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Three authors have just filed a class action suit against Harlequin. Here's the full complaint.
It's about time.
For those who read a guest post by Ann Voss Peterson last month, you were aware Ann wrote a book that Harlequin published, and she made 2.4% royalties per copy sold. One of the reasons for this was:
First, while most of my books are sold in the US, many are sold under lower royalty rates in other countries. In this particular contract, some foreign rights and -ALL ebook royalties- are figured in a way that artificially reduces net by licensing the book to a "related licensee," in other words, a company owned by Harlequin itself.
Now I'm not a lawyer, but I'm pretty sure this means Harlequin contracts state they'll pay authors 50% for foreign and ebook royalties. This 50% is based on the amount they receive. But then they took those rights and sub-licensed them to another company for 6%, which means the author got 3% of the wholesale price, not 50%.
Confused? Here's an example.
Harlequin has an ebook it lists for $3.99. It sells that to Amazon at a wholesale price of $2.00. The author should make $1.00 for each $3.99 ebook that Amazon sells.
But instead of selling direct to Amazon, Harlequin sells the ebook to Company X for 12 cents. So the author only gets 6 cents. Company X than sells the same ebook to Amazon for $2.00, but because they are a sub-licensing company, they don't have to pay the author anything.
Sub-licensing is common. My publisher, Headline in the UK, sold book club rights to my novel AFRAID. The book club paid Headline a flat fee, and HEADLINE gave me 50% of that fee, according to my contract. The book club wasn't required to pay me royalties on each book club edition is sold. Just like Company X isn't required to pay authors anything.
This is all fine and legal. So why are authors suing Harlequin?
Because Harlequin and Company X are the same company.
In other words, it is sub-licensing the rights it holds to itself. Then it only has to pay the author 3% instead of 50%.
That's seems pretty shitty. It also doesn't seem like something a judge or jury will casually dismiss, even if Harlequin made sure it kept the two companies separate through an umbrella company.
No publishing company would ever sub-license rights for a paltry 6%, unless it was selling the rights to itself. Does Harlequin really expect a judge to believe that it sells a $3.99 ebook and only makes 6 cents? And according to the complaint, the 6% was not equivalent to the amount reasonably obtainable from an unrelated party, as required by the publishing agreements.
Ya think?
Hey, Harlequin! You poor dears are getting ripped off by sub-licensing e-rights for only 6%! How about I give you 9% for all of your e-rights sub-licenses? I'm a nice guy willing to help out, and you'll make more money!
What? You won't do it? Why not? I'm giving you a waaaaay better deal!
Do publishers have such a sense of entitlement, and do they believe that authors are so beneath them, that this is a fair and honest business practice?
Hopefully, not only will Harlequin have to pay its authors what it owes, but the judge will slap huge damages on the bastards.
Here's how Harlequin responded to the suit:
The publisher wishes to make clear that this is the first it has heard of the proceedings and that a complaint has not yet been served.
"Our authors have been recompensed fairly and properly for their work, and we will be defending ourselves vigorously," said Donna Hayes, Publisher and Chief Executive Officer of Harlequin.
Now that's not much for me to fisk. But it still reeks of bullshit.
this is the first it has heard of the proceedings
Huh? Again, I'm no lawyer, but I'm pretty sure that before a class action suit is filed, the plaintiffs and their lawyers approach the defendant and request to settle. That's Law School 101.
Our authors have been recompensed fairly and properly for their work
I'm not sure what Donna's definition of "fair" is, but I'll guess a jury won't think it is fair that a writer earns 6 cents on a $3.99 Harlequin ebook sale when that same ebook would earn a non-Harlequin author 70 cents on a 3.99 ebook.
In other words, Harlequin authors make only 9% of what the other authors make.
I suggest Donna Hayes back up her statement and stand by her words. Immediately, and retroactively, going back to when she was originally hired by Harlequin, she should take a 91% salary cut. Who cares what other publishing CEOs make annually? If Harlequin is fair in paying its authors 91% less than the rest of the industry, it should pay its executives accordingly.
If you'd like more info about the case, visit http://www.harlequinlawsuit.com.
Friday, July 20, 2012
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Hot on the heels of another successful Bike To Work Day, I am going to get in motion the Los Alamos County Cyclists Coalition. This group will plan future Bike To Work Days, and represent cyclists to county government and businesses. Think bike to work day, bike racks at the hospital and other businesses, more bike lanes, good access to trailheads, safe routes to school, stuff like that.
Please read the announcement for more details.


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Are you in need of some cool new décor for your barren apartment? For us more fiscally challenged individuals it seems like the easiest and cheapest thing to do is to tack up a poster of our favorite movie or painting. Boring! But don't let the 2D world get you down, because the clever Aussies at Makedo have created an ingenious new way to breathe some life into our drab living spaces. Their simple DIY connector system lets you get your creativity going while turning your old piles of junk and trash into some funky treasures!
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Story highlights
- HGTV magazine's Sara Peterson says accessorizing bookcases is quick and easy
- When styling a bookshelf, think holistically and be patient: It takes finesse
- Do you have a taste for sophisticated animal style? Contribute to the next Open House!
Once upon a time, bookshelves were just for books, a spot to proudly show off your full set of encyclopedias before the advent of Google.
These days, homeowners have a more open-minded approach to their shelving. The books are still there, but decorating enthusiasts are using them as elements of decor. HGTV magazine Editor-in-Chief Sara Peterson said that's because finding colorful and affordable home accessories is a lot easier than it used to be.
As a result, "restyling your bookshelves can be a fast makeover that can totally change the look and feel of a room," Peterson said.
In addition to being a collection of well-loved stories, a stack of books can serve as a base for decorative objects. "The key to styling out bookshelves is to have a wide variety of objects to play with," she said. All different sizes of books, vases, boxes and framed photos bring a bookcase to life.
Not only that, but the shelves themselves can be part of the arrangement. "We're also seeing people line the backs of the bookshelves with wallpaper or even painting the backs, which gives everything on the shelves more of a cohesive look," Peterson said.
The possibilities seem endless, and therein lies the problem, said e-designer Jana Bek.
Communicating via Facetime, phone and e-mail, Bek provides interior designs and blueprints for her clients around the world to implement on their own. When it comes to decorating shelves, the instructions she provides come with an encouragement to be patient.
"Styling bookshelves is always a tricky process," Bek said. "It looks easy but it takes finessing."
It's about balancing the size of the objects placed on the entire bookshelf, she said, paying attention to scale and shape. For example, Bek places larger decorative items on the top and bottom shelves while keeping items with intricate detail on eye level. And since books and picture frames are often rectangular, she breaks up all the angles with other shapes to keep things interesting.
Here's what Open House contributors learned about decorating their own bookcases:
-- "I learned that large bookcases eat up accessories. I had what I thought was more than enough to fill the shelves. It turned out I needed more!" -- Lori Evans, Gainesville, Florida.
-- "I love seeing bookcases packed full of books, pictures and collectibles in other people's homes. However, I prefer a cleaner, simpler style in my house. When there are tons of objects in a bookcase, it can overload the senses and not be relaxing." -- Tiffani Stutzman, Baton Rouge, Louisiana.
-- "For this bookshelf, I found it helpful to have a wide assortment of objects on the floor in front and then start placing objects (on the shelves). That way everything is easy to reach and move around." -- Sarah Dorsey, Pismo Beach, California.
-- "Antlers are natural and sculptural, and I like to showcase them as art. I found mine at a flea market. They are definitely a conversation starter when we have guests. They also look really cool at night when the library lights are on." -- Kristin Cadwallader, Rock Island, Illinois.
"I was pleasantly surprised by how finished the shelves looked when we added the glass doors. We'd originally planned to add molding to them to give them a built-in look, but we found we preferred the modern feel the glass doors gave them." -- Gretchen Holcombe, Roswell, Georgia.
-- "We have a lot of books, so we need to use our bookshelves for real storage, not just a place to put pretty things that need to be dusted. I found everything looks a little less busy if you loosely organize books by color and mix in some meaningful, pretty things." -- Kelly Marzka, Atlanta.
-- "The thing I learned when I set out to decorate these bookshelves was an important one: That with a little bit of effort you can transform something that may not be your style, or in this case, may even have lingering memories associated with it, and make it truly and uniquely your own." -- Andrea Trbovich, Hilliard, Ohio.
"I really try to consider how much I love something before I display it. Using the rule of thumb, 'if you make everything special, then really nothing is special' " -- Tracie Stoll, Prospect, Kentucky.
"I love playing with (the bookshelf). ... I will be making small changes to take it from Halloween to more of a Thanksgiving theme as November approaches." -- Sarah Macklem, Detroit.


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Even ultra-luxury automakers are working to build more efficient vehicles without sacrificing performance. Bentley is the largest producer of 12-cylinder engines in the world, but their Continental GT and GTC V8 models, just unveiled at the Detroit Auto Show, mark the company's achievement to produce a more efficient drivetrain that produces fewer emissions. The new 4-liter V8 is 40 percent more efficient than the 6-liter W12, which remains available. Yet the new motor produces 500 horsepower, enough to send the coupe and convertible to a top speed of nearly 190 mph.
The efficiency gain over the W12 is attributable not only to the smaller size of the twin-turbo V8, but to additional fuel-saving technologies including variable displacement and direct injection. Variable displacement, or cylinder deactivation, allows the motor to operate as a V4 when all of the engine's power isn't necessary. Bentley says the transition from eight cylinders to four is seamless thanks to an advanced engine management system. Direct injection helps economy, too. Like cylinder deactivation, this technology is becoming more common, benefitting cars from the compact class all the way up to premium vehicles like these Bentleys.
A new 8-speed automatic transmission helps efficiency, too, and delivers quick shifts, according to Bentley. With standard all-wheel drive, the GT V8 and GTC V8 are capable of sub-5-second acceleration from zero to 60 mph.
Differentiating the V8s from the 12-cylinder models are a gloss-black grille, red Bentley "B" logos, and a new lower front bumper with body-colored strakes. Optional 21-inch, six-spoke Diamond Black or Diamond Silver wheels are exclusive to the 8-cylinder models.
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Continental GT and GTC V8 pricing has not been announced for the US, but expect a starting price around $175,000 for the GT model and the GTC priced a bit higher. Combined EPA fuel economy estimates are 18 mpg for the coupe and 17 mpg for the convertible. While a lower price and better fuel economy may not put this exceptional machine in the hands of the many, it will certainly broaden the Continental's appeal.
What it means to you: V8-powered Bentley Continental GT coupe and GTC convertibles are on the way, offering a more affordable entry point and better economy, while still delivering blistering performance.


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Description: Coat of green and black wool boucle with gold Lurex trim. Long sleeves; 3/4 length. Side seam pockets. Rounded notched collar. Center front opening with 5 circular metal buttons and braided button loops. Unlined. Designer's label at center back neckline: "Todd Oldham"
Date: Autumn 1997
Creator: Oldham, Todd
Partner: UNT College of Visual Arts + Design


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Byfield on Semley, 'Mother Is Gold, Father Is Glass: Gender and Colonialism in a Yoruba Town'
Lorelle D. Semley. Mother Is Gold, Father Is Glass: Gender and Colonialism in a Yoruba Town. Bloomington: Indiana University Press, 2011. xvi + 235 pp. $70.00 (cloth), ISBN 978-0-253-35545-4; $24.95 (paper), ISBN 978-0-253-22253-4.
Reviewed by Judith A. Byfield (Cornell University) Published on H-Africa (December, 2012) Commissioned by Esperanza Brizuela-Garcia
Byfield on Semley
Relative to other regions of Africa, Yoruba historiography is substantial. Nonetheless important new studies continue to be produced by scholars on and beyond the continent. In the past decade a number of important texts on women and gender relations in Yoruba society have become available and Lorelle Semley's text, Mother Is Gold, Father Is Glass, is one of them. Semley argues that the Yoruba proverb which introduces the title of the book, "embodies the contradiction of gender relations in Yoruba history and culture," for it seems to "praise the value of women and challenges the image of patriarchal power in the household" (p. 3). She uses this proverb as an entrée into a nuanced analysis of the power and vulnerabilities of men and women in their gendered roles as mothers/wives, fathers/husbands during different historical periods. This text refines the discussion of gender and historicizes gender relations in Ketu as it was incorporated into global networks of trade and communication through the Atlantic slave trade, French colonialism, and transatlantic travel. Semley draws on actual and symbolic mothers and fathers to establish her argument and offers an important critique of studies that approach the relationship between gender and power ahistorically.
Semley interrogates motherhood's "naturalness" and tries to understand the historical processes that shape the cultural and symbolic meanings associated with motherhood. She notes that the status of "mother" is not just based on biology, it is also a title bestowed on older women who exercise tremendous power within their households and the larger community. Rather than focusing on motherhood as a function of childbirth, she demonstrates the historical and changing symbolic power of motherhood. Using the concept of "public motherhood," Semley examines the power of symbolic mothers within the palace structure of Ketu, their demise under colonialism, and their reemergence in the postcolonial period. She argues convincingly that scholars have failed to recognize the dynamic relationship between public mothers and other important women of the court such as wives and sisters, and that the position of public mothers was already in decline in part due to the transatlantic slave trade. In the subtle shifts of these relationships, women's public political authority was in flux prior to French takeover of the kingdom. Although the rhetoric of the postcolonial period speaks of the rebirth of the Ketu kingship, the power relations and authority embedded in these titles are substantially different from those of their precolonial predecessors. In dialogue with Edna Bay's The Wives of the Leopard: Gender, Politics, and Culture in the Kingdom of Dahomey (1998), Semley offers an example that brings the analysis of court women into the postcolonial period.
Mother is Gold, Father is Glass also contributes to the expanding historical literature on marriage. Like the study by Jean Allman and Victoria Tashjian, I Will Not Eat Stone: A Women's History of Colonial Asante (2000), the collections by Dorothy Hodgson and Sheryl McCurdy, "Wicked" Women and the Reconfiguration of Gender in Africa (2001), and Stephan Miescher and Lisa Lindsay, Men and Masculinities in Modern Africa (2003), Semley demonstrates the centrality of marriage to both the missionary and colonial projects of social transformation. The French interpreted Ketu marriage practices as being in disarray and in need of change and modification since Ketu women deviated from French expectations. Ketu women did not always remain in one marriage or live with their husbands. However, marriage reveals much more than colonial social engineering. Collectively these scholars demonstrate that marriage is a critical avenue through which we can analyze changing gender and generational relations over time and locate those changes within broader historical processes. In Ketu, it became clear that by the early twentieth century young people were challenging the authority of senior men and women by eloping, and refusing to marry the spouses selected for them. By the 1940s and 50s youthful challenges increasingly took the form of interfaith marriages.
This book is very important to Yoruba studies for Semley has written about a Yoruba community that is sorely understudied. Most scholars of Yoruba society have focused on those Yoruba communities in Nigeria; as a result Yoruba studies is largely wedded to the borders carved out by British and French imperial agents. Dr. Semley is one of a very small group of scholars writing on Yoruba communities outside of Nigeria. The comparative dimension of this work is important for it allows us to see how Yoruba communities under different colonial states maintain and nurture a Yoruba identity and how they engage this identity politically, culturally, and socially. Throughout the text she engages the scholarship on Nigerian Yoruba communities to highlight those aspects of Yoruba culture that remained common while their practice varied. Finally, Semley locates the evolution of Ketu's Yoruba identity in an Atlantic context, for Ketu is informed by developments in Nigeria as well as Brazil. Mother Is Gold, Father Is Glass joins the important works by J. Lorand Matory (Black Atlantic Religion: Tradition, Transnationalism and Matriarchy in the Afro-Brazilian Candomble, 2005), Kristin Mann (Slavery and the Birth of an African City: Lagos, 1760-1900, 2010), and Bay that demonstrate the contribution of the diaspora to the cultural and social history of West Africa. Integrating the diaspora allows Semley to employ a cross-cultural analysis of "mother" and "public mother" as she illustrates the ways in which the tension between women's power and vulnerability exist on both sides of the Atlantic.
The seven chapters, prologue, and epilogue are built on a diverse array of sources, including one hundred interviews, European travel accounts, reports of French colonial administrators, court cases, and the unpublished field notes of French photographer and scholar Pierre Verger. One strength of this study is its multiple layers of analysis--from the household to the international. This is also one of its challenges for there are times when the reader would benefit from greater attention to changing gender relations on the household level in Ketu. Nonetheless, Mother Is Gold, Father Is Glass is a wonderful contribution to the literature on gender, African women, French colonialism, and the African diaspora.
Printable Version: http://www.h-net.org/reviews/showpdf.php?id=36891
Citation: Judith A. Byfield. Review of Semley, Lorelle D., Mother Is Gold, Father Is Glass: Gender and Colonialism in a Yoruba Town. H-Africa, H-Net Reviews. December, 2012. URL: http://www.h-net.org/reviews/showrev.php?id=36891This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License.


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The Tsar Boris Godunov came to power by murdering the nine-year-old Dmitry, heir to the throne. Boris has ruled well, but famines, thought by some to be divine punishment, have led to rising support for his enemies. The young monk Grigory, realizing he was born the same day as the murdered Tsarevich, decides to pose as the risen Dmitry in a bid to seize the throne.
In neighbouring Poland, the PretenderÆs claim gathers support. Boris hears tales of the risen Tsarevich and, stricken with guilt, suffers hallucinations. He bids farewell to his son and dies, as the Pretender and his supporters march on Moscow.
Libretto by the composer based on the historical drama by Alexander Pushkin
Prologue and Scene IĀA courtyard of the Novodyevichy Monastery outside Moscow.Guards and police officers are goading the people to pray that Boris Godunov will accept the throne. The Duma clerk Shchelkalov comes out and informs the people that Boris refuses to accept it.The police officer announces the BoyarÆs order: "Be in the Kremlin tomorrow and await orders".ĀScene IIA square in the Moscow Kremlin.BorisÆ coronation in the Cathedral of the Assumption. Boris appears amid bell-ringing to the people. He is afraid of the burden of power.ĀScene IIIA cell in the Chudov Monastery.Monk Pimen is completing his chronicle of Russian history. The young novice, Grigory, is sleeping in the corner. He wakes from a bad dream; for the third time now he has seen himself ascend a steep staircase and look down over Moscow from a great height before falling.Grigory listens to the story of PimenÆs earlier life and asks about the death of Tsarevich Dmitry in Uglich. "He would have been the same age as you and have ruled", says Pimen. These words have a deep effect on Grigory, resulting in a brave and wild plan.ĀScene IVĀAn inn on the Lithuanian border.Having run away from the monastery, Grigory, accompanied by the two wandering monks Missail and Varlaam, intends to cross the border. Grigory learns from the hostess of the inn how to enter Lithuania, avoiding the border guards.Police officers arrive at the inn. They are looking for the fugitive who, they say, poses a danger to Muscovy. Only Grigory can read the warrant. He reads that the novice Grigory had run away from the Chudov monastery and the Tsar has ordered his capture. The warrant contains a description of him. To save himself, glancing at Varlaam, he gives a description of the latter. He is suddenly seized with fear. Varlaam slowly reads the imperial decree. Grigory is recognised. He flees.ĀScene VĀThe TsarÆs apartments in the Moscow Kremlin.Xenia, GodunovÆs daughter, is mourning the death of her husband. Fyodor, BorisÆ son, is also there. The Tsar enters. He tries to console his daughter and is interested in his sonÆs lessons. All is not well with him. Boris knows that the people hate him and that he will be unable to attain their affection by any means.BorisÆ reflections are interrupted by ShuiskyÆs entrance, his ancient enemy. It is with great schadenfreude that he informs Boris that a Pretender has appeared in Lithuania. The name of the Tsarevich Dmitry unsettles Boris.Boris orders Shuisky to fortify the Lithuanian border. He asks the Prince to confirm the TsarevichÆs death. Shuisky tells of the murder in detail. Surprised and terrified, Boris drives Shuisky out and he imagines he sees the ghost of the murdered child.ĀScene VIĀOutside St BasilÆs Cathedral, Moscow.A crowd of poor and hungry people is awaiting the end of the service. Inside the cathedral, Grigory is being denounced. The word is being passed that the PretenderÆs forces are approaching Moscow.Children outside the cathedral steal a kopeck from a Simpleton. He weeps. The Tsar and his entourage leave the cathedral. The people ask him for bread. The Tsar asks the Simpleton why he is crying. The latter replies that "some boys stole my kopeck, kill them like you had the young Tsarevich killed". Boris stops people from approaching and seizing the Simpleton, and asks him to pray for him. The Simpleton replies that "I cannot pray for Tsar Herod".ĀScene VIIĀThe Granovitaya Chamber in the Moscow Kremlin.A meeting of the Council of Boyars to debate what action to ought to be taken against the Pretender. The others are disturbed that Shuisky is not present. He arrives at last. His tale of BorisÆ sick visions is not believed. But Boris appears with the cry of "Be gone, be gone child! ". He addresses the Boyars. Shuisky interrupts him, suggesting he listen to an old man who wishes to divulge a secret. Pimen enters. He tells the Tsar that in Uglich there has been a miracle: a blind man recovered his sight at the grave of Tsarevich Dmitry. Boris cannot take this shock. Sensing that death is near, he calls his son:To the tolling of bells, the dying Boris indicated Fyodor with the words "There is your Tsar".Ā


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posted by niny_5
Last night was prom night at DWTS and since I'm only 16 I've never been to prom!
Val and I decided to do something special and dedicate the dance to my grandma who was recently diagnosed with cancer. We wanted to recreate some moments from her prom, and we chose the song "Que Sera Sera," which means "whatever will be will be."
The message has so much meaning behind it. Right now we're living in the moment and thinking positive. We are all here to support her. My grandma was really excited when I told her I was dedicating this dance to her. She was taken aback 由 it, but I think dedicating a dance is the least I can do for her. Knowing she was in the audience last night made me 更多 excited to go out there and perform, but it also added a lot of pressure. I wanted to make sure it was perfect.
But then again, it's my Grandma and she's here for me and loves me no matter what and that's a beautiful thing. I feel like she enjoyed herself and had a good time and that's all that matters.
My "Shake It Up" parents, Carla Renata and Phil Morris, were in the audience last night along with my costars and 老友记 Adam Irigoyen and Caroline Sunshine. It meant so much to me that they were all there. I have such a supportive group of people around me!
This week was a little 更多 difficult for me picking up the steps. We danced the Viennese Waltz and obviously it was a lot slower than last week's jive. There was definitely 更多 room for SPICE and PIZZAZ last week because the dance was a lot faster and looser! I find that faster dances come easier to me.
This week's dance was very detailed…slow and smooth. It was tough for me!
总体, 整体 I am proud of our performance and I am so happy I got to share this with my Grandma.
– Zendaya


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Software Requirements Specifications: The Right Way
Before you start getting into the how, let me talk about the why. Why do you need software requirements specifications (SRS)?
SRS are created to describe the functional and the non-functional requirements of what should be implemented in the system.The audience of software requirements specifications does not only consist of application developers, but of all the stakeholders—testers, project managers, users of the future system, and sponsors. SRS is a source of such deliverables as design specs, test cases, as well as budget and resource estimations. This is why it is so important that software requirements specifications are created in a way that is both complete and unambiguous. Once the SRS are published, any future changes to the document will create a ripple effect: The change created in the SRS will have to be reflected in all the documents that have been produced based on the SRS. This article will list eight guidelines that will help you create a well-written SRS that is both complete and unambiguous.
1. Use-Cases
Use-case is a term that comes from the object-oriented world. Use-case diagrams depict interactions between actors (users, systems, entities) and functions of a system. A use-case diagram helps you get a high-level view of the system. It is a great starting point before detailed specification requirements are created.
Take a look at the following use-case diagram that describes a use-case and actor interactions for an ATM machine.
The actors of the system are:
- User
- ATM Machine
- Bank
The functions (use-cases) of the system are:
- Login
- Get Balance Information
- Withdraw Cash
- Transfer Funds
- Deposit Cash
Notice that use-cases start with a verb.
Click here for a larger image.
The use-case diagram above reveals the following facts about this system:
- Identifies actors and functions of the system
- Identifies interactions between actors and features of the system
- Hints at the scope of the system
2. Use-Case Realization
Using use-case semantics for deriving functions of the system can greatly benefit you when composing the software requirements specifications (SRS). Use-cases are universally accepted in the software development community and they promote structure and completeness of the SRS.
Once a high-level use-case diagram is completed, a more detailed description of each use-case can start. The exercise of creating a more detailed use-case is also called a "Use-Case Realization." Each use-case contains a sequence of events (steps) that describe its execution flow. Furthermore, each use-case has a number of alternate paths, exceptions, pre-conditions, and post-conditions.
A common structure of a use-case realization consists of the following sections:
- Name: The name of the use-case
- Description: A brief explanation of what this use-case is achieving
- Actors: All participants of the use-case
- Pre-Conditions: All major events and states of the system that must be present before the use-case can be executed
- Post-Conditions: All major states that the system assumes after the use-case is executed
- Successful Path: All steps that fully describe successful execution of the use-case
- Paths: All steps that describe alternate execution of the use-case (If there are multiple alternate paths or alternate paths are lengthy, you might want to consider creating a separate use-case for it.)
- Exceptions: All errors that occur during execution of successful and alternate paths
- Rules: All business rules, computations, regulations, formulas, and constraints of the system
Try to create a simple use-case realization for a "Withdraw Cash" use-case:
- Name: Withdraw Cash
- Description: This use-case realizes cash withdrawal use case. First, the client requests cash. If there is enough cash in the client's account, the ATM disperses the specified amount and notifies the client of the new account balance and dispersed amount
- Actors: Client, ATM, Bank, System
- Pre-Conditions: Client is logged in
- Post-Conditions:
- Cash is dispersed
- Client's account balance is updated
- Client is notified of the transaction
- Successful Path:
- The client requests cash withdrawal
- The system establishes a connection with the Bank
- The system retrieves client's available account types
- The system displays available account types
- The client chooses a desired account type
- The client enters the amount to withdraw
- The system retrieves the selected account balance from the Bank
- The system validates available funds against account balance (see computation a in the Rules section below)
- The system prompts for confirmation
- The client confirms withdrawal amount
- The system computes new balance (see computation b in the Rules section below)
- The system disconnects from the Bank
- The system disperses specified amount
- The system prompts that cash is dispersed
- The system notifies the client of his transaction
- Alternate Paths: Start from step h in the successful path. The selected account type does not have sufficient funds:
- The system prompts the client that the withdrawal amount exceeds the account balance
- The system displays available account types
- Exceptions:
- No available account types: The system prompts that "No available account types exit"
- Requested amount exceeds account balance: The system prompts that "The requested amount exceeds account balance"
- Rules:
- Available funds computation: Withdrawal amount must be less than or equal to account balance
- New balance computation: Deduct withdrawal amount from account balance
Look at another use-case realization for the "Login" functionality:
- Name: Login
- Description: This use-case realizes the login function of the system. The client inserts a bank card into the ATM card slot and enters his password. If the password is correct, the system logs the client in.
- Actors: Client, ATM, Bank, System, Bank Card
- Pre-Conditions: None
- Post-Conditions: Client is logged in
- Successful Path:
- The client inserts his bank card into the ATM card slot
- The system validates the credit card
- The system prompts for the client's password
- The client enters the password
- The client confirms password entry
- The system validates the password
- The system logs the client into the system
- Alternate Paths: Start from Step 5 in the successful path
- The system validates the password and the password is incorrect
- The system increments invalid login count by 1
- The system notifies the client that the password is incorrect
- The system prompts for password
- Exceptions:
- Bank card is disabled
- Account is locked
- Bank card is reported stolen
- Password is incorrect
- Rules: Client account gets locked out after three unsuccessful login attempts.
In the above example, you have listed steps that actors perform to realize a use-case. Now, you can use these use-case realizations to start deriving more precise functional requirements.
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"The Stars of the White Nights 2018"
The Stars of the White Nights Festival has gained in strength, popularity and international acclaim. The duration for the Festival it has expanded from ten days to three months during the last sixteen year. Renowned conductors and star-artists take as great honour the invitation to perform at the Stars of the White Nights. Each year the Festival programme includes the Theater's finest opera and ballet productions, great symphonic works, masterpieces of chamber music and new premieres. During the last years the Festival programme has included the works created by the great classical composers ¢ Beethoven symphonies, Prokofiev's and Tchaikovsky's operas, ballets and symphony music. Major events at the Stars have included the production of Wagner's Der Ring des Nibelungen, in addition to the Shostakovich and Mahler Symphonies series.This festival is a must for ballet, opera and classical music amateurs. The annual Stars of the White Nights Festival takes an inspiration for its name from the short summer season when the sun never sets, and the beauty of St-Petersburg White Nights contributes to the festival's special atmosphere and its world-class programme of concerts, as audience comes out of the historic theatre at midnight into daylight to stroll along the streets of the theatrical setting of St Petersburg.
WHITE NIGHTS 2018: Mariinsky Opera and Ballet theatre | Mariinsky hall plan | Mariinsky Slide Show | Mariinsky 3D View | About Valery Gergiev ARCHIVE:Ā 2017Ā|Ā2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006 | 2005 | 2004 | 2003 | 2002 | 2001 | History (before 2001)
The Stars of the White Nights 2018
23 May - 29 July 2018
Mariinsky Theatre,ĀNew TheatreĀandĀConcert HallĀArtistic Director:ĀMaestro Valery Gergiev
ĢĀOver 200 performances and concerts;Ģ Premieres of Giuseppe VerdiÆsĀFalstaffĀstaged by Andrea De Rosa and Nikolai Rimsky-KorsakovÆsĀTheĀTsarÆs BrideĀstaged by Alexander Kuzin;ĀĢ St Petersburg premiere of Rodion ShchedrinÆsĀBalalaechka-Minorochka;ĀĢ Marking 200 years since theĀbirth of Marius Petipa;ĀĢ A marathon of TchaikovskyÆs symphonies inĀtheĀrun-up to theĀXVI International Tchaikovsky Competition;ĀĢ Creative Workshop of Young Choreographers;ĀĢ Parade of opera and ballet stars: Aida Garifullina, Maria Guleghina, Anna Netrebko, Tatiana Serjan, Elena Stikhina, Mlada Khudoley, Irina Churilova, Albina Shagimuratova, Olga Borodina, Yulia Matochkina, Ekaterina Semenchuk, Yekaterina Sergeyeva, Migran Agadzhanyan, Hovhannes Ayvazyan, Mikhail Vekua, Vladimir Galouzine, Najmiddin Mavlyanov, Sergei Skorokhodov, Sergei Semishkur, Gevorg Akopyan, Roman Burdenko, Plácido Domingo, Alexei Markov, Vladislav Sulimsky, Matthias Goerne, Yevgeny Nikitin, Mikhail Petrenko, Stanislav Trofimov, Ferruccio Furlanetto, Ekaterina Kondaurova, Daria Pavlenko, Oksana Skorik, Alina Somova, Viktoria Tereshkina, Timur Askerov, Yevgeny Ivanchenko, Kimin Kim, Igor Kolb, Danila Korsuntsev, Xander Parish, Vladimir Shklyarov, David Hallberg and many others;ĀĢĀRenowned instrumentalists: pianist Sergei Babayan, Guillaume Bellom, Christian Blackshaw, Rudolf Buchbinder, Alexei Volodin, Lucas Debargue, Peter Laul, George Li, Dmitry Masleev, Denis Matsuev, Sergei Redkin, Alexander Slobodianik-jr, Daniil Trifonov, Nobuyuki Tsujii; violinists Kristóf Baráti, Renaud Capuçon, Daniel Lozakovitj, Fumiaki Miura, Lorenz Nasturica-Herschcowici; violist Wilfried Strehle; cellists Narek Hakhnazaryan, István Várdai, Alexander Ramm, Jonathan Roseman; organist Thomas Ospitale and many others;ĀĢ First tour of theĀPrimorsky Stage of theĀMariinsky Theatre Opera (Igor StravinskyÆsĀMavraĀstaged by Vyacheslav Starodubtsev) and Ballet.
On 23ĀMay, theĀXXVI Stars of theĀWhite Nights festival opens with theĀpremiere of Giuseppe VerdiÆsĀFalstaffĀstaged by Italian director Andrea De Rosa, who is also theĀmastermind behind another production of VerdiÆs,ĀSimon Boccanegra, which is aĀfavorite with theĀSt Petersburg audiences. Featured soloists: Roman Burdenko, Vladislav Sulimsky, Tatiana Serjan, and theĀwonderful group of theĀMariinsky TheatreÆs young opera singers. TheĀperformance will be conducted by Valery Gergiev. TheĀperformances are scheduled for 27ĀMay (twice), 12ĀJune and 15ĀJuly.ĀTheĀpremiere is part of theĀmajor cultural projectĀRussian Seasons, with Italy as its chair for 2018.
On 25ĀMay, theĀConcert Hall hosts theĀperformance of theĀfamed Chorus Teatro Regio Torino, one of theĀleading opera theatres inĀtheĀworld. Together with theĀMariinsky Orchestra under theĀbaton of Alessandro Cadario, theĀensemble will perform excerpts from Giuseppe VerdiÆsĀLa forza del destino, Otello, Nabucco, andĀQuattro pezzi sacri. Italian music will also be featured at theĀfestival inĀsuch operas asĀToscaĀ(starring Elena Stikhina, Hovhannes Ayvazyan, and Gevorg Akopyan; 26ĀMay),ĀRigolettoĀ(starring Olga Pudova, Sergei Skorokhodov, and Vladislav Sulimsky; 28ĀMay),ĀOtelloĀ(starringĀVladimir Galouzine, Irina Churilova, and Vladislav Sulimsky; 31ĀMay),ĀLucia di LammermoorĀ(starring Albina Shagimuratova inĀtheĀtitle role; concert performance; 4ĀJune),ĀLa bohèmeĀunder theĀbaton of Venezuelan conductor Domingo Hindoyan (10ĀJune),ĀSimon BoccanegraĀ(starring Ferruccio Furlanetto, Roman Burdenko, Migran Agadzhanyan, and Irina Churilova inĀlead roles; 14ĀJune),ĀMacbethĀ(starring Anna Netrebko, Vladislav Sulimsky, Yusif Eyvazov, and Mikhail Petrenko; 15ĀJune),ĀUn ballo inĀmascheraĀ(starring Maria Guleghina, Olga Pudova, Najmiddin Mavlyanov, and Alexei Markov; 16ĀJune),ĀIl trovatoreĀ(starring Ekaterina Semenchuk, Irina Churilova, and Hovhannes Ayvazyan; 23ĀJune),ĀTurandotĀ(starring Mlada Khudoley inĀtheĀtitle role; 28ĀJune). TheĀplaybill forĀJuly will be graced with theĀlikes of Plácido Domingo inĀLa traviataĀunder theĀbaton of Valery Gergiev (6ĀJuly); Elena Stikhina and Hovhannes Ayvazyan inĀLa forza del destinoĀ(3ĀJuly); Tatiana Serjan, Yulia Matochkina, Migran Agadzhanyan, and Alexei Markov inĀAdriana LecouvreurĀ(4ĀJuly); Irina Churilova, Ekaterina Semenchuk, Migran Agadzhanyan, and Mikhail Petrenko inĀDon CarloĀ(8ĀJuly); Tatiana Serjan, Ildar Abdrazakov, and Roman Burdenko inĀAttilaĀ(9ĀJuly) and aĀconcert performance ofĀNormaĀwith Tatiana Serjan and Sergei Skorokhodov under theĀbaton of Oleg Caetani (12ĀJuly).
Claude DebussyÆs works will also be featured extensively to mark 100 years since theĀdeath of theĀgreat French composer. On 24ĀMay, theĀConcert Hall hosts theĀperformance of Claude DebussyÆs Violin Sonata,ĀDanse sacrée et danse profane, andĀfragments symphoniquesĀfromĀLe Martyre de saint Sébastien, César FranckÆs Violin Sonata, and Maurice RavelÆsĀTziganefeaturing Renaud Capuçon (violin), Guillaume Bellom (piano), and Sofia Kiprskaya (harp) and theĀMariinsky Orchestra under theĀbaton of Valery Gergiev.ĀClaude DebussyÆs three symphonic sketchesĀLa merĀand fragments fromĀLe Martyre de saint SébastienĀare included into theĀprogramme of theĀ6ĀJune concert of theĀMariinsky OrchestraĀconducted byĀValery Gergiev. InĀtheĀsecond part of theĀconcert pianist Lucas Debargue will perform Frédéric ChopinÆs Piano Concerto No. 1. Claude DebussyÆs works will also be performed under theĀbaton of Gianandrea Noseda, one of theĀmost notable conductors of our time, on 29ĀJune.
InĀtheĀrun-up to theĀfestival, on 22ĀMay Yuri Bashmet and theĀMariinsky Orchestra under theĀbaton of Valery Gergiev will perform theĀmusic of Alfred Schnittke and Giya Kancheli at theĀConcert Hall. TheĀSt Petersburg public will be spoiled by one more musical gift: theĀperformance of theĀfamed Sächsische Staatskapelle Dresden under theĀbaton of theĀrenowned conductor Christian Thielemann. TheĀprogramme includes theĀworks of Carl Maria von Weber and Johannes Brahms. Denis Matsuev is theĀfeatured soloist for theĀFranz LisztÆs virtuoso Piano Concerto No. 2 (25ĀMay). As part of theĀcross-cultural Russian-Japanese year, on 24ĀMay theĀConcert hall hosts theĀperformance of theĀfamous AUN J Classic Orchestra, which uses theĀtraditional Japanese instruments. TheĀfirst week of theĀfestival includes concerts of theĀMariinsky Stradivarius Ensemble under theĀbaton of Lorenz Nasturica-Herschcowici (27ĀMay) and aĀnight of organ music performed by Thomas Ospitale (31ĀMay).
TheĀballet playbill includes various events to mark 200 years since theĀbirth of Marius Petipa. At theĀhistoric stage of theĀMariinsky Theatre, theĀfestival opens with aĀseries of performances of Alexander GlazunovÆsĀRaymondaĀwith choreography by Marius Petipa (revised by Konstantin Sergeyev; 24ĀMay, 26ĀMay and 28 May). TheĀlead roles will be performed by Viktoria Tereshkina and Xander Parish, Alina Somova and Vladimir Shklyarov, Anastasia Kolegova and Andrei Yermakov. TheĀ26ĀMay and 28ĀMay performances will be conducted by Valery Gergiev. A colourful gala concert will be organised to mark 200 years since theĀbirth of theĀgreat ballet master. TheĀprogramme includes choreographic routines and excerpts fromĀSwan Lake, Raymonda, Don Quixote, Paquita, andĀTheĀSleeping BeautyĀperformed by Ekaterina Kondaurova, Oksana Skorik, Alina Somova, Viktoria Tereshkina, Olesya Novikova, Renata Shakirova, Timur Askerov, Xander Parish, Vladimir Shklyarov, Andrei Yermakov, and Philipp Stepin (25ĀMay). TheĀJune playbill of theĀhistoric stage will be graced by theĀMariinsky Theatre ballet master and repetiteur Sergei VikharevÆs reconstruction of Marius PetipaÆsĀTheĀSleeping Beauty(1ĀJune, 2ĀJune, and 3ĀJune) with Alina Somova, Timur Askerov and Nadezhda Batoyeva, Philipp Stepin inĀtheĀlead roles;ĀLa BayadèreĀ(5ĀJune, 6ĀJune, and 7ĀJune) with Ekaterina Kondaurova, Viktoria Tereshkina, Anastasia Matvienko, Kimin Kim, Vladimir Shklyarov, Andrei Yermakov;ĀDon QuixoteĀwith Elena Yevseyeva,ĀVladimir ShklyarovĀandĀViktoria TereshkinaĀandĀKimin KimĀ(20ĀJune and 21ĀJune);ĀPaquitaĀwithĀViktoria Tereshkina,ĀEkaterina Kondaurova, Oksana Skorik, Timur Askerov, Xander Parish, andĀAndrei YermakovĀ(23ĀJune, 24ĀJune, 25ĀJune). As tradition goes, theĀhistoric stage of theĀMariinsky Theatre hosts theĀgraduation performance of theĀVaganova Academy of Russian Ballet (12ĀJune, 14ĀJune, and 16ĀJune). This yearÆs programme is dedicated toĀMarius Petipa.ĀVladimir Shklyarov will celebrate 15 years on stage at theĀMariinsky Theatre. He is aĀprincipal dancer of theĀMariinsky Ballet and aĀguest principal with theĀBayerische Staatsballett. He will perform theĀtitle role inĀSergei ProkofievÆsĀRomeo andĀJulietĀchoreographed by Leonid Lavrovsky (13ĀJune) to mark theĀimportant date.
InĀJune, theĀConcert Hall will see several gala concerts of Richard WagnerÆs works performed under theĀbaton of Valery Gergiev. TheĀconcerts include excerpts fromĀTristan und IsoldeĀwith Heidi Melton, Mikhail Vekua, and Mikhail Petrenko (7ĀJune) and excerpts fromĀSiegfriedĀandĀGötterdämmerungĀof theĀDer Ring des NibelungenĀcycle (19ĀJune). TheĀGerman theme will be further explored by theĀfamous German bass-baritone Matthias Goerne and Daniil Trifonov, 2018 Grammy award winner, who will appear together inĀchamber concert (11ĀJune). Trifonov is also scheduled to perform with theĀMariinsky Orchestra under theĀbaton of Valery Gergiev at theĀfestival (12ĀJune). On 23ĀJune, Johannes BrahmsÆĀEin deutsches RequiemĀwill be performed by theĀSpanish Orfeón Pamplonés Chorus, theĀsoloists of theĀMariinsky Opera and theĀMariinsky Orchestra, and theĀfellows of theĀAtkins Program. Conductor:ĀJustus Frantz.
Russian music will be extensively featured at theĀfestival. 2ĀJune will see aĀperformance of theĀPrimorsky Stage of theĀMariinsky Theatre production, Igor StravinskyÆsĀMavraĀstaged by Vyacheslav Starodubtsev. (TheĀPrimorsky Stage of theĀMariinsky Theatre ballet company will bring their productions to St Petersburg from 31ĀJuly to 12 August. After theĀfestival, theĀhistoric stage of theĀMariinsky Theatre will host theĀperformances ofĀLe Corsaire, Giselle, andĀTheĀSleeping BeautyĀto mark 200 years since theĀbirth of Marius Petipa). TheĀConcert Hall will premiere Rodion ShchedrinÆsĀBalalaechka-MinorochkaĀinĀSt Petersburg on 19ĀJune. Other pieces to be performed includeĀTanya¢KatyaĀand theĀdouble concerto for cello and pianoĀRomantic Offering. Featured soloists: Pelageya Kurennaya (soprano), Yekaterina Sergeyeva (mezzo-soprano), Sergei Redkin (piano), Alexander Ramm (cello). Conductor: Valery Gergiev. Rodion ShchedrinÆs other works are also featured on theĀfestivalÆs playbill, including theĀoperasĀTheĀLeft-HanderĀ(staged by Alexei Stepanyuk, 2ĀJune),ĀNot Love AloneĀ(staged by Alexander Kuzin, 9ĀJune), andĀBoyarina MorozovaĀ(concert performance, 10ĀJune); theĀballetsĀAnna KareninaĀ(8ĀJune, 9ĀJune, 27ĀJuly, 28ĀJuly) andĀTheĀLittle Humpbacked HorseĀ(25ĀJuly, 29ĀJuly) choreographed by Alexei Ratmansky. TheĀhighlight of theĀRussian programme is theĀpremiere of Nikolai Rimsky-KorsakovÆsĀTheĀTsarÆs BrideĀon 21ĀJune under theĀbaton of Valery Gergiev at theĀMariinsky II. TheĀproduction is staged by Alexander Kuzin (Director), Alexander Orlov (Set Designer), and Irina Cherednikova (Costume Designer). TheĀcast includes Yulia Matochkina, Yekaterina Sergeyeva, Irina Shishkova, Violetta Lukyanenko, Anna Denisova, Pelageya Kurennaya, Yekaterina Goncharova, Sergei Semishkur, Sergei Skorokhodov, Yevgeny Akhmedov, Alexander Mikhailov, Kirill Zharovin, Alexei Markov, Mikhail Kit, Mikhail Kolelishvili, Mikhail Petrenko, Andrei Serov, Oleg Sychev, Stanislav Trofimov, and Vladimir Feliauer. TheĀpremiere performances will also take place on 24ĀJune, 20ĀJuly, and 21ĀJuly. TheĀplaybill also includesĀTheĀGamblerĀwith Vladimir Galouzine (3ĀJune),ĀMazepaĀwith Vladislav Sulimsky (4ĀJune),ĀTheĀSnow MaidenĀwith Aida Garifullina (25ĀJune),ĀKhovanshchinaĀwith Olga Borodina and Mikhail Petrenko (26ĀJune),ĀTheĀQueen of SpadesĀwithĀTatiana PavlovskayaĀand Mikhail Vekua (27ĀJune),ĀTheĀMaid of PskovĀwith Yekaterina Goncharova and Sergei Semishkur (11ĀJuly), Prince Igor starring Roman Burdenko, Yekaterina Sergeyeva, and Tatiana Pavlovskaya (14ĀJuly).
