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ext3 or ReiserFS? Hans Reiser Says Red Hat's Move Is Understandable
Red Hat's Decision is Conservative, Not Radical
Red Hat's decision to employ ext3 as the default filesystem in its upcoming release has sparked considerable interest among technically savvy Linux users. But it is not the only, nor in many ways the best, of the journaling filesystems available to users of modern Linux kernels. Yet it has attributes that make it an attractive first step for a large distribution, chief among them backward compatability.
A brief and incomplete explanation for those who have not followed journaling filesystem development:
The traditional Linux filesystem, ext2, is ideally suited for fairly small files on fairly small drives. As the size of drives has grown, and the size of files has, too, performance has suffered. Some of this is in gaining access to data on the drive, as wasted space -- "slack" -- and fragmentation have grown. Some comes in the filesystem's recovery time in the event of power failure or other improper shutdown. Enduring a filesystem check by e2fsck on a one-gigabyte drive is easy; the same check on a 40-gigabyte drive can be very time consuming. Some comes in the bitmap method of keeping track of the filesystem -- satisfactory for small drives with few files, it's inefficient with the large drives commonly employed today. Hence, journaling filesystems.
These keep track of the state of the drive in a file, called a journal, so that restarting after an improper shutdown requires reference to that lone file for restoration of the filesystem's state instead of a scan of the entire drive. Additionally, depending on their design, journaling filesystems make more efficient use of drive space and make data reads and writes faster over a wide variety of file sizes. To top it off, journaling filesystems offer what amounts to dynamic space allocation, meaning that the system administrator needn't guess at appropriate partition sizes at the time of installation, and they offer the potential of spanning drives in a single logical volume. A journaling filesystem is something that becomes essential as programs and their data files (and the drives that hold them) grow huge.
Linux does not have a journaling filesystem. It has four. Well, three and a half:
- Reiser filesystem, named after Hans Reiser, is probably the best known of this quick new class of keeping track of the contents of hard drives. It has worked and been in relatively wide use for more than a year, and is the filesystem recommended by the installation program of SuSE 7.1 and 7.2.
- JFS, developed by IBM and made available to the Linux world, is designed with high throughput in mind. After a series of betas that began in February 2000, its 1.0 release became available at the end of June.
- XFS is the Silicon Graphics, Inc., journaling filesystem, also made available for Linux. It, too, offers all the features of full-blown journaling filesystems.
- ext3 is the "half" of a journaling filesystem mentioned above. Why half? It is a layer atop the traditional ext2 filesystem that does keep a journal file of disk activity so that recovery from an improper shutdown is much quicker than that of ext2 alone. But, because it is tied to ext2, it suffers some of the limitations of the older system and therefore does not exploit all the potential of the pure journaling filesystems. This is not entirely bad, though, because it means that ext3 partitions do not have a file structure different from ext2, so backing out to the old system (by choice or in the event the journal file were to become corrupted) is extremely simple.
Red Hat's adoption of ext3 is a first, tentative step toward a journaling filesystem. When the company's plans became known with its release of the second beta of its upcoming release, Michael K. Johnson, chief of the company's kernel hackers, was quick to provide a rationale.
"Why do you want to migrate from ext2 to ext3? Four main reasons: availability, data integrity, speed, and easy transition," he wrote. Availability, he pointed out, involves quick recovery from a system interruption rather than enduring e2fsck taking the long way around. The journaling provided by ext3 makes avoiding data corruption likelier. "Despite writing some data more than once, ext3 is often faster (higher throughput) than ext2 because ext3's journaling optimizes hard drive head motion," he wrote. Perhaps the determining factor, though, was Johnson's fourth reason.
"It is easy to change from ext2 to ext3 and gain the benefits of a robust journaling filesystem, without reformatting," he said. "That's right, no need to do a long, tedious, and error-prone backup, reformat, restore operation in order to experience the advantages of ext3."
Johnson said that Red Hat's choice was not meant to disparage any of the other new filesystems, but instead was the most sensible one for the biggest commercial distribution right now. Indeed, the developers of the various journaling filesystems, too, have gone to considerable lengths to avoid a holy war of the kind that erupts frequently among backers of different projects that perform similar functions.
"I personally think filesystems should be rewritten from scratch every 5 years, but there are lots of people who think quite differently on this," said Hans Reiser, for whom the Reiser filesystem is named, in an email interview yesterday. "Reiser4 is going to have a completely new core engine, and quite a lot of people think that we should just make lots of tweaks to what we have instead. It is extremely expensive, risky, and just plain hard work, for us to do that core engine rewrite, and yet I think it just has to be done. I could give you lots of logical reasons why we are doing it, but those aren't the real reasons why we rewrite when other filesystems don't. People just have different styles, and fortunately both styles work in their way, each with different effects and benefits."
While pointing to benchmarks that demonstrate a substantial speed increase when using the Reiser filesystem as opposed to ext3, Reiser said there's sense in Red Hat's more circumspect approach.
"ext3 is in its way an excellent filesystem written by very talented programmers, and the upgrade path is surely easy for users and distro alike," he said. "The upgrade path issue really makes it a conservative rather than crazy decision for RedHat; I can easily understand their decision."Even as there are many distributions, allowing users to select one that best suits their needs, the multiplicity of journaling filesystems is, Reiser said, a sign of health, offering users to select one to match their knowledge and comfort level. His development effort is to push the technology to the maximum.
"Reiser4 is designed to be highly extensible thanks to DARPA's funding us to do plugins. There are lots of semantic enhancements like inheritance and auditing coming down the pipe in version 4. We want, in our small way, to help make Linux not just another Unix, but something novel and cutting edge. This is the main reason users should find Reiser4 of interest. Not every distro is attracted to pushing past traditions though, and the beauty of Linux is that users get to choose what distro they need. I think that Microsoft is going to heat up the race for semantic innovation in the filesystem namespace in the next few years. We are going to try to innovate faster than Microsoft in the filesytem namespace enrichment arena, and I hope you will wish us luck in it."
There is an enormous body of highly technical literature explaining not just the superiority but the inevitability of journaling filesystems. While not entirely one of these in the strictest sense, ext3 provides a painless way for nontechnical users to enjoy some of the benefits of the new high-power systems, while keeping one hand on all that is familiar. But it seems clear that, as storage, code, and user data grow in size, and as flexibility in storage options grows, today's cutting edge will be in universal use tomorrow, and ext2 and its derivatives will take a place in history -- an honored place, to be sure, but history nonetheless. For now, users have the choice to dive in head first, dip their toes, or remain entirely ashore.


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Wednesday, July 12, 2006
Gotta Love That Glottal Stop
1. British pop song pronunciation
2. The astonishing ability of musicians to be huge in England and practically unknown in America
3. Good music you may not know
Here goes. Ahem...
One of the most popular musicians in England right now is Corinne Bailey Rae. In a month or so she will be popular in America too (her album just came out in the states a few weeks ago), though she probably won't have the same meteoric rise that she did in England, where her debut album -- umm -- debuted -- at #1 back in February. The hit single from this album is "Put Your Records On," and it's fantastic. You can hear it here. It's retro but not derivative, has a great melody and smart production. I fear it's popularity may wind up killing it, but at least it won't languish in obscurity.
I'd been led to believe she writes her own music, but a little research suggests she's just the lyricist. Oh well. When will people learn that writing the lyrics to a song doesn't make you a songwriter? I went through the same disappointment with Norah Jones and Macy Gray. In a way it's sad that artists like Mariah Carey and Christina Aguilera don't at least get some critical respect for writing their own material, which, whether you like their music or not, bespeaks of much deeper musicality than merely having a good voice. Female R&B artists seem especially snubbed in this regard.
So on to pronunciation. Bailey Rae is from Leeds in Yorkshire, and like fellow overnight sensation Yorkshiremen (Yorkshirepeople?) Arctic Monkeys, she opts out of employing the generic American-British singing pronunciation I've written about before, using features instead of her own dialect. One of these struck me as odd -- she replaces some [t]s with a glottal stop ("three li?le birds", "go?a love that afro hairdo"), a feature I always thought of as limited to the London area. In fact, this feature is found in Leeds and Manchester as well, at least according to one website. I wonder if this feature is found independently in these cities, or whether it spread as a marker of urban working classness.
4 comments:
- nbm said...
Thoughts sought. Someone asks: Did Andy Warhol have an identifiable regional accent? A link: http://www.youtube.com/watch?v=ilHmvLd4Bhg&search=andy%20warhol Another one: http://www.youtube.com/watch?v=b-hlTmWVOSw&search=andy%20warhol
What do you think?
- Ben said...
Excellent question, nbm. It's hard to tell from the links you provided, but listen to this interview . If I didn't know he was from Pittsburgh, I could still tell from this clip that Warhol's either from southern Pennsylvania or northern Maryland. How? The giveaway mid-Atlantic upglides in the /o/ in 'over' at :46, and in 'so' at 1:29. That's one of the most distinctive vowels in American English. Also, to me the way he says 'on' at 1:04 sounds like he's saying 'awn', which I always think of as a Pennsylvania thing.
Anybody else have anything to add?
- nbm said...
Thanks! I'll pass this on to my inquirer.
- Anonymous said...
I know this post is four years old, but just saying, actually glottalisation of /t/ is very widespread in Britain among the younger generation. I do it all the time and I'm from Lancashire. It's not particularly stigmatised, and middle-class people do it as well as working-class people, in my experience. The first records of /t/-glottalisation are from Scotland, though I don't know what extent this was to (I think nearly all English speakers will glottalise the /t/ in 'Gatwick', for instance).

subset: commoncrawl


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Mr Wiggles Rocking on the Freshest Kids
The Latest
Reimi RSC Crew
Throwing Down
Tokyo Class
Killer Kids again!
Sendai Japan Class
Kids were Rockin!
Kyusyu Workshop 2014
Class in Kyusyu was off the Chain! Click the link and see:
Okinawa Workshop
Okinawa was Great! The class was packed, and we drilled hard Popping and Grooving, did a great combination, and lecture on Hip Hop and Funk Styles. when in Okinawa visit Zephyr Studios, Home of Bitter Box Sisters (best Female Locking Duo) Also Haruki i is a Great Popper and Instructor.
Bua Paints Hip Hop
Justin Bua is probably the most well known Urban Artist on the planet. I am sure either you, or someone you know has a Bua poster on his or her wall right now. He grew up on the same streets as many original Hip Hop Icons like Frosty Freeze (RIP) and Ken Swift. And has lived the life of a New York Street Style Dancer and Artist. His paintings sell all over the world, and his client list is a who's who of the Music, Athletic and Political world. For this brother to honor me in such a way has touched me deep, because I never really look at myself as an achiever, but more as a person who is still striving to achieve.


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I am now currently having my on-the-job-training in a catholic TV channel owned and being run by the archdiocese of Manila. I dunno why I got there. Hmmn, maybe it's someone's will? Ahaha! Of all the television production company we have here, I ended up in a 'holy' station.
Views: 48


text:
So far, the Ridgewood Rebels are right where football teams want to be, sitting with a 2-0 record.
"It's been a while since Ridgewood has been 2-0, so we're pretty happy," Ridgewood first-year coach Don GelsominoSS said.
The last time it happened, in fact, was 2005.
In their first road game on Friday, Sept. 2, Ridgewood beat Maine East 54-14. The defense stepped up, senior quarterback Richie Zacharias had a nice game and the Rebels ran the ball really well, Gelsomino said.
"We were explosive," he said.
Senior captain and running back Alex Rice ran for 172 yards, three rushing touchdowns and added a 70-yard TD reception in the Maine East...


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Allen Iversion Still Got It: Un Heard Of 45-Foot Pass Between Grant Hill's Legs!
J reports ""The Answer" throws a tremendous 45 foot bounce pass between the legs of Grant Hill to Rip Hamilton for the easy deuce. "
Please click the "Report" button below if the video on this page is not working properly.
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NTP Survey - 2005
This page reports the results of a research about the synchronization of Internet hosts under the NTP (Network Time Protocol). We have queried, collected, and analyzed data from thousands of NTP nodes, including hundreds of Stratum 1 servers. Many aspects that define the quality of timekeeping are analyzed as well as some topological characteristics of the network are reported. The results were compared to results from previous NTP characterizations, showing the evolution of computer clock synchronization in the Internet in the last fifteen years.
Cristina Duarte Murta and Pedro R. Torres Junior
Department of Computer Science
Federal University of Paraná
Survey Details:
The data was collected using a spider. Before starting the spider, a Web page was created to let the network administrators know about this survey (this page can still be reached
). The idea is simple: the spider has an IP with a PTR record in DNS pointing to our Web page, so that the network administrators could know about it by looking at DNS.
The survey was taken in two rounds. In the first round, the NTP spider called the ntpdc program defined in ntp-dev-4.2.0b package. Three kind of data were requested by the spider in every NTP host:
System information
Peer list
Monitor list
The NTP spider started on August, 30, 2005, querying an initial set of 263 public NTP servers - stratum 1 and 2 - listed on NTP Public Services Project . The run was ended on September, 5, discovering 1,278,834 unique IP addresses.
A second run was conducted to get more reliable data, using ntpq program. At that time the spider queried each host about:
System variables
Peer variables
This run started on September, 20, 2005 and finished on September, 30, 2005, discovering 11,895 new IP addresses, totaling 1,290,819 addresses. After preliminar analysis, we ending up with 147,251 complete responses, on which we based our final analysis. These registers are available to download
here (63MB bzipped).
The NTP survey was conducted from a single Pentium 4 2.80 Ghz, 512M, running Debian Sarge GNU/Linux, with kernel 126.96.36.199 and IPv6 support connected by a 3COM 3c940 1000Base-T NIC to the Gigabit network of Point of Presence of Brazilian National Research Network -
. This network is connected to the
RNP backbone
and other commercial providers through high speed links.
- Reference:
Pedro R. Torres Júnior,
Caracterização da Rede de Sincronização na Internet
. MSc Thesis, 2007, Curitiba-PR.
Clock synchronization is an important and complex task in distributed systems. The Network Time Protocol - NTP - is a protocol created to build and maintain the synchronization of computer clocks with the world real time. To do so, the NTP implements a dynamic logical network, presenting characteristics of a peer-to-peer network, which keeps itself self-organized, from the initial insertion of the computers, by means of frequent exchange of messages between peers. The NTP uses the Internet as a communication media for network nodes, and it is the standard protocol for synchronization of computer clocks connected to the Internet.
The goal of this work is to characterize, in many aspects, the clock synchronization network created by the NTP in the Internet. With data collected in 2005 by a robot, this work presents a characterization of the NTP network discovered, composed by thousand of nodes, and geographically distributed in over 150 countries and regions of the planet. Many aspects that define the quality of synchronization and timekeeping and the network topological characteristics are presented and evaluated.
The results of this analysis are compared to similar studies carried through in the past 15 years, showing the evolution of the NTP synchronization in this period. The results present evidences of the network growth, the evolution of the synchronization quality and the improvement in Internet infrastructure. However, some assumptions taken by the NTP protocol can be not completely taken in practical situations, harming the synchronization quality and limiting the results obtained with NTP.
Portuguese version
(the most complete analysis)
- Reference:
Cristina D. Murta, Pedro R. Torres Júnior, P. Mohapatra,
Characterizing Quality of Time and Topology in a Time Synchronization Network
, 49th IEEE Global Telecommunications Conference, IEEE GLOBECOM 2006, Nov 27- Dec 1, San Francisco, CA.
As Internet computing gains speed, complexity and becomes ubiquitous, the need for precise and accurate time synchronization increases. In this paper, we present a characterization of a clock synchronization network managed by Network Time Protocol (NTP), composed by thousands of nodes, including hundreds of Stratum 1 servers, based on data collected recently by a robot. NTP is the most common protocol for time synchronization in the Internet. Many aspects that define the quality of timekeeping are analyzed, as well as topological characteristics of the network. The results are compared to previous characterizations of the NTP network, showing the evolution of computer clock synchronization in the last fifteen years.
English version
- Reference:
Cristina Duarte Murta, Pedro R. Torres Júnior,
Caracterização da Rede de Sincronização na Internet
, V Workshop de Desempenho de Sistemas Computacionais e de Comunicação, WPerformance 2006, XXVI Congresso da Sociedade Brasileira de Computação, Campo Grande, julho de 2006.
Keeping clock synchronization is an important and difficult task in distributed systems. Network Time Protocol (NTP) was created to distribute information of time in a heterogeneous and large network such as the Internet. This paper presents a characterization of a NTP network composed by thousand of nodes, including hundreds of Stratum 1 servers. Many aspects that define the quality of the NTP timestamps are analyzed, as well as the topological characteristics of the network. The results are compared to previous characterizations found in the literature, showing the evolution of the NTP network and synchronization in the last fifteen years.
Portuguese version


text:
The play that sprung Packers receiver Randall Cobb for a 13-yard catch-and-run gave the Cardinals plenty to complain about, given the apparent pass interference committed by receiver Donald Driver, who seemed to be blocking cornerback William Gay while the ball was in the air.
Now, fantasy owners have something to complain about, if they had placed the Dancing with the Stars champion in their lineups for Week Nine.
According to Rob Reischel of the Milwaukee Journal Sentinel, the play was called for Driver, not Cobb.
"When we broke the huddle I was getting ready to line up," Cobb said. "[Driver] pushed me and said, 'Go ahead and go get it kid.'"
"Randall Cobb's a playmaker," Packer coach Mike McCarthy said. "That's how we view him. Playmakers need the ball in their hands."
And that's what Driver realized.
Or maybe Driver has Cobb on his fantasy team.


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The Trouble With Patents
February 27, 2007 Page 1 of 3
Fuel to the Fire
Article 1, Section 8 of the U.S. Constitution says that Congress has the power:
To promote the progress of science and useful arts, by securing for limited times to authors and inventors the exclusive right to their respective writings and discoveries;
Back in 1790, the patent examiners who considered each application were the secretary of state, the secretary of war, and the attorney general. Receiving a patent was a notable honor, reserved for important inventions.
In 1793, Thomas Jefferson defined the criteria to patent as
Any new and useful art, machine, manufacture or composition of matter and any new and useful improvement on any art, machine, manufacture or composition of matter.
Today, we say for an idea to be patentable, it must be:
- Novel
- Non-obvious
- Useful
Patents made it possible for great inventors such as Alexander Graham Bell, the Wright Brothers, and Thomas Edison to invest their sweat and genius into expensive new creations. With a patent, an inventor has the government's guarantee that he can sell his innovation for a limited time without competitors being able to copy the product. After all, why spend money on R&D for new, innovative products if knock-off companies can instantly copy them?
"The patent system added the fuel of interest to the fire of genius."
—Abraham Lincoln
And then something happened. I don't know exactly when, but patents — especially software patents — have gone off the rails. It took 46 years to reach the 10,000th American patent, but today, there are more than 10,000 patents granted every three weeks. Perhaps patents could be given out as Cracker Jack prizes—after all, the US Patent and Trademark Office already approves more patents per year than boxes of Cracker Jacks sold at Dodger Stadium each year.
A notable change happened in 1991, when the U.S. patent office was no longer funded by the general tax fund and had to start sustaining itself entirely on fees from "customers." This framed poster at the patent office's headquarters gives insight into the office's mentality:
Our Patent Mission:
To Help Our Customers Get Patents
The more patents, the more fees the patent office collects, and the more innovations we stimulate, right? But what happens when big corporations harvest thousands of patents for the sole reason of locking out competitors? What happens when competitors have to merge with each other to actually make anything? What happens when a cottage industry of patent hoarders waits for the right moment to strike, then demands that anyone who makes 3D games pay a tax? Or anyone who makes a spreadsheet program?
Entrepreneurs are faced with a minefield of seemingly obvious things they cannot implement out of fear of patent lawsuits. Meanwhile, IBM was awarded 2,941 patents in 2005, marking its 13th straight year as the #1 company in volume of patents (it had a much better year in 2004 with 3,248 patents).
Method of Exercising a Cat
"A method for inducing cats to exercise consists of directing a beam of invisible light produced by a hand-held laser apparatus onto the floor or wall or other opaque surface in the vicinity of the cat, then moving the laser so as to cause the bright pattern of light to move in an irregular way fascinating to cats, and to any other animal with a chase instinct."
What in the world are all of these patents? It's not exactly the light bulb or steam engine these days. In 1991, Amazon's CEO Jeff Bezos patented the "1-Click buy" (patent number 5,960,411). That's the concept where a website already has your stored credit card info, so you can click on a "buy now" button to buy it in one step. This landmark patent was widely criticized, and Jeff Bezos responded by saying that the patent system, as it stands, is broken.
If he didn't patent this, his competitors would, and they'd use it against him. Bezos is "playing to win" in the game of business, and I can't fault him for that, but even he pointed out that the rules of the game itself are broken and need to be fixed.
Patents currently give the patent-holder a twenty-year government-sanctioned monopoly. Twenty years might have made sense in 1790, but it certainly doesn't in the realm of internet (or game) technology. Bezos said that perhaps three years would be a more reasonable number in the internet sector.
Page 1 of 3


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April 17, 2018
The , the leading and longest-running conference for business and industrial use of AR, VR, and wearable technologies, is back this October 9-11, 2018 in Austin, Texas.
Now in its 5th iteration, EWTS has become the destination for enterprises to innovate with AR, VR and wearables. Consisting of real-world case studies and expert-led panel discussions, it is the best opportunity to hear and learn from those companies and individuals who are successfully utilizing AR, VR and wearables to improve efficiency, communication, customer service, productivity, quality, safety and training in the workplace.
Over the course of the conference, leading innovators from Coca-Cola, H-E-B, Ford, Pfizer, Chevron, Boeing, UPS, Lowe's, Lockheed Martin, Southwest Airlines, Toyota, Walmart, and more will present case studies and participate in expert-led group discussions on the applications, critical steps and greatest challenges of leveraging wearables in enterprise.
Enterprises can no longer afford to wait for digital disruption to happen; the time to make AR, VR, and wearable technology a priority for your business is now. Fortune 500 companies know this—in every vertical, well-known organizations are piloting and deploying smart glasses and other HMDs, Augmented and Virtual Reality headsets, body-worn sensors, wrist devices, and even exoskeletons to work better, faster, smarter, and safer. And each year the leading enterprise adopters of wearables gather at EWTS to share their experiences and knowledge with other savvy professionals looking to digitally transform their business.
More About the Enterprise Wearable Technology Summit:
For general information, visit the .
For attendee information, check out the .
To purchase tickets, visit the of the EWTS website or contact Matt Berman at 914-530-3804 or . Attendees are encouraged to register early as the event is expected to sell out.
About BrainXchange:
BrainXchange is a boutique conference organizer specializing in B2B events in the emerging technology space. BrainXchange is dedicated to providing interactive learning and intelligent networking opportunities for leading minds and industry professionals in an environment that is beneficial to all participants.
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Safe Haven
Safe Haven Foster Program
Currently available through our Milwaukee Campus
The Wisconsin Humane Society Milwaukee Campus and Sojourner Family Peace Center have partnered to provide the Safe Haven program, which offers up to 60 days of shelter for animals of domestic violence victims.
Research finds that 71 percent of women with animals seeking shelter reported that their partner had threatened, hurt or killed their animal (Ascione, Weber and Wood, 1997). Abusers often use animals as pawns to manipulate and control their victim, taking advantage of the victim's concern for his or her animal. Abusers may threaten, harm, or kill animals to intimidate victims, demand silence about the abuse, or prevent them from leaving.
Many victims are hesitant to leave a dangerous situation because they fear for their animal's safety. The Safe Haven program makes it possible for victims to leave an abusive relationship without losing their companion animal. Animals provide companionship, comfort, and unconditional love to victims and children affected by domestic violence, and preserving the bond between families and their animals is vitally important.
I need help. How do I enroll in the Safe Haven program?
If you know of a family or animal in danger or need to access this program yourself, contact Sojourner Family Peace Center at 414-933-2722.
How can I help support the Safe Haven Program?
- Spread the word! Print out and post a flyer about the program.
- Volunteer as a foster parent. Opening your home to an animal through the Safe Haven program not only provides a comfortable home environment for the animal, but also peace of mind for their family. Your generosity will help save lives – both human and animal. More information and an application are available here.
- Donate! You can make a contribution exclusively for Safe Haven here.
The Safe Haven Program is Proudly Supported By:


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Coming Events...
Northern Tier Symphony Orchestra auditions will be held on Saturday, Aug. 18 from 1 to 5 p.m. and Wednesday, Aug. 22 from 5 to 9 p.m. For requirements or to schedule an audition, contact the Northern Tier Symphony at 570-289-1090 or firstname.lastname@example.com.
The Winding River Players will present the play, "Queen Elizabeth" at the Keystone Theatre in Towanda on Friday, Aug. 10. This is a celebration of the 125th anniversary of the Keystone and is the first play presented when the theatre, then Hale's Opera House, opened that September in 1887. It starred one of the most famous late 19th century actresses, Elizabeth Crocker Bowers, and the people of Towanda were proud she chose our town for a stop on her nationwide tour. If you would like to be a part of this re-creation, please come to the Black Box Theatre, 415 Main Street, Towanda, PA on Saturday, August 11 at 11 a.m. Participants from the local area are asked to fill out the cast and crew for this historic re-creation. For additional information, contact Julie Larnard- Newbury at firstname.lastname@example.com or phone, 570-265-3623
Blood Drive
Blood Drive: Aug. 14, Hurley's Super Market, Towanda, 1 to 5 p.m.; Aug. 14, Triton Fire Hall, Tunkhannock, 1 to 6 p.m.; Aug. 20, Towanda Fire Co., 12 to 6 p.m.; Aug. 21, Ulster Sheshequin Fire Assoc., 1 to 6 p.m.; Aug. 23, VFW Sayre Post 1536, West Lockhart St., 1 to 6 p.m; Aug. 27, St. Basil's Auditorium, Dushore, 1 to 6 p.m.
Monthly Breakfast at the Herrickville Fire Hall, Sunday, Aug. 26, 2012, 7:30 to 10:30 a.m. All you can eat: pancakes, ham, sausage, eggs, coffee, orange juice and real maple syrup. Adults, $7; children to 12 years, $3; preschool, free. Benefit: Herrick Twp. Vol. Fire Co. - Dept. 4.
Bus Trips
The Skinners Eddy United Methodist Church would like to sponsor a bus trip to Washington, D.C. to visit the war memorials and the Smithsonian Institute. The tentative date is Oct. 17. The bus would leave Skinners Eddy Church at 6:30 a.m. and leave Washington at 5 p.m. The cost will be less than $100, which will include the bus trip and dinner. We must have 45 people in order to do this. Please call Bonnie Jayne at 570-869-1938 if you are at all interested.
Camptown Community Church Vacation Bible School will be held on Aug. 13 to 17, 6 to 8:30 p.m. for ages three to grade six. Everyone is welcome and helpers are always needed.
Susquehanna Singers Rehearsals. Susquehanna Singers begin rehearsals for Fall season on Wednesday, Aug. 15 at 6:30 p.m. in the First Presbyterian Church of Towanda, 5 Court St. New members always welcome. Questions or more information, contact Jody Stroud, 570-247-2456.
The Second Sunday Vesper Service will be held on Aug. 12 at 5 p.m. at St. Paul's Episcopal Church, corner of Church and Chestnut Streets, Montrose. A simple salad buffet will be served in the Parish House. All are welcome.
Bonnie Bell Art Camp for school-age children in Evergreen, Aug. 13 to 17. The theme is Under the Big Top. Camp runs from 9 to 4, $135. Call Bonnie Bell at 570-363-2723 or 570- 297-4752 for information. R32c
Eleventh Annual Friends of Rep. Tina Pickett Barbecue at the farm of Diane and Tom Elliott, Rome Twp. on SR 1029 (six miles past Wysox Fire Hall) on Aug. 18 from 1 to 4 p.m., rain or shine. Cost: $25 each, $40 couple and $50 family. Food, friendship and entertainment by Wyalusing Swing Choir. Statewide candidates will be attending. Checks payable to Friends of Tina Pickett, RSVP and checks can be mailed to Diane Elliott, 6225 Lake Road, Towanda, PA 18848. Call Diane for directions at 570-265-5310. Paid for by Friends of Tina Pickett.
New Era Community Church will hold a Meatloaf Dinner on Wednesday, Aug. 15 at 11:30 a.m. Meatloaf plus more. Trivia activity after lunch. Free will offering. New Era U.M. Church is off Wyalusing-New Albany Road. All welcome. For more information, call 570-363-2496.
The WVHS Class of 1951 will meet for lunch on Friday, Aug. 17 at Bishop's in Ulster.
The Mehoopany United Methodist Church will hold a chicken barbecue dinner on Saturday, Aug. 18. Cost: $8.50 per dinner. Menu, half chicken, slow-cooked baked beans, famous cole slaw, homemade cornbread. Presale tickets are available from church members or call 570-833-2859 to order tickets by phone. Dinners will be available for pickup at noon on Saturday, Aug. 18.
The Wysox Sewing Society will not hold a dinner in August. Dinners will resume Sept. 11 at the Wysox Presbyterian Church.
Holy Name of Mary Harvest Moon Festival, 278 S. Main St., Montrose, Oct. 6 and 7, 11 to 7. Live entertainment both days. Ethnic foods, bake sale, theme baskets, children's games, adult games, raffles, fire truck rides, hay rides and pony rides.
For Your Information
To report animal abuse in Bradford County call (570) 888- 4763. You may also report stray or running dogs to the Bradford County Dog Warden by calling (570) 265-8191.
The Bradford County Republican Grassroots will hold a meeting on Wednesday, Aug. 15 at 7 p.m. at GOP Headquarters on Main Street, Towanda. Anyone interested in being involved in any way with promoting the Republican ticket this fall is welcome. If you have any questions, please email email@example.com or call 570-954-4669.
Bookmobile Schedule Aug. 13, North Towanda Colonial Apts., 8:30 a.m.; Towanda Memorial Hospital, 10:30 a.m.; New Albany Library, 11 a.m. Aug. 22, Sayre Senior Center, 9 a.m.; Sayre Library, 10:45 a.m.; Bradford Co. Day Care, Sayre, 1 p.m.; Page Manor, 2 p.m. Aug. 27, Wysox Head Start, 8:45 a.m.; BLaST IU 17, 9 a.m.; Monroeton Library, 11:15 a.m.
Home Textile Tool Museum Events: Aug. 4, Rug display; Aug. 6, Felting Workshop; Aug. 11, Exotic Fiber Animals; Aug. 17, Great Wheel Spinning; Aug. 18, Historic Gardening; Aug. 25, Closing Day. For more information, contact Esther Welden, 570-278-1886.
The Standing Stone Planning Committee is having a meeting to present and discuss the township land use map to residents and landowners. The Bradford County Planning Commission will be present to assist in answering questions and concerns. This meeting will be held at the Standing Stone Township Building on Aug. 16 from 5 to 8 p.m.
Meeting Notices
S.O.S. Al-Anon — Family Group will meet on Fridays at 7 p.m. at St. John's Lutheran Church, Hopkins Street, Sayre.
Recovery House Meetings — AA Group of Towanda meets Mon.-Fri., noon; Mon., Thurs., Fri., Sat., 8 p.m., Sun., 8 a.m. and 8 p.m. NA meetings are held Tuesdays at 7 p.m. Speaker meeting every first Sunday, 8 p.m. All meetings at 205 Main St., Towanda (please use rear, lower entrance).
Compassionate Friends — of the Endless Mountains will hold their meetings on the second Tuesday of every month at 7 p.m. in the Endless Health Community Center, Montrose. TCF is open to all families who have lost a child from any cause at any age. There are no membership dues or fees of any kind. For more information, call 965-0901 (evenings) or 278- 1658 or e-mail firstname.lastname@example.com.
Caregivers' Support Group sponsored by the Law Office of Leslie Wizelman and the B/S/S/T Area Agency on Aging meets at noon the second and fourth Tuesday of each month at the Library at Memorial Hospital Personal Care Home in Towanda. Caregivers and family members of long term care facility residents are welcome. For information, call Bob Bachisin at the Law Office of Leslie Wizelman at (570) 746- 3844.
Twelve Steps on the Way, a Christian recovery group, will meet at the Wyalusing Presbyterian Church on Mondays at 7 p.m. Use door in the rear of the church.
Al-Anon meetings in Tunkhannock: Endless Serenity Al-Anon Family Group on Monday, 7:30 p.m., Wednesday, 7 p.m., Saturday, noon. All meetings are held at the Tunkhannock UM Church Education Bldg., second floor.
Lupus Foundation of Pennsylvania — Monthly support group meeting; first Tuesday of every month at 7 p.m. at the Tunkhannock Public Library, W. Tioga Street. For more information, visit www.lupuspa.org or call 1-888-99LUPUS.
Diabetes Support Group - meeting the first Thursday of every month at the Guthrie Clinic office in Towanda beginning at 5:30 p.m. There is no charge and all diabetics and family members are welcome. For more information, call Dawn at Guthrie Clinic at 570- 265-6165 during regular business hours.
TOPS PA #1134 — Laceyville, meets each Tuesday evening at the Braintrim Baptist Church in Laceyville. Weigh-ins from 5:15 to 6 p.m., meeting from 6-7 p.m. For more information, call 965-2493 or 869-1834. Toll-free 1- 800-932-8677.
AA Meeting — Wednesdays at 8 p.m. in the basement of the Wyalusing Presbyterian Church. Open meeting, nonsmoking.
MOPS — Mothers of Preschoolers meet every first and third Wed. of the month from 9 to 11 a.m., September through May. Meetings are held at the First Presbyterian Church, 5 Court St., Towanda. All mothers of preschoolers are welcome. Child care is provided for children, ages infant through five years old. For more information, contact the church at 570-265-5575.
Towanda-Wysox Kiwanis Club meets every second and fourth Wednesday of each month at the Weigh Station Café at 7:30 a.m. in Towanda. They find ways to help the children in the community. Contact Eileen Sheets at 570-265-2350 for more information.
Addictions to Victory. Faithbased support for addictions. Program will be held the first and third Thursday of each month at 7 p.m. at New Generation Church, Milan, 570-888- 1967.
Bradford County Cancer Support Group meets the 4th Wednesday of every month at Memorial Hospital in Conference Room A, beginning at 6:30 p.m. For more information, call 1-888-227-5445, Option 3.
The Wyalusing Masonic Lodge No. 618 meets at 7:30 p.m. on the third Monday of each month at the Lodge Hall, 158 Church St., Wyalusing. For more information, call 570-721- 0008.
Twin Tier Antique Tractor and Machinery meeting will be held on Aug. 16 at 7 p.m. at the Stoll Building in Wysox.
The New Albany Widowed Persons Group will meet on Monday, Aug. 13 at 11:30 a.m. at the Shady Nook Restaurant. Call Vida Williams at 570-363- 2454 for more information.
Bradford/Sullivan Farm Bureau County Picnic will be held on Aug. 12 at 1 p.m. at Hornbrook Park. Deputy Sec. of Agriculture, Matt Meals will be attending. Barbecued chicken and beverages will be provided. Bring a dish to pass and table service. RSVP Barb Warburton at 570-924-3984.
Birchardville School and Historical Association Picnic will be held on Aug. 11 at noon at the Birchardville School. Bring a dish to pass, dessert and own table service. Drinks provided. Come and bring your friends, they would like this to be a community affair to keep this piece of history alive.
The Class of 1987 will be holding their 25th year reunion on Aug. 25 at the Wyalusing American Legion starting at 7 p.m. Cost of $25 per person. Invitations were sent electronically, so if you did not receive information and need details, contact Lori at 570-746-7710 or Deb at 746-9005.
Fisk-Carr Family Reunion at Frank and Connie Carrs' in Wilmot home on Aug. 18 at 11 a.m. Bring dish to pass. Beverage and meat furnished. Please try to attend.
Woodruff Reunion - will be held on Sunday, Aug. 26 at 1 p.m. at the Laceyville Fire Hall. Bring a dish to pass and unwrapped gift for the auction. All else furnished.
NEPA/Abington Wildcats 16 & Under Fastpitch Travel Softball will be holding team tryouts for their Fall 2012/Summer 2013 team on Aug. 11 from 1 to 3 p.m., Aug. 12, from 1 to 3 p.m., Aug. 18, 1 to 3 p.m. and Aug. 19, 1 to 3 p.m. at Abington Heights High School. For more information, contact Vic at 570- 351-5187; Mike at 570-241-7030, John Kelly, 570-504-4808 or by email at AbingtonWildcats- @yahoo.com.
Endless Mt. Blast U14 to hold tryouts—The U14 Endless Mt. Blast Fastpitch will be holding tryouts for their at the Tunkhannock Area High School softball field on Aug. 9 from 6:30 to 8 p.m. and Aug. 11 from noon to 2 p.m. Tryouts are open to players with birth year 1998 or later. Experienced players and pitchers are encouraged to attend. Players will need gloves, spikes and appropriate workout gear to attend. Private tryouts can be arranged for those unable to attend. The Endless Mt Blast is a travel fastpitch organization based in Tunkhannock. Additional information can be found at http://www.eteamz.- com/endlessmtblast, or by emailing firstname.lastname@example.com.
Endless Mt. Blast U12 to hold tryouts—The U12 Endless Mt. Blast Fastpitch will be holding tryouts for their at the Tunkhannock Area High School softball field on Aug. 9 from 5:30 to 7 p.m. and Aug. 11 from 10 a.m. to noon. Tryouts are open to players with birth year 2000 or later. Experienced players are encouraged to attend. Players will need gloves, spikes and appropriate workout gear to attend. There is no charge for the tryout. Private tryouts can be arranged for those unable to attend. The Endless Mt. Blast is a travel fastpitch organization based in Tunkhannock. Additional information can be found at http://www.eteamz.com/endlessmtblast, or by e-mailing firstname.lastname@example.com.
Bowlers needed at Starlite Lanes, Towanda. Leagues available: seniors, men's, women's, youth leagues. Leagues every night and some days. Season starts Aug. 22. Call Dale at 570-265-2245 and leave message.
The Lady Lightning USA softball team is searching for competitive motivated softball players for a 12U and a 14U team for 2013. It is based out of Bradford County and uses several fields throughout Towanda, Northeast Bradford and Wyalusing. Tryouts at Wysox on Tuesday, Aug. 14, 5:30 to 6:30 p.m. for 12U and 6:30 to 7:30 p.m. for 14U. Sunday, Aug. 19, 4:30 to 5:45 for 12U and 6 to 7:15 p.m. for 14U. 12U birth dates will be Jan. 1, 2000 and after, while the 14U will be Jan. 1, 1998 and after. Any questions, call Rick Vargason at 570-250- 0574.
Vendors Wanted
Vendors Wanted for Camptown Races, Sat., Sept. 15. Free set-up. Please call Wendy Fissler, 570-746-3640 or e-mail at email@example.com.
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CHICAGO, Ill. -- In the first University Athletic Association (UAA) round robin of 2012, the Brandeis volleyball team suffered three straight losses at the University of Chicago. The Judges fell to Case Western Reserve and top-ranked Washington University, 3-0, on the first day of action. They won the first set of the day on Day 2, but ultimately fell to Rochester, 3-1. The Judges are now 11-7 overall.
In their UAA opener, Brandeis faced the Case Western Reserve Spartans and head coach Karen Chambers Farrell '93. The Judges kept all three sets close, but ultimately fell, 25-18, 25-19, 25-20. Brandeis middle blockers Lauren Berens (Boulder, Colo./Fairview) and Maddie Engeler (Sandusky, Ohio/St. Mary Central Catholic) were efficient in attacking, with 10 kills and just two errors in 27 attempts between them. The Spartans were able to neutralize the Judges' leading scorer, sophomore outside hitter Liz Hood (Albquerque, N.M./Albuquerque Academy), who had eight kills and seven errors in 33 attacks. Sophomore setter Elsie Bernaiche (Plantsville, Conn./Southington) led all players with 14 digs, but it was Case's Natalie Southard who had a match-high 12 kills and a .429 hitting percentage.
Against WashU, the Bears showed why they are the top-ranked team in the nation, outscoring the Judges 25-10, 25-8, 25-20. Hood had seven kills to lead the Judges again, but four different Washington players matched that figure, led by Emily Tulloch's 11 kills and .476 percentage. Defensively, Bernaiche had 14 digs for the second-straight match, while senior middle blocker Becca Fischer (San Antonio, Texas/Clark) had five blocks (two solo), one shy of her season-high.
The Judges rallied to take the opening set against Rochester, 25-22, but the Yellowjackets stole momentum in a marathon second set with a 28-26 victory. UR went on to take the fourth set, 25-16 and closed out the match, 25-22. Hood had her best match of the weekend with 15 kills and seven errors on 33 attempts for a .242 hitting percentage. Junior OH Si-Si Hensley (Fullerton, Calif./Troy) just missed joining Hood in double figures with nine kills. She also had 12 digs to fall just short of her eighth double-double of the season. Junior setter Yael Einhorn (Cherry Hill, N.J./Cherry Hill East) also had her top performance with 29 assists. Kelly Mulrey led three 'Jackets in double figures with 18 kills.
Brandeis returns to action with a Thursday night non-confernce match at Wheaton College at 7 p.m.


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This Positive Life: An Interview With Enrique Franco
November 11, 2009
This podcast is a part of the series This Positive Life. To subscribe to this series, click here.
Listen to Audio (33 min.)
Please note: These files can be quite large. Allow some time for them to download.
Table of Contents
- Finding Out
- Telling Others
- The Army
- Being Gay in the Army
- Relationships & Sex After Diagnosis
- HIV and the Latino Community
- HIV's Effect
- HIV Treatment
- Disclosing to Friends
|Enrique Franco
About Enrique
The U.S. military's "don't ask, don't tell" policy got Enrique Franco kicked out of the Army. It also, oddly, was the reason he found out he was HIV positive. As Franco explains in this moving interview, diagnosis turned his life upside down, but he's now standing tall. "This is my body, this is my life," he says. "I'm not going to stop living. I refuse to put my head down."
Finding Out
How did you find out that you were HIV positive?
It's an interesting story. I was about to get out of the United States Army on a chapter for homosexual conduct, which I self-admitted. I had to take a physical -- everyone has to take a physical when they leave the service. I asked for a blood check, just to make sure everything was straight.
It took about a month. Then they called me back to the hospital and said that my paperwork had to stop. I was very curious. I didn't ask why, but when the doctor sent me down, I kind of put two and two together and I let him do the rest of the talking. I pretty much figured out what he was going to tell me.
Do you have any hint how you got infected?
That one is another question for myself. I was pretty promiscuous when I was younger, but I always made sure that I used protection because I knew it was just going to be a one-time shot with some guy that I was with. But my last relationship was with another soldier and I fell in love really bad, and we stopped using protection.
To be honest, he was the only one that I never used protection with, but I don't think he gave it to me. Honestly, if he did, I wouldn't be as mad at him as I would if it were a stranger.
You haven't really spoken to this person about the issue?
No. We parted ways pretty difficultly and we haven't spoken since.
What happened when you first found out? What was your reaction?
|Enrique is a die-hard Yankees fan. Here he is in front of his truck.
What I mean by this is that when we deploy, when we go out to some place, it's real difficult on my family. But I always told them, because I've been deployed three times. The first time, I said I'm not going to call, I'm not going to write, I'll appreciate the stuff that you guys give me, but I'm going to focus on my mission at hand. When I come back home, then I'll do all that stuff.
I treated it like that. I treated it like -- I have HIV, I have to fight this thing now. I came up with all these plans of what I had to do, actions I have to take. Then maybe when I'm in the hospital and I'm dying, maybe then I'll start crying and letting it all out, but honestly, I see it like I don't have time for that right now.
Telling Others
Did you tell anybody about it initially?
Initially, I told one of my closest friends. It was kind of by accident. He was one of my soldiers at the time. A week after I found out, he had to be put in the hospital for spinal meningitis. I was his squad leader and I had to go visit him to make sure he was OK.
He asked me several questions. He said, "Why do you have all that stuff on?"
I said, "Well, I'm just trying to protect myself, bro." That's when I said, "I've got to tell you something. I'm HIV positive."
He gave me a look of concern, not like he was mad or anything; he just said, "OK," and that was it.
Have your feelings about having HIV changed over time?
It has, yes sir. Initially, I was paranoid. All of a sudden, I didn't want to hug people. I felt like I was an alien or whatever. I didn't want to get anybody sick or anything like that. By the same token, I demanded people hear me say, "Hey, I have HIV now!"
My mom, still gets on me; she says, "Your HIV does not make who you are as a person. It does not define you."
Today, honestly, I can say that I treat HIV like it's a pebble in my shoe. I have it, and it's going to be there, and I can't take off the shoe and dump the pebble out. It's just going to be there. It bugs me sometimes, but I just have to learn to live with that.
How soon did you tell your family about the diagnosis? How long did it take you to talk to them?
That one was pretty difficult. I was stationed in the middle of Texas and on the way from Texas back to California is El Paso, and my baby brother lives in El Paso. I did not want to tell my family over the phone, but the first person I wanted to tell was my mother. It took about a month, because after that diagnosis, it took another month to fill out the paperwork. That month felt like forever for me, to keep the secret from my mom like this. It was very, very difficult. But I told myself, I'm not going to tell anybody over the phone because I'd be selfish if I did that. I had to see her in person.
When I was driving to El Paso to stop at my brother's house, I knew he was going to be mad at me after it all came out. But I knew if I would have told him, he would have told my mother on the phone before I got home, and my mom would have been very upset with me when I got there, so it was either my mom being mad at me or my little brother being mad at me for not telling him at all. So I didn't tell him, and I waited until I got to California to tell my mom.
Can you tell us a little bit about how that happened? It's a very powerful story. You spoke to your mother? How did she respond? How did you feel at that time?
It's interesting because my brother has trouble with the law sometimes and he was having trouble at that same time. When I went home, they were like, "OK, here comes Chico and he's a big sergeant. He's going to get on his brother's booty and get on him and everything."
They always thought of me as that strict military die-hard Republican type, loved the president and all that. When I went home, it was kind of hard. I don't like doing that with my mom especially. She's my confidant. But I had to tell her everything because she's my confidant. I knew she would understand, but I didn't know how she would react to it.
It wasn't as bad with the coming out with me being a homosexual. It was more so when I had to tell her I was HIV positive. She just had a single tear drop from her eye, and I didn't want to get mad at her, but I said, "Ma, don't worry about it. I know what I've got to do." She just had that one little tear, and she just shook her head, and that was it. I'm pretty sure that there were other things going on after I left the house, but they won't let me see it.
It was a difficult moment.
It was extremely difficult. I didn't want to disappoint her. Everything I'd accomplished -- I just didn't want to go home like a loser.
You have to understand: She's my mom; she will never see me like that. After everything was over and said and done, she still accepted me. My other family members -- they don't like it -- but they see her as an example, as the leader of the family because my dad's not around.
What about your brother? What did he say when you told him finally?
My mom didn't tell me. He shook it off like it was nothing. My mom told me later on -- like a month later -- that he was in his room crying for a couple of days, nonstop all-night crying, and that he was worrying about me. He is more machismo than I am. He won't ever show it.
I'm going to head over back to California for my birthday, and I'm just not even going to mention that. I don't want to deny it, but there's a time and place and I don't think it would be appropriate to mention that. I'll just live my life. I'd be more than happy to talk to him, but he's more machismo than I am, so ...
You've also told some friends, right?
Have you gotten any bad responses from people when you told them?
I've only gotten one. It's kind of funny to me now, but I only got one bad response so far. It wasn't even from a friend, it was from a nurse when I was checking in over at the VA [U.S. Department of Veterans Affairs]. She asked me what I have and I said I'm HIV positive. Then she goes immediately after, "Are you homosexual?"
I started laughing openly, and she's like, "What's wrong with the question?" She couldn't even see for herself the way it came out. It was comical for me, because I can laugh at myself, but if I was there now, I would have been offended. But it was just comical to me.
More From This Resource Center
Undetectable Viral Load and HIV Prevention: What Do Gay and Bi Men Need to Know?
Do HIV-Negative Gay Men Need Condoms if They're on PrEP? Here's What I Tell My Patients
|This podcast is a part of the series This Positive Life. To subscribe to this series, click here.
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Critical Questions
by Jesse Rosen
For orchestras, artistic excellence is vital, but we also need to look beyond it.
click here for a pdf of this article as it appears in the print edition.
"The best thing about the good old days is that they are gone." When Peter Sellars quoted Stan Kenton in his keynote address at the League's 2006 National Conference, he wasn't advocating that we forget the past. Rather, Sellars was urging us to honor the legacy of our predecessors by "loving our children," thus committing ourselves to renewal and to the future.
As the child of an orchestra manager, I've oftenthought about how Sellars's observation applies to orchestras' "good old days." I grew up during the period of the rise of the American orchestra movement that saw the establishment of the modern orchestra as we know it today. In 1962, when my father was starting his career as executive director of the Westchester Orchestral Society, 93 orchestras nationwide reported their statistics to the League; of them, less than a handful played full-year seasons. By 1977, there were 203 orchestras reporting. Sixteen were offering full-year employment.
From the 1960s to the 1990s, American orchestras experienced extraordinary growth. More orchestras produced more concerts, served more people, and employed more musicians than ever before. As artistic standards, acclaim, and international demand rose, we also increased pops programming and developed new sophistication in our educational activity. We built an infrastructure to support this enormous growth while
cementing a body of practice and organizational design and culture.
The vast majority of today's orchestras still rely on these systems and beliefs. Yet it surely is time to pay close attention to what is different about today, and to ask ourselves, "Which assumptions and practices from the past should we hold on to, which ones no longer fit our current circumstances, and what new frameworks and models must we forge?"
In this new series of Symphony articles called "Critical Questions," I will periodically invite colleagues, scholars, and other thinkers to join me in presenting diverse perspectives on these and other questions. There are no single right answers to these challenges. Yet they are critically important to explore as we chart a course for our orchestras in today's world.
Jesse Rosen
President and CEO
League of American Orchestras
Creating the "Good New Days"
by Jesse Rosen
When I interned in the National Endowment for the Arts music program in 1976, Congress had just authorized
another multi-million-dollar increase in NEA funding. There was a special panel whose sole purpose was to consider how to grow the federal role in the arts and spend more of the agency's money. That panel had just determined that it was time to begin supporting chamber music. I was assigned to draft guidelines for this new support and ultimately witnessed the launching of Chamber Music America.
In those days there were no road maps for national arts funding. For that matter, there were no road maps or practices in place for leading the extraordinary growth of the American orchestra. Our "elders" took a kind of "make it up as you go" approach, and it usually worked. There seemed to be no limits to how far the spirit of optimism, invention, and creativity could carry us.
Back then America was still playing cultural catch-up with the rest of the world. Our cultural advancement was a
national priority, as evidenced not only by the growing government role, but also by enormous private-sector investments. During the late '60s the Ford Foundation invested $80.2 million ($427.4 million in today's dollars) to grow orchestras. All the performing arts figured regularly on network television. With the eventual rise of public television, America's largest corporations jumped on the arts bandwagon with major broadcast sponsorships.
Now fast-forward to today, when America's cultural priorities, methods of communication, demographic makeup,
and position in the world are all in flux. While millions of people still listen to orchestras at concerts, on the radio, and on the Internet, the orchestral growth spurt has slowed drastically. Few orchestras are lengthening seasons or adding concerts at rates like those of the past. Concert attendance is flattening as cultural options multiply and tastes change.
Those who heard management guru and Good to Great author Jim Collins speak at a small luncheon at the National Performing Arts Convention in Denver last spring will recall three questions Collins believes organizations must ask in dealing with change and turbulence. They are: What is changing in the world; what
few changes are fundamentally upsetting your ability to carry out your mission; and what do those changes mean for how you will adapt?
Two big developments remind orchestras that our world has changed dramatically from the good old days.
First, we can no longer assume that our society will automatically generate sufficient numbers of people to support and attend concerts at the levels necessary to sustain the current volume of activity. In fact, it is probably wise to assume the opposite. Interested readers may want to read Princeton sociologist Paul DiMaggio's research that showed correlations between a generation's concert attendance while in college and
its attendance habits later in life. The research suggests that baby boomers are less likely to attend concerts than earlier cohorts of that age group. ("Arts participation as cultural capital in the United States, 1982-2002: signs of decline?" by Paul DiMaggio and Toqir Mukhtar in Poetics, April 2004.)
The second dramatic development is that we no longer occupy the seat of honor at America's vast multicultural
table. In fact, many of us have to fight to get a seat at all. This is not because orchestras have lost their meaning and ability to inspire and delight—just look at the hundreds of thousands of young people playing in youth orchestras every year—but rather the result of multiple changes across our cultural and media spectrum, including a dizzying array of new choices that compete for our leisure time.
So what should we do differently?
We can learn something about this challenge from our colleagues in the museum world. In an article entitled
"From Being about Something to Being for Somebody" in the summer 1999 issue of Daedalus, the late museum scholar Stephen Weil describes how his field confronted a similar challenge after the tremendous growth spurt of the 1960s and '70s. A number of things came together at once: a drop in government support; a need to assure corporate sponsors and other funders that programs would attract a wide audience; and a new
mentality among nonprofits and funders calling for results-based accountability. At first these changes led organizations to embrace more professional management and greater fiscal responsibility. Then, when influential philanthropies like the United Way began to evaluate grantees based on their "ability to make a positive difference in the quality of individual or communal lives," museums began to follow suit. The upshot of it all, writes Weil, was that during the 1970s, '80s, and '90s, museums "moved beyond their intense inward focus on their collections toward a broader institutional emphasis on public service and education."
They moved from being merely about great art to being for nurturing people's relationships to that art.
Orchestras today seem to be making a similar adaptation. They are shifting from a focus on the intrinsic, self-evident value of repertoire to a greater concern for the listener's experience and for music's potential to have an impact on community. For example, many orchestras are making powerful new statements about
their social as well as artistic contributions to civic life. The Los Angeles Philharmonic's music director, Esa-Pekka
Salonen, says that "We aim to be at the center of the artistic life of Los Angeles." The Memphis Symphony Orchestra's mission statement captures the orchestra's aspiration toward a dramatic new relationship with community: "The MSO is committed to creating meaningful experiences for the citizens of Memphis through music." The language of these statements is crucial: It is outward-looking while providing important information
to the public about the identity of the orchestras, what they offer, and how they contribute to the public good.
We must rethink our assumptions about why we matter and what value we provide to the public, and we must
clearly communicate that value. In the good old days our much-touted vision of achieving "artistic excellence" was sufficient to capture the imagination of audiences, funders, and the media. Today, while no one argues with the desire to strive for excellence, the performance of great classical music may no longer suffice
as the sole raison d'être for institutions that draw so heavily on community resources—unless these institutions also can demonstrate convincingly to public and opinion leaders who may not choose to attend concerts why performing this music betters people's lives.
"The emerging public-service oriented museum," writes Weil, "must see itself not as a cause but as an instrument… Responsiveness to the community, consistent with the professional standards of its field, must be understood not as a surrender but as a fulfillment."
How can this thinking help orchestras adapt to the changes in our culture? By taking into account the needs and values of today's audiences.
For example, when Delta David Gier, music director of the South Dakota Symphony, included a Pulitzer Prizewinning work on each program in the orchestra's 2005-06 season, he was doing more than making interesting programs. He was reflecting and fostering a value in his audience—the value of being aware of and knowledgeable about extraordinary individual achievement in the international arena.
When you place new orchestral repertoire squarely in that context, listeners can move beyond a mere "thumbs
up/thumbs down" reaction to a new work, or a reflexive comparison with the old war horses. They can ask questions about how today's achievements in composition are similar or different from contemporary currents in theater, art, or even science. They can begin to view music as part of a larger stream of culture and ideas,
as it was in Mozart's, Beethoven's, and Schoenberg's time.
Here's another example. When the Chicago Symphony Orchestra hired stage director Gerard McBurney as
its artistic programming advisor, the orchestra acknowledged that the artistic work of the orchestra has now advanced into new terrain: going beyond concert programs that had intrinsic musical logic to explicating meaning and context for a public thirsting for a new and different connection. The multi-media "Beyond the Score" series developed by McBurney and the CSO's vice president for artistic planning and audience development, Martha Gilmer, contextualizes major works while exemplifying the highest standards of artistry: The programs are virtuosic, well-proportioned and paced, highly informative, and emotionally riveting.
Interestingly, no conductor was involved in the design and creation of the CSO programs. Indeed, to be more responsive orchestras may also need new mindsets, skills, and personnel. Yet these projects were carried off with no diminution in commitment to the highest standards of performance. We do not have to "dumb down" our programs in order to entice new listeners or to deepen the experience of our current audiences.
As Weil noted, artistic programs can elicit a wide range of potential outcomes: "educational, experiential,
recreational, social—but often subtle, indirect, frequently cumulative over time, intertwined with the impact of
other sources of formal and informal educational experiences." To demonstrate the effectiveness of our programs orchestras will need to acquire new skills for identifying and describing these impacts on audiences and on communities.
The League is helping orchestras to acquire these skills. We recently launched a new Civic Engagement Orchestra Assessment resource that furnishes orchestras with a disciplined framework for evaluating their community relationships. We developed this tool in close consultation with representatives from
more than 50 orchestras and with experts from related fields. The framework consists of a series of questions that provoke discussion of an orchestra's artistic, civic, and educational profile and that prompt actions to build strength in the community.
So back to the good old days. What do we hold on to?
"Back then," leaders were creative, imaginative, and closely in touch with current realities. They possessed a
spirit of optimism that was pragmatic without being dogmatic. Yet the musical possibilities of our time seem even greater. We seem to be in a moment of extraordinary musical richness and diversity, and the public's changing tastes and preferences suggest countless new opportunities for engagement.
Each orchestra will make its own choices, but let none of us be constrained by routine practices and outmoded
questions. Let's embrace our changing and expanding roles with the new skills, structures, and personnel we
need to fully capitalize on these new opportunities. We have to consider the possibility that the roles of conductors, music directors, and education directors as we traditionally have defined them no longer are adequate to meet the expanding demands on today's orchestras. And let each orchestra ground its purpose in the identity of its unique artistic and community roots.
Finally, let us renew our spirit of creativity by asking whom we are for, not just what we are about. This is the
approach that we at the League believe will enable orchestras to create "good new days," and to flourish as vital and essential elements of American cultural life for decades to come.


text:
The Relation of My Imprisonment a work of fiction utilizing a form invented in the seventeenth century by imprisoned Puritan divines. Designed to be exemplary, works of this type were aimed at brethren outside the prison walls and functioned primarily as figurative dramatization of the test of fait all true believers must endure. These "relation," framed by scripture and by a sermon explicating the text, were usually read aloud in weekly or monthly installments during religious services. Utterly sincere and detailed recounting of suffering, they were nonetheless highly artificial. To use the form self-consciously, as Russell Banks has done, is not to parody it so much as to argue good-humoredly with the mind it embodies, to explore and, if possible, to map the limits of that mind, the more intelligently to love it.
Publication Details
- Publisher:
- HarperCollins
- Imprint:
- Harper Perennial
- Publication Date:
- 2011
Russell Banks (Author)
Russell Banks is a past president of the International Parliament of Writers and a member of the American Academy of Arts and Letters. His work has been translated into twenty languages and has received numerous awards, including the Commonwealth ...


text:
A day of contrasts
Race director Javier Guillén and his organising team were clearly impressed with last year's stage into Valdepeñas de Jaén, where the 23 per cent ramp to the finish surprised many and produced a superb winning effort from Igor Antón. This year's race heads back into the small Andalucian town twice. Before that, the day starts with a rare descent from the ski resort, then heads across a parched, open landscape where the wind could be a factor. It could be a day for a small break to stay clear but even if that is the case ,the main contenders will face off on the finishing 'wall'.
Vuelta flashback 2002, The introduction of the Alto de la Pandera
Until the realisation last year that the short but steep climb up through the centre of Valdepeñas de Jaén would provide a spectacular stage finish, this small town to the south of Jaén was best known for its proximity to the foot of the Alto de la Pandera, one of a string of new ascents added to the race over the past decade. The 1,800m summit was first used in 2002, when Roberto Heras took a solo victory and went on to finish second overall. Since that year, none of the four subsequent winners on either the Pandera or in Valdepeñas de Jaén have gone on to take the overall title.
Distance: 187.0km
Highest point: 1.950m
Category: Lumpy
David Lopez says:
"I haven't forgotten this finish from last year. It's a pretty stage but very hot because you're right in the interior. The final kilometre is a hard climb. There won't be big gaps but it will find some riders out because there's little chance to rest today."


text:
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The contents of the kit are sufficient for five coupling reactions.
Materials Supplied with Kit:
- 2.5ml - BioMag®Plus Protein A Particles
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Requires: Cold Pack
- Hazards:
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- Handling:
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- Storage:
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Frequent Links
Primary color
This page is a soft redirect.Primary Colors]].
Primary colors are sets of colors that can be combined to make a useful range of colors. For human applications, three primary colors are typically used, since human color vision is usually trichromatic.
For additive combination of colors, as in overlapping projected lights or in CRT displays, the primary colors normally used are red, green, and blue. For a subtractive combination of colors, as in mixing of pigments or dyes, such as in printing, the primaries normally used are magenta, yellow, and cyan,[1] though the set of red, yellow, and blue is popular among artists.[2] See RGB color model, CMYK color model, and RYB color model for more on these popular sets of primary colors.
Any particular choice for a given set of primary colors is derived from the spectral sensitivity of each of the human cone photoreceptors; three colors that fall within each of the sensitivity ranges of each of the human cone cells are red, green, and blue.[3] Other sets of colors can be used, though not all will well-approximate the full range of color perception. For example, an early color photographic process, autochrome, typically used orange, green, and violet primaries.[4] However, unless negative amounts of a color are allowed the gamut will be restricted by the choice of primaries.
The combination of any two primary colors creates a secondary color.
The most commonly used additive color primaries are the secondary colors of the most commonly used subtractive color primaries, and vice versa.
Biological basis
Primary colors are not a fundamental property of light but are related to the physiological response of the eye to light. Fundamentally, light is a continuous spectrum of the wavelengths that can be detected by the human eye, an infinite-dimensional stimulus space.[5] However, the human eye normally contains only three types of color receptors, called cone cells. Each color receptor responds to different ranges of the color spectrum. Humans and other species with three such types of color receptors are known as trichromats. These species respond to the light stimulus via a three-dimensional sensation, which generally can be modeled as a mixture of three primary colors.[5]
Before the nature of colorimetry and visual physiology were well understood, scientists such as Thomas Young, James Clerk Maxwell, and Hermann von Helmholtz expressed various opinions about what should be the three primary colors to describe the three primary color sensations of the eye.[6] Young originally proposed red, green, and violet, and Maxwell changed violet to blue; Helmholtz proposed "a slightly purplish red, a vegetation-green, slightly yellowish (wavelength about 5600 tenth-metres), and an ultramarine-blue (about 4820)".[7] In modern understanding, human cone cells do not correspond precisely to a specific set of primary colors, as each cone type responds to a range of color wavelengths.[clarification needed]
Species with different numbers of receptor cell types would have color vision requiring a different number of primaries. For example, for species known as tetrachromats, with four different color receptors, one would use four primary colors. Since humans can only see to 380 nanometers (violet), but tetrachromats can see into the ultraviolet to about 300 nanometers, this fourth primary color for tetrachromats is located in the shorter-wavelength range.[8]
Many birds and marsupials are tetrachromats, and it has been suggested that some human females are tetrachromats as well,[9][10] having an extra variant version of the long-wave (L) cone type.[11] The peak response of human color receptors varies, even among individuals with "normal" color vision;[12] in non-human species this polymorphic variation is even greater, and it may well be adaptive.[13] Most placental mammals other than primates have only two types of color receptors and are therefore dichromats; to them, there are only two primary colors.
It would be incorrect to assume that the world "looks tinted" to an animal (or human) with anything other than the human standard of three color receptors. To an animal (or human) born that way, the world would look normal to it, but the animal's ability to detect and discriminate colors would be different from that of a human with normal color vision. If a human and an animal both look at a natural color, they see it as natural; however, if both look at a color reproduced via primary colors, such as on a color television screen, the human may see it as matching the natural color, while the animal does not, since the primary colors have been chosen to suit human capabilities.
Additive primaries
Media that combine emitted lights to create the sensation of a range of colors are using the additive color system. Typically, the primary colors used are red, green, and blue.[14]
Television and other computer and video displays are a common example of the use of additive primaries and the RGB color model. The exact colors chosen for the primaries are a technological compromise between the available phosphors (including considerations such as cost and power usage) and the need for large color triangle to allow a large gamut of colors. The ITU-R BT.709-5/sRGB primaries are typical.
Additive mixing of red and green light produces shades of yellow, orange, or brown.[15] Mixing green and blue produces shades of cyan, and mixing red and blue produces shades of purple, including magenta. Mixing nominally equal proportions of the additive primaries results in shades of grey or white; the color space that is generated is called an RGB color space.
The CIE 1931 color space defines monochromatic primary colors with wavelengths of 435.8 nm (violet), 546.1 nm (green) and 700 nm (red). The corners of the color triangle are therefore on the spectral locus, and the triangle is about as big as it can be. No real display device uses such primaries, as the extreme wavelengths used for violet and red result in a very low luminous efficiency.
Recent developments in primary colors
Color practice technology is usefully contrasted with color theory science because science assumes perfect conditions, whereas commercially available products must deliver impressive results at affordable prices. Some recent TV and computer displays are starting to add a fourth "primary" of yellow, often in a four-point square pixel area, to get brighter pure yellows and larger color gamut.[16]
Even the four-primary technology does not yet reach the range of colors the human eye is theoretically capable of perceiving (as defined by the sample-based estimate called the Pointer Gamut[17]), with 4-primary LED prototypes providing typically about 87% and 5-primary prototypes about 95%. Several firms, including Samsung and Mitsubishi, have demonstrated LED displays with five or six "primaries", or color LED point light sources per pixel.[18] A recent academic literature review claims a gamut of 99% can be achieved with 5-primary LED technology.[19]
While technology for achieving a wider gamut appears to be within reach, other issues remain, for example affordability, dynamic range, brilliance. An even bigger problem is that there exists hardly any source material recorded in this wider gamut, nor is it possible to somehow recover this information in existing pictures, as it was never stored. Regardless, industry is still exploring a wide variety of "primary" active light sources (per pixel) with the goal of matching the capability of human color perception within a broadly affordable price. One example of a potentially affordable, but yet unproven active light hybrid places a LED screen over a plasma light screen, each with different "primaries". Because both LED and plasma technologies are many decades old (plasma pixels going back to the 1960s) and because sales are verging on a billion, both have become so affordable that they could be combined.
Subtractive primaries
Media that use reflected light and colorants to produce colors are using the subtractive color method of color mixing.
CMYK color model, or four-color printing
In the printing industry, to produce the varying colors the subtractive primaries cyan, magenta, and yellow are applied together in varying amounts. Before the color names cyan and magenta were in common use, these primaries were often known as blue-green and purple, or in some circles as blue and red, respectively, and their exact color has changed over time with access to new pigments and technologies.[20]
Mixing yellow and cyan produces green colors; mixing yellow with magenta produces reds, and mixing magenta with cyan produces blues. In theory, mixing equal amounts of all three pigments should produce grey, resulting in black when all three are applied in sufficient density, but in practice they tend to produce muddy brown colors. For this reason, and to save ink and decrease drying times, a fourth pigment, black, is often used in addition to cyan, magenta, and yellow.
The resulting model is the so-called CMYK color model. The abbreviation stands for cyan, magenta, yellow, and key—black is referred to as the key color, a shorthand for the key printing plate that impressed the artistic detail of an image, usually in black ink.[21]
In practice, colorant mixtures in actual materials such as paint tend to be more complex. Brighter or more saturated colors can be created using natural pigments instead of mixing, and natural properties of pigments can interfere with the mixing. For example, mixing magenta and green in acrylic creates a dark cyan—something which would not happen if the mixing process were perfectly subtractive.
In the subtractive model, adding white to a color, whether by using less colorant or by mixing in a reflective white pigment such as zinc oxide, does not change the color's hue but does reduce its saturation. Subtractive color printing works best when the surface or paper is white, or close to it.
A system of subtractive color does not have a simple chromaticity gamut analogous to the RGB color triangle, but a gamut that must be described in three dimensions. There are many ways to visualize such models, using various 2D chromaticity spaces or in 3D color spaces.[22]
RYB color model
RYB (red, yellow, and blue) is a historical set of colors. It is primarily used in art and art education, particularly painting.[23] It predates modern scientific color theory.
RYB make up the primary colors in a painter's color wheel; the secondary colors VOG (violet, orange, and green) make up another triad. Triads are formed by 3 equidistant colors on a particular color wheel; neither RYB nor VOG is equidistant on a perceptually uniform color wheel, but rather have been defined to be equidistant in the RYB wheel.[24]
Painters have long used more than three "primary" colors in their palettes—and at one point considered red, yellow, blue, and green to be the four primaries.[25] Red, yellow, blue, and green are still widely considered the four psychological primary colors,[26] though red, yellow, and blue are sometimes listed as the three psychological primaries,[27] with black and white occasionally added as a fourth and fifth.[28]
During the 18th century, as theorists became aware of Isaac Newton's scientific experiments with light and prisms, red, yellow, and blue became the canonical primary colors—supposedly the fundamental sensory qualities that are blended in the perception of all physical colors and equally in the physical mixture of pigments or dyes. This theory became dogma, despite abundant evidence that red, yellow, and blue primaries cannot mix all other colors, and has survived in color theory to the present day.[29]
Using red, yellow, and blue as primaries yields a relatively small gamut, in which, among other problems, colorful greens, cyans, purples, and magentas are impossible to mix, because red, yellow, and blue do not correspond to the subtractive primaries dictated by human color vision. For this reason, modern three- or four-color printing processes, as well as color photography, use cyan, yellow, and magenta as primaries instead.[30] Since cyan pigment absorbs red light, magenta absorbs green, and yellow absorbs blue, they each allow the other two light primaries to be reflected (or transmitted) and reach the eye. Thus when two of them are mixed, they do not absorb so much of the spectrum as to produce black, which is the absence of light. Most painters include colors in their palettes which cannot be mixed from yellow, red, and blue paints, and thus do not fit within the RYB color model. Some who do use a three-color palette opt for the cyan, yellow, and magenta used by printers, and others paint with 6 or more colors to widen their gamuts.[31] The cyan, magenta, and yellow used in printing are sometimes known as "process blue," "process red," and "process yellow."[32]
Psychological primaries
- Main article: Opponent process. See also: Natural Color System, Unique hues
The opponent process is a color theory that states that the human visual system interprets information about color by processing signals from cones and rods in an antagonistic manner. The three types of cones have some overlap in the wavelengths of light to which they respond, so it is more efficient for the visual system to record differences between the responses of cones, rather than each type of cone's individual response. The opponent color theory suggests that there are three opponent channels: red versus green, blue versus yellow, and black versus white.[33] Responses to one color of an opponent channel are antagonistic to those of the other color. The theory states that the particular colors considered by an observer to be uniquely representative of the concepts red, yellow, green, blue, white, and black might be called "psychological primary colors", because any other color could be described in terms of some combination of these.
See also
Notes and references
- ↑ Matthew Luckiesh (1915). Color and Its Applications. D. Van Nostrand company. pp. 58, 221.
- ↑ Chris Grimley and Mimi Love (2007). Color, space, and style: all the details interior designers need to know but can never find. Rockport Publishers. p. 137. ISBN 978-1-59253-227-8.
- ↑ The Science of Color - Steven K. Shevell, Optical Society of America - Google Books
- ↑ Walter Hines Page and Arthur Wilson Page (1908). The World's Work: Volume XV: A History of Our Time. Doubleday, Page & Company.
- ↑ 5.0 5.1 Michael I. Sobel (1989). Light. University of Chicago Press. pp. 52–62. ISBN 0-226-76751-5.
- ↑ Edward Albert Sharpey-Schäfer (1900). Text-book of physiology 2. Y. J. Pentland. p. 1107.
- ↑ Alfred Daniell (1904). A text book of the principles of physics. Macmillan and Co. p. 575.
- ↑ Goldsmith, Timothy H. (July 2006). "What Birds See" (PDF). Scientific American 295: 68–75. doi:10.1038/scientificamerican0706-68.
- ↑ Backhaus, Kliegl & Werner "Color vision, perspectives from different disciplines" (De Gruyter, 1998), pp.115–116, section 5.5.
- ↑ Pr. Mollon (Cambridge University), Pr. Jordan (Newcastle university) "Study of women heterozygote for colour difficiency" (Vision Research, 1993)
- ↑ M. Neitz, T. W. Kraft, and J. Neitz (1998). "Expression of L cone pigment gene subtypes in females". Vision Research 38 (21): 3221–3225. PMID 9893829. doi:10.1016/S0042-6989(98)00076-5.
- ↑ Neitz, Jay & Jacobs, Gerald H. (1986). "Polymorphism of the long-wavelength cone in normal human colour vision". Nature 323 (6089): 623–5. PMID 3773989. doi:10.1038/323623a0.
- ↑ Jacobs, Gerald H. (1996). "Primate photopigments and primate color vision.". PNAS 93 (2): 577–81. PMC 40094. PMID 8570598. doi:10.1073/pnas.93.2.577.
- ↑ Thomas D. Rossing and Christopher J. Chiaverina (1999). Light science: physics and the visual arts. Birkhäuser. p. 178. ISBN 978-0-387-98827-6.
- ↑ "Some Experiments on Color", Nature 111, 1871, in John William Strutt (Lord Rayleigh) (1899). Scientific Papers. University Press.
- ↑ Garvey, Jude (2010-01-20). "Sharp four primary color TVs enable over one trillion colors". gizmag.com.
- ↑ M. R. Pointer (1980). "The Gamut of Real Surface Colours". Color Research and Application (John Wiley & Sons, Inc.) 5 (3): 145–155. doi:10.1002/col.5080050308.
- ↑ Chih-Cheng Chan, Guo-Feng Wei, Hui Chu-Ke, Sheng-Wen Cheng, Shih-Chang Chu, Ming-Sheng Lai, Arex Wang, Shmuel Roth, Oded Ben David, Moshe Ben Chorin, Dan Eliav, Ilan Ben David (1999). Development of Multi-Primary Color LCD. AU Optronics, Science-Based Industrial Park, Hsin-Chu, Taiwan; Genoa Color Technologies, Herzelia, Israel.
- ↑
- ↑ Ervin Sidney Ferry (1921). General Physics and Its Application to Industry and Everyday Life. John Wiley & Sons.
- ↑ Frank S. Henry (1917). Printing for School and Shop: A Textbook for Printers' Apprentices, Continuation Classes, and for General use in Schools. John Wiley & Sons.
- ↑ See the google image results for "cmyk gamut" for examples.
- ↑ Tom Fraser and Adam Banks (2004). Designer's Color Manual: The Complete Guide to Color Theory and Application. Chronicle Books. ISBN 0-8118-4210-X.
- ↑ Stephen Quiller (2002). Color Choices. Watson–Guptill. ISBN 0-8230-0697-2.
- ↑ For instance Leonardo da Vinci wrote of these four simple colors in his notebook circa 1500. See Rolf Kuenhi. "Development of the Idea of Simple Colors in the 16th and Early 17th Centuries". Color Research and Application. Volume 32, Number 2, April 2007.
- ↑ Resultby Leslie D. Stroebel, Ira B. Current (2000). Basic Photographic Materials and Processes. Focal Press. ISBN 0-240-80345-0.
- ↑ MS Sharon Ross, Elise Kinkead (2004). Decorative Painting & Faux Finishes. Creative Homeowner. ISBN 1-58011-179-3.
- ↑ Swirnoff, Lois (2003). Dimensional Color. W. W. Norton & Company. ISBN 0-393-73102-2.
- ↑ Bruce MacEvoy. "Do 'Primary' Colors Exist?" (Material Trichromacy section). Handprint. Accessed 10 August 2007.
- ↑ "Development of the Idea of Simple Colors in the 16th and Early 17th Centuries". Color Research and Application. Volume 32, Number 2, April 2007.
- ↑ Bruce MacEvoy. "Secondary Palette." Handprint. Accessed 14 August 2007. For general discussion see Bruce MacEvoy. "Mixing With a Color Wheel" (Saturation Costs section). Handprint. Accessed 14 August 2007.
- ↑ Cheap Brochure Printing – Process Blue / Process Red / Process Yellow / Process Black
- ↑ Michael Foster (1891). A Text-book of physiology. Lea Bros. & Co. p. 921.
External links
- Bruce MacEvoy. "Do Primary Colors Exist?". handprint.com. The history and science of primary colors, part of MacEvoy's sprawling comprehensive site about color.
- Ask A Scientist: Primary Colors
- The Color-Sensitive Cones at HyperPhysics
- Color Tutorial


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Everyone's best friend, Scooby Doo famously loves to eat and hates things that go bump in the night. Food is definitely Scooby's weak spot, and he can easily be coaxed into scary situations with a tasty Scooby Snack or two. Unlike most dogs, Scooby can talk.
Shaggy is a laid-back guy. He's a lot like Scooby - the two of them always sniff out the food wherever they go before getting down to business. He never really wants to be a part of solving mysteries, but he always works up the courage to help his friends out.
Fred usually leads the group in solving mysteries and often orders the gang to split up to search for clues. Fred usually takes Daphne and Velma with him, while Shaggy and Scooby-Doo go off by themselves (often in search of food instead of clues).
Daphne is the most likely of the group to get captured, and is usually rescued by one or all of the gang. She's always very curious and brave when the gang come across a mystery to solve.
Velma is the youngest member of the group. She's also the cleverest and will always spot the clues before anyone else... but often loses her glasses, and can't see anything or solve any mysteries without them.


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Interview with Christine Yoo, Writer, Director, and Producer of 'Wedding Palace'
Hear about her experience making the first U.S.-Korean independent co-production
Wedding Palace
The first U.S.-Korea independent co-production, Wedding Palace is a family comedy. Shot on location in Los Angeles, CA and Seoul, Korea, the film is in English and features elements of animation. Billed as the Korean-American My Big Fat Greek Wedding, the story centers on an international online romance fueled by imagination and 24/7 video chats.
Pressured to get married by family and friends, 29-year-old advertising executive Jason Kim finds the woman of his dreams in cyberspace, 9000 miles away in Seoul, Korea. But when Na Young arrives in Los Angeles, Jason soon discovers that a relationship can sometimes be deeper online than in real life. Can Jason find the courage to defy his parents and bridge the gap between family expectations of beauty and true love? With all of her "shortcomings," is Na Young the special girl with the power to break his family's ancient curse forever?
Starring are Brian Tee (Fast & Furious 3: Tokyo Drift) and S. Korean award-winning actress Kang Hye-Jung (Old Boy), making her American debut. Bobby Lee, Stephen Park, Joy Osmanski, and Margaret Cho enliven the comedic supporting cast.
Provided courtesy of GoGoGo Entertainment. Not rated
CHRISTINE YOO, Writer/Director/Producer
Wedding Palace is Christine Yoo's directing debut. Prior to making the film, Yoo worked for more than a decade building credits as an editor and then as a screenwriter in Hollywood. Highlights include co-writing Afro Samurai, starring Samuel L. Jackson for Spike TV/Fuji TV, an animation series for an Emmy- nominated franchise that includes a book, video game, and feature film. For Lionsgate, Yoo co-wrote & developed an original screenplay For Steppers Only. Yoo represented Asians in Hollywood at the 2012 White House Initiative on Asian Americans and Pacific Islanders' Briefing on Philanthropy and served as a judge for their 2011 video contest, "What's Your Story?" Recently, Yoo was selected to direct for the 2012 5th Annual NBC Diversity Showcase. Currently Yoo is directing commercials and planning her next feature project to launch in 2013. She earned her BA in Film Production from the University of Southern California's School of Cinematic Arts and graduated summa cum laude.
For more information please visit the "Wedding Palace" official Facebook page. http://www.facebook.com/weddingpalaceGO