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Printer Friendly Version
Standard ECMA-168
Volume and File Structure of Read-Only
and Write-Once Compact Disk Media for Information Interchange
2nd edition (December 1994)
This Standard specifies a format and associated system requirements
for volume and boot block recognition, volume structure, file
structure and record structure for the interchange of information
between users of information processing systems using CD-WO (a
write-once compact disc medium), hybrid CD-WO (a write-once compact
disc with a read-only area), and CD-ROM disks.
CD-WO is an evolution of CD-ROM technology which allows the recording
of information on a write-once Compact Disc medium.
A volume set may be recorded that is in conformance with both
ECMA-119 and ECMA-168. ECMA-168 is
an enhancement of ECMA-119. ECMA-168
allows greater information interchange using CD-ROM. In addition,
it supports incremental recording and updating of information
stored on a CD-WO disk. Under certain restrictions (see 3/B.2.1),
all of the files may be read by both a receiving system conforming
to ECMA-119 and by a receiving system
conforming to ECMA-168.
This Standard consists of the following four Parts:
The following file can be freely downloaded:
This Ecma publication is also approved as ISO/IEC 13490.
The previous replaced "historical" edition of this Ecma Standard is not available.


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The quote comes from Chicago Wolves (AHL) owner Don Levin, who is supposedly the lead candidate to bring an NHL team to Seattle. The city of Seattle -- probably the top American destination for NHL relocation or expansion -- recently agreed with investor Chris Hansen to build a $490 million arena that could house both an NHL and NBA team. Hansen wouldn't necessarily be the one to bring a team in, though. It could be Levin who finds a way to bring a team to Hansen's building. Levin has been interested in bringing a team to Seattle for a little while now, with reports of him offering $100 million to the Seattle arena project, although it is unclear if he will end up footing any of the bill under this agreement. Nonetheless, he's an interesting person and someone who might know a thing or two about NHL relocation and expansion. Here's the quote in full:
"I can tell you there are not teams for sale that are available to move," Levin told ESPN the Magazine on Wednesday.
Not the Coyotes? Or maybe one day the Islanders? "My understanding is that the Phoenix deal, [Greg Jamison] has come up with the money," Levin said. "The answer to the Islanders moving is never. They're not moving out of that market. No chance that's going to happen."
Instead, Levin's plan centers on expansion. And he's optimistic it won't be long after the CBA is settled that the NHL will turn to expansion as the next phase in growing the league. "I would think three years," he said.
Take it with a grain of salt, as with everything that comes up in regards to the Islanders and their arena situation, but remember that this isn't coming from the media. It's coming from someone who might know a thing or two. Why does Levin think the Islanders would assuredly stay? The interview from ESPN doesn't go any further. The obvious answers would be the lucrative TV deal and the proximity to the biggest metro area in America. Whatever the reasoning, hopefully Levin's right.

subset: commoncrawl


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The Sweet Flypaper of Life
Howard University Press, 1955 - History - 112 pages
Photographs and text describe daily life in Harlem during the early 1950s, and focus on families and street scenes
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Winfrey also drew Armstrong out on his ex-wife, Kristin, whom he claimed knew just enough about both the doping and lying to ask him to stop. He credited her with making him promise that his comeback in 2009 would be drug-free.
Authorities and disillusioned fans might have wanted it differently — perhaps while expressing deep remorse or regrets, though there was plenty of that in Friday night's second part of Armstrong's interview with Oprah Winfrey.
Armstrong didn't break over the $75 million in lost sponsorship deals, or after being forced to walk away from the Livestrong cancer charity he founded and called his "sixth child." He didn't crack after his lifetime ban from competition.
It was another bit of collateral damage that Armstrong said he wasn't prepared to deal with.
"I saw my son defending me and saying, 'That's not true. What you're saying about my dad is not true,'" Armstrong recalled.
"That's when I knew I had to tell him."
Armstrong was near tears at that point, referring to 13-year-old Luke, the oldest of his five children. He blinked, looked away from Winfrey, and with his lip trembling, struggled to compose himself.
It came just past the midpoint of the hourlong program on Winfrey's OWN network. In the first part, broadcast Thursday, the disgraced cycling champion admitted using performance-enhancing drugs when he won seven straight Tour de France titles.
Critics said he hadn't been contrite enough in the first half of the interview, which was taped Monday in Austin, but Armstrong seemed to lose his composure when Winfrey zeroed in on the emotional drama involving his personal life.
"What did you say?" Winfrey asked.
"I said, 'Listen, there's been a lot of questions about your dad. My career. Whether I doped or did not dope. I've always denied that and I've always been ruthless and defiant about that. You guys have seen that. That's probably why you trusted me on it.' Which makes it even sicker," Armstrong said.
"And uh, I told Luke, I said," and here Armstrong paused for a long time to collect himself, "I said, 'Don't defend me anymore. Don't.'
"He said OK. He just said, 'Look, I love you. You're my dad. This won't change that."
Winfrey also drew Armstrong out on his ex-wife, Kristin, whom he claimed knew just enough about both the doping and lying to ask him to stop. He credited her with making him promise that his comeback in 2009 would be drug-free.
"She said to me, 'You can do it under one condition: That you never cross that line again,'" Armstrong recalled.
"The line of drugs?" Winfrey asked.
"Yes. And I said, 'You've got a deal,'" he replied. "And I never would have betrayed that with her."
Armstrong said in the first part of the interview that he had stayed clean in the comeback, a claim that runs counter to the U.S. Anti-Doping Agency report that exposed him as the leader of an elaborate doping scheme on his U.S. Postal Service cycling team.
And that wasn't the only portion of the interview likely to rile anti-doping officials.
Winfrey asked Armstrong about a "60 Minutes Sports" interview in which USADA chief executive Travis Tygart said a representative of the cyclist had offered a donation that the agency turned down.
"Were you trying to pay off USADA?" she asked.
"No, that's not true," he replied, repeating, "That is not true."
Winfrey asks the question three more times, in different forms.
"That is not true," he insisted.
USADA spokeswoman Annie Skinner replied in a statement: "We stand by the facts both in the reasoned decision and in the '60 Minutes' interview."
Armstrong has talked with USADA officials, and a meeting with Tygart near the Denver airport reportedly ended in an argument over the possibility of modifying the lifetime ban. A person familiar with those conversations said Armstrong could provide information that might get his ban reduced to eight years. By then, he would be 49. The person spoke on condition of anonymity because he was discussing a confidential matter.
After retiring from cycling in 2011, Armstrong returned to triathlons, where he began his professional career as a teenager, and he has told people he's desperate to get back.
Winfrey asked if that was why he agreed to the interview.
"If you're asking me, do I want to compete again ... the answer is hell, yes," Armstrong said. "I'm a competitor. It's what I've done my whole life. I love to train. I love to race. I love to toe the line — and I don't expect it to happen."
Yet just three questions later, a flash of the old Armstrong emerged.
"Frankly," he said, "this may not be the most popular answer, but I think I deserve it. Maybe not right now ... (but) if I could go back to that time and say, 'OK, you're trading my story for a six-month suspension?' Because that's what people got."
"What other people got?" Winfrey asked.
"What everybody got," he replied.
Eleven former Armstrong teammates, including several who previously tested positive for PEDs, testified about the USPS team's doping scheme in exchange for more lenient punishments. Armstrong said in the first part of the interview that he knew his "fate was sealed" when his most trusted lieutenant, George Hincapie, who was alongside him for all seven Tour wins between 1999-2005, was forced to give Armstrong up to anti-doping authorities,
"So I got a death penalty and they got ... six months," Armstrong resumed. "I'm not saying that that's unfair, necessarily, but I'm saying it's different."


