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The Oyster Princess (1919)
Another Ernst Lubitsch sex comedy starring Ossi Oswalda, this one is a bit less transgressive than "I Don't Want to Be a Man," but still racy by the standards of the time, especially compared to American comedies. Lubitsch again shows the talent he will be bringing to movies for some time to come.
Ossi this time plays Ossi Quaker, the daughter of an American magnate (Victor Janson) who has made his fortune selling oysters. She seems to delight in destroying things, throwing newspapers when she runs out of vases to break. When Victor asks what the matter is this time, he finds it's because the daughter of the "Shoe Cream King" is marrying a count. Of course, she demands better, so Mr. Quaker agrees to find her a prince. He goes to a matchmaker (Max Kronert) who looks in his files and discovers a confirmed bachelor by the name of Prince Nucki (Harry Liedke) and sends him an invitation to meet the Quakers. The reticent Nucki, on receiving this note in his bachelor pad, sends his buddy Josef (Julius Falkenstein) to scope out the girl in question, setting him up to play his valet. Meanwhile, Ossi is "instructed" in married life by practicing with a baby doll.
The Circus (1920)
This short from Bray Studios again mixes live action with animation (no doubt to save time and money before cel animation had been perfected) to produce a movie about a drawing that takes on a life of its own. The result is simple, but satisfying.
Let this ring represent "Circus."
The movie begins with an image of an artist at his desk with a messenger standing over him. We see him draw the image of a clown, seal it in an envelope and address it to "the Operator." The messenger brings it to a projectionist working in a booth, and he opens it to find instructions for the clown. He turns the page over and the clown comes to life, initiating the animated portion of the film. The clown draws himself a circus ring and calls for music. He creates the shape of a horse beneath a blanket, then pulls off the blanket, revealing a skinny nag. The horse eats the blanket and the clown does some stunts on his back, before the horse bucks him off and tramples him. The clown asks the horse to count out the toes on his foot, and the horse stamps on it. The horse then does a series of funny poses, and the clown announces that he will run to beat his own time of a mile in 1 and ¾ seconds, but he accidentally hits the horse with the bullet from the starter gun. The horse announces "I'm kilt" in a speech bubble and a horse with a halo emerges and floats up to horse heaven. The horse-St. Peter insists that he take off his shoes and when he tosses them down he hits the clown repeatedly. The clown throws one back up, giving St. Pete a black eye and the horse laughs, causing St. Pete to kick him back down to Earth. He re-enters the horse-body and comes back to life. He kicks the still laughing clown into an inkpot and the clown throws ink at the horse before putting the cap back on and descending.
This movie was part of a series called "Out of the Inkwell" produced by Max Fleischer and directed by his brother Dave. The series ran from 1918 to 1926, and the protagonist would eventually become known as "Koko the Clown," although he was nameless at the time of this film. He has a memorable look that I think today seems like a familiar image of an "old time" clown. He had first been drawn by Max Fleischer to demonstrate the success of his invention, the rotoscope, that was a method for achieving realistic movement for animated cartoons. The series became a hit, and the Fleischers went on to produce on film a month for eight years. Koko remained a staple for years after the end of the first series and continued working up to an appearance with Betty Boop in 1934, then took some time off before appearing on television in the sixties. This cartoon, which has many elements that would be familiar to children of later generations, seems fairly sophisticated, although much of the movie takes place against a blank white background. Once we get up to "horse heaven," things get a bit more impressive, and the clown does well moving about the "real" world of the inkwell as well.
Director: Dave Fleischer
Animator: Max Fleischer
You can watch it for free: here (no music).
I Don't Want to Be a Man (1918)
This gender-bending sex comedy from German director Ernst Lubitsch demonstrates the sophistication and defiance of taboo for which he would become famous, already in place just slightly after the end of the First World War. While it might seem tame to some audiences today, it still has the power to shock or at least surprise, when seen in context of the work Hollywood was producing at the time.
Unacceptable Behavior
Ossi Oswalda stars as "Ossi," a spoiled rich tomboy who likes to play cards, smoke, and drink liquor, but is told these are not "ladylike" by her uncle (Victor Janson) and governess (Margarete Kupfer). The uncle receives orders to travel abroad for his job, which each believes will liberate them from the constant clashes. The uncle discovers that he hasn't the stomach for sea travel, while Ossi learns the he and the governess have hired Dr, Kersten (Curt Götz) as a new tutor for her, to instruct her in discipline and proper etiquette. He is very strict, but Ossi is very responsive to him – instead of rebelling, she obeys his commands, possibly because she is attracted to him.
The Bomb Idea (1920)
This animated short from Bray Productions features Jerry Flannigan, known to readers of the Hearst Newspapers as "Jerry on the Job." He is a diminutive fellow who works a variety of jobs, although his employment is a pretty minor aspect of this film.
Jerry and his boss are at a railroad station, reading the paper. They see a headline screaming "BOLSHEVIKI RUN WILD THROUGHOUT THE COUNTRY" and become highly paranoid. When a mustachioed man walk up holding a large black sphere, they become fearful and try to hide, but everywhere they go, he seems to follow, polishing his "bomb." Finally, they run into town and arouse several other citizens and a police officer to come out and investigate. The team sees the man lighting a match, but really he's just lighting his pipe. He gets ready to throw the bomb and tries to knock over several bowling pins, but the ball misses and he has to use his pipe to get a "strike." At that moment, the lynch mob confronts him with a gun, and he holds up his hands, causing his coveralls to fall off and reveal several bowling medals pinned to his chest. He runs off, leaving his clothing behind and the other lynchers turn on Jerry and his boss, initiating the traditional cartoon "fight cloud." When the dust clears, it appears that Jerry and his boss have been torn to shreds, and the other men leave. Finally, the heads of Jerry and his boss poke out from the ground, with two black eyes each, but they are still alive. Oddly, in the final shot they kiss each other on the mouth.
What surprised me most about this cartoon was the direct political reference, but particularly in the context of red-baiting newspapers. The comic's original host, the Hearst line of papers had been responsible for some of the worst red-baiting of the postwar period, and here was a cartoon apparently lampooning that with their character! The movie suggests that people should not jump to conclusions, and that violence can be fueled by irresponsible journalism. Of course, it's all in the service of a laugh, and apparently meant for children who probably wouldn't read that level of criticism into it. It was also interesting to see the early use of a dust cloud to simulate fighting in cartoons, something I remember from my childhood of cartoon-watching.
Director: Walt Hoban, Vernon Stallings
Animator: Walter Lantz
I have not been able to find this movie for free on the Internet. If you do, please comment.
The Ocean Waif (1916)
This late movie from Alice Guy-Blaché's Solax studio seems to be an effort by her to imitate the success of Mary Pickford, with a less-expensive actress. The story, as well as the performer, do manage to evoke some of the charm of Pickford's better work.
