atop an observation tower as the red flames consumed "Atlanta," his brother Myron introduced him to Vivien Leigh, with the words: "I'd like you to meet your Scarlett O'Hara." Lucille
Ball was one of the many actresses who tried out, unsuccessfully,
for the part of Scarlett in "Gone With the Wind." She
got her revenge later, though, when she bought the studio, turned it into
her own Desilu Studios, and took David
O. Selznick's office as her own. (Desilu later moved to what is now part
of the Paramount lot.) But it wasn't just movies. Many classic TV shows
were filmed on the back lot here as well, including "The Adventures
of Superman," "The Andy Griffith Show," "Hogan's
Heroes", "Gomer Pyle," In fact, some of the very same buildings seen in "Superman" as 'Metropolis' were seen later as shops in 'Mayberry.' (For a great article about the locations of those two series on the lot, see http://www.jimnolt.com/fortyacres1.htm) The 28-acre back lot was affectionally known as "The Back 40" (an old farm expression) or, later, simply "Forty Acres." In 1968, they sold off most it, and today the entire back lot appears to be gone. Today, the studio is still well preserved, albeit not as busy as it was in its glory days. Do yourself a favor: park, get out of your car, walk
up to the fence that surrounds the Culver Studios, and take a good look
at the studio's impressive colonial facade. A plaque erected here in 1986
(The third Culver City
studio mentioned on the historic plaque was the old Hal Roach
Studios, which unfortunately no longer exists. It was demolished
in 1963. Most of the Laurel & Hardy movies, the Our Gang
shorts, and many Harold Lloyd comedies were made at the studio, which
used to be located at 8822 Washington Boulevard, near the railroad tracks
at National Blvd.) In April 2014, the studio was sold for $85
million, and the new owner (Michael Hackman) plans to turn it into an
independent studio. He has promised to preserve the studio's
trademark mansion and its lawn. If you really want to see the inside of this
historic studio, go to "Audiences Unlimited"
and see if they have tickets to a show taping at the studio - if they do,
then with ticket in hand, you may be able to walk inside the studio for
the tapings. ( Incidentally, driving along the narrow residential streets around Culver Studios might prompt a feeling of deja vu. With their old-fashioned California bungalows and palm trees, many of these side streets were featured in the early silent movies. You may have seen Harold Lloyd driving a Model-T up one of these shady avenues... In fact, Laurel & Hardy used the house at 3120 Vera Avenue in Culver City as their home in the movie "Perfect Day." ) Getting there: (See the directions for M-G-M Studios .) Culver Studios is located on the same street as M-G-M Studios (now Sony Pictures), on the south side of Washington Boulevard, between Van Buren Place and Ince Boulevard, about a half mile northeast of M-G-M Studios. / From M-G-M (Sony/Columbia) Studios: continue east on Washington Boulevard for two blocks, until you come to an odd X-shaped intersection with Culver Boulevard. Turn left at the stop sign (to stay on Washington Boulevard), and drive past the south (right) side of the triangular Culver Hotel (which is in the middle of the street). Just past this odd hotel, on your right (south) side is Culver Studio, partly hidden behind an ivy covered fence. The public is not admitted to the studio (except for live TV tapings).
Looking for something in particular? Search the Seeing-Stars website! |
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(CNN) -- It has fed the dreams of millions of air guitarists, headbangers and rocker wannabes. It has exposed a new generation of fans to classic rock and metal while helping the slumping record industry boost sales.
"Guitar Hero World Tour," the next installment in the blockbuster franchise, hits stores October 26.
Now, for an encore, the wildly popular "Guitar Hero" video game franchise has a new, more ambitious goal: It wants to help you record original music and share it with other fans around the world.
"Guitar Hero World Tour," the fourth major installment in the gaming series, hits stores Sunday, October 26. Unlike past "GH" games, which came only with a guitar-shaped controller, "GHWT" also includes a drum kit and microphone, so gamers can tackle bass, vocal and percussion parts, too.
The game's new studio mode will allow players to use the instrument controllers to record music tracks. Through an online service called GHTunes, players also will be able to upload their songs, download others or collaborate to create music together.
The 86 songs in "Guitar Hero World Tour," all master recordings, include such riff-heavy classics as Jimi Hendrix's "Purple Haze," Ozzy Osbourne's "Crazy Train" and Bon Jovi's "Livin' On a Prayer." But the game also ventures into such new "GH" genres as country (Willie Nelson's "On the Road Again") and even dance pop ("Beat It" by Michael Jackson).
CNN spoke with "Guitar Hero" creators Charles and Kai Huang of RedOctane about the new game. (Some of their answers have been edited.)
CNN: What were your goals in developing "Guitar Hero World Tour?"
Charles Huang: One of our goals was to create a great social gaming experience, so that four people can get together and play. The other was. . .the new feature we call GHTunes. In a music studio in "Guitar Hero" you can actually use our instrument controllers, create your own original music, upload it onto the Internet and . . .other people can download your music and play it in "Guitar Hero." You can lay down a drum track, stop, then pick up a guitar and lay down a guitar track. And then you can go into an editing studio and edit your song and put the finishing touches on it. So there's going to be almost an unlimited amount of original music. . .that people will explore.
Kai Huang: With GHTunes, once we launch that, it's going to be the biggest open platform for online distribution of music. That's something that's never really been offered before.
You've added other instruments to the game. How influenced were you by the success of "Rock Band?"
Kai Huang: We started with guitar. But our ultimate vision had always been about putting all of the instruments together and creating a band product. It was about waiting until we had what we thought the gamers were really going to want. With "World Tour," we have all new instruments.
CH: The guitar controller is slightly larger [than before].
KH: And we took a lot of time to make sure our drums were as authentic as possible. We've actually put the velocity-sensing technology in there, so the harder you hit the drum head, the harder it's going to sound, and the softer you hit, the softer its going to sound.
How does the game score players' vocals? That sounds tricky.
CH: The guitar and the drums work on a rhythm, a beat matching. And the vocals work on pitch matching. You have to match the pitch of the notes as they scroll by.
Why did you add a beginner level?
KH: Our whole objective with "Guitar Hero" is to make it as broadly accessible as possible. By adding this beginner mode, we can get even young kids, who are 5, 6, 7 and who maybe can't coordinate pressing a button on the guitar and strumming at the same time. . .to make it really easy for them. All they have to do is strum.
CH: My 7- and 9-year-old daughters play. And there are times when my 70-year-old dad plays. You want to give people of all ages and all sizes the ability to play "Guitar Hero" and have fun.
What about compatibility across formats? If I create a song on a Wii console, for example, could other people play it on an Xbox?
CH: I believe GHTunes is compatible across all formats.
How did you choose the songs for this game?
KH: We're looking for music that connects with people. When they hear it, they go, "Wow, I love that song and I have to buy this game." We start with a list of maybe 200 or 300 songs we would love to license. And from there we work with the labels and the artists themselves to see which ones we can actually get.
CH: We try to cover a lot of different genres and different eras. "Guitar Hero" has always been known for classic rock and metal. But we also look for songs that have great instrumentals and are fun to play, like "La Bamba," by Los Lobos, which is surprisingly difficult. We put in [new] genres like the Beastie Boys. Michael Jackson is in there. What's great about "Beat It" is that a lot of people forget that Eddie Van Halen played the guitar solo on that.
When you guys were first developing "Guitar Hero," didn't you have a hard time convincing artists to let you use their songs?
KH: Yeah, with "Guitar Hero 1," it was an unknown game. We went out and tried to license music and frankly got turned down for about 97 percent of the songs we asked for. They didn't know what this game was. We didn't have enough money to play them anyway. So it was a real challenge at the beginning. It's become much easier for us.
Do you have a preferred console for playing "Guitar Hero"?
CH: We try to take advantage of the uniqueness of each console. They're all very different, and we try to tailor our games to match the strengths of each.
KH: Yeah, we love all of our children. How do you choose?
What do you think has been "Guitar Hero's" biggest impact on the music industry?
CH: We actually saw...song downloads go up the week after "Guitar Hero III" was released -- for every single song that was included.
KH: Aerosmith generated more money on royalties for their game ["Guitar Hero Aerosmith"] than they did on each of their past two albums. So they [the games] are truly bringing artists to new audiences, and much bigger audiences.
So the new game will be in stores October 26? That's a Sunday.
KH: It is. It'll give you a whole day to play. You won't have to cut work.
All About Guitar Hero • Video Games


text:
Iron Man and X-Men Anime Review! J.R. Weighs In and Says They Rock! You Go Marvel!
April 27, 2012
Marvel, Movie Reviews, Reviews
J.R. is a huge Marvel fan and when given the opportunity to review Iron Man and X-Men anime J.R. jumped at the chance! IRON MAN ANIME and X-MEN ANIME were released on DVD April 24th they have 12 episodes and bonus features in each DVD. They are


text:
If you love boats and water activities, then we have lots in common. There is much we can share and much we can learn from one another. Much we can do together. Even build your new boat, if you want to.
Here you will find information and shared experiences on:
By itself, each one of these is a huge subject requiring specific experiences and an immense effort to reasonably cover it.
Yet, no work is hard when you love what you do. With a keen interest, with lots of love and respect for boats and the sea, we have put together this site. As you will find out, we have covered some good ground. Yet all this is only the beginning. Our knowledge and experiences are but a tiny fraction of what we know together.
It is this accumulated collective knowledge that gives this site its real value. (click on the previous bold blue text to shrink/expand)
If you are interested in boats, boating, boat designs, boatbuilding and/or anything to do with boats, if you see that having a quality community website can benefit you as well as other people, you are welcome to actively take part in all activities around this youBoat.net site as you wish. Participate in discussion forums. Contribute to the site content and help at its helm steering it to always be an interesting, rich in high quality content and reliable reference. All for your own benefit and for the benefit of all boaties out there.
youBoat.net has been set as your site. You can not only review its pages, search for answers and solutions, discuss various topics and share your experiences in the forums, you can also add your own texts, graphics and whole new pages (under your name/details, if you wish). As a contributor, you become also a part-owner of this site. Add to it, help shaping it and improve its content, reliability and usefulness, and help at the helm.
Sailing the horizons of the Internet, thinking of boats, boating, DIY boatbuilding, and the blue seas, this website is where we get together, where we share experiences and learn from one another. Boaties for boaties.
The site relies on people just like you. And even if you know nothing about websites and how to display things on the Internet, let that not prevent you from saying what you want to say. Contact us, we'll help with those tiny tech details. Together we know more. Together we can do more and do it better. Let everyone get something good out of it.
Of course, you can totally ignore all the above and just browse through the site as you please, if that is all you want to do.
In our experience, having and using a boat of any description is one of the very best ways to always have something interesting to do, to be close with the nature, to engage your friends or to enjoy selected good company, to recharge your batteries and to keep physically and mentally in top shape.
And, building your own boat is one of the most unique and highly rewarding experiences. The fun and the rewards start the moment you start looking for the design that you like. You learn so much in the process - that alone is priceless. And, once your boatbuilding project is finished, it gives you a great confidence to know every single detail of your own boat. So, if you are contemplating building your boat in your garage or your backyard, you will find valuable related experiences here. And, when you share with this enthusiastic boating community your own thoughts and experiences on anything related to boats, you will find it very rewarding as we interactively learn from each other.
There are no boats too small, no uninteresting or silly questions, and no unimportant problems. Your communications will always be treated with good will and friendship.
Together we know more. Together we can do more, and do it better. There is always someone out there who has had that particular experience already, who had been through the same kind of problems you might be going through right now, someone who might save you a lot of time, money and energy with the right advice. Search through the youBoat.net forums. Look for solutions. Post your comments, experiences or/and questions.
It is always great hearing from you.
All knowledge of the mankind is in books (and increasingly more on the Internet). You will find the idea, the solution, the how-to in the right book. It just might be one of these...
Welding is the most demanding skill a backyard boatbuilder building in steel or aluminum has to master. Don't let that put you off, everyone can learn how...
If the propeller you are using came with your stock engine, it is most probably not the best propeller for your boat. Find out how you can tell...
This site has been started from a life-long interest, love, admiration and respect for the sea and all creatures living in and around it, love and interest in boats of all kinds, and a dream to sail to all those beautiful places that we all carry deep inside (the dream is still alive!). At the beginning, there were two successful and contrastingly different, both highly rewarding DIY boatbuilding experiences, both described on the pages of this site in detail, starting from the selection of the design, sourcing and purchasing materials, organization of the workshop in the space-constricted home garage, selection of the tools, through all the building steps till the boat was finally launched. It is all here. If you ever considered building a boat yourself, you will get much out of it.
The Platypus, 6.20 m LOA, 2.35 m beam, aluminum-plate mini-cruiser, with a 100 HP outboard.
The first project was in building a 6.2 m LOA (length-over-all, total length) aluminum-plate half-cabin trailable mini-cruiser in our home garage (see the picture to the right). The boat was quickly named Platypus, in reflection of its substantial bowsprit, perfect for carrying a 7.5 kg Bruce anchor.
The project was initiated and seen through by two enthusiasts with absolutely no previous boatbuilding experience, both computer professionals with no formal trade qualifications. It took more years than we wanted (there were just too many too long breaks in our work), yet resulted in a great and very capable little boat that keeps turning heads wherever it goes.
You will find details of both projects within the site. Questions can best be discussed and answered in the forums. You can also contact us directly.
The second project came from a need and a desire for more raw physical exercise. The comfort of the Platypus with a rather reasonable 100 HP Yamaha outboard (the hull is rated for up to 150 HP engine, but we bought ours when that was still Yamaha's top-of-the-line four stroke engine) reduced all physical demands to the skills and agility required at launching it from its trailer at the boat ramp, picking it up, and occasional jump into the sea for a swim; the rest was just turning the steering wheel, clicking the electrical switches and bouncing on the waves at some 30 kn speed). When you want some more demanding physical activity, a more radical change from the inactive urban life, then you might be looking for a different kind of boat.
After a careful design selection, the second project focused on building a fast 5.2 m (17') sea-going wood-strip kayak (see picture). It is the ultimate physical exercise machine, behaves great on waves, can carry substantial load when used as a touring kayak, and offers the unique pleasure of investigating every secluded shallow, sliding silently through the still waters, blending with the nature and efficiently recharging your inner batteries.
The K520, 5.20 m wood-strip fast sea-going and touring kayak.
And if you think paddling a kayak like this is an exercise limited to the arms and shoulders, you would quickly change your mind once wedged into its cockpit, your feet pressing against the support plates and your knees supported by the carefully positioned knee-braces. You wear your kayak as an almost natural extension of yourself. Your torso is exactly where all the forces combine, and every stroke of the paddle puts yet another full cycle of work on every muscle of your body. Add to all that a specially designed oversize paddle (see inside for details), and you have in every paddle stroke a complete body workout.
The youBoat.net site is dedicated to you and to all those enthusiasts who either have, plan to have or dream to have a water-craft of any sort. Boats of all kinds and anything to do with them and their environment fit here. If you like boats, water and water activities, this site should always be an interesting and informative place to visit, a place where you can discuss things and share your own experiences with like-minded people.
If you wish to share your own experiences through the forums, wiki-Documentation or new site pages, but don't know how to go about it, we can help. Just contact us.
An effective knowledge and experience sharing environment benefits you and everyone that participates. Together we know more. Together we can do more and do it better.
Tell us about your boat and your boating experiences. Even if you don't have your own boat yet, tell us about your interests and plans. Boaties are dreamers. Dreams are free, yet they are a great source of vision, energy, dedication and determination. All achievers are dreamers first.
Access to the site and all information within it, including all forums, is free and does not require any registration. For an active role, to start new forum threads, to post questions and to participate in forum discussions, to rate forum threads, boat designs, books, or to add materials to the site, please register and login under a unique nickname by which you will be known within our community. There are no any other requirements.
Enjoy your visit...
Happy boating! youBoat.net


text:
Apply Information Rights Management (IRM) to a list or library
You can use Information Rights Management (IRM) to help control and protect files that are downloaded from lists or libraries. This feature is only supported in the Microsoft global cloud. IRM is not supported for SharePoint lists and libraries in national cloud deployments.
If you're not an E5 customer, use the 90-day Microsoft Purview solutions trial to explore how additional Purview capabilities can help your organization manage data security and compliance needs. Start now at the Microsoft Purview compliance portal trials hub. Learn details about signing up and trial terms.
Administrator preparations before applying IRM
The Azure Rights Management service (Azure RMS) from Azure Information Protection, and the on-premises equivalent, Active Directory Rights Management Services (AD RMS), support Information Rights Management for sites. No separate or additional installations are required.
Before you apply IRM to a list or library, you need to enable IRM for your site. You'll need administrator permissions to enable IRM.
To apply IRM to a list or library, you must have administrator permissions for that list or library.
If you're using SharePoint Online, your users might experience timeouts when downloading larger IRM-protected files. To avoid timeouts, use your Office programs to apply IRM protection, and store larger files in a SharePoint library that doesn't use IRM.
If you're using SharePoint Server 2013, a server administrator must install protectors on all front-end Web servers for every file type that the people in your organization want to protect by using IRM.
Apply IRM to a list or library
Go to the list or library for which you want to configure IRM.
On the ribbon, select the Library tab, and then select Library Settings. (If you're working in a list, select the List tab, and then select List Settings).
Under Permissions and Management, select Information Rights Management. If the Information Rights Management link doesn't appear, IRM might not be enabled for your site. Contact your server administrator to see if you can enable IRM for your site. The Information Rights Management link doesn't appear for picture libraries.
On the Information Rights Management Settings page, select the Restrict permission to documents in this library on download check box to apply restricted permission to documents users download from this list or library.
In the Create a permission policy title box, enter a descriptive name for the policy. Use a name that helps you identify this policy from other policies. For example, use Company Confidential to apply restricted permissions to a list or library that contains confidential company documents.
In the Add a permission policy description box, type a description that will appear to people who use this list or library that explains how they should handle the documents in this list or library. For example, you can type Discuss the contents of this document only with other employees if you want to restrict access to the information in these documents to internal employees.
To apply additional restrictions to the documents in this list or library, select Show Options, and do any of the following:
To do this: | Do this: |
Allow people to print documents from this list or library | Select the Allow viewers to print check box. |
Allow people with at least the View Items permission to run embedded code or macros on a document. | Select the Allow viewers to run script and screen reader to function on downloaded documents check box.If you select this option, users could run code to extract the contents of a document. |
Select this option if you want to restrict access to content to a specified period of time. If you select this option, people's issuance licenses to access the content will expire after the specified number of days, and people will be required to return to the server to verify their credentials and download a new copy. | Select the After download, document access rights will expire after these number of days (1-365) check box, and then specify the number of days for which you want the document to be viewable. |
Prevent people from uploading documents that do not support IRM to this list or library. If you select this option, people will not be able to upload any of the following file types: File types that do not have corresponding IRM protectors installed on all of the front-end web servers. File types that SharePoint Server 2010 cannot decrypt. File types that are IRM protected in another program. | Select the Do not allow users to upload documents that do not support IRM check box. |
Remove restricted permissions from this list or library on a specific date. | Select the Stop restricting access to the library at check box, and then select the date that you want. |
Control the interval that Azure RMS credentials are cached for the program that is licensed to open the document. | Select the Users must verify their credentials using this interval (days) check box, then enter the interval for caching credentials in number of days. |
Allow group protection so that users can share with members of the same group. | Select Allow group protection, and enter the group's name for sharing. |
- After you finish selecting the options you want, select OK.
What is Information Rights Management?
Information Rights Management (IRM) enables you to limit the actions that users can take on files that have been downloaded from lists or libraries. IRM encrypts the downloaded files and limits the set of users and programs that are allowed to decrypt these files. IRM can also limit the rights of the users who are allowed to read files, so that they cannot take actions such as print copies of the files or copy text from them.
You can use IRM on lists or libraries to limit the dissemination of sensitive content. For example, if you are creating a document library to share information about upcoming products with selected marketing representatives, you can use IRM to prevent these individuals from sharing this content with other employees in the company.
On a site, you apply IRM to an entire list or library, rather than to individual files. This makes it easier to ensure a consistent level of protection for an entire set of documents or files. IRM can thus help your organization to enforce corporate policies that govern the use and dissemination of confidential or proprietary information.
The information on this page regarding Information Rights Management supersedes any terms that reference 'Information Rights Management' in any Microsoft SharePoint Server 2013 and SharePoint Server 2016 license term agreements.
How IRM can help protect content
IRM helps to protect restricted content in the following ways:
Helps to prevent an authorized viewer from copying, modifying, printing, faxing, or copying and pasting the content for unauthorized use
Helps to prevent an authorized viewer from copying the content by using the Print Screen feature in Microsoft Windows
Helps to prevent an unauthorized viewer from viewing the content if it is sent in e-mail after it is downloaded from the server
Restricts access to content to a specified period of time, after which users must confirm their credentials and download the content again
Helps to enforce corporate policies that govern the use and dissemination of content within your organization
How IRM cannot help protect content
IRM cannot protect restricted content from the following:
Erasure, theft, capture, or transmission by malicious programs such as Trojan horses, keystroke loggers, and certain types of spyware
Loss or corruption because of the actions of computer viruses
Manual copying or retyping of content from the display on a screen
Digital or film photography of content that is displayed on a screen
Copying through the use of third-party screen-capture programs
Copying of content metadata (column values) through the use of third-party screen-capture programs or copy-and-paste action
How IRM works for lists and libraries
IRM protection is applied to files at the list or library level. When IRM is enabled for a library, rights management applies to all of the files in that library. When IRM is enabled for a list, rights management applies only to files that are attached to list items, not the actual list items.
When people download files in an IRM-enabled list or library, the files are encrypted so that only authorized people can view them. Each rights-managed file also contains an issuance license that imposes restrictions on the people who view the file. Typical restrictions include making a file read-only, disabling the copying of text, preventing people from saving a local copy, and preventing people from printing the file. Client programs that can read IRM-supported file types use the issuance license within the rights-managed file to enforce these restrictions. This is how a rights-managed file retains its protection even after it is downloaded from the server.
The types of restrictions that are applied to a file when it is downloaded from a list or library are based on the individual user's permissions on the site that contains the file. The following table explains how the permissions on sites correspond to IRM permissions.
Permissions | IRM Permissions |
Manage Permissions, Manage Web Site | Full control (as defined by the client program): This permission generally allows a user to read, edit, copy, save, and modify permissions of rights-managed content. |
Edit Items, Manage Lists, Add and Customize Pages | Edit, Copy, and Save: A user can print a file only if the Allow users to print documents check box is selected on the Information Rights Management Settings page for the list or library. |
View Items | Read: A user can read the document, but cannot copy or modify its content. A user can print only if the Allow users to print documents check box is selected on the Information Rights Management Settings page for the list or library. |
Other | No other permissions correspond directly to IRM permissions. |
When you enable IRM for a list or library in SharePoint Server 2013, you can only protect file types in that list or library for which a protector is installed on all front-end web servers. A protector is a program that controls the encryption and decryption of rights-managed files of a specific file format. SharePoint includes protectors for the following file types:
Microsoft Office InfoPath forms
The 97-2003 file formats for the following Microsoft Office programs: Word, Excel, and PowerPoint
The Office Open XML Formats for the following Microsoft Office programs: Word, Excel, and PowerPoint
The XML Paper Specification (XPS) format
If your organization plans to use IRM to protect any other file types in addition to those listed above, your server administrator must install protectors for these additional file formats.
Coming soon: Throughout 2024 we will be phasing out GitHub Issues as the feedback mechanism for content and replacing it with a new feedback system. For more information see:Submit and view feedback for


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- City Fajr Shuruq Duhr Asr Magrib Isha
- Dubai 05:21 06:34 12:33 15:53 18:26 19:40
French police have detained a 32-year-old British man after finding traces of his DNA at the scene of the murder of a mother of three who was stabbed to death while out jogging.
The man, identified by family friends as Robert Plant, lived with his mother 300 metres (yards) from where the woman's partly clothed body was found on Thursday.
He remained under interrogation on Tuesday evening but had not been charged with murder. Police have until Wednesday evening to make a decision on whether to do so.
"He is not denying everything but he is not admitting everything either," local police chief Gilles Soulier told a press conference.
Soulier said the detained man's DNA had been identified on items found at the murder scene, in scrubland on the outskirts of the popular tourist town of Nimes in southern France.
He had been placed in custody after proving "evasive" when asked to account for his movements around the time of the murder.
Deputy prosecutor Stephane Bertrand earlier told reporters that officers had noticed marks on his hands that may have been caused by thorn scratches. The victim's body was discovered in a copse covered in bramble bushes.
The handcuffed suspect was taken to his home on Tuesday morning as police carried out a search of the property which Soulier said had led to the discovery of "quite a few objects that could be linked to the scene of the crime."
A female neighbour who regularly saw the suspect out walking his dog told AFP she could not believe he could have carried out such a brutal crime. "He was a kind person, a very polite young man."
A former colleague of Robert Plant's late father told AFP: "They are a lovely, kind family. There is nothing in Robert's background to suggest he might have done something like this."
According to the colleague, the suspect's father Denis had been a telecoms executive who was half-French and had worked for much of his career in Paris before retiring to Nimes, where he died last year. The family was originally from Chatham in Kent.
The victim's body was found on Thursday evening after her children's school alerted her partner that she had failed to pick them up.
A box cutter-style knife and two blood-stained stones were found near the body and are thought to have been the weapons used in a murder that police sources described as a "slaughter."
There was evidence to suggest the victim had been sexually assaulted but not raped, police said.
The victim, Joudia Zimmat, was 33 and had three children, aged 3, 6 and 9.
A housewife of Tunisian heritage, she regularly went running in the afternoon on tracks in Courbessac, a peaceful residential part of Nimes, which is famous for its amphitheatre and other Roman remains.
She was the third female jogger to have been killed in France since June 2011 but police have not yet established any link with the other murders.
Follow Emirates 24|7 on Google News.


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Introduction to BASIC
BASIC was originally implemented as a combined computer language and command interpreter invented in 1964 at Dartmouth College by J. Kemeny and T. Kurtz. it was an important part of a project to make timeshared computer access available to a large community, in this case Dartmouth College. It was first implemented on a GE 225 computer. BASIC combines both programming and computer control into a single interface.
The language is a simple set of variable assignments, control flow and data handling. It was designed to be easier for most users than Fortran, but the Dartmouth version, surprisingly, included matrix operations which have not been part of most other implementations. The computer control allows the user to perform simple commands such as file save & load and program start and stop.
Because BASIC can be interpreted, and because more or less useful variants can be implemented with a small interpreter, it was an attractive choice as a high-level language for the earliest microcomputers. BASIC interpreters were generally supplied burned into ROMs which were limited (in affordable sizes) to 2KB or 4KB. Apple supplied its IntegerBASIC in ROM with the Apple II; Microsoft began as a specialist in providing ROMed BASICs to assorted computer vendors, including Atari, Altair (the original Microsoft product!), Commodore (PET / VIC-20 / 64), Radio Shack TRS-80 Model 1, 2, etc and the Color Computer), and even, rather later on, IBM in its earliest PC models (ie, BASICA).
Because the amount of RAM available on many of these early machines was severely limited, most of the ROMed BASICS had an extremely limited and abbreviated syntax to permit more than toy programs to fit into the installed RAM. Inevitably, this produced an opaque and obscure programming style. For instance, in most Microsoft BASICs, commented lines could begin with a single "'" character, rather than the original "REM", most commands could be abbreviated to the first letter ("L" for "LET"), variable names could be similarly contracted, and so on.
Disk based versions of BASIC were eventually available (after floppy disks dropped sufficiently in price) and Microsoft became the dominant supplier (eg, Applesoft BASIC for the Apple II, MBASIC for CP/M-80 machines, and Graphic Workstation BASIC (GWBASIC) for COompaq and eventually any non IBM PC clone machines. GWBASIC was meant to be compatible with BASICA for the IBM PCs, for none of the PC clone makers were allowed access to the ROM version; it eventually was also implemented as a compiler and is currently available as Visual BASIC in several flavours. Alternatives at various times included CBASIC from Gordon Eubanks (eventually acquired by Symantec), NorthStar BASIC for CP/M-80 machines, QBASIC for the Sinclair ZX80 and its 68000 based followon, the TSC BASICs (large, small, interpreted, and compiled/tokenized) for FLEX, FLEX9, and UNIflex machines based on the Motorola 6809 processor, and BASIC09 from Microware Systems in Iowa, also for the 6809 CPU. There were also several other BASICs, or variants under other names, developed and marketed for the minicomputer market (systems using 12, 16, or even 32 bit CPUs and costing between $10000 and $200000) between, say, 1970 and 1990. Several were used as the 'interface' language to database systems or business management packages. Some of them still survive. Various BASICs were also available for large mainframe systems from IBM, Burroughs, Univac, and so on.
BASIC 'dialects' and implementation 'styles' have varied. Some BASICs have stored all string variables as a part of a single large array, some haven't; some BASICs have included automatic garbage collection (eg, many Microsoft variants), others haven't; and so on. HP BASIC was one prominent 'school' and DEC BASIC another. Microsoft's 'style', basically in the DEC camp, became the de facto standard style for nearly all users by the mid-1980s. Ironically, Kemeny and Kurtz decided to offer an updated version of their language (TrueBASIC) but were too late -- there was little market for it. ANSI finally began a BASIC standardization project, but decided not to adopt Microsoft's de facto standard. There was a Minimal BASIC standard, but it was essentially ignored by the market.
The language was originally implemented as a compiler, but in the 1980s, most implementations of it were interpreters (and when used inside another application, Basic is commonly used for scripting). Compiling implementations are commonly available today (such as Visual Basic).
Dialects edit
Dialects of BASIC can be divided into many different groups, based on many of their aspects such as:
- Their platform (Windows, linux, etc.)
- Their type of purpose (games, gui applications, etc.)
- Their ability to be compiled or interpreted
Some dialects:
QuickBASIC: the origin of all modern BASICS. A few programmers have spurred a cult for the language, as many games and tutorials are available on the internet for use.
FreeBASIC: QuickBASIC, compiled. It has many more modern features, such as pointers, 64-byte types, and support for larger amounts of memory. FreeBASIC is recommended, as this is the standard dialect for the following tutorials. See BASIC Programming for some FreeBASIC tutorials.
DarkBASIC: A significant commercial BASIC, which utilizes the DirectX library and is great for writing games quickly.
VisualBASIC: Microsoft developed this BASIC first in the early 1990s. It is slightly inaccurate to say that this is a dialect, as it resembles much different code than standard BASIC, and is very popular for commercial use. Gambas is a similar language and is used widely by Unix BASIC programmers.
BlitzMax, a compiled BASIC dialect that supports OpenGL for graphical games on Mac OS, Linux and Microsoft Windows.
GLBasic Programming, a compiled BASIC dialect that supports OpenGL and inline C++ for graphical games on Widows, Linux, Mac OS X, iOS, and Android.
Monkey, a compiled BASIC dialect for Windows, Mac OS X, Android, iOS, and HTML5, also from Blitz Research.
PBASIC Programming, the BASIC dialect interpreted by the Parallax BasicStamp.
TI-BASIC, the BASIC dialect interpreted by TI graphing calculators, which apparently has further slight variations (?) between TI-Basic 84 Programming, Talk:TI-Basic Z80 Programming, and TI-Basic 89 Programming.
REALbasic, apparently also called Xojo.
XBasic, an open source GUI Basic for Windows and Linux, and the related (?) XBLite.
Gambas, an object-oriented open-source dialect of the BASIC programming language for Linux. See Programming Gambas from Zip for a gentle introduction.


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Happy Holidays Agents,
Keep what you have earned and purchased in Blacklight Retribution, then spend your ZCoins AGAIN!
Yes, we have seen your tweets, emails and Facebook posts, and the answer to those burning thoughts and nagging questions revolving around how the end of Beta is going to affect BLR players is at hand. What will happen to your ZCoins and what, pray tell, will the future hold for your inventory?
Fear not, Agents! The answers you yearn for are at hand. Behold — the end game for BLR Beta!
- You will NOT lose any purchases you have made (either with ZCoin or GP)
- Your character progress will NOT be reset
- All your ZCoins will be REFUNDED to your in-game account balance, such that you can spend them again
Huzzah! Yes Agents, nod happily at the bountiful gifts this magnificent Beta has bestowed upon you. We here at Zombie Studios concur with your elation and feel this is a great way to give thanks to those Agents that have been helping us by playing and commenting on the Beta. This will continue throughout the remainder of the Beta so jump in game, invite a friend, play, and enjoy Blacklight: Retribution on PS4.
Zombie is also excited to announce we are a proud new member of the PlayStation Community Forums. Keep an eye on the forums for news, announcements and Dev posts!
We've also got some other surprises in mind for those of you who played during the Beta! Follow us on Twitter for more info.


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New Car/Review
Lexus ES300 (2000)
SEE ALSO: Lexus Rover Buyer's Guide
by Carey Russ
Lexus has been a phenomenal success story, going from introduction to luxury segment benchmark in under a decade. The company's LS400 premium luxury sedan could be seen as the car that forced the German competition to increase comfort in their luxury cars, and to add amenities such as cupholders. Lexus's RX300 sport-utility vehicle established that genre as a major player in the mid-priced luxury market. And the ES300 continues to be an important competitor in the $30,000 to $40,000 "entry-luxury" category. In the past, the ES300 has been lauded for its comfort and quietness, and criticized for a lack of character and performance. The second-generation ES, introduced in 1997, went a long way towards quelling those criticisms, with more power from its 3.0- liter V6 engine and a sportier attitude. But Lexus's corporate motto, "the relentless pursuit of perfection," is not just an empty slogan, it is the company's attitude toward building cars. And so, the ES300 received a major performance boost from the incorporation of variable valve timing into its engine in 1999, and the available "Vehicle Skid Control" (VSC) stability control system. For the 2000 model year, it gets a very slight facelift and a host of convenience, safety, and performance features. A recent week with a 2000 ES300 was followed by a long- distance day in its larger sibling, the LS400. That just served to remind me of the similarities between the two. While it is true that the ES300 is built on the same platform as the Toyota Camry (or, conversely, just as true to say that the Camry is built on the same platform as the ES), the ES is far closer to the LS than to the Camry. It shares little but the basic chassis platform with the Camry, having its own unique sheet metal, engine, and interior. And, while the ES300's interior is definitely influenced by the LS, with its newly-increased power and upgraded suspension the 2000 version has more than a bit of the sporty character of the awesome Lexus GS400 sport-luxury sedan.
APPEARANCE: The difference between last year's ES300 and the 2000 model are subtle, and concentrated at the front of the car. The chrome frame around the grille is a little thicker, and there are two horizontal bars in the grille instead of three. As before, slightly- contrasting side cladding connects the front and rear bumper fascias, but the front fascia is much more aggressive. It helps define the ES's sportier character, as do five-spoke alloy wheels. The rear styling is highlighted by redesigned taillights. It has the look of conservative elegance.
COMFORT: If the 2000 ES300 is sportier on the outside and under the hood, it hasn't lost any of its Lexus luxury comfort inside. And getting in is easier, thanks to an LS-like key that integrates the remote-entry fob into the key. Once inside, the two-tone dark gray over cream design is familiar, but augmented by California walnut trim on the doors and console, and now also around the audio and climate system controls on the instrument panel. The 10-way power-adjustable driver's seat and 8-way power front passenger seat are as comfortable as expected, and the rear bench takes advantage of the ES300's size to provide true midsize space for three people. The instrument panel layout is very much like that of Lexus's premium LS400 sedan, with an instrument cluster that uses cathode-tube illumination and LED indicator needles for easy visibility and low eyestrain. Glovebox-mounted CD changers are becoming more common in luxury cars, but most sacrifice all of the space in the glovebox. Not the ES300. Its optional six-disc changer is conveniently-placed and leaves useful storage space. Elegant design and functional comfort are the hallmarks of the Lexus ES300.
SAFETY: The 2000 Lexus ES300 has a strong passenger compartment protected by front and rear crumple zones. All seating positions have three-point safety belts, and dual front and side airbags help protect front occupants. Electronic traction control, antilock brakes, and daytime running lights are standard equipment.
ROADABILITY: My test car had the optional "Adaptive Variable Suspension" (AVS), a highly-recommended semi-active system that continuously changes each shock absorber's damping rate in response to conditions. It also allows a choice of basic rates, from a soft "comfort" to a firmer "sport". The "sport" setting decreases body motion but doesn't compromise comfort, and gives the ES much improved handling response. The "Vehicle Skid Control" (VSC) stability control system now includes a brake assist feature that supplements driver pedal pressure in emergency situations. As expected, in any setting the ride is smooth, with bank-vault solidity and quietness.
PERFORMANCE: Introduced for the 1999 model year, the VVT-i version of Lexus's 3.0-liter aluminum alloy V6 makes 210 horsepower and 220 lb-ft of torque. VVT-i stands for "Variable Valve Timing with intelligence," and is an electronically-controlled mechanism that continuously varies valve timing and overlap for improved performance and decrease fuel consumption and exhaust emissions. The ES has "Low Emissions Vehicle" (LEV) status, and goes well over 20 miles per gallon even in mostly city driving. It also makes 80 percent of peak torque - 176 lb-ft - as low as 1600 rpm, for instant acceleration in any gear with a minimal need for transmission downshifting. The VVT-i system has transformed the ES300 into a quick and sporty luxury car.
CONCLUSIONS: With its upgraded engine and available adaptive suspension, the 2000 Lexus ES300 has been infused with some of the soul of Lexus's fast GS400.
SPECIFICATIONS 2000 Lexus ES300 Base Price $ 31,405 Price As Tested $ 36,101 Engine Type dual overhead cam 24-valve V6 Engine Size 3.0 liters / 183 cu. in. Horsepower 210 @ 5800 rpm Torque (lb-ft) 220 @ 4400 rpm Transmission 4-speed electronically-controlled automatic Wheelbase / Length 105.1 in. / 190.2 in. Curb Weight 3,373 lbs. Pounds Per Horsepower 16.1 Fuel Capacity 18.5 gal. Fuel Requirement unleaded regular (87 octane) minimum, unleaded premium (91 octane) for best performance Tires P205/65 VR17 Goodyear Eagle GA Brakes, front/rear vented disc / solid disc, antilock standard Suspension, front/rear independent MacPherson strut / independent MacPherson strut Drivetrain front engine, front-wheel drive PERFORMANCE EPA Fuel Economy - miles per gallon city / highway / observed 19 / 26 / 21 0 to 60 mph 8.3 sec Coefficient of Drag (cd) 0.29 OPTIONS AND CHARGES Leather trim package - includes: memory for driver's seat and outside mirrors, Homelink universal transceiver $ 1,885 In-dash 6-CD auto changer $ 1,080 Adaptive variable suspension $ 620 Vehicle skid control $ 550 Trunk mat $ 66 Destination charge $ 495


text:
In German you have to use different moods, in English different tenses for verbs to mark indirect speech (speech where you are saying what was said or expressed):
He said that he had painted the ceiling blue
In English, the verb changes to past perfect tense; in German subjunctive is prescribed for the verb.
There seem to be no detailed rules for Spanish when I look it up on Wikipedia. So are there any common/non-mandatory rules/ways how to mark indirect speech? Or can I use any (mood/tense) I choose in a phrase like
He said that...


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It has been an eventful weekend as the Algerian crisis appears to have finally wrapped up. I have been doing various bits of media, including a short interview that was used in this piece in the Sunday Telegraph, focusing in particular on the Algerian connection to the UK. As it becomes clearer what was the nationality the alleged 'perfect English speakers' was, this aspect will doubtless become more of a focus. For the time being, here is my latest for CNN on what the incident might mean for broader terrorism issues globally. Per CNN's format, I have only posted the first bit of text, please follow links to read the whole thing.
Algeria hostage crisis may be future of terrorism
EDITOR'S NOTE: Raffaello Pantucci is a Senior Fellow at the Royal United Services Institute (RUSI) and the author of the forthcoming 'We Love Death As You Love Life: Britain's Suburban Mujahedeen' (Hurst/Columbia University Press).
By Raffaello Pantucci, Special for CNN
At this still inconclusive stage it is difficult to know exactly what the aim of the groups involved in the attack on the gas installation in Algeria was. Did they truly want to ransom the hostages they took or massacre them, and was money or punishment to the Algerian or French government's the driving motivation? What is clear is that the incident has immediately captured international attention, highlighting again how terrorism continues to be a tool that can be used by groups to bring focus to their causes. The deadly operation itself further highlights the direction that we are likely to see Islamist terrorism continue to go in over the next few years.
What seems clear is that the operation was conducted by a group of jihadist fighters under the command of Moktar Belmokhtar, a longtime fighter-criminal who had recently broken away from al Qaeda in the Islamic Maghreb (AQIM) to form a separate unit that was aligned with the Movement for Unity and Jihad in West Africa (MUJWA). Reports seem to suggest that Belmokhtar is likely somewhere in the region of Gao, a city in eastern Mali that has recently been targeted by French forces as they seek to reclaim the country from Islamist extremists.


text:
Seeking the lens market AND the related info WRT Canon 1D X, I found some things which seems concerning:
1st, a note from Canon's Chuck Westerfall (see here) saying:
"AF is unavailable on the EOS-1D X if the maximum aperture reported to the camera through the electronic lens mount is smaller than f/5.6. This is a lower specification than previous EOS-1 series DSLRs. [...]"
On the article linked above, it is stated that no lens have f/8 but it can be reached by using teleconverters. Ok, so far, so good.
...But having in mind the above, this means that the new Canon 1D X cannot focus on the longer (telephoto) lenses which have an aperture smaller than f/5.6, say 6.3?
This includes (at least) the following lenses:
From Sigma:
- 50-500mm F4-6.3 EX DG HSM
- 150-500mm F5-6.3 APO DG OS HSM
- 50-500mm F4.5-6.3 APO DG OS HSM
- 28-300mm F3.5-6.3 DG Macro
From Tamron:
- 28-300mm VC F/3.5-6.3 XR Di VC LD Aspherical [IF] MACRO
- 28-300mm VC F/3.5-6.3 XR Di LD Aspherical [IF] MACRO
- SP 200-500mm F/5-6.3 Di LD [IF]
...so, by buying Canon 1D X and having at least one of the above lenses and raking out the glass, one cannot use the AF anymore?


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This is the first of three intertwined posts on PKMzeta - the molecule that keeps our memories intact
We're used to the idea that we become more forgetful with age. As time passes, our memories naturally fade and weaken, and that's if we're lucky enough to avoid traumatic accidents or diseases like Alzheimer's. But Reut Shema
, from the Weizmann Institute of Science in Israel, has found a possible way of preventing this decline, and even reversing it. By loading the brains of rats with a protein called PKMzeta, she managed to strengthen their memories, even old and faded ones. "Multiple old memories were robustly enhanced. These results have no precedent," says Todd Sacktor
, who led the study together with Yadin Dudai
. PKMzeta is the engine of memory. This single protein behaves like a machine that constantly works to keep our memories intact. Switch it off, and we forget things permanently. It's our lone defence against a constant tide of forgetfulness that threatens to revert our brains back to a blank slate (see "Exposing the memory engine
"). In 2007, Shema, Dudai, and Sacktor showed how important PKMzeta is
by inactivating it in the brains of rats using a chemical called ZIP. They trained the rodents to avoid an artificial sweetener before injecting ZIP into the part of their brain involved in taste. The chemical irreversibly erased their distaste for sweetener. Even if they'd learned to avoid it a month earlier (several years in human terms), they forgot all about it once ZIP had blocked their PKMzeta. The protein's powers aren't limited to taste. Shema, Sacktor and others have since disrupted all sorts of memories by blocking PKMzeta, from old fears to motor skills to the location of objects. These were a compelling result but the team hadn't entirely sealed their case. "People have done science where you block things to see what happens, but you don't really know what's going on," explains Karim Nader
, a memory researcher at McGill University, who has worked with Sacktor before. "You think it's the equivalent of a smart bomb, but maybe it's a dirty bomb. You block something in the brain and there are eight million things that could happen. So you have to enhance it and see if you have the opposite effect." And that's exactly what Shema has now done. Once again, she taught rats to avoid the taste of sweetener. This time, a few days before their training, she infected the rats' brains with viruses carrying PKMzeta. With extra copies of the protein at hand, the rats were morelikely to remember their distaste for sweetener. Even if Shema injected the viruses a week after the rats' training, when their aversion to the sweetener had started to fade, the extra PKMzeta enhanced their dulled memories. "That's the grand slam," says Nader. "It's got to be that molecule." Sacktor thinks that PKMzeta is unique in being able to boost old memories in healthy animals. In 2007, Li-Huei Tsai managed to reinstate lost memories in rats
by chemically blocking a group of proteins called histone deacetylases. These chemicals stop DNA from scrunching up, which makes the genes within it easier to reach. But Tsai only did this in rats that suffered from a type of dementia. "That's not the same thing as enhancing a normal animal's old memories and making them stronger," says Sacktor. There are also many ways of strengthening memories in their earliest stages
, when they first form and when they move from short-term to long-term storage. Rehearing the same information can help, as can a good nap
. Just last month, I reported on a protein called IGF-II that can do the same
. "But what we have with PKMzeta is unprecedented, in that you can take old memories that have already been around for a week and make them stronger," says Sacktor. "That's what's really different about this." The viruses apparently weren't just flooding the brain with PKMzeta, indiscriminately strengthening all the nearby synapses. Instead, the extra protein appears to have ended up in some synapses but not others. "This in a sense is just as remarkable," says Sacktor. "You put in more of it and you don't screw up the whole system. PKMzeta somehow knows how to fit into the memories that are already there." Sacktor thinks that PKMzeta is drawn to itself. It somehow ends up in the right places and strengthens connections that have already been tagged by existing PKMzeta. "Think about zeroes and ones on a hard disk," he says. Removing PKMzeta with ZIP is like erasing information by flipping all the ones to zeroes. "Now we're saying we're putting in more ones, but it's like they're going where the other ones are, rather than randomly going to ones or zeroes." This strange homing ability could help us integrate new information to existing memories, or to make sense of our memories over long periods of time. It's the strangest aspect of PKMzeta and the one that Sacktor is most eager to crack. (See "Todd Sacktor talks about the memory engine
") For now, David Sweatt
, who studies memory at the University of Alabama, says that the new study is a "significant step forward" that greatly strengthens the role for PKMzeta in memory. "The identification of PKMzeta activators as potential cognition-enhancing agents is particularly exciting." But Sacktor is rightly cautious about any applications. "First of all, I don't think we're going to be using viruses!" he says. Rather than introducing extra copies of the PKMzeta gene, the ultimate goal is to work out how the brain makes the protein itself and give that process a boost. Even then, it's difficult to say anything about benefits or risks, when people have only done studies in rats. "One really doesn't know how this would work out in people," says Sacktor. Remembering every experience in painful detail might not be a pleasant or useful experience. "I think the point is more for people whose memories are falling apart because of neurodegeneration. There could be good and bad things about enhancing memory, but in people who are losing their memory, I think it makes sense. If people can't remember whether they left their stove on or they can't remember their children..." Reference: Shema, R. (2011). Enhancement of Consolidated Long-Term Memory by Overexpression of Protein Kinase Mz in the Neocortex Science DOI: 10.1126/science.1200215
Image by KayVee
More on PKMzeta
More on memory:


text: The Louisville Orchestra and its players signed a labor agreement yesterday, ending the impasse that canceled the last orchestra season. Now the Kentucky Opera hopes the agreement between the orchestra and its musicians will mean it can be removed from the American Federation of Musicians' "international unfair list."Orchestra musicians recommended the opera be placed on the unfair list in October, after the opera offered to contract with the musicians for their November production of "The Marriage of Figaro" at the national union's standard opera rates rather than the terms of the musicians' expired orchestra employment contract.An attorney for the musicians' association says it will recommend the opera be removed from the list when it sees written confirmation that the opera intends to use the Louisville Orchestra for the upcoming season.Opera general director David Roth says the opera does intend to partner with the orchestra, and he thinks that will be confirmed within the month."There is nothing that is holding us back from reaching that agreement, now that they have their agreement with their employees," says Roth. "We want to expedite that as soon possible."Orchestra CEO Robert Birman agrees."We already have the weeks of the opera in our calendar for next year and I do think it's fair to assume that the Opera and the Louisville Orchestra will be partners next year and long into the future," says Birman.The Kentucky Opera's season begins in September with Puccini's "Tosca."


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On November 20th I had the honor of delivering a presentation about my book The Washingtons of Wessyngton Plantation to the entire fifth grade class at Gateview Elementary School in Portland, Tennessee. More than 100 students attended. Prior to my visit the students had studied the Civil War, which tied into my program. The students were very attentive and had many questions. Following the presentation many of the students expressed an interest in tracing their genealogy.
Tags: Civil War, Gateview Elementary School, Genealogy & DNA, history, Portland Tennessee, Tennessee history