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HDD Pictures of The Kinds of In Ground Pool Liners
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Information by Country
United States of America: Press releases
Gender-based violence is a major threat to girls education, UNGEI says
Education is an inextricable right of every child. Yet, millions of girls around the world today are denied this right.
Violence against children in schools is a violation of their fundamental human rights, said Nora Fyles, head of the UNGEI secretariat. Violence also breaks down trust in the entire school system. It has far-reaching effects that can damage the psyche of children, interfering with learning, and thereby eroding the potential positive impact that school can have on a society.
Between 500 million and 1.5 billion children experience violence every year, many in and around schools, according to a new report by Plan International titled, A Girls Right to Learn without Fear.
Girls more than boys, are raped, sexually assaulted, abused, and sexually harassed by their classmates and even by their teachers.
Yet, the nature of power relations between children and the perpetrators of violence as well as the fear of reprisals makes reporting a risky undertaking for children with far reaching consequences poor performance, irregular attendance, dropout, truancy and low self-esteem as well as physical harm and pregnancy.
UNGEI supports the call to action in Plans report that provides governments with practical evidence-based approaches to prevent and reduce school related gender-based violence and promotes action plans grounded in the realities of each country context.
The theme of this years CSW is Elimination and prevention of all forms of violence against women and girls. An event in partnership with UNGEI, UNICEF, Plan International and 10 x 10 will be held later today to draw attention to end gender-based violence in schools.
UNGEI stands committed to addressing this critical issue through its strong partnership and collaboration, the sharing of good practice and advocacy across the UNGEI network.
Violence against girls in school is a critical development issue and an education issue. A safe space for all girls to learn and fulfill their potential; Anything less should never be accepted, Fyles said.
Please note: Media advisory on A girls right to learn without fear, CSW side event, 5 March, 2013.
For further information, please contact:
Shimali Senanayake, UNICEF Media, New York, Tel: + 1 917 265 4516, email@example.com


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by Tyler Peck, sports information graduate assistant
MILLEDGEVILLE, Ga. - The Georgia College & State University women's basketball team (11-5, 6-3 PBC) won earlier today (Jan. 24) 78-66 defeating No. 19 USC Aiken (14-5, 6-3 PBC).
The Bobcats are on a three-game winning streak, including two victories over top-25 teams in No. 17 Clayton State University and USC Aiken. In each of those games, the Bobcats won by double digits. Georgia College is undefeated (3-0) against ranked opponents in the 2008-09 campaign.
Georgia College junior guard, Shandrea Moore (Ft. Lauderdale, Fla.), put forth an outstanding effort earning a double-double with 15 points and 10 assists. Moore was two assists away from tying the GCSU record set by Lindsey Smith last season.
Sophomore Dominique Huffin (Tucker, Ga.) was the leading scorer from either side of the ball with 21 points. Huffin also led the Bobcats with eight boards and her 21 points marks 10 of the last 12 games where she has scored in double digits.
Woodstock native Tiauna Brantley added 10 points for the Bobcats this afternoon. Brantley has recorded double figures in 13-of-16 of the contests this season.
The Pacers of USC Aiken came into the game leading the Peach Belt Conference (PBC) in three-point percentage. Tonight, they were only able to make .357 (5-14) from beyond the arc which was under their .381 season average. The Bobcats hit .500 (10-20) from behind the three-point line.
Georgia College outscored the Pacers in second-chance points 16-8 and also in fast break points 9-0.
Megan Starnes led the USC Aiken Pacers with 17 points, aided by Morgan Johnson's 15 and Kendra Chandler with 10 points.
Be sure to catch the Bobcats in their next contest as they take on the Cougars of Columbus State University Wednesday Jan. 28 at 5:30 p.m. in Milledgeville.
Visit www.GCSU.edu/Bobcats to nominate your favorite former Bobcats and Colonials to the GCSU Athletics Hall of Fame. The GCSU Department of Athletics sponsors 10 varsity athletic programs at the NCAA Division II level. As a Division II program, GCSU prides itself on balancing the life of the student-athlete, evidenced by the Bobcats' multiple appearances in post-season competition as well as documented academic success and community-service involvement.


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Young adult sci-fi, superhero action and a classic fairy-tale villain all have an advantage going into the new year: anticipation from social media users.
Research firm Fizziology used social media data to rank the 10 most buzzed-about movies for the upcoming year and gave the top spot to "Divergent," Summit Entertainment's futuristic action-adventure coming out in March. The movie is getting "Hunger Games"-like buzz from young female fans of the young-adult book by Veronica Roth.
"The Amazing Spider-Man 2" came in second place, helped by its trailer release in December, while third-place "X-Men: Days of Future Past" benefited from publicity stunts like the Bent Bullet website that weaved mutants into the conspiracy theories surrounding the assassination of President John F. Kennedy.
ON LOCATION: Where the cameras roll
Anticipation for "The Hunger Games: Mockingjay — Part 1" should come as no surprise after "Catching Fire" ended 2013 as the year's second-highest-grossing film in the U.S. and Canada.
"Maleficent," Disney's live-action fantasy starring Angelina Jolie as the "Sleeping Beauty" villain, set for release in May, rounded out Fizziology's top five.
Here are the complete rankings:
1. "Divergent" (Lionsgate). March.
2. "The Amazing Spider-Man 2" (Sony). May.
3. "X-Men: Days of Future Past" (Fox). May.
4. "The Hunger Games: Mockingjay - Part 1" (Lionsgate). November.
5. "Maleficent" (Disney). May.
6. "Godzilla" (Warner Bros.). May.
7. "The Fault in Our Stars" (Fox). June.
8. "Captain America: The Winter Soldier" (Disney). April.
9. "Need for Speed" (Disney). March.
10. "22 Jump Street" (Sony). June.
[For the record: An earlier version of this post misidentified "The Amazing Spider-Man 2" as a Paramount movie. The actual distributor is Sony.]
Discovery extends CEO David Zaslav's lucrative deal for 6 years
CES 2014: Internet streaming device maker unveils the Roku TV
Morning Fix: 'Frozen' heats up box office. Liberty makes a Sirius move.
Follow on Twitter: @rfaughnder
ON LOCATION: People and places behind what's onscreen PHOTOS: Biggest box office flops of 2013 PHOTOS: Celebrity production companies
ON LOCATION: People and places behind what's onscreen
PHOTOS: Biggest box office flops of 2013
PHOTOS: Celebrity production companies


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Two contestants, one male and the other female, would have to identify the familiar phrase represented by a piece of animation accompanied by background music. The show's mascot, a golden robot called "Mr Chips", appeared in many of the animations.
Add this episode to your queue to receive more information about
Episode 14 and we will let you know when it becomes available.