Not Little Mary
Doris Kenyon is Millie, a young orphan who washed up on the beach one day and is being raised by "Hy" Jessop (William Morris), a gruff fisherman with all the social graces and basic decency of Huck Finn's Pappy. She is also loved from afar by the seemingly simple-minded "Sem" (Fraunie Fraunholz), who hates to see her abused by her foster father, and tries to defend her. She runs away to a nearby abandoned crumbling mansion, which, though filled with rats, is not much worse than her regular squalid digs. A wealthy author by the name of Ronald Roberts (Carlyle Blackwell) decides to lease said mansion, seeing it as the ideal romantic atmosphere to work out yet another best-selling novel, and he brings along his valet, Edgar Norton. Clearly, the three are on a collision course with wackiness!
This being a fairly brief silent film, said wackiness gets underway pretty quickly, with Millie hiding out in the mansion and fooling the butler into believing there is a "lady ghost." Norton gives quite a number of good scare takes before Roberts figures out that there's a real girl hiding out. Once she's been discovered, Roberts takes her under his wing, with the usual result of an impoverished young girl's awakening attraction to an older successful man (see, for example, "Stella Maris"). In this case, he more or less reciprocates, but with the added complication of a fiancé who comes to visit at an inopportune moment, causing Millie to run back to her foster father, who now notices her blooming womanhood for the first time. Luckily, Sem intervenes once again to rescue her, conveniently getting himself killed n the process to avoid any further romantic triangles. Ronald's fiancé decides she's more interested in marrying "the Count" who has been wooing her single (presumably widowed) mother, thus allowing the two stars to live happily ever after.
Your…fish…has arrived, sir.
This is pretty light fare, and as I've suggested it's rather derivative, so doesn't hold up against the best work Guy-Blaché was putting out from Gaumont in the 1900s. It is undeniably more sophisticated in terms of film techniques and storytelling, but only in the sense of having kept up with the industry as of 1916, not in terms of any innovations. Still, there are some nice touches. I actually think the best performance is the comic turn by Norton as the butler. I could actually hear his nasally-British voice as he showed his fastidious snobbishness at the surroundings and locals of the seaside. Anyone who watched (or read) "Jeeves and Wooster" will instantly recognize his archetype here. Norton would continue playing butlers of this type well into the sound period, so he'll be recognized by many classic film fans. One nice bit has the waif's first night at the mansion intercut with the author's night in a luxurious hotel nearby, emphasizing the differences in their backgrounds and the lives they've known. I was actually rooting for Sem, myself, who seemed to have more genuine feelings for Millie, and who is the only one who really puts himself on the line for her. I suppose that the difference in their intelligence would have prevented a healthy relationship, but I'm not sure that falling for the first rich guy you meet is much better.
Director: Alice Guy-Blaché
Camera: John G. Haas
Starring: Doris Kenyon, Carlyle Blackwell, William Morris, Fraunie Fraunholz, Edgar Norton
Run Time: 40 Min (with some missing footage, I believe)
Terror Island (1920)
Having survived 15 death-defying situations in the previous year's serial "The Master Mystery," Harry Houdini is back in this feature-length adventure thriller which bills itself a "melodrama."
Houdini stars as Harry Harper, a treasure-seeker with a heart of gold who hopes to recover a shipwreck full of diamonds using his newly invented submarine in order to take care of local waifs who sell newspapers. Wilton Taylor and Edwin Brady are greedy treasure hunters who are gunning for the same treasure, and they read about Harry's plans in the newspaper. Lila Lee is Beverly West, the horseback riding love interest who happens to be related to the bad guys and also possesses the map to the wreck in question, sent by her father in a plea for his rescue from island natives who plan to sacrifice him unless she returns a skull-shaped pearl he sent her earlier. Got all that? Read the rest of this entry »
A Dog's Life (1918)
I've been a bit remiss in not moving ahead with Charlie Chaplin's career since he left Mutual in 1917 and started with First National. In this movie, he abandons many of the violent slapstick formulae of his years with Keystone, and focuses almost entirely on the sympathy and pathos of his "Little Tramp" character.
We meet the Tramp sleeping in an abandoned lot. When a hotdog vendor puts down his pot near a hole in the fence, Charlie reaches through to steal a hotdog. However, a cop observes this and even though Charlie returns his stolen goods, the cop rousts him out of his sleeping place. Charlie evades the cop by rolling under the fence several times, until another cop comes along and he runs away. Throughout all this, there are periodic insert shots of a cute dog with a patch over its left eye, sleeping in an alley. Charlie goes to an employment office where they are looking for men to work in a brewery. Even though he was there first, the other unemployed men manage to bully and outrun Charlie in getting the work tickets, and he spends the time running from window to window for nothing.
The Spiders Episode 2: The Diamond Ship
The second and final installment of Fritz Lang's serial "The Spiders," like the first one, owes a great deal to earlier silent cinema, but shows the innate talents of the still new director as he works in a somewhat formulaic genre.
The movie opens with a shot that could have been lifted directly from Maurice Tourneur's "Alias Jimmy Valentine" – an overhead image of a jewel heist that shows a labyrinthine shop floor layout as various people move about and evade one another (it was a bank in the original). The Spiders break into the vault and take the jewels back to their base, but they are discouraged to find that the "Buddha Stone" is not among them. The Buddha Stone is a much sought-after prize that supposedly would "make Asia mighty" and liberate its people from foreign rule if returned to them, so the Spiders want to sell it to the Indian-led "Asia Committee." Apparently, they have looked everywhere for this precious and powerful jewel, but cannot find it. Read the rest of this entry »
Happy New Year's, everyone. With the change of decades, the Century Film Project enters a new era as well. Most obviously, we are moving from a period I was studying because I didn't know it well, into a period when I've already seen a fair number of films. This started in a small way in 1919, and there's still an awful lot more for me to learn about the 20s, but the clock is rapidly taking me into more familiar territory. Of course, there are still many tens of thousands of movies from before 1920 that I'd like to review.
What I plan to do starting this weekend, is to alternate between posting about one 1920 film and one pre-1920 film on each Saturday and Sunday (sometimes taking advantage of Holidays to sneak something extra in). I'll probably miss this schedule as often as I keep it, but at least that will give me a guideline as to what I can expect to accomplish in a given week/month/year. I hope this will also give my readers a bit more predictable of a reading schedule.
Thank you for reading and enjoy the next 100 years.


I had a wonderful time at the beautiful Saira Khans house last week as I cooked a six course summery lunch for a bunch of the Loose Women (Stacey Solomon, Nadia Sawalha, Jane Moore and of course lovely Saira) plus a bunch of other gorgeous girls.
My next video recipe for David Lloyd Clubs is this delicious healthy mid-week dinner. Tender, grilled garlic-lemon marinated chicken breast sits on a bed of fluffy couscous and brilliantly colourful and sweet honey glazed rainbow carrots. Delicious and perfectly balanced, it provides a healthy balance of veggies, carbs and protein.
My third cookbook – Orexi! Out today!