TheĀhighlights of theĀJune concerts include theĀperformance of theĀRusso-German Music Academy Orchestra, which includes theĀbest young Russian and German musicians, prize-winners of major international competitions, theĀsoloists of theĀMariinsky Orchestra and interns of German symphony orchestras. TheĀprogramme includes theĀmusic of Franz Schubert, Sergei Rachmaninoff, and Bernd Alois Zimmermann. Conductor: Valery Gergiev. Featured soloist: Denis Matsuev (3ĀJune). After performing inĀSt Petersburg, theĀensemble will go on tour to Berlin. That same day, Lucas Debargue & Friends concert will take place. An ensemble of young musicians (Lucas Debargue, Eva Zavaro, Adrien Boisseau, Jérôme Pernoo) will perform Gabriel Fauré's Piano Quartets and Lucas DebargueÆs own music. TheĀChamber Music Society of Lincoln Center, which is famous for its masterful performances and inspiring programmes, will return to theĀfestival (17ĀJune, 18ĀJune). TheĀ17ĀJune concert featuring Arnaud Sussmann (violin) and Paul Neubauer (viola) will be conducted byĀValery Gergiev. TheĀplaybill also features theĀduet of Peter Laul (piano) and Olga Volkova (violin) (17ĀJune), solo performances of George Li (16ĀJune), Kristóf Baráti (20ĀJune), Nobuyuki Tsujii (24ĀJune), Narek Hakhnazaryan (25ĀJune), and Olga BorodinaÆs recital (30ĀJune). TheĀmusicians to perform with theĀMariinsky Orchestra under theĀbaton ofĀValery GergievĀinclude pianist George Li (for aĀmonographic performance fully dedicated to Felix Mendelssohn; 18ĀJune), Nobuyuki Tsujii (solo for Ludwig van BeethovenÆs Piano Concerto No. 5; 20ĀJune) and Alexander Slobodianik-jr (Sergei RachmaninoffÆsĀRhapsody on aĀTheme of Paganini; 26ĀJune); violinists Fumiaki Miura (solo for Felix MendelssohnÆs Violin Concerto; 22ĀJune) and Daniel Lozakovitj (Pyotr TchaikovskyÆs Violin Concerto; 24ĀJune). Cellist Narek Hakhnazaryan will perform Pyotr TchaikovskyÆs works during aĀmonographic concert dedicated to theĀcomposer (26ĀJune). On 27ĀJune, theĀrenowned Viennese pianist Rudolf Buchbinder will appear inĀconcerto wearing two hats at one, that of aĀsoloist and that of aĀconductor. TheĀprogramme features Ludwig van BeethovenÆs piano concertos. InĀtheĀrun-up to theĀXVI International Tchaikovsky Competion set to take place inĀ2018 inĀMoscow and St Petersburg, theĀfestivalÆs programme has been enriched by aĀmarathon of Pyotr TchaikovskyÆs symphonies performances under theĀbaton ofĀValery Gergiev. TheĀSymphony No. 5 performance will be conducted by Gianandrea Noseda (29ĀJune). TheĀfestival includes one more cycle, that of Johann Sebastian BachÆsĀBrandenburg Concertos. Concertos No. 1, No. 3, and No. 5 will be performed by theĀmusicians of theĀChamber Music Society of Lincoln Center, Lorenz Nasturica-Herschcowici and Wilfried Strehle (15ĀJune). TheĀsecond part of theĀconcertos (No. 2, No. 4, and No. 6) will be performed on 12ĀJuly.
TheĀoperettaĀCandideĀconcert performance will take place on 17ĀJune to mark 100 years since theĀbirth of Leonard Bernstein. TheĀperformance will be conducted by Leon Botstein, Music Director of theĀAmerican Symphony Orchestra. One of theĀpieces of theĀCreative Workshop of Young Choreographers is also dedicated to Leonard Bernstein (11ĀJuly).
TheĀfirst half ofĀJune will see theĀperformance of world opera stars and famed instrumentalists. Plácido Domingo is scheduled to give two performances at theĀfestival. On 6ĀJuly he will appear as Giorgio Germont inĀLa traviataĀconducted by Valery Gergiev, while on 7ĀJuly he will put on theĀconductorÆs hat himself. Mlada Khudoley, Ekaterina Semenchuk, Mikhail Vekua, and Mikhail Petrenko will perform theĀexcerpts from Richard WagnerÆs operas. Famous opera singerĀJulia Lezhneva will present theĀmonographic programme Mozart Gala at theĀConcert Hall on 2ĀJuly. Conductor: Mikhail Antonenko. Recitals will also be performed by Alexei Volodin (1ĀJuly), Christian Blackshaw (8ĀJuly), Sergei Babayan (11ĀJuly), Dmitry Masleev (14ĀJuly). Sergei Babayan will also perform Wolfgang Amadeus MozartÆs Piano Concertos No. 4 and No. 27 together with theĀMariinsky Orchestra under theĀbaton of Valery Gergiev (9ĀJuly). Chamber music performances include theĀrecital of cellist István Várdai (6ĀJuly). InĀtheĀsecond half ofĀJuly, theĀMariinsky Orchestra will be conducted by Mischa Damev (17ĀJuly) and Gustavo Gimeno (22ĀJuly). Cellist Jonathan Roseman, prize-winner of theĀXV International Tchaikovsky Competition, will appear inĀrecital (18ĀJuly).
TheĀJuly performances ofĀSwan LakeĀ(6ĀJuly, 7ĀJuly, and 8ĀJuly) starring Ekaterina Kondaurova and Timur Askerov, Anastasia Matvienko and Yevgeny Ivanchenko, Nadezhda Batoeva and Kimin Kim inĀtheĀlead roles; Giselle with Yekaterina Osmolkina, Vladimir Shklyarov, and Alina Somova, as well asĀLe Corsaire, theĀpremiere of theĀDavid HallbergÆs American Ballet Theater (10ĀJuly and 12ĀJuly) starring Viktoria Tereshkina,ĀKimin Kim, Andrei Yermakov, Elena Yevseyeva, Maria Shirinkina, Xander Parish, and Victor Caixeta (13ĀJuly and 14ĀJuly) will mark 200 year since theĀbirth of Marius Petipa.
On 11ĀJuly, theĀMariinsky II will host theĀCreative Workshop of Young Choreographers for theĀsixth time. It is aĀproject which allow beginners to work with theĀMariinsky Ballet artists and to show their works to aĀwider public. One-act ballets of theĀ20th century mastersĀ¢ George BalanchineÆsĀApolloĀandĀSymphony inĀCĀand Jerome RobbinsÆĀInĀtheĀNightĀ¢ will be performed by theĀleading Mariinsky Ballet soloists (20ĀJuly and 21ĀJuly). David Hallberg will appear as Apollo onĀ20ĀJuly.
TheĀXXVI Stars of theĀWhite Nights festival will conclude on 29ĀJuly. TheĀMariinsky II will host theĀperformance ofĀTheĀLittle Humpbacked Horse, theĀConcert Hall will host theĀperformance ofĀDie Zauberflöte, theĀhistoric stage will host theĀperformance ofĀAidaĀstarring Irina Churilova, Yulia Matochkina, Oleg Videman, and Roman Burdenko.


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Stephen Harper blasts Vladimir Putin's 'lack of respect' for Ukraine
THE HAGUE, The Netherlands — "Is it a crime to be a Ukrainian?" Prime Minister Stephen Harper demanded to know Tuesday as he loudly denounced Russian President Vladimir Putin for barring Paul Grod of the Ukrainian Canadian Congress from entering Russia.
"Putin has decided to censure the leader of the Ukrainian community in Canada. What did he do?" the prime minister asked. "That indicates the mentality of Putin's government; their lack of respect, not only for Ukraine as a country, but also of Ukrainians as members of a real nation.
"This is fundamental. It demonstrates why Ukrainians are so resistant to the relationship between Russia and their country."
Grod was the only non-parliamentarian or senior government adviser on a list of 13 Canadians that Russia barred from visiting on Monday after Canada declared about as many Russian officials and close associates of Putin "persona non grata" because Russia had annexed the Crimean peninsula from Ukraine last week.
Harper made the remarks at the end of a two-day Nuclear Security Summit and an emergency meeting of the Group of Seven industrialized nations at which it was decided to indefinitely suspend Russia from the Group of Eight over the sudden seizure of the Crimea.
With such summits largely taking place out of public view, divining how influential or persuasive any leader is with his colleagues can be a mug's game. But it is clear that several weeks of fiery rhetoric from Harper, during which he often personalized the crisis by condemning Putin by name, has made him a leader on the Crimean file and contributed to a stronger than expected response from the G7.
Harper's Cold War style in Holland contrasted sharply with Obama's. In a rambling, wishy-washy answer to a question on Ukraine, the president ignored the realities created by Russia's intervention in Crimea, saying there was enough space for Ukraine to be a friend with both the West and Russia.
The prime minister's week in Europe, which ends with Germany on Wednesday and Thursday, began Saturday with a brief, symbolic tour of Kyiv. It was the first visit to Ukraine by a western leader since Viktor Yanukovych's regime got overthrown in a bloody street coup last month and Russia responded to the departure of its ally by swallowing the Crimean peninsula.
With only six hours on the ground in the Ukrainian capital there was hardly any time for Harper to learn about the tumult that has seized that country for the past few months. But it was enough to give Harper some "street cred" with his G7 colleagues when they sat down to consider how to try to slow Putin and his army down.
As well as agreeing Tuesday to boycott a G8 summit that Russia had been scheduled to host this June, the G7 decided that if Putin sends troops to invade the Ukrainian mainland much tougher targeted sanctions against entire sectors of the Russian economy such as the energy industry would follow.
It was "conceivable" that sanctions against Russia's energy sector might eventually create some benefit for Canada's energy industry, but even without the Crimean crisis, his government's policy had been to promote energy exports, Harper said.
"At this point we are assessing less the opportunity than the pain" to western economies "of trying to bring some pressure to bear on Putin," he said. 'We all believe that this is going to cost all of us, including Canada, some pain."
Because of this, "we'll analyze very carefully where our vulnerabilities are," he said. "Europe is a major customer of Russian energy. There is energy vulnerability for much of Europe. But this is also a vulnerability for Russia because it is their principal export and driver of their economy."
Although Canada was an ocean and half a continent away from Ukraine, Harper flatly rejected Russia's arguments that it had no right to have an opinion on Ukraine's affairs while Russia asserted such a right because it was "right beside them."
Underlining that it was not only Canada that was furious with what Russia had done in Crimea, the prime minister said: "We've already seen what happened to the Putin government when a vote went to the (United Nations) Security Council. They couldn't get a single other country, who are far from all being western NATO allies, to support their decision."
One area where Russia was still respecting its international obligations was in the Arctic, Harper said.
"Although they have done some grandstanding and sabre-rattling with dropping flags (at the North Pole) and we do worry about the way they test our airspace, the fact of the matter is until this point they have been working with the international community on the Continental Shelf" territorial claims, Harper said. "They have been adhering to that and playing by the rules."
But in another shot at Moscow, he added: "When you talk about Ukraine, they have obviously not been playing by the rules. We don't know what their intentions are. But we know two things: We are worried about their intentions. That they have not necessarily stopped here," meaning with the annexation of Crimea.


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This chapter includes the following sections:
Analysis Framework for Determining High Availability Requirements
Any enterprise that is designing and implementing a high availability strategy must begin by performing a thorough analysis of the business drivers that require high availability. Implementing high availability may involve critical tasks such as:
Retiring legacy systems
Investing in more capable and robust systems and facilities
Redesigning the overall IT architecture and operations to adapt to this high availability model
Redesigning business processes
Hiring and training personnel
This chapter provides a framework to effectively evaluate the high availability requirements of a business. By combining your business analysis with an understanding of the level of investment required to implement different high availability solutions, you can develop a high availability architecture that will achieve both business and technical objectives.
You can use the high availability analysis framework to:
Complete a business impact analysis
Identify and categorize the critical business processes that have the high availability requirements
Formulate the cost of downtime
Establish utilization, recovery time objective (RTO), and recovery point objective (RPO) goals for these various business processes
Understand goals for manageability, total cost of ownership (TCO), and return on investment (ROI)
This framework enables the business to define service-level agreements (SLAs) in terms of high availability for critical aspects of its business. For example, it can categorize its business processes into several high availability tiers:
Tier 1 processes have maximum business impact. They have the most stringent high availability requirements, with RTO and RPO close to zero, and requiring continuously available supporting systems. For a business with a high-volume e-commerce presence, this may be the Web-based customer interaction system.
Tier 2 processes that have slightly relaxed high availability and RTO and RPO requirements. The second tier of an e-commerce business may be its supply chain and merchandising systems. For example, these systems do not need to maintain extremely high degrees of availability and may have nonzero RTO and RPO values. Thus, the high availability systems and technologies chosen to support the tier 2 processes are likely to be different from those of the tier 1 processes.
Tier 3 processes may be related to internal development and quality assurance processes. Systems supporting these processes need not have the rigorous high availability requirements of the other tiers.
As shown in Figure 2-1, the next step for the business is to evaluate the capabilities of the various high availability systems and technologies, and to choose the ones that meet its SLA requirements, within the guidelines dictated by business performance issues, budgetary constraints, and anticipated business growth.
Figure 2-1 Planning and Implementing a Highly Available Enterprise
The elements of this analysis framework are:
Total Cost of Ownership (TCO) and Return on Investment (ROI)
A rigorous business impact analysis:
Identifies the critical business processes in an organization
Calculates the quantifiable loss risk for unplanned and planned IT outages affecting each of these business processes
Outlines the effects of these outages
Considers essential business functions, people and system resources, government regulations, and internal and external business dependencies
Is based on objective and subjective data gathered from interviews with knowledgeable and experienced personnel
Reviews business practice histories, financial reports, IT systems logs, and so on
The business impact analysis categorizes the business processes based on the severity of the impact of IT-related outages. For example, consider a semiconductor manufacturer with chip fabrication plants located worldwide. Semiconductor manufacturing is an intensely competitive business requiring huge financial investment that is amortized over high production volumes. The human resource applications used by plant administration are unlikely to be considered as mission-critical as the applications that control the manufacturing process in the plant. Failure of the applications that support manufacturing will affect production levels and have a direct impact on the financial results of the company.
Similarly, an internal knowledge management system is likely to be considered mission-critical for a management consulting firm, because the business of a client-focused company is based on internal research accessibility for its consultants and knowledge workers. The cost of downtime of such a system is extremely high for this business. This leads us to the next element in the high availability requirements framework: cost of downtime.
A complete business impact analysis provides the insight needed to quantify the cost of unplanned and planned downtime. Understanding this cost is essential because it helps prioritize your high availability investment and directly influences the high availability technologies that you choose to minimize the downtime risk.
Various reports have been published, documenting the costs of downtime in different industries. Examples include costs that range from millions of dollars for each hour of brokerage operations and credit card sales, to tens of thousands of dollars for each hour of package shipping services.
These numbers are staggering and the reasons are obvious. The Internet can connect the business directly to millions of customers. Application downtime can disrupt this connection, cutting off a business from its customers. In addition to lost revenue, downtime can negatively affect customer relationships, competitive advantages, legal obligations, industry reputation, and shareholder confidence.
The business impact analysis will determine your recovery time objective (RTO). RTO is defined as the maximum amount of time that an IT-based business process can be down before the organization starts suffering unacceptable consequences (financial losses, customer dissatisfaction, reputation, and so on). RTO indicates the downtime tolerance of a business process or an organization in general.
The RTO requirements are driven by the mission-critical nature of the business. Thus, for a system running a stock exchange, the RTO is zero or very near to zero.
An organization is likely to have varying RTO requirements across its various business processes. Thus, for a high volume e-commerce Web site, for which there is an expectation of rapid response times and for which customer switching costs are very low, the Web-based customer interaction system that drives e-commerce sales is likely to have an RTO close to zero. However, the RTO of the systems that support back-end operations, such as shipping and billing, can be higher. If these back-end systems are down, then the business may resort to manual operations temporarily without a significant visible impact.
The ability to take orders via the e-commerce Web site immediately (the RTO) may be more important than the RPO, because lost data can be reloaded later.
The business impact analysis also determines your recovery point objective (RPO). RPO is the maximum amount of data that an IT-based business process may lose without harm to the organization. RPO indicates the data-loss tolerance of a business process or an organization in general. This data loss is often measured in terms of time, for example, 5 hours or 2 days of data loss.
A stock exchange where millions of dollars worth of transactions occur every minute cannot afford to lose any data. Thus, its RPO must be zero. The Web-based sales system in the e-commerce example does not strictly require an RPO of zero, although a low RPO is essential for customer satisfaction. However, its back-end merchandising and inventory update system may have a higher RPO; as lost data can be reentered.
A manageability goal is more subjective than either the RPO or the RTO. It results from an objective evaluation of the skill sets and management resources available in an organization, and the degree to which the organization can successfully manage all elements of a high availability architecture. Just as RPO and RTO measure an organization's tolerance for downtime or data loss, your manageability goal measures the organization's tolerance for complexity in the IT environment. When less complexity is a requirement, simpler methods of achieving high availability are preferred over methods that may be more complex to manage, even if the latter could attain more aggressive RTO and RPO objectives. Understanding manageability goals helps organizations differentiate between what is possible and what is practical to implement.
Understanding total cost of ownership (TCO) and return on investment (ROI) is essential to selecting a high availability architecture that also achieves the business goals of your organization. TCO includes all costs (such as acquisition, implementation, systems, networks, facilities, staff, training, and support), over the useful life of the solution chosen. Likewise, the ROI calculation captures all of the financial benefits that accrue to a given high availability architecture.
For example, consider a high availability architecture in which IT systems and storage at a remote standby site remain idle with no other business use that can be served by the standby systems. The only return on investment for the standby site is the cost of downtime avoided by its use in a failover scenario. Contrast this with a different high availability architecture that enables IT systems and storage at the standby site to be used productively while in the standby role (for example, for reports or for off-loading the primary system of the overhead of end-user queries). The return on investment of such an architecture includes both the cost of downtime avoided and the financial benefits that accrue to its productive use while in the standby database role.
The following sections provide further details about high availability system capabilities and business performance, budget and growth plans. Also, see "Choosing the Correct High Availability Architecture".
High availability solutions must ultimately address business requirements. For example, a business may use a zero-data-loss solution that synchronously mirrors every transaction on the primary database to a remote database. However, considering the speed-of-light limitations and the physical limitations associated with a network, there are round-trip delays in the network transmission. These delays increase with distance and vary based on network bandwidth, traffic congestion, router latencies, and so on. Thus, this synchronous mirroring, if performed over large wide area network (WAN) distances, will affect the primary site performance.
Online buyers may notice these system latencies and be frustrated with long system response times; consequently, they may go somewhere else for their purchases. This is an example where the business must make a trade-off between having a zero-data-loss solution and maximizing system performance. Conversely, if the business drivers justify the investment to avoid making this tradeoff, a multisite architecture can be implemented that places a synchronous zero-data-loss standby site in close proximity to the primary site and a second asynchronous standby site located up to thousands of miles away.
High availability solutions must also be based on financial considerations and future growth estimates. It is tempting to build redundancies throughout the IT infrastructure and claim that the infrastructure is completely failure-proof. Although you cannot always equate higher availability with higher cost, imprudent decisions may lead to budget overruns or an unmanageable and unscalable combination of solutions that is extremely complex and expensive to integrate and maintain.
A high availability solution that has impressive performance benchmark results may be enticing. However, investing in such a solution without careful analysis of how the technology capabilities match the business drivers would be unwise. The business could end up with a solution that:
Does not integrate well with the rest of the system infrastructure
Has annual integration and maintenance costs that easily exceed the implementation costs
Prudent and judicious decision-makers must invest only in solutions that are well-integrated, standards-based, straightforward to implement, maintain, and manage, and have a scalable architecture for accommodating future business growth.


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Tuesday, November 18, 2014
10:00 am - 5:00 pm
The Katonah Museum of Art is pleased to announce the opening of its expertly curated museum shop for the holidays. The Design [email protected] will present an array of unique items at all price points, including forms that function, jewels by hand, finds for kids and material objects. The Katonah Museum of Art is committed to artists and The Design Shop will demonstrate this support through many one-of-a-kind pieces crafted by artists.
Watch for The Design [email protected] special events including "Meet the Makers" shopping days and "Scotch and Shop" (for the gentlemen).
Event Location and Ticket Information
Katonah Museum of Art
134 Jay Street
Katonah, NY
Handicap Accessible? Yes
Date: Tuesday, November 18, 2014
Times: 10:00 am - 5:00 pm
Ticket pricing:
Free event
Presenter: Katonah Museum of Art
Presenter Phone: 914-232-9555
Presenter Website: http://www.katonahmuseum.org/


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...he has given a dynamic contemporary twist to the Ariel technique by creating tooled air patterns of crescents and rings
That, I think judging from the text, is this one http://www.glassmessages.com/index.php/topic,25917.msg143293.html#msg143293 although without any acknowledgement of any help with possible ID received on here!
Page created in 0.743 seconds with 28 queries.


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Laura Laing wrote:cotton wrote:yea nice legs and nice umm something else
Hey Cotton did you use a zoom lens or was that an extreme close up?
Extreme close up. And you thought you were lucky?
You are here: Home ‹ Board index ‹ Jim Carrey Discussion ‹ Recent Photos
Risque pics......
Post all recent pictures of Jim Carrey here and share them with us. Please post where it was added.
thank u for the pics !!! are great!!!
your dreams are a cristal ice.....
I´M A HARAJUKU GIRL...With WiCKed Style....
I Wanna be a Sweet Escape...
(Always keep the retro Style)
That is a nice green.
"When in doubt, tell the truth."
Mark Twain
HAHAHA took me a while cotten. I looked and didn't see it... then got your post that said... "look closer, closer ... that's it" LOL I was like "WOW CRAP!"
The first pics at this site (in this category) are so...so... crazy and incridible. Jim is so crazy! With only a sock...
More I cant say in English, because Im bad...
Ich sag es Mal in Deutsch:
Ich hätte nicht gedacht, dass Jim mit einer Socke über seinem Ding auf die Bühne geht! Das ist doch unglaublich und verrückt!!!
...-the pen is roooyaaalbluuueee....- Jim Carrey in Liar Liar
Where did you find these amazingly historical pictures?
Re: Risque pics......
They are all part of my magazine collection
Re: Risque pics......
And what a collection!
I'm a guardian of the spark...
I'm a God damn and proud good fan... and I love it! = )>
Re: Risque pics......
I found it. Check out this video from the Comedy Store. Talk about crazy.
Re: Risque pics......
Oh sorry I didn't know you wanted to know what event the sock pics were from I would have told you they are from The Comedy Stores 20th Birthday. My Biorythm video on my youtube channel shows bits of it too a couple of people asked me where it was from and I told them "The Comedy Stores 20th Birthday" and they told me I was wrong cause Jim was not 20 there.lol I had to explain that it was the comedy stores birthday not Jims hehe
Yes I know and according to Jims people I have things he doesn't. And too think I still have lots more then you guys know.lol
I am trying to remember what pics got removed
Re: Risque pics......
who me???.....i'm a little angel....... hehehehe........
Re: Risque pics......
Ya and I'm the queen of england Fluffs lol
I need to go thru my photobucket pics again and see which pic I was telling everybody get a closer look at I can't remember it at all must have been good tho lol
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text: iReport: Your favorite buildings Updated 2:19 PM ET, Thu October 4, 2012 Chat with us in Facebook Messenger. Find out what's happening in the world as it unfolds. Photos: Painted Ladies, San Francisco – As part of our Great Buildings special, CNN iReport asked you to send in photos and video of your favorite buildings. Here are a selection of the best. John McGraw took this stunning picture of San Francisco's Painted Ladies. "To see the city of San Francisco waking up in the background was an amazing site," McGraw said.Hide Caption 1 of 16 Photos: The Shard, London – As iReporter Gabriel Dominise points out, the Shard in London is the tallest building in western Europe. "I love the different combination of lights with the dark blue sky in the background," Dominise says. Hide Caption 2 of 16 Photos: Malbork Castle, Poland – The Castle of the Teutonic Knights in Poland is a UNESCO World Heritage Site and a "must see" says iReporter Roberta Cucchiaro. "The Castle was the home of the Teutonic Knights and a pure Medieval beauty! A pearl in Poland, in Europe and in the world," she says. Hide Caption 3 of 16 Photos: Monument of Santiago, Dominican Republic – The Monument of Santiago in the Dominican Republic has become the main symbol of the city of Santiago de los Caballeros, says Misael Rincon. "You could say it's one of the sources that attract more tourists from around the world and the country ..."Hide Caption 4 of 16 Photos: Walt Disney Concert Hall, Los Angeles – Designed by Frank Gehry, the Walt Disney Concert Hall in Los Angeles is a building iReporter Marie Sager enjoys visiting. "It's a photographers delight," she says. "So many angles to capture."Hide Caption 5 of 16 Photos: Ohio State Reformatory, Mansfield – Famous for playing a starring role in the 1994 film, "The Shawshank Redemption," Ohio State Reformatory in Mansfield, Ohio was built between 1886 and 1910. "I'm not an architect," says iReporter Justin Taylor, "but I don't believe you need to be in order to appreciate this historic structure."Hide Caption 6 of 16 Photos: Grand Central Station, New York – John McGraw's image of Grand Central Station, New York was one of several he sent in to iReport. Each photo means something special, he says, because of the memories that go along with each trip. "The thought of the millions of people that go through that building, and the history of it, is just spectacular," he said. Hide Caption 7 of 16 Photos: Imperial Palace, Tokyo – Wilson A. Neto says he was in awe when he saw the Imperial Palace in Tokyo, Japan. "There were several moats leading to the main entrance with large trees manicured to look like bonsai trees," he says. "Everyone was just admiring it and taking it all in." Hide Caption 8 of 16 Photos: Absolute Towers, Canada – The Absolute Towers designed by Ma Yansong's MAD Studio with Burka Architects in the city of Mississauga in the western part of Greater Toronto. Captured by iReporter Sobhana Venkatesan, the structure has been dubbed the "Marilyn Monroe Towers" on account of their curvaceous nature. "[The building] arouses curiosity and makes us wonder what aspect we admired at first gaze, art form or architecture," says Venkatesan.Hide Caption 9 of 16 Photos: Residencias El Parque, Bogota, Colombia – Diego Soto Madrinan commends architect Rogelio Salmona for his design for the Residencias El Parque in Bogota, Colombia. "I love the amazing geometry with the simple use of brick for this building," Madrinan says. Hide Caption 10 of 16 Photos: Olympic Park, London – Gabriel Dominise III sent in this picture of the Olympic Park in London. "I love this building because its design is very unique and the construction is done in an environment-friendly way. It's surrounded by waterways and access to it is by five bridges. It's construction applied the principles of 'reduce, reuse and recycle,'" Dominise said.Hide Caption 11 of 16 Photos: Supreme Court, Singapore – This image of the Supreme Court in Singapore was taken by iReporter Siddhesh Scindia. He says the cityscape in Singapore is "beautiful, clean" and "well organized." Hide Caption 12 of 16 Photos: Low-rise New York – "I love the architectural details of old buildings in New York City," says Miriam Cintron. "There's a gothic look to many of them and the little balconies come as a surprise when you look up. To me, the buildings have a lot more personality and character than the modern, glass enclosed boxes that are the fashion today."Hide Caption 13 of 16 Photos: Notre Dame, Montreal, Canada – Doug Simonton sent in several images of his favorite buildings taken over the past two years including this picture of Notre Dame Basilica, Montreal. He says most of the images he took are of buildings that "either represent key moments in history or have an incredible beauty."Hide Caption 14 of 16 Photos: Freedom Tower, New York – Thomas Neudenberger took this picture the New York skyline on June 18th, 2012 after "a wonderful day in the city" he says. "My wife and I spent the same day in June 2001 and finished it up with a trip to the New Jersey shore line. My wife didn't understand, why we took the boat trip until I told her to turn around and she saw the original World Trade Center in the sunset. We had a couple drinks and looked at the city for hours."Hide Caption 15 of 16 Photos: Capitol Hill, Washington DC – Another stunning image from John McGraw. Will Mitt Romney or Barack Obama be sworn in on the steps of Capitol Hill, Washington DC (pictured) come January 20 2013? Hide Caption 16 of 16Powered by Livefyre


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If you would like information about the Video Player, you can click the Help icon in the Interactive Panel toolbar.
The HELP panel explains that to view video on this site, you need Windows Media Player 7 or higher (with a link to download if you do not have it). However, it is recommended that you have Windows Media Player 9 for optimimal performance. Windows Media Player 9 is required for Mac Users. For more information on Mac, click here.
The panel also has links to this page, About this player and its features, and Troubleshooting tips. The Troubleshooting tips will automatically open if your system's configuration is not compatible with this player.
To find videos, enter the text you would like to search by in the text field and click the GO button. This will search the titles, summaries and close captioning of all available videos and display the ones that match your search in the Featured Videos area below. Scroll through this list and select any video to play by clicking the title or the graphic, or clicking the "+ Playlist" button to add the video to your Playlist.
The site's Featured Videos will appear within the "Featured Videos" section on the left side of the player. You can add these videos to your playlist by clicking on the "+ Playlist" button next to the video. Or you can click on the video title or associated graphic to begin viewing the video immediately.
You may also view other Featured Videdos by topic by selecting an option from the Navigate Video dropdown menu located below Search. When selecting another option, the videos in the Featured Video area below the dropdown will change with the video Featured Videos for that topic.
There may be a scrolling text that displays under the video alerting you to information available on the site. Most of the time, you can click on the text to open a page in your browser behind the player with more information.
The player has the ability to display weather current condition and high/low temperatures. This feature may not always be enabled, however, if available, click on the forecast link to display more weather information in the browser behind the player.