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The Miracle of Peanut Balls
So my dear friend Coza, an L&D RN as well as a previous client of mine, has become a fan of the peanut ball. When she initially told me about them, I was baffled, not having a clue what she was talking about. Boy, did I get an education!
A peanut ball (PB) is like a birth ball, but shaped like a peanut. It comes in a variety of sizes, just like birth balls and can be used like one… in fact, several doulas use it instead of birth balls since they are more stable with a woman sitting on them.
But sitting on the ball isn't what Coza was raving about. It was that, in the hospital she works in, they have lowered the cesarean rate considerably. Apparently, the news is leaking out about PBs and I'm learning creative doulas have manufactured their own "peanut" for women to utilize during their labors, using pillows and even the bedside table!
So what do you do with this fantastic peanut and how does it lower cesarean rates?
When women have an epidural, they are confined to bed and are pretty immobile. As we know, the baby's head likes to be jiggled around in order to get into the pelvis in the correct position to be born. When a woman is mobile, she and the baby "dance" to facilitate the optimal fetal positioning. In bed, not possible. The peanut, while not wiggling mom around or anything, can be placed between her legs in a way to open the pelvis so dramatically as to allow the baby to get into his or her best position to be born.
Coza said this yesterday:
"So a bit ago I posted a thingy about peanut balls for the epidural crowd. Let me just say that we at Holy Family (in WA State) are firm believers in the power if the peanut! We are seeing labors shortened right and left. Women who stall flying to complete when that ball is shoved between their legs! Babies not coming down that are suddenly 'oh please don't sneeze or your nurse is catching your baby.' We ♥ peanut balls!"
Last year, Jill, of Unnecesarean, wrote about PBs in "Peanut Balls and VBAC Bans," highlighting Banner Health's new commitment to the peanut in all of their Arizona hospitals. The article Jill quoted from the Arizona Republic ("'Peanut Ball' reducing C-section rate" said:
"The results were compelling. Those who used the ball decreased the first stage of labor by nearly 90 minutes and the second stage by 23 minutes compared with a control group that did not use the ball.
"The real payoff came through lower C-section rates. The C-section rate for the group of women who used the ball was 13 percentage points less than for the group that did not use the peanut ball."
I was sent to a study that was done on PBs – "Use of a Labor Ball to Decrease the Length of Labor in Patients Who Receive an Epidural" and the Conclusion was:
"The use of the PB during labor for patients with an epidural significantly reduced the length of labor without adverse neonatal outcomes."
What birth junkie wouldn't be thrilled with such a low-tech way to help women have shorter labors and avoid a cesarean?
But how do you work with this thing? Where is it placed? And how can someone without a peanut mimic the position?
I was sent to this video on YouTube, but still don't find as much about positioning as I'd like. My nurse-friend Coza gave me a graphic example of how to utilize the PB. Let me summarize here:
If the woman is on her side (and of course the bed will be somewhat elevated since you don't want her flat), you bend both knees and push the PB as deep into her crotch as possible. Each woman will be able to have it at different depths depending on her thighs, but as far as you can is where the PB goes. Then, so the PB does tilt or fall out, roll up a towel and prop the end that pokes out of the back side of the woman; you want the ball parallel to the floor.
If mom is sitting more upright on her back (semi-Fowler's position), alternate each leg and put the PB under one knee, the middle part right under the knee. Coza says this mimics lunges. She doesn't say how often to change legs, but I can see every 20-30 minutes being a good time frame to have each leg open. (It's what we do when we flip a mom side to side with her leg lunging on the bed, so makes sense it would be similar.)
Coza also says if she has a mom that can move to the position, she has them on all fours, leaning over the ball and rocking back and forth. She said this is so much easier for moms than doing it with a ball.
As you all use them, please let me know how they work for you.
Peanut Balls for everyone!
Coza said the balls they use are 55cm.
You've asked lowering of cesarean rates. Coza's checking on all of that for us. Note that her hospital's c/s rate was amazingly low at 20% before the introduction to the PB and there is nowhere to chart the PB's usage, so knowing if there's a connection might be hard; not study-like at all. Purely anecdotal.
But, I'll let y'all know what I learn as I learn it!


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LAKE BARRINGTON – Pete Janusas has worked at the Onion Pub & Brewery since it opened in July 2003 at 22221 N. Pepper Road in Lake Barrington. He started as a bartender for owners and Barrington High School alums, John and Mike Kainz.
"I've always had a passion from craft beer," Janusas said.
The Kainz brothers began the Wild Onion Brewing Co. in 1996, just two blocks down from the current brewery and pub.
"We were just a microbrewery back then and it was a tough market," said John Kainz, explaining how he saw a "craft beer boom" in the mid-90s that did not pick up again until 2004.
"We weren't selling as much beer as we had planned," John Kainz said. "We decided to open the restaurant and let people come to us."
Still with limited space, the team takes their time preparing Wild Onion's collection of brews that ship locally and nationally to eight surrounding states.
Brewmasters like Janusas put in a lot of time each week, working for 12 hours on "double brew" days, John said.
"We could easily expand and start three beer shifts a day," Janusas said. "But we prefer quality over quantity and take it one step at a time."
First, the team heats enough water to fill 32 kegs and crushes more than three dozen 55-pound bags of grain.
"It's a labor of love," Janusas said.
Once the water reaches 154 degrees Fahrenheit, they spray it on the grain by hand and allow some time for the grain to begin to burn into sugar, creating alcohol.
Then, they strain the sugary liquid from the grain, boil it to 190 degrees Fahrenheit and add pellets of hops.
"The hops are the spice," said Janusas, holding a handful of green pellets bursting with a floral aroma.
After the hot, sugary liquid absorbs some flavor, the team brings the temperature down to 65 degrees Fahrenheit and infuses the mixture with oxygen to help yeast fermentation.
Fermentation for a floral, double-IPA brew like the Wild Onion's "Hop Slayer" can take three weeks.
But, what happens to all that grain?
Wild Onion Brewing Co. sends its leftover grain to a local farmer who uses it for mulch, fertilizer and animal feed.
"This way, there isn't a lot of waste," Janusas said. "The grain is being 'used' in every sense of the word."
In the corner of the basement brewery at the Onion Pub are stacks of bourbon barrels that have been sent from a bourbon distillery in Lawrenceburg, Ind. They are used to make Wild Onion Brewing Co.'s "Drago Stout," and are filled with beer to blend with residual bourbon over an eighth-month period.
Janusas said the beer is named after the opponent of Rocky in the "Rocky IV" movie.
"We needed a big, bad name for a big, bad beer," he said.
This stout pulls a smokey oak flavor out of the bourbon barrels.
The Wild Onion team brews 20 beers throughout the year, canning only six of them. Most of their beers are kegged. The Kainz brothers are looking into expanding the brewery and buying a bottling line in the near future.
"Customers want to buy more beer," John Kainz said. "We sell cans and growlers (half-gallon jugs) at the pub, but we want to put an addition onto our current building since there's plenty of room for growth."
Additionally, the brothers will harvest their three-acre hop farm this August for their seasonal "Harvest Ale."
"January through March is slow in beer business, but the warm weather months and fall get busy," John Kainz said. "We will already be brewing our pumpkin ale next week."
Once the Kainz brothers find a brew recipe they are happy with, they continue to make the same brew over and over, adding only small changes.
"It's kind of like cooking," John Kainz said. "If you want to, you can add a little more hops or tweak the recipe to make it sweeter. We go for drinkable, fresh, clean beer."
"That's the fun thing about being in the beer business," John Kainz said. "You can always try making something different."
* * *


text: Dairy Provisions Highlight Farm Bill Educational Program August 29, 2014 12:14 AM Tweet TAGS: Marketing, Overseas December 18, 2014 By University News Release Email The Texas A&M AgriLife Extension Service will conduct an educational program on the 2014 farm bill's dairy provisions from 9-11:30 a.m. Sept 12 in the Bailey County Electric Cooperative conference room in Muleshoe, Texas. The cooperative's address is 604 E. American Blvd., which is at the intersection of U.S. Highway 84 and 6th St. The meeting is free and open to the public. Dr. Jackie Smith, AgriLife Extension economist at Lubbock and a meeting coordinator, said the program's main speakers will be Joe Outlaw, co-director of The Agricultural and Food Policy Center at Texas A&M University, College Station, and Scott Brown from the University of Missouri. "Outlaw and Brown were both utilized by the Agricultural Committees of Congress to analyze dairy policy changes considered in the 2014 farm bill and will be able to bring an inside perspective to the new dairy policy changes," Smith said. Smith said Outlaw will discuss the dairy provisions in the farm bill, and Brown will provide information and a tool he developed to help dairy producers understand the details and make decisions about the choices to be made. "The current legislation eliminated some components of the dairy provisions and added the Dairy Margin Protection Program," Smith said. "So we've asked Drs. Outlaw and Brown to briefly present an overview of all the dairy provisions, but then to concentrate mainly on the Margin Protection Program. The Margin Protection Program is a new and unique safety net program meant to provide dairy producers with indemnity payments when a composite U.S. dairy margin falls below the margin coverage levels the producer chooses on an annual basis." While this program is not meant to guarantee a profit, Smith said producers will be able to buy margin protection designed to protect farm equity by guarding against destructively low margins. Dairy producers will be able to sign up for the Margin Protection Program in coming weeks, Smith said. To inform and prepare producers for the coming sign up, Smith said Brown will also explain the TOPMargin Spreadsheet Analysis Tool now available on the Policy Center website https://afpc.tamu.edu/models/. Brown developed the tool to help producers work through the decision-making process associated with the Margin Protection Program. For more information, contact Smith at 806-746-6101, email@example.com or Steve Amosson, AgriLife Extension economist at Amarillo at 806-677-5600, email@example.com . Source: Texas A&M AgriLife Extension Service Back to news


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tws7 wrote::(Mine came in today I hooked it up and wount fire the shutter,wount work on ipad, stop working on Iphone,cant get to go on the internet, noway to up date the firm ware, only one XML per session?. Im going to return it for a refund if I can. I should have bough a tough book lap top and stayed with papwiz which works great.
panoramicessentials.com wrote:Panoshoot only provides one XML per session.
klausesser wrote:panoramicessentials.com wrote:Panoshoot only provides one XML per session.
Does that mean you need to carry around a laptop for downloading each xml file after EACH
pano-shoot SEPERATELY - before being able to shoot the next one?
best, Klaus
panoramicessentials.com wrote:Originally we had it setup so that you were not allowed to run a mosaic unless you download the XML file generated for the previous mosaic.
panoramicessentials.com wrote:However that didn't bode well with some people . . .
javqui wrote:We are testing the solution at this moment. The solution will have a limitation of 5.0MB (set by the mobile iOS), but we think that is enough for several temporary XML reports on most cases. (around 8000 shoots per megabyte, so you could store about 200 XML session files of 80 pictures each in a little more than 2MB space).
tws7 wrote:me again I got the thing to working. the big limiting problem is the only one xml.
javqui wrote:Dear Klaus
Regarding the XML download restriction on iOS devices, we test several solutions.
At the end, we choose the most obvious and easiest for end user. This option require more work from our side, that we are doing happily to provide the best user experience.
We are compressing and saving the XML inside Panoshoot. With this solution we will be able to:
1- Have the full option to use Panoshoot WITHOUT any external device (means no app, smartphone, tablet or PC required). Just click the joystick button and you will have your pre-defined session running with your XML report safely stored for further download. This option is very useful if your smartphone or tablet has low battery in the middle of a job.
2- Bypass the Safari iOS limitation to download files. Use your iPhone/iPad to handle your panogear. After finish the job, download all the files in your iMac or computer where the XML file will be used.
3- Store multiple XML files and download all of them as a multisession XML file (currently not supported by APP importer, but we are ready for the future). It will provide a convenience way to organize in a single XML file a multisession job, like shooting several panos in a multi room house.
This solution involves a little more work and we want to fully test it in different platforms before release our last update.
We clear the pending bug list reported from users (particularly presets) and introduce new features that we consider will be very useful for photographers.
We will delay the update release by this Friday. We wish to exceed the Panoshoot owner expectations.
"Panoshoot is moving up your Panogear robotic head to a new level of capacity, features, precision and speed, where even some high tag price heads can't reach. "
- The default download option is individual XML file. You will need to turn on the Multisession XML file feature in order to get your single XML file job.
- Panoshoot can store up to 80 XML log files or about 10.000 picture shoot records. Max. Capacity is based in average user data stored in Panoshoot (It could be lower or even higher).
Users browsing this forum: No registered users and 1 guest


text: July 1, 1971: After getting the green light from the Supreme Court, The New York Times resumes publication of its series of articles based on the secret Pentagon Papers. Jim Wells/AP hide caption toggle caption Jim Wells/AP The Two-Way 40 Years Later, Pentagon Papers Being Declassified; Go Online Today June 13, 2011 Though nearly all of what's in the famous papers has been known for decades, they were still classified. Now, experts say, reading them in full and in proper context will help us better understand how U.S. policy toward Vietnam evolved.


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-- after 15 or so years of planning and scheming and begging money and plotting political machinations, after enduring endless seasons of cramped spaces, crumbling infrastructure and shabby, faded surroundings that screamed Podunk to the rest of the show-business world, after three years with no home at all -- the day had arrived.
The Hobby Center for the Performing Arts was ready at last. (Almost ready, anyway, and what would such an opening be without a few furiously crossed fingers?)
At a cost of $100 million, the theater that will replace the dilapidated Depression-era Music Hall is going to make a bold bid to be the top musical-theater venue outside of Broadway. Just as baseball stadia across the country are no longer being built to share space with football or soccer teams, the Hobby Center's main 2,600-seat theater has been designed specifically to house the Broadway musical.
There's plenty of space above, below and on either side of the stage to handle the multimillion-dollar spectacles that audiences now expect. Cheap-seat patrons who thought they were in another area code when straining to see the stage at Jones Hall will be right on top of the action at the Hobby. And all of it will take place under a planetariumlike domed ceiling featuring 2,000 fiber-optic "stars" replicating the Texas night sky.
That ceiling will make true once again the largely anachronistic name of the main tenant of the building, Theatre Under the Stars. For 35 years, TUTS has been putting on musicals in Houston but, with the exception of one free show a year, has long since abandoned Hermann Park's Miller Outdoor Theatre.
Now TUTS has announced its biggest season ever -- the first in its glorious new home, the palace built largely for its benefit.
Brimming with pride, TUTS staged a press conference to let the world know what shows had made the cut to be put on in this most important of all years. To shout out just what would be presented in that magnificent venue after it opens in May.
To do so, it brought along the star of the opening production; the star who, along with his show, would forever be remembered as having the honor of opening the Hobby Center.
Hey, Houston, TUTS said at that press conference, bursting with peacock pride, meet Tony Curtis. Who'll be coming to town in a warmed-over rehash of a mediocre 30-year-old musical called Sugar, which is now called Some Like It Hot.
Besides immediately putting to rest any lingering questions of whether Tony Curtis was still ummm around, TUTS head Frank Young also announced the rest of the inaugural season: yet another production of My Fair Lady, being presented by TUTS for the fifth time; a theatrical interpretation of the movie version of The Wizard of Oz; the 1948 musical Kiss Me Kate, recently revived on Broadway; and another show yet to be determined.
Oh, and the world premiere of a project TUTS has been developing for years: a musical version of the campy, cult Bette Davis-Joan Crawford horror movie Whatever Happened to Baby Jane?, with music by the man who wrote "Itsy Bitsy Teenie Weenie Yellow Polka-Dot Bikini" and "Johnny Angel."
"The season will include six full-scale musical theatre productions featuring some of the finest creative talents in the field of musical theatre," the TUTS press release boasted.
Well, at least they're full-scale.
Behind the scenes and not for publication, some grumbling was heard among the Hobby Center people about the schedule. The Houston Chronicle's theater critic, Everett Evans, did another in a long series of angry articles blasting TUTS's choices.
It didn't faze Young at all. Not only was Tony Curtis alive, not only was he "singing on pitch," according to officials, but -- in a TUTS-ian moment if ever there was one -- Young beamed a few days later that Curtis "is taking tap lessons!"
Much of Houston's arts community simply shrugged their shoulders about the new TUTS season; "That's Frank" was heard more than once. For others, their thoughts were summed up best by Mary Lou Aleskie, executive director of the critically acclaimed Da Camera society.
"You build an amazing $100 million performing arts facility, and what you get is Tony Curtis taking tap lessons," she said. "You don't know whether to laugh or cry."
Frank Young knows what to do: sell, sell, sell. Whether it's his constant battle with the Chronicle's elitist theater critic, or an ever-growing threat from the deep-pockets media giant Clear Channel Entertainment, Young tirelessly and maniacally revels in the frantic world of keeping happy what he calls the blue-hairs, the loyal thousands of customers who make up his impressively large subscriber base.
For 35 years, Young has been the force behind TUTS, transforming it from a near-spontaneous free show in the park to a multimillion-dollar nonprofit organization with a surprisingly considerable influence in the theater world.
"Frank is probably one of the most powerful and positive forces in musical theater today; he's given great visibility to regional theaters as developers of new works," says Van Kaplan, executive producer of the Pittsburgh Civic Light Opera and a national figure in the theater industry.
It's Frank Young's taste, and show-business instincts, that have largely decided what Houston musical-theater fans have been able to see in any given year. And if that means 76-year-old Tony Curtis donning tap shoes, that's just fine with him.
The Pasadena Scrap Iron & Metal Co. -- and this was back in the day when Pasadena was really Pasadena -- seems an unlikely spawning ground for a career in the theater, but the 61-year-old Young grew up being known as "the junkyard kid" because of his parents' business.
Young's parents, however, were not your standard Pasadena scrap-yard owners -- they often drove to Dallas to catch the touring musicals that bypassed the less sophisticated burg of Houston. (His first show: Mary Martin in Annie Get Your Gun in 1946.)
Young dabbled in the theater in high school, but aimed for a medical career. After getting a psychology degree from UCLA and returning to Houston, he found himself drawn to the stage.
After working for Houston Grand Opera for a few years -- doing a little bit of everything -- he approached management in 1968 about putting on a free musical in Hermann Park.
HGO had no interest, but didn't discourage him. Lots of his opera colleagues were enthusiastic, so in the best "let's put on a show" tradition, Bells Are Ringing became the first TUTS musical.
Two shows a year followed, each getting more and more elaborate and professional; after a lavish 1972 production of South Pacific, the organization also began offering shows -- and charging for them -- in the Music Hall. Stars began to appear, like Debbie Reynolds in The Unsinkable Molly Brown, Juliet Prowse in Mame and Robert Goulet in Man of La Mancha.
Soon TUTS became a major player, its 30,000 subscribers the envy of less well-off arts organizations. The group got more and more ambitious, launching tours of productions it had put together, creating new shows that -- at least for a while -- were "Broadway bound," and seeing its budgets go ever higher. Productions cost about $1 million each nowadays.
TUTS also runs the Humphreys School of Musical Theatre, providing singing, dancing and acting classes for more than 1,000 students each year.
Overseeing it all has been Young, the effervescent impresario who makes every big decision at the organization. There's a board of directors, but, chairwoman Cheryl Thompson-Draper says, their job is to raise funds, not make artistic decisions. There are longtime and loyal employees who perform the nuts-and-bolts work, but when it comes to what is seen on the stage, it's Frank Young's call.
It's a call that's usually made in a constant state of near-chaos. Shows fall through, stars get other jobs, musicals derived from cult horror movies need extensive reworking and have to be delayed.
"Things are very busy," says John Holly, a former TUTS executive producer who now is the western regional director of Actor's Equity, the union. "That's where Frank can get into a bit of trouble -- he doesn't always plan far enough ahead. There's a lot of frantic, last-minute stuff. He loves it, but it was the beginning of an ulcer for me."
"By definition of the people involved in it, things are always a little frantic," says John Breckenridge, TUTS's chief operating officer. "It always tends to be exciting -- these are artistic persons with artistic personalities."
Including Young, who's never shy about expressing opinions. "I've made some catastrophic mistakes because I'm a micromanager and I know it all and I will argue with people," he says.
There's no way to keep things on an even keel, he says.
"We started planning this [upcoming season] two years ago," Young says, "and I promise you, no matter how passionate I get about a show, something goes haywire, or the star you're doing the piece for gets a sitcom, so suddenly stuff gets put on hold. So you have to keep a lot of balls in the air. We are juggling constantly."
There are several different types of balls to keep in the air. Some shows are prepackaged tours of old shows, where TUTS merely pays a guarantee and a percentage of the box office to the producers. Others are revivals TUTS has put together itself (or in conjunction with other regional theaters), casting, set-designing, directing it and mounting a tour. Finally, there are utterly new pieces commissioned by TUTS (again, typically with other theaters), pieces that dream of being huge on Broadway after touring the provinces.
The number of shows a theater like TUTS has to choose from in any given year is relatively small -- perhaps as few as a dozen, says Trudi Biggs, executive director of the National Alliance for Musical Theatre, an umbrella group of profit and nonprofit regionals. "In terms of shows available to you, that are the right size for your theater -- you can't have a two-person show in a place that seats 3,000 -- the list is pretty short."
As Broadway becomes ever more enamored of revivals, the list grows even smaller.
"No one's been able to do Oklahoma! for seven or eight years because Cameron Mackintosh locked up the rights in hopes that his London production of it would come over to Broadway," says Kaplan, the Pittsburgh executive who is also chairman of the NAMT board. Mackintosh, the producer of Les Misérables and Miss Saigon, opened his revival of Oklahoma! on Broadway March 21.
"I can't get the rights to Hello, Dolly! or Camelot or [other] stuff because they're doing this for profit for Broadway," Young says.
Authors, or their estates, "know what they might or might not get from spotty regional productions, so they'll take a million or so advance from Broadway instead, and that will have the rights locked up," Breckenridge says.
But that, of course, applies mostly to big-name, mainstream musicals. Other titles -- maybe something like the critically acclaimed but dark Parade, about the 1918 lynching of an Atlanta Jew, or one of Stephen Sondheim's musicals -- are readily available.
Not for TUTS, though.
"They have a very safe repertoire, but then again they have a lot of seats to fill," says Becky Udden, artistic director of Main Street Theater. "I know there are a lot of people in town who'd love to see a more ambitious and edgier repertoire there -- it just seems very, very safe and full of stuff that everyone's had a chance to see their whole lives."
Evans, the Chronicle critic, wrote a story calling this season's choices "disappointing [I]t's time to ask TUTS: Where's the leap of imagination in programming? The discernment to shape and lead public taste, as well as follow?"
Don't get Young started on the subject of Evans. They've been tangling for years; at one point Young inserted into the programs for TUTS's Jesus Christ Superstar a collection of raves from clergy who'd been invited to previews, contrasted with Evans's withering review ("Jesus Christ Superstar could turn a saint into a non-believer"), and added the direct phone lines for Evans and his editor.
"He and I have this love-hate relationship," Young says. "He really more than life itself wants me to do an all-Sondheim season. And I'll have no subscribers. I don't disagree with the shows he'd like to see, I'd like to see them too. But I have to give the audience what they want, not what he wants."
Young and TUTS do lots of subscriber surveys to determine what audiences want. And they say the box office backs them up. When TUTS put on Frank Loesser's difficult musical The Most Happy Fella in 1994, Evans wrote they had "done full justice to a magnificent show For anyone who loves great musical theater, it's the must-see event of the season."
It flopped, Young says: "You could shoot deer in the theater." Breckenridge says Fella had only $100,000 in nonsubscription ticket sales, as compared to something like Miss Saigon selling $600,000 for the same length of run.
"You have to do these rarely done pieces, I understand that," Young says. "But he'd like a whole season of those, and the reality is I will always put some old warhorses in there that people want to see time and again."
He gets some support in that position. "What Frank wants to do and his aesthetic -- it's not one I share, but I really admire it," says Rob Bundy, artistic director of Stages Repertory Theatre. "It would be a very weird theater town without Frank Young doing those musicals."
And it's not like TUTS is alone in what it offers. In 1994 Young told the Chronicle: "Don't tell me about these important, artistic shows. To me nothing is more important than Marie Osmond in Sound of Music, because it's making a lot of money."
While other theater owners might not have been as blunt, they agree with the assessment. "There was a two-year period when Marie Osmond's tour of Sound of Music was the hottest thing on the road -- every theater in the country wanted to book it, audiences packed in wherever it played," says John Kenrick, a New York theater writer who produces the Musicals101.com Web site.
Even Main Street's Udden, who hopes to see "more edgy" stuff, cuts Young some slack. "In his heart, I think, he wants to further the American musical," she says. "And who am I to tell someone what to put on in a theater that big? We have a really small theater here, and I worry about filling it."
Young doesn't pretend to love everything he puts on. "We do some less-than-brilliant shows; we're human," he says. TUTS did Man of La Mancha in 1985 with John Cullum; another producer wanted to mount a tour of it, but insisted on Robert Goulet for the lead.
The tour was a financial success, but Young didn't go see it. "Goulet, or his wife, would call every three or four cities and she'd say, 'Bob wants to know, are you not going to come see this?' and I said, 'Have you read your reviews? You opened in Washington and the headline said, "Robert Goulet Is the Man of Las Vegas." ' And she said, 'Look at the grosses, don't read the headlines.' "
Holly, who used to work with Young, says, "There's no question Frank can get tired of the same old stuff, but the audience recycles every six or seven years, so you've got people who haven't seen these shows But Frank likes to do Houston premieres and world premieres of shows -- that gives him just as much a buzz as anything else."
It is in that area, creating new shows from scratch, that Young has made -- without overstating it -- an enduring mark on American theater. He was one of the co-founders of the National Alliance for Musical Theatre, and he has spearheaded the move for regional theaters to pool resources to finance touring shows and produce new work.
"When Frank started the organization in 1985, there were very few theaters involved in producing new musicals," says Biggs, NAMT's executive director. "Now the majority of them are He's kind of the father of the whole industry; he's really changed how we do business "
"Frank is a very hard worker and very visionary," says Michael Jenkins, head of Dallas Summer Musicals. "He's had a tremendous impact."
Young made a huge impact when Disney decided to partner with TUTS on the musical version of Beauty and the Beast in 1993. "That was the biggest coup in our industry ever," says Pittsburgh's Kaplan.
"I think we are better known outside of Houston, at least in the professional world, than we are here," Young says.
Economics have forced regional theaters to work together, he says. "In the old days, when I could afford to do shows by myself, as with most musical theaters, selection of shows was not a problem. But back then our scenery was a few painted drops; it was not the level of production Broadway has forced us to match," he says. "When audiences go see The Lion King or Beauty and the Beast on Broadway, these huge $10 million shows, that's what they want to see from us, so we've had to dramatically upgrade the physical productions. And so that means we've had to partner with other theaters that do what we do."
Young says his passion is in producing completely new musicals. Those shows, though, tend to be as far from the cutting edge as one more booking of South Pacific.
TUTS's biggest newly created hits have been a revised version of Jekyll & Hyde, which was produced in partnership with the Alley Theatre, and Phantom, a musical that probably should be called No, The Other Phantom of the Opera.
Both have made stacks of money. (Phantom has tallied $250 million in productions around the world, bringing more than $2 million to TUTS.) But Phantom never made it to Broadway, and J&H has become shorthand for a flashy, empty show that critics hate but audiences love.
Other original TUTS productions include Annie Warbucks, one of the attempted sequels to the megahit; Chaplin, written by and starring Anthony Newley; Zorro: The Musical; and, well, something called Ninfa!, a show about the Houston restaurateur. TUTS projects that died a-borning included a musical version of the film Peggy Sue Got Married and a piece that was renamed Phantom of the Country Palace after the Grand Ole Opry wouldn't let its name be used.
Readers probably haven't heard of them, even if they've made money. That's the way it goes in the theater, says Kaplan: "Frank is bigger than life, and he thinks big. You aim high, sometimes you get there You do ten shows, maybe one will go. It's an art form, there are no definite things. If you do a new show, there's no telling if there's an audience for it."
Young admits a few of the shows were never going to make it to Broadway -- "they were entertaining but perhaps not God's gift to the musical theater." But they can tour, making money for TUTS and providing regional theaters with more options.
Young directed some of these shows himself, but even if he's only producing, he's extremely hands-on.
Kevin McCollum produced the Pulitzer Prize-winning Rent and has co-produced several shows with Young. "Frank is very creative, he knows what he wants, he's very direct," he says. "He's a musician, he's truly a theater guy through and through, so he knows when there's something wrong with a characterization, or he'll say [a scene] needs a button there."
Currently Young's attention focuses on Whatever Happened to Baby Jane? The project's troubled history has some people expecting disaster. "People in the business are a little leery of this one -- it will require very special casting, just as the movie did, to attract audience interest," critic Kenrick says.
Young is -- as he is about most things -- enthusiastic. "It's so unique, and we want something that's totally different from what anyone's seen on Broadway," he says.
The musical is about two aging child stars, one of them confined to a wheelchair because of a car accident caused by the other. A preview CD of the show is uneven, but does showcase some good songs for older actresses. Young says names such as Debbie Reynolds and Shirley MacLaine have been mentioned. Auditions in Los Angeles brought out stars, at least as they're defined by Young.
"Jesus Christ, it was an endless array of people: Anna Maria Alberghetti came in to audition, Connie Stevens, it was amazing the people who came in it was like 'Oh, I've been a fan of yours forever.' People like Ann Blyth, Jane Powell," he says.
Still, stars will come in only after the piece leaves its Houston premiere. "Houston audiences might be disappointed when we ultimately put some major stars in it," Young says, "but if you start putting Shirley MacLaine and Bette Midler in this piece now, it's gonna be 'No, I need a comedy song here,' or 'No, I don't like that line.' We want to find the heart of the piece, and once the writers are comfortable with what we've done, then we can put the stars in and you tailor the roles to the needs of these ladies."
Baby Jane was scheduled to premiere last season, but -- even after seven years of workshopping -- it wasn't ready. New set designs have made all the difference, Young says. While he admits "you never know," you can't be a theatrical producer without dreaming you've got a hit on your hands.
Does he need a hit? Probably not, but even as TUTS enters its glamorous new home it faces pressing questions. The subscription base -- the bread-and-butter, money-in-the-bank people -- is aging.
"The demographics are changing dramatically everywhere," says Jenkins of Dallas. "The new -- I don't want to use the term 'dot-com,' but the dot-com crowd doesn't want to buy subscriptions. They don't want to commit to an entire season."
"Most places around the country are reporting lower subscriptions," says TUTS's Breckenridge. "People live for the moment, and they don't plan their lives out a year in advance."
TUTS is coming off three tough years, where it has been forced to mount shows in the summer ("Our audiences are not trained to see shows in the summer," Young says), in various venues around town.
Currently there are about 18,000 subscribers, Breckenridge says. That's down from a high of about 30,000 in the mid-'90s.
TUTS has just launched its newest annual subscription campaign of mailouts and advertising. Results won't be known for some weeks, but the organization's goal is 25,000 subscribers, the number it had in its last full year in the Music Hall.
As always, the campaign requires keeping current subscribers while attracting new ones. Sometimes those are two differing goals: People who renew do so because they like what they see each year; people who haven't signed up may have passed because they haven't been enticed by what's offered.
"The core that renews each year is 70 percent -- those are the diehards who are going to renew every year as long as there's some mainstream stuff and reliable titles," Breckenridge says.
Other customers -- who will have to fork over up to $370 for the six shows -- have to be lured by the lineup.
The dichotomy is demonstrated clearly in Dallas, which puts on a summer season full of traditional, TUTS-like shows (this year includes Cats, 42nd Street, My Fair Lady and Some Like It Hot) and a fall season with edgier stuff like Rent and more obscure pieces. The summer season has 32,000 subscribers, the fall has 7,800, Jenkins says; a mere 500 people subscribe to both.
Young says TUTS considered shutting completely for the three "nomad" years between the demolition of the Music Hall and the opening of the Hobby Center. A marketing study showed that if they kept performing they would lose a quarter of their subscriber base ("And arrogant Frank," Young says, "said to them, 'Oh, please, it's TUTS; those who know us will stay with us, they'll get first choice of seats'; well, we lost 27 percent").
The organization raised $4 million in grants and donations as a "bridge fund" to tide them over while they waited for the Hobby Center.
Not performing would have been worse, Young says: "They told us, 'You would have no subscribers.' "
Moving into a sensational new facility might seem an easy sell -- after all, the Astros drew more than three million fans their first year at Enron Field despite one of their most dismal seasons -- making it perhaps a good time to try to stretch by doing something less tried-and-true.
Not at TUTS. "We have been very careful in planning this first season around things that we know are going to be popular with audiences," Young says. "So we can get a double whammy, because this [marketing] group also said, 'The minute you come back your subscriptions could double, they could go through the roof. But it's a temporary thing; they might stay one or two years, and if you don't win them over they're gone, they'll try something else.' "
So the first season will be much like the seasons before it. Young may not always agree with what he is sure is the conservative nature of TUTS audiences, but he has no doubt he has them pegged.
On a recent New York trip, he took in a one-woman autobiographical show by Bea Arthur, the star of the old TV series The Golden Girls.
"Bea Arthur's show is really nasty," he says. "She says 'fuck' ten or 12 times, she says 'cocksucker,' so it's not for the faint of heart. I kept thinking, 'Oh, God, how are my blue-hairs going to handle this?' She tells these wonderful stories, about things like Tony Curtis fucking his first movie star, and I stood there thinking, 'Oh, God, I don't know how Houston is going to take this.' I think there's a place for that in Houston; I don't know if it's something for TUTS to do, but it's something the Hobby Center might could do, it's very commercial, every place she played [on tour] it really sold out."
Besides the questions of taste, Young and TUTS are also facing questions of finance. They find themselves in an increasingly intense battle with the media giant Clear Channel Entertainment.
Clear Channel is what used to be known as Pace, and it puts on its own series of touring Broadway shows each year. The company has immense financial resources -- it owns 1,200 radio stations and 130 concert venues across the country -- and it's not afraid to use them.
The two groups have somewhat different aims. Clear Channel is more likely to bring the newer shows, hits like The Full Monty and The Producers, that are making their first tours after opening on Broadway. Those shows are too high-priced for TUTS.
"Pace will bring in The Producers; TUTS will bring in The Producers 20 years from now, when it's a comeback vehicle for Josh Hartnett," says Joe Leydon, regional theater critic for Variety.
Still, some of the shows that TUTS would have gotten when it was the only game in town now go to Clear Channel. "A lot of the newer, bigger stuff, TUTS won't get the rights to them," says Holly of the actors union.
Young remains confident the town is big enough for the two groups.
TUTS, as a nonprofit, survives mostly on ticket sales. The rule of thumb is that shows pay for themselves, and grants and donations -- and some relatively small hotel-tax money -- pay for the overhead. Last season the organization had almost $9 million in expenses and about $6 million in revenue, with groups like the Wortham Foundation and the Houston Endowment largely making up the rest.
As he is with everything else, Young is an ebullient fund-raiser. He loves to regale a gathering with a good theater anecdote, like the time he battled with Debbie Reynolds about the overtime-inducing length of her Unsinkable Molly Brown. He finally cut the orchestra off at the three-hour mark -- right in the middle of her bows. "We went backstage after, she slammed the door in my face, and we haven't spoken since," he says.
"He's a charming, personable guy, always entertaining," says Udden of the Main Street Theater. "We kind of all fall into that trap -- when you're running an organization like us or TUTS, you gotta be 'on' all the time; there's a kind of dancing-bear aspect to it all."
"He has this incredible knowledge, he's always positive and energetic," says the NAMT's Biggs. "He's hysterical, always the life of the party."
"The bad news is that it's getting harder and harder to do new work," says McCollum of Rent. "The good news is that here's a man who has been doing it for 35 years. It's never been harder to do it than it is today, and he still approaches it all with enthusiasm and energy."
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At 61, Young indeed shows no signs of slowing down. His life has been TUTS, and whether you think that means he's responsible for tepid, timid musical theater in Houston or that he's brought in years and years of sparkling big-time entertainment, there's little question he's made a mark.
"We don't do shows for the critics," he says. "We have to do shows our audiences want to see Especially when you operate at the level I do. We'll have 60,000 people see a show. So if I do some avant-garde -- you know, Sondheim is always risky, but I've done a lot of Sondheim over the years -- you've got to package that with something that has tap dancing and comedy and whatever it's going to take to keep a musical theater audience happy."
That's what he's been doing for his long career at TUTS: keeping things light and breezy, tossing an occasional bone to the critics -- and the people those critics are talking for.
And as they move into their stunning new $100 million home, there's little prospect things will change. Tony Curtis, after all, is taking tap lessons.


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text:
Accused: a213fwsdf32
The accused is suspected of: unwarranted poor ratings and abusive language
Game number(s): 12421396
On Feb 27th I joined his 2 player Lux speed game. He won the game in 5 turns. I said nothing to him. For some reason he called me a "cunt". I consider this a completely rude and derogatory term.
If that is not bad enough, a few days later a receive a 1 rating across the board from him with the following tags:
"Coward, Secret Diplomacy, Cheap Tactics, Poor Strategy"
Not only did he use offensive language during our game, he left me a completely unjustified poor rating.
Players like this detract from the enjoyment of CC. He should be cautioned at the very least and this rating along with the offensive comment should be removed.


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The Office of Marketing and Communications is located on the second floor of Francis Hall on the East End of campus. During the academic year, our office hours are 8:30 a.m. to 5 p.m. Summer hours are 8 a.m. to 4:30 p.m.
The WSBU-FM Hall of Fame Induction will take place at noon Saturday, Feb. 8, in Reilly Center 219.
The WSBU Hall of Fame Induction was created at the time of the station's 50th anniversary and was revived in 2011 by some Bona radio veterans. The policy for induction is straight forward; current members nominate individuals, and then the WSBU Board selects the inductees from there.
The WSBU Hall of Fame qualifications are based upon a combination of qualities such as dedication and achievement at the station, sometimes highlighting individuals'levels of success after graduation.
This year's inductees include:
Justin Craig, '97: Craig is the program director at ESPN's New York City station, 98.7 FM.
Tom Schuh, '84: Schuh has been a stalwart in Buffalo radio for 30 years, serving as program director and on-air personality for some of the city's most successful stations. He still works in sales and programming for WECK (1230 AM) and plays in his band, the Soul Barons.
Dominic Genova, '75: Genova helped WSBU make the move to the FM dial in the 1970s as station manager. He is still writing and producing his own radio ads.
"For the students who are involved in WSBU, the station is a huge part of their lives; And, their experiences and the relationships forged there stay with them for the rest of their lives," said Elmer Ploetz, '81, one of the organizers of the event.
"This Hall of Fame is a way for the alumni to honor some of the significant achievements and achievers in the station's history; it's a way to reconnect them with the station."
There will be a small reception where the recipients will receive a plaque to commemorate their induction into the WSBU Hall of Fame; the public is welcome.
About the University: The nation's first Franciscan university, St. Bonaventure University cultivates graduates who are confident and creative communicators, collaborative leaders and team members, and innovative problem solvers who are respectful of themselves, others, and the diverse world around them. We are establishing pathways to internships, graduate schools and careers in the context of our renowned liberal arts tradition. Our students are becoming extraordinary.
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Chris Miller of Scotland Plans to Appeal Murder Conviction
SCOTLAND - A South Dakota man sentenced to life in prison for causing the death of his infant son plans to appeal his conviction on second-degree murder and aggravated assault convictions.
The Daily Republic newspaper reports that the attorney for 39-year-old Chris Miller, of the town of Scotland, has notified the state Supreme Court of his intentions. Court documents containing arguments for the appeal likely will be due next month.
A Turner County jury on Jan. 30 convicted Miller in the March 2011 death of 4-month-old Jacob Miller, who authorities said suffered a severe skull fracture and bleeding on the brain.
Copyright 2013 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.


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Sarah's busy summer
Sarah McLachlan's first new album in 7 years Laws of Illusion drops next Tuesday June 15th. It's a week of heavy promotion leading up to the release including an appearance on Letterman tonight which is why she was spotted at Vancouver airport yesterday with her first daughter heading for New York. She looks amazing, non? I have met Sarah on several occasions. She's the loveliest, loveliest, and lovelier in person. As for those who've been asking – she and Brett Wilson ended their relationship just before the Olympics.
It'll be a busy summer ahead for Sarah and her girls. Starting June 27th, Sarah will be headlining Lilith Fair. Ummm....
Have you seen the artist list for Lilith Fair??? Click here. The names are ridiculous. I almost can't believe all of them, ALL OF THEM, and for one event. And there will be a travelling nursery yes, which works out well for Sheryl Crow because she just brought home a new baby. I'll be covering Lilith Fair in Vancouver on Canada Day July 1. Click here for dates and tickets. Can't wait.
Exclusive photos from PUNKD Images


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Tuesday's Tip: A Tale of Two Indexers
I did a bit of searching and eventually came up with a record for an Alexander Szorescko from Warchau. My grandfather and my great-grandfather were from Warsaw, so it makes sense that the Aleksander I'm searching might be from Warsaw. Warschau is the German translation of Warsaw--the ship set sail from the German port of Hamburg. Again, it makes sense that the person writing the information from a German port might write the name of the city in German.
The other night I jumped over to Steve Morse's One Step site to search the Ellis Island site from there. I found the following: Alexander Storeako from Warshon. Same person and the same record, but a different interpretation of the handwriting.
I looked more closely at the record. What do I see when I look at the record? I see Alexander Szoreako from Warshau. Three different people interpreted the same record in three different ways. I'm still not convinced Alexander Szorecsko or Alexander Storeako or Alexander Szoreako is my Aleksander Szerejko, but it gives me something to go on at this point.
Tip for the Day: If you can't find the record you are looking for using one database, try another database that searches the same set of records or record groups. Maybe you'll find it there.
6 comments:
This is so true. I run a surname site for my last name (Lamberson) and its variants (e.g., Lambertson, Lomison, Lamason, Lamberton), and I can't tell you how many ways I've seen the name spelled. Sunderson, Lamberrin and Tombinson come to mind, however.
Even working with so many variants of an unusual name, after working with one spelling in a particular locality for awhile, I myself forget to check the variants and have to reteach myself this valuable lesson.
- September 21, 2010 at 4:03 PM
Good post! Great minds think alike - maybe because those of us with Slavic names suffer a little more from mis-translations. I had a similar article a while back on my blog called An Index is Only as Good as Its Spelling. It pays to look around!
- September 24, 2010 at 2:53 PM
- Cynthia Shenette said...
Greg - It's interesting to hear you say that regarding what sounds to be, at least to me, a fairly straightforward name. Apparently every name presents its own unique challenge. I suspect people have figured out how to misspell John Smith on more than one occasion. I always check for variants and note the various spellings in my files. You're right, geography plays an important part as well. I'm glad you found my tip useful. Thank you for your comment!
- September 26, 2010 at 11:35 AM
- Cynthia Shenette said...
Donna - Thank you for your comment and your compliment! I agree, I think Slavic names do suffer a bit more from misspelling. In my case I've seen German spellings, Americanized spellings, phonetic spellings, and plain old-fashioned misspellings. I also try to think of what something might sound like with a Polish accent, particularly for the census. Soundex is frustrating-too many results. I haven't read the post you mentioned, but I certainly will. We Poles have to stick to together to figure things out!
- September 27, 2010 at 7:30 PM
- Karen the AncesTree Sprite said...
This is so true! In the US census records, I searched the Ancestry.com indexed database for my DeHart gr-grandparents and their children. I knew exactly where they had been located (they were farmers who owned the same farm for generations). I had found them in the census before and the census after the one I needed, but they were totally missing from the census I was searching. So I had to go through and look at the original census images for yje area, page by page...Lo and behold - there they were! Clear as day, the DeHart family!
I didn't find them searching the ancestry.com index because the indexer had transcribed the family name as Pedrakr, instead of DeHart. The transcription was so far off base that the results didn't even appear in a Soundex search. Try as I might, I couldn't see how the indexer had seen Pedrakr instead of DeHart in the census taker's handwriting, but they had and that's how the name was indexed.
- September 28, 2010 at 4:36 PM
- Cynthia Shenette said...
Karen - It is frustrating when you see something that looks so clear to you. Sometimes I think the indexers are in too much of a hurry. Other times the recorder is the problem. I've seen more errors than I can count. One example, my great-grandmother is listed in the 1930 census. She died in 1924! What happened there?
Thanks for your comment!
- September 28, 2010 at 6:20 PM


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One girl's twistedly fantastic interpretation of what the hell is really going on in those tribes.
Wednesday, February 9, 2011
Kristina is a 46 year old mother to an autistic child and hails from the wilds of Malibu, California. She's a late in life law student as a result of the struggles she's had to endure dealing with improving her son's quality of life. I love it when people in their 40's/50's pick up an entirely new career path. I think it's sort of ballsy and very Elizabeth Wurtzelian. Just look at Paula Deen or Gene Hackman. Paula didn't become famous or a millionaire until she was in her 50's. Gene Hackman didn't start acting until he was 42! Shit, I got decades to make something happen. In the meantime I'll just continue making fun of reality people and watching Masterpiece Theatre, but I digress. We're talking about Kristina here not me.
I love that Kristina knows lying and manipulation are part of the game. She calls anyone who can't grasp that concept an "idiot". Nice! Name calling is the quickest way to my heart. Let's watch her video and hope she's as inspirational as I want her to be.
I think I like her. When she leaned forward and said, "Watch it. I'm gonna win. That's the scoop." I laughed and flashed her my bitch gang sign. I mean, good for her. Why not? She wants to be a lawyer for the right reasons not like the others who think the lawyer badge is something that makes them superior. Kristina is kind of a bad ass. She's definitely tough. I can respect that. I'm dying to see how she plays. I have a feeling I'll either love her or hate her. Only time will tell.
Posted by Colette Lala at 12:07 PM
2 comments:
- DiabolicalFebruary 12, 2011 at 11:13 PM
She's pretty likeable. She's got a good attitude and I think she'll do OK. At the very least she's got the medic hoping the bitch doesn't ever get injured.ReplyDelete
yeah love thx admin nice postReplyDelete
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