Writing a cookbook is an emotional affair, but man, the day of publication is filled with excitement, trepidation, nerves, the lot.
I've wanted to write this book for ages; "Orexi! Feasting at the modern Greek table". A book that champions Greek and Cypriot food and showcases as much of the old as the new.
Anyway, I won't bang on about it – but suffice to say, I'm well chuffed and I hope you enjoy reading it and using it as much as I did developing it.
Published by Ryland Peters & Small, Photography by Mowie Kay, Words and recipes by moi!
Fresh ingredients feature heavily in the recipes, which are divided into seven sections. The author states that "… the heritage of Greek food is not simply about the ingredients, […] but it's also the stories that cradle a plate of food, the childhood memory of eating something all together and the conversations around a table." To this end, at the beginning of each section, he brings us a slice of Greek life, explaining the traditions behind the dishes or childhood memories associated with particular foods. He also introduces each recipe with a brief story detailing the origins of the dish or his inspiration for creating it. The recipes don't follow the boring, traditional format we're used to in other cookbooks. These are more conversations with the author, in which he provides tips and tricks learned through experience, as well as humorous asides such as, "tomatoes are very self-conscious and would hate to feel overdressed" and "serve with a green salad and smug expression".
The author's personality and humor radiate from the pages. This cookbook is as entertaining to read and look at as it will be to cook from. Mostly it's about combining fresh ingredients with splashes of ouzo, glugs of olive oil, a squeeze of lemon, and of course, family. As the author states, "I always find that food never fails to start a conversation and bring people together." Kali Orexi!
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Get the full recipe at David Lloyd Clubs Blog.
A delicious, warming recipe of roasted aubergine with a homemade chili dressing on a bed of aromatic and fragrant cauliflower tabbouleh. Vega, Gluten Free, what more could you want!
Visit the David Lloyd Blog for the full recipe; in the meantime; here's the video!


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Steer focus group discussions without forcing answers from participants.
Focus groups can be effective research tools for learning new information about your customers, competitors or products, or confirming marketing assumptions you've made before you begin using them to create strategies and tactics. Conducted improperly, a focus group session can result in the participants parroting information you want to hear, so you need to make sure you write clear focus group objectives.
The first step in writing focus group objectives is to ask yourself why you're convening the group rather than using an online, telephone or in-person survey. Ask yourself what you can get from a focus group you can't get from a survey. This will help guide you in emphasizing these more important needs and help you avoid wandering into areas you could research using other means.
Marketing research includes evaluating your product, price, promotions and places of distribution. This requires you to analyze the competition, define your target user and create a brand image in the marketplace. Determine if you need to cover any or all of these in your focus group, even if the purpose of the group is to discuss a specific product, service, website page, advertisement or promotional campaign.
Ask yourself what you hope to achieve from the focus group. This might include soliciting feedback on a specific topic, looking for new ideas you hadn't considered or determining which of several options you are considering will be the optimal choice based on customer feedback. List specific questions you want answered and specific information you want collected. Think about how you will use that information once you've collected it to solve your problems or make your decision -- don't collect information that can't be applied to your needs. For example, asking focus group members if they like something doesn't let you take that information further. Ask why they like something to give you specific information you can use later.
A focus group script should include an introduction and an explanation of why the group has been convened. Be careful not to tell the group what answer you're seeking or what information you want, to prevent them from telling you what you want to hear. For example, if you want to learn if potential customers are looking for a low-fat breakfast option, start the discussion by telling participants you're interested in learning about their eating habits and if they take steps they take to choose healthier foods. Avoid making the majority of your focus group leader-driven. Ask open-ended discussion questions that require the group to interact and volunteer information. Use pointed questions to steer conversations that begin to stray.
Ashe-Edmunds, Sam. "How to Write Focus Group Objectives." Small Business - Chron.com, http://smallbusiness.chron.com/write-focus-group-objectives-60736.html. Accessed 25 April 2019.
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Your Guide To Building a New Home (Residential) Serving Rural, Roane County, Tn. And (Cities of Kingston, Harriman and Oliver Springs) County Executive: Ron Woody A home built on a slab-on-grade can be more affordable, more comfortable and more durable. Here is a technical guide to building a home on a slab instead of See more
Building a House Step by Step. You're ready to start building your new home. What is the sequence of steps in building a new home, and how long will each take? Guide to your new home Section 1 – Congratulations 3 Section 2 – Moving in - excited? 5 Section 3 – Settling into your new home 7 Section 4 – Essential services 9
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Building a house can be a big task but Australia's favourite property site, realestate.com.au, can help with tips, guides & things to consider. New home construction can be a costly puzzle, and it's not for everyone. Here are five steps to consider before you build your dream house.
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Buying a new home will likely be the largest purchase you ever make. You may be embarking on a new life purchasing your first home or upgrading to your dream home … Thinking about building your own home? This easy-to-follow guide shows you how to plan and build a beautiful home on any budget. From acquiring land to finding the best architect to overseeing the construction, you get lots of savvy tips on managing your new investment wisely — and staying sane during the process! Discover how to:
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M ost people, when building a new home will spend enormous amounts of time planning exact size and colour of rooms, appliances, woodwork and furnishings – but fail Planning for a new home can be an exciting, challenging and sometimes overwhelming experience and the decision to build a new home is different for everyone.
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HomeAdvisor s Home Building Cost Guide provides average cost estimates on home construction. Learn the costs per square foot, materials, labor, and other expenses to Home; Ideas & How-to; Ideas & How-to HOW TO BUILD A DECK PART 1: PLANNING. start with this comprehensive Ideas & How-to guide.
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The ReSharper C++ Blog
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ReSharper C++ 2020.3 EAP: Updates in Navigation, Unit Testing, and C++20 Support in Visual Studio 16.8
In this EAP build, we've introduced several navigation improvements, supported the C++20 conformance changes in Visual Studio 16.8, and updated our support for Catch2 parameterized tests.
Elvira Mustafina
ReSharper C++ 2020.2: Unreal Engine Project Model, Improved C++/CLI Support, and More
ReSharper C++ 2020.2 includes lots of performance improvements and bug fixes, updates to C++/CLI and Unreal Engine support, a new set of code inspections with quick-fixes, and more.
ReSharper C++ 2020.2 EAP: safe_cast, Misspelled Directives, and Forward Declaration
The new EAP build for ReSharper C++ 2020.2 is here! There hasn't been much news from us for the last few builds, but don't worry – we are working hard on a quality-targeted release that fixes bugs and performance issues, so we've had less time for introducing new features. But this week we've collected a variety of new things to share with you: "Use safe_cast" quick-fix for C++/CLI. Error highlighting for misspelled preprocessor directives. An import completion option adding a forward class declaration. Automatic cleanup on save, autosave after cleanup, and cleanup for recent files.
ReSharper C++ 2020.2 EAP: Updates to Unreal Engine Support, Navigation Enhancements, and More
The second of our Early Access Program builds for ReSharper C++ 2020.2 is now available! In this post, we'll go through updates to Unreal Engine support, improved search and navigation features, and more. Read on for details: Unreal Engine: smarter auto-include and header completion, better alignment with UE guidelines, and common acronyms in the built-in dictionary. Navigation and Search: an option to hide preprocessor directives in File Structure, inheritance searches for CLR entities in C++/CLI, and Go to declaration for unresolved identifiers. Modernize your C++ code: an inspection
ReSharper C++ Starts 2020.2 Early Access Program
Today we are launching the Early Access Program (EAP) for ReSharper C++ 2020.2, which brings many improvements for Unreal Engine and C++/CLI support, performance fixes, and more. This release cycle is aimed at fixing bugs, but it's hard to resist adding some new treats. So, in the first EAP build, you'll find a combination of polished functionality and new features! The main highlights of this build are: Unreal Engine: Unreal Engine project model support, new inspections, improved Find Usages and code generation, UE code style. C++/CLI: inspections for gcnew and final, searching for inh
ReSharper C++ 2018.3: every bit better!
Please welcome the third release of ReSharper C++ this year! v2018.1 brought debug step filters and includes analyzer, while v2018.2 came with the initial C++/CLI support and better understanding of C++17 and C++20 standards. The just released v2018.3 tunes literally every smart feature the product has, making them work more precisely on modern C++ code. Let's dive into the details: Performance improvements meaning a more responsive editor Formatter: auto-detection of formatter settings, and C++ naming schemes Get a grasp on your code easily thanks to: Parameter info Name hints
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C++/CLI support comes to ReSharper C++
ReSharper C++ joined the ReSharper fold back in 2015 to bring the power of ReSharper to the world of C++ - and has been getting better ever since! For most people this has rounded out the ReSharper story within Visual Studio. However an odd gap remains. Odd because the worlds of C++ and C# are bridged by the interop language, C++/CLI, yet this has remained unsupported by the ReSharper family. Until now, that is! From 2018.2 (available now in the EAP) ReSharper C++ has initial support for C++/CLI. There are some limitations, so read on to find out more. Support is enabled by default, but


REVIEWING THE BUDGET: THUMBS UP . . . OR DOWN?
Elaine May's "Ishtar," as nearly every movie review pointed out, cost upward of $40 million to make. Robert Townsend's "Hollywood Shuffle," as nearly every movie review pointed out, cost $100,000.
Since the overall reviews were better for "Hollywood Shuffle" than for "Ishtar," and since Hollywood aligns common sense with dollars and cents, the obvious conclusion is that "Hollywood Shuffle" is 400 times better than "Ishtar."
There are a lot of weird conclusions to be drawn from movie reviews, but for people who depend on critics to help them plan their movie schedules, it must be getting difficult to know which is being reviewed, the movies or their budgets.
Budgets are certainly irrelevant at the box office. You pay the same to see a movie that is shot in someone's backyard as you do for one where they rent a country. The retail end of the movie business, unlike that of the auto industry, is not dependent on the costs of such things as raw materials, workmanship and roadability.
Its prices are not even a function of supply and demand. Until a picture moves over to the $1.50 house--the film industry's answer to the remainder table in book stores--ticket costs are consistent.
So what does it matter to moviegoers how much a movie costs, or how overpaid an actor is? What does it matter that "Ishtar" may not make enough at the box office to recover the salaries of its two stars?
Few reviewers were able to announce their verdicts on "Over the Top"--guilty of romanticizing the dodo sport of arm wrestling--without mentioning that Sylvester Stallone had been paid $12 million for grunting in it.
Stallone may be to acting what the Hula-Hoop is to dance, but in a free economy, he is worth what the financiers are willing to pay him.
The problem for reviewers, and for many moviegoers, is that the costs of film making are now routinely reported as news. Many of the companies making movies are public corporations and management decisions are accountable. Whenever they commission an expensive new product--whether it's an Edsel or an "Ishtar"--cost and quality are inextricably bound.
The interesting thing is that the media get the budget figures from the very people whose companies and careers often hang in the balance. Itemized film budgets are not matters of public record.
It used to be that big budgets compounded the hype and created a greater want-to-see among people who have to be pried, like abalones, from their TV sets. Eventually, the competition for the title of "biggest spender" became so great, producers announced budgets that were sometimes twice the actual bloat.
Today, it is common for film reporters to ask for budget figures, and to be given them. Producers talk, directors talk, studio executives talk, Jack Valenti, president of the Motion Picture Assn. of America, talks and talks and talks.
Every year, Valenti announces the average cost of a studio movie and we all whistle. But the number--$16.8 million was the average for 1986--is meaningless until you consider what that kind of money can buy. A large medical complex in Encino, Magic Johnson's Lakers contract, an international arms scandal.
When a single movie--particularly one as intellectually modest as "Ishtar"--runs up a tab two or three times the average, a critic would need the discipline of a monk not to weigh it against its price.
So, a phenomenon (fat budgets) that was originally used to raise expectations has come to lower them. "Legal Eagles" would have been a passable entertainment at a "normal" cost. At a reported $35 million to $45 million, it was obscenely thin.
When a film comes in at the other end of the scale, we're disbelieving. "A Room With a View" would have been a mere charmer if we hadn't known its budget. At $3 million, it was heralded as a cinematic miracle.
Oddly, "Ishtar" seems to have benefited--at least with some critics--from all the bad publicity surrounding it. Had the film been released on schedule last Christmas, critics inclined to review budgets would have been laying for it.
There had been skepticism about the project from the day it was announced, but it wasn't until Columbia was forced to postpone its release from Christmas to last month that the black clouds began to form.
Major studios do not postpone Christmas movies without having replacements handy, and Columbia's cupboard was bare.
Later, there were rumors about power struggles between the stars and May, followed by reports that May had gone back, months after the film was supposed to have been finished, to add or reshoot scenes.
Meanwhile, the new administration at the studio was treating "Ishtar" like a delivery of battery-powered toilet seats ordered by the last administration.
The whole thing creaked like "Heaven's Gate."
Then the movie was released and--surprise! surprise!--many of the reviews were friendly.
From a reading of about 30 reviews from a cross section of critics in the United States and Canada (all but four mentioned the budget), the most common theme of the positive reviews was that "Ishtar" is not that bad. Sure, $40 million is a lot of money to spend on a piffle, some said, and you won't find a fraction of the budget on the screen. But there are enough laughs to warrant buying a ticket.
ABC-TV's Joel Siegel said he had some good laughs with "Ishtar," then estimated the cost-per-laugh at $2.8 million.
Eleanor Ringel of the Atlanta Constitution gave the movie a double-budget review, comparing "Ishtar's" excesses to those of "Howard the Duck's," concluding that "Ishtar's" "balance of outlay and return seems a lot more worthwhile."
Joan Bunke, writing in the Des Moines Register--presumably in this decade--said it doesn't matter to audiences whether "Ishtar" cost $50 million or $17.50, people will be repaid their $3.75 ticket cost "three times over in sheer fun."
In the case of "Hollywood Shuffle," there is no question that the budget affected the reviews positively. There are inspired comedic moments in "Shuffle," and the film is clearly about something. But if the movie occasionally looks homemade, well, that was the inevitable result of an invisible budget.
The important thing, the critics agreed, was what Townsend had managed to do for a paltry $100,000.
But for moviegoers trying to pick and choose their entertainment, the question is not how much Townsend got on the screen for so little, or how little May got on the screen for so much. We just want to know whether it's worth the $5 or $6 (significantly less in Des Moines) that we will pay to see for ourselves.


Pasco Defeats ZHS Girls and Guys. Good Sportsmanship Was Displayed!!
In Dade City the Pasco Pirate Varsity Girls basketball team defeated the Bulldogs by a score of 63 – 19. The game was held at the Dr. Don McBath Activity Center. At Zephyrhills High School the Bulldog Boys Varsity team was defeated by the Pirates by a score of 54 – 33. Good sportsmanship was displayed in both games. It's not if you win or lose but it's how you play the game!
T he ZHS Lady Bulldogs Varsity team will be traveling to the Dr. Don McBath Activities Center in Dade City to take on the Pasco Pirates. The Bulldog Boys Varsity squad will be playing at home against the Pasco Pirates. You can check later tonight for scores from both games. Tip off is scheduled for 7:30 p.m.


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National Academy for International Education
Cristina Alfaro
Keshia Abraham
Angel Cabrera
Britta Baron
Catherine Gomes
Cheryl Matherly
Chiapei Chou
Ahmad Ezzeddine
Dawn Michele Whitehead
Keiko Ikeda
Fanta Aw
Patrick Awuah
Hilary Kahn
Hilary Landorf
Jesse Lutabingwa
Joanna Regulska
Robin Matross Helms
Sarah Ilchman
Susan Buck Sutton
William Brustein
Wondwossen Gebreyes
Xuemin Lisa Xu
Susan Buck Sutton is an independent consultant on global learning and engagement in higher education, with 40 years as faculty and international administrator at two institutions. Recently retired as Senior Advisor for International Initiatives at Bryn Mawr College, Sutton is also Emerita Associate Vice President of International Affairs and Emerita Chancellor's Professor of Anthropology at Indiana University. At IU, she led the internationalization of its urban campus, IUPUI, through a distinctive philosophy of international partnership and collaboration, honored with the Andrew Heiskell Award from IIE and Senator Paul Simon Award from NAFSA.
She is currently a Fellow at IIE's Center on International Partnerships and Senior Associate at ACE's Center for International and Global Initiatives.
Sutton has particular expertise concerning international partnerships, global learning, strategic institutional development, and the nature of institutional global citizenship, both in the U.S. and abroad. She has given numerous presentations and workshops on these topics, both nationally and internationally. Sutton has also developed workshops, research reports, strategic plans, and web materials for bi-national programs to encourage partnerships between U.S. institutions and those in Ethiopia, Sudan, Thailand, Japan, India, Indonesia, Croatia, Greece, the Philippines, Brazil, Chile, Myanmar, Kazakhstan, Uzbekistan, Palestine, Finland, and the U.K. – and overseen significant institutional partnerships with institutions in Kenya, India, China, Mexico, Bangladesh, Iran, and Ghana, among other places.
Sutton's expertise also reflects her time as President of the Association of International Education Administrators, Chair of NAFSA's International Education Leadership section, and an officer, board member, or consultant at the American Association of Colleges & Universities, International Association of Universities, Forum on Education Abroad, American Anthropological Association, and other organizations. She has also advised over 40 U.S. colleges and universities on their internationalization efforts.
She has published 5 books and 70+ articles, including Developing Strategic International Partnerships: Models for Initiating and Sustaining Innovative Institutional Linkages. As an anthropologist, she has focused on migration, the construction of community, and uses of the past in modern Greece. She has also been editor of the Journal of Modern Greek Studies and President of the General Anthropology Division of the American Anthropological Association.
Sutton holds a Ph.D. from the University of North Carolina-Chapel Hill and a B.A. from Bryn Mawr College, both in anthropology.


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2nd - 6th September 2021
Following on from the massive success of The Tudor Travel Guide's 1535 virtual progress, which followed in the footsteps of Anne Boleyn and Henry VIII through Gloucestershire, there is now the opportunity to do it for real in September 2021.
We will take in Sudeley Castle, Tewkesbury Abbey, Gloucester Cathedral, Berkeley Castle, Thornbury Castle - and as an additional extra - the glorious Acton Court, which is rarely open to the public!
Plus, guest speakers Dr Jonathan Foyle and Lesley Smith with Sarah as our resident historian and guide.
For the duration of the tour you will stay in an Elizabethan Manor House in the beautiful Cotswolds, for 4 nights of luxury!
From our convenient London pick up point, you will be transported in a luxury air-conditioned coach for the duration of the tour so you will arrive everywhere in comfort and style!
Luxury Coach Travel
4 Nights at the 4* Greenway Hotel
Dinner and Breakfast Included
Dr Sarah Morris is our Resident Historian
Visits to 7 locations visited by Anne Boleyn and Henry VIII during the 1535 Progress
Talks from Historians Jonathan Foyle and Lesley Smith
Exclusive access to Acton Court which is rarely open to the public
Resident Historian and co-Author of 'In The Footsteps of Anne Boleyn', Sarah Morris.
4 nights in a 4* Elizabethan Manor House in the Cotswolds
Historians on this Tour
Dr Sarah Morris
Sarah Morris, also known as The Tudor Travel Guide, lives in the picturesque Oxfordshire countryside.
She has written two novels of Anne Boleyn, Le Temps Viendra Volumes 1 and 2 plus co-authored two non-fiction books; In the Footsteps of Anne Boleyn and In the Footsteps of the Six Wives of Henry VIII.
In 2018, Sarah established The Tudor Travel Guide: your visitor's companion to the houses, castles and manors of sixteenth century. She has appeared on numberous TV shows on the Tudors and was central in the rediscovery of the 'Anne of Cleves' Heraldic Panels'.
Sarah also produces a monthly podcast, The Tudor Travel Show, exploring Tudor places and artefacts.
Dr Jonathan Foyle
Dr Jonanthan Foyle is one of the most respected historians today
Jonathan was a Curator of Historic Buildings at Hampton Court for eight years, and took his PhD on reconstructing Wolsey's Palace.
He has presented numerous television series including BBC4's often repeated 'Henry VIII: Patron or Plunderer?'. His most profound interest is in the origins and meaning of the rich court culture of Henry VII and recently played an important role in the identification of Henry VII and Elizabeth of York's wedding bed.
Lesley Smith
M.Phil, M.Univ. (Hons.), F.S.A. (Scot.)
Lesley has been the Curator of Tutbury Castle in Staffordshire since 2000. She is a medical historian holding an M.Phil in Tudor medicine, is a Fellow of the Society of Antiquaries of Scotland, and is also a Member of the Society of Medical Writers.
She has also appeared in over 120 television programmes some of which have been broadcast to 38 countries. Lesley is also well known for her highly entertaining and informative costumed portrayals of a variety of historical characters.
Philippa Brewell
Philippa is well respected within the history and travel industries for creating historical experiences which consistently exceed expectations.
Philippa entertains thousands each week with her videos and stories from across the UK and British History. This ability to engage an audience in British history as well as being an expert in travelling the historical sites of the UK, makes her the perfect tour manager.
Her aim is to provide once in a lifetime experiences but which you'll want to repeat!
Day 1 - 2nd September
Meet at the designated, convenient pick-up point in London just after midday where you will board our luxury private coach bound for the Cotswolds. On arrival at our hotel you will be shown to your beautiful room and can begin to explore your home for the next few days.
We meet again early evening to enjoy a welcome drinks reception before our evening meal and welcome talk, from Sarah Morris.
Day 2 - 3rd September
On our first full day, we visit the enchanting Sudeley Castle, not only a stop for Anne and Henry during their 1535 Progress, but also a place visited by their daughter Elizabeth I and the final resting place of Henry's 6th wife, Katherine Parr.
Nearby are the romantic ruins of Hailes Abbey where we will spend some time exploring before returning to our hotel for a 3-course dinner and a talk from Dr Jonathan Foyle!
Day 3 - 4th September
On day 3 we continue in the footsteps of Henry and Anne, visiting the medieval town of Tewkesbury and in particular, the church, which was originally part of Tewkesbury Abbey, referred to as second only to Westminster Abbey on account of the royalty buried here!
A mere 20-minute coach ride will take us on to Gloucester where you will learn about the ceremony involved in greeting the couple at the entry into any Tudor town or city, and follow in Anne and Henry's footsteps as they approached Gloucester and were welcomed at the abbey.
On day 4 we continue our progress southwards and visit the mighty Berkeley Castle, which at the time of Anne and Henry's visit was owned by the Crown.
Our general guided tour of the castle will be followed by Sarah taking us to the part of the castle in which the royal couple lodged. This part of the tour will be our opportunity to see a sequence of public and private rooms that were typical of a high-status building - and which once lodged the king and queen.
In the afternoon, we will make our way to Thornbury Castle to enjoy afternoon tea and a very special audience with Anne Boleyn. Thornbury was one of the principal country residences of the Duke of Buckingham, who was executed for treason in 1521.
If the weather is kind to us, we will take a very English afternoon tea in the splendid gardens. We will also enjoy tales of Anne and Henry's week-long stay at the castle from our guest of honour - Anne Boleyn herself.
We have one more fantastic and rather special place to visit before we say our final farewells back in London!
Acton Court is simply a fascinating Tudor building, augmented especially for the visit of the king and queen in 1535 by Sir Nicolas Poyntz. The building is unique. It remains in its raw state and is rarely open to the public.
By special arrangement with the owner, we will be able to explore the rooms created for the visit, which include a rare, painted freeze in what was once the royal privy chamber.
Monday afternoon, we will say goodbye, sharing incredible memories of our time on a royal progress.
£2,200*
per person with Double Occupancy, Single Person Supplement Applies
Sharing opportunities may be available - please enquire
4 nights Accommodation at a 4* Elizabethan Manor Hotel in the Cotswolds.
3-course evening meals each night with drinks*
Private Guided Tour at Berkeley Castle.
Tour of the rarely open, Acton Court.
Expert History Talks from Top Historians, Jonathan Foyle and Lesley Smith
Resident historian for the tour - Dr Sarah Morris
Philippa as Tour Manager
All Admissions as stated in the itinerary
Luxury Coach Travel from pick up to drop off
Access to Spa Facilites at our hotel
Book the On Progress with Anne Boleyn Tour
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Policy exclusions: This policy will not cover any monies paid for Travel Insurance or any claim relating to Air Flights. If you have booked flights as part of your travel, you should ensure that the company with which you booked the flights has the appropriate CAA/ATOL bonds in place.
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In an interview with Katie Couric in 2014, Taylor Swift said, "there's a special place in hell for women who don't help other women." That quote was actually originally attributed to Madeline Albright, who often said it in her lectures and speaking engagements. Love or hate either of those women, there is truth to that statement. Or, rather, there's truth to the inverse of that sentiment, that women (or men) who uplift other women deserve special praise.
One such woman is Medina Roberts, friend and owner of Virginia-based M&MXtreme. Medina coaches females (and males) with a passion for physique, fitness, body building and figure competition and does it in such an inspiring way that many of her clients are also ambitious and thriving entrepreneurs who seek to make the world a better place by helping others. Even though I can't bench press my own weight, I sat down with Medina and learned that there are four common traits that all empowering people have, and I'd like to share them with you.
Reflect on the women in your life. Who truly impacts you? Why is that? We look up to women who empower us. Look around. You are most likely surrounded by inspirational women who are influencing their families and communities in ways that range from subtle to loud. Or, if you are reading this article, take a good look at yourself and what you bring to the table. The key is to realize that a women's success can come in so many forms, not just career-wise or financially. Here, I list and define the four traits of what makes history-making women so impactful and empowering.
1. Love – These are people who look at others in a positive light, seeing the inner and outer beauty in all. More than that, they help others see and honor their own beauty and strength. They see problems as opportunities. For example, if they see someone is lacking nutrition, exercise, or sleep in their daily routine, they provide encouragement – in a loving way – to alter things in their lifestyle to make those changes happen.
2. Attitude – They have a driving passion to bring out the best in people, even if it means some sleepless nights. They want to lift and empower others to thrive through finding and exploring their own passion and interests. They help others trust in themselves and their intuition by encouraging mind, body, and soul connections.
3. Action – They realize it's not always about themselves and don't just think about how to make things better, they take action. They also model how to infuse passion, values and goals into daily routines. They live through and with purpose.
4. Perception – Others love, respect, and appreciate their work. Do people believe in you, bring out the best of what you have to offer, and make sure you are fulfilling your dreams? Impactful and empowering people cross check their own agenda with the agendas of others, making sure that everyone around them is connected with their own purpose and passion – if not they stop and make a change to improve it. They don't dwell on it but cycle back to love, attitude, and action.
As you go about your day today, take a few minutes to tell a strong woman in your life that she matters and makes a difference. Be specific and use examples. Then, watch as her face lights up as she realizes that she is recognized and appreciated. You'll be glad – and feel uplifted – that you did!


This article re-introduces some famous synthesizer sounds. These sounds were, in turn, based on even more famous Star Trek sound effects. Even if you have no interest in synthesis, you may be surprised to learn how these sounds were developed, and how a talented synthesizer programmer went about re-creating them.
Who knows? maybe this will encourage you to download the free SQ8L software synthesizer. Like many before you, the SQ80/ESQ-1 synthesis platform may be your introduction to the world of sound design.
People have been recreating Star Trek in their own image for years. Usually this involves fan productions, artwork or renderings of 3D models. Even the official copyright holders gave the show a 3D facelift for the high definition release.
In the audio realm, a stereo surround mix of the original production was created in the 90's for the syndication market. This was augmented with a quite remarkable 5.1 remix that accompanied the DVD release of the episodes.
But rarely has anyone researched and re-imagined the fantastic sound elements that went into the making of the original 79 episodes. --Enter another "Kirk" to the Trek continuum, sound designer Kirk Slinkard, who has recreated many of the most famous sound elements on the equally venerable ESQ-1/SQ80 synthesizer. Kirk designed and originally published these sounds in the Transoniq Hacker magazine in 1990.
In the mid-80's GNP Crescendo released a comprehensive CD of the original sound effects. Besides providing unprecedented access to the production-side of a bit of TV history, the CD is also a heck of a lot of fun. If you grew up with the show, the sounds are instant nostalgia. But even if you are unfamiliar with the many Trek tropes that pervade society, the disc is an amazing "audio document" that should interest any musician, sound designer or even casual listener. Grab your own Star Trek Sound Effects CD at this link, and marvel at the ingenious work performed years before samplers and soft synths were invented.
What you'll hear on this CD demonstrates the high art that pre-digital sound editing achieved by the late 1960s. Some effects were modified from existing sources, some were brand new, but all of them create a distinct sonic thumbprint unequaled 'til the defining work of Walter Murch and Ben Burtt almost a decade later.
But that's what makes Kirk Slinkard's Star Trek patches all the more remarkable. Like the best of pre-CGI special effects, none of these original sounds were generated digitally. Strips of real magnetic tape and optical tracks were manipulated to achieve the originals.
Similarly, unless you count the ESQ-1's built in waveforms, Kirk didn't use a digital sample in the entire bunch of the replicas. In fact, many of the synth recreations are based on common sawtooth and sine waves. These patches are all created using standard subtractive synthesis techniques.
--Techniques which were still being discovered when the Classic Trek effects were first produced.
Kirk maintains an "aw-shucks" attitude about his achievements, but how many other classic synthesizers boast recreations this accurate? Heck, how many modern synthesizers can render imitative sounds this well without sampling? Some of these patches are nothing short of amazing, considering that a few of them are actually two different sounds on a single patch, with no split or layer in sight! And this is on a synth that does not feature "vector" morphing between patches!
This feature is dedicated both to synth guru Kirk Slinkard, as well as original Star Trek sound editors Jack Finlay, Douglas Grindstaff and Joseph Sorokin, whose sonic DNA served as ear candy for an entire generation.


None of the authors quoted above correlated their findings with the muscular anatomy of the distal stomach as described by Cunningham (l906), Forssell (l913) and Torgersen (l942).
Radiographically the emptying of a mixed meal consisting of liquids, solids and barium sulphate suspension, is seen to be associated with vigorous cyclical contractions of the pyloric sphincteric cylinder (Chap. 13). Solids present as defects in the barium; softish solids may be observed to change in shape during contraction of the cylinder. It is our submission that cyclical contractions of the pyloric sphincteric cylinder will explain the "antropyloric muscular function" mentioned by Horowitz et al (l982), the "antral phasic pressure activity" of Camilleri et al (l986) and the "antral and duodenopyloric mechanism" of Velchik et al (l989).
Camilleri et al. (l986) found that antral phasic pressure activity played a role not only in propulsion of liquids and solids from the stomach, but also in trituration of solid food. Contraction of the pyloric sphincteric cylinder may at times be associated with retropulsion of barium suspension into the stomach (Chap. 13), retropulsion of its mucosal folds (Chap. 13), and retropulsion of sessile mucosal polyps (Chap. 36). Whether propulsion or retropulsion occurs, depends on the interplay between the right and left pyloric muscular loops (Chap. 13). It is probable that contraction of the cylinder, especially in the absence of propulsion or retropulsion, may be associated with trituration of solid particles. In diabetic gastroparesis failure of contraction of the cylinder was seen to be associated with failure of trituration (and propulsion) of solid tablets (Chap. 37).
According to Camilleri et al. (l986) radionuclide and manometric emptying studies provide closely interrelated physiological studies and may be regarded as complementary diagnostic tools. It seems that upper gastrointestinal radiographic studies may likewise assist in the clarification of problems of gastric emptying.
Camilleri M, Malagelada JR, Brown ML, et al. Relation between antral motility and gastric emptying of solids and liquids in humans. Amer J Physiol l985, 249 (Gastrointest Liver Physiol 12) : G580-G585.
Camilleri M, Brown ML, Malagelada JR. Relationship between impaired gastric emptying and abnormal gastrointestinal motility. Gastroenterology l986, 9l, 94-99.
Collins PJ, Horowitz M, Cook DJ, et al. Gastric emptying in normal subjects: a reproducible technique using a single scintillation camera and computer system. Gut l983, 24, 1117-1125.
Cunningham DJ. The varying form of the stomach in man and the anthropoid age. Trans Roy Soc Edin l906, 45, 9-47.
Forssell G. Über die Beziehung der Röntgenbilder des menschlichen Magens zu seinem anatomischen Bau. Forschr Geb Röntgenstr l913, Suppl 30, 1-265.
Griffith GH, Owen GM, Kirkman S, et al. Measurement of rate of gastric emptying using Chromium - 51. Lancet l966, 1, 1244-1245.
Griffith GH, Owen GM, Campbell H, et al. Gastric emptying in health and in gastroduodenal disease. Gastroenterology l968, 54, 1-7.
Heading RC, Tothill P, McLoughlin GP, et al. Gastric emptying rate measurement in man: a method for simultaneous study of solid and liquid phases. Gut l974, 15, 841.
Heading RC, Tothill P, McLoughlin GP, et al. Gastric emptying rate measurement in man: a double isotope scanning technique for simultaneous study of solid and liquid phases. Gastroenterology l976, 71, 45-50.
Hinder RA, Kelly KA. Canine gastric emptying of solids and liquids. Amer J Physiol l977, 233 (Endocrinol Metab Gastro-intest Physiol 2): E335-E340.
Horowitz M, Cook DJ, Collins PJ, et al. The application of techniques using radionuclides to the study of gastric emptying. Surg Gynaec Obstet l982, 155, 737-744.
Malagelada JR. Quantification of gastric solid-liquid descrimination during digestion of ordinary meals. Gastroenterology l977, 72, 1264-1267.
Meyer JH, MacGregor IL, Gueller R, et al. 99mTc-tagged chicken liver as a marker of solid food in the human stomach. Amer J Dig Dis l976, 21, 296-304.
Meyer JH. New dimensions in gastric physiology. Dig Dis Sci l979, 24, 97-100.
Meyer JH. Gastric emptying of ordinary food: effect of antrum on particle size. Amer J Physiol l980, 239 (Gastroint Liver Physiol 2); G133-G135.
Read NW, Al-Janabi MN, Holgate AM, et al. Simultaneous measurement of gastric emptying, small bowel residence and colonic filling of a solid meal by the use of the gamma camera. Gut l986, 27, 300-308.
Sheiner HJ. Gastric emptying tests in man. Gut l975, 16, 235-247.
Torgersen J. The muscular build and movements of the stomach and duodenal bulb. Acta Rad l942, Suppl 45, l-l91.
Velchik MG, Reynolds JC, Alavi A. The effect of meal energy content on gastric emptying. J Nucl Med l989, 30, 1106-1110.


I have been working on an BizSnap chapter for the Kylix Developer's Guide - adding more coverage of Kylix 2 to this book. The BizSnap chapter will be published on my website (in six weekly parts), covering XML Document Programming and Web Services support.
BizSnap is the name given by Borland to describe the feature set of Kylix 2 Enterprise that covers XML document programming as well as Web Services (using SOAP). In this chapter, we will first cover XML document programming using the TXMLDocument component. This will be enhanced using XML Data Binding and even further using the XML Mapping Tool.
We then move on to Web Services, and after a short introduction to SOAP, we'll implement our first Web Service in Kylix 2, followed by the usage (consuming) of Web Services written in Kylix or other development environments. Finally, we show the powerful combination of BizSnap with DataSnap to produce distributed applications (even cross-platform, considering that Delphi 6 also supports this on Windows).
The last example in the previous section must have felt a bit like using a dataset and/or data-aware controls, where you could navigate through the items of an XML document. If you liked that, you're in for more enjoyment, because you'll now start to use the XML Mapping Tool (or XML Mapper for short). You can find it in the Tools menu of the Kylix IDE, as well as a separate icon in the Borland Kylix 2 Program Group. Whichever way you use to start it, you can load the BizSnap.xml file in it, and it will display a treeview with the list of XML nodes.
The XML Mapper is divided into three areas. On the left side you have the XML document, displayed in a treeview. You can also enable the Data View (which will display the actual contents of the XML nodes) and switch to the Schema view to see the generated DTD as well as the XML Schema (you can even save the generated XML Schema if you need one). The right side will show the transformed (generated) dataset, that you'll see in a moment. And in the middle you can set some options, make some modifications, and so on. In Figure 7, you can see the Node Options for the Title attribute of the Chapter node. Note the value for Max Length, which is based on the actual values present in the XML Document (in this case only the chapter title "BizSnap" which is indeed 7 characters long). Similarly, the Max Length for the Title of the Section node is 25, and the Max Length for Components and Wizards is 71 and 32 respectively.
After you've loaded an XML document, you need to specify which nodes are required to be transformed into a dataset. For your example, I've selected all nodes, but there may be situations where only a subset of the nodes are useful (as you may see in a moment).
After you've selected one or more nodes, the information in the middle of the XML Mapper changes to display the Selected Nodes, as can be seen in Figure 8.
To actually transform the selected nodes from the XML document into a datapacket, you must right-click on the left side, and select the Create Datapacket from XML pop-up menu choice (or press Ctrl+D), see Figure 9.
Figure 10 displays datapacket, which will be the result of the transformation. I was surprised to notice a little unexpected discrepancy: the Title field of the nested Section dataset is set to have a Length of 7 (instead of the required 25). This is most likely caused by the fact that the Chapter also has a field with the name Title, which had a Max Length of 7. A small bug in the XML Mapper, which should hopefully be fixed in an upcoming update of Kylix 2.
Unfortunately, at this time there is no place where you can modify the settings for the generated datapacket, so I saw no other option but to return to the Title attribute of the Chapter node on the left side, change the Max Length to 25, and re-create the datapacket from XML again (see Figure 11).
This time, the result is as required, although now both Title fields have a specified Length of 25. That's okay; at least no field values will be truncated or clipped now.
Finally, to create and test the transformation, and verify that this time nothing went wrong, you should click on the big Create and Test Transformation button. This will show a form with the generated dataset (along with the contents from the XML document inside the dataset). As you could have noted from Figures 10 and 11, the Section dataset is actually a nested dataset (a field of type TDataSetField), and so you first only see the Title and Section of the chapter, and have to click on the ellipsis to get a second form with a grid that shows the six sections from the chapter (see Figure 12).
After you've verified that the transformation is okay, you should save the current transformation information in the suggested ToDp.xtr file. Next, if you also want to be able to transform the dataset back to an XML document again, you should click on the radio button to set the direction from XML to Datapacket to Datapacket to XML and again click on the Create and Test Transformation button (which will result in an XML document this time), and again save the transformation information - this time in ToXml.xtr. At this time you can close the XML Mapper, since it has performed its task.
Armed with the BizSnap.xml file and the two ToDp.xtr and ToXml.xtr transformation information files, you can now convert the XML document to a dataset and back.
You can use the same TXMLDocument component, pointing to the BizSnap.xml file. But now you should use the Transform components from the Data Access tab of the Component Palette. From left to right, you have the TXMLTransform, TXMLTransformProvider, and TXMLTransformClient component.
The TXMLTransform can be used to transform an XML document into a datapacket or back. The TXMLTransformProvider can be used to transform an XML document into a data packet that is "provided" to a TClientDataSet (or a Delphi TXMLBroker component) component. It can be exported in a DataSnap application, as I'll show in the last section of this chapter. Finally, the TXMLTransformClient component converts the data(set) from a TDataSetProvider back into an XML document.
To demonstrate this transformation process, start a new application and drop a TXMLTransformProvider component from the Data Access tab on the main form. Set the TransformationFile subproperty of the TransformRead property to the ToDp.xtr transformation file, which is used when XML information is read so it can be transformed into a dataset data packet, which will be provided to a receiving TClientDataSet component. If you also want to update the XML document again, you must set the TransformationFile subproperty of the TransformWrite property to the ToXml.xtr transformation file, which is used when the connecting TClientDataSet calls the ApplyUpdates method back through the TXMLTransformProvider all the way to the XML document. Apart from the transformation information, you should make sure to set the XMLDataFile property to the BizSnap.xml document itself.
After you've done this, you can drop a TClientDataSet component on the main form as well, call it cdsChapter, and point its ProviderName property to the TXMLTransformProvider component. You can open cdsChapter, which will request data from the XMLTransformProvider and as a side effect start the XML transformation. Right-click on the cdsChapter component to start the Fields Editor, and click Add All Fields to create a persistent Title field as well as the nested dataset Section.
Now, drop another TClientDataSet component, and call it cdsSection. Obviously, this one will be used to connect to the nested dataset Section, so make sure to assign the DataSetField property to the cdsChapterSection field. To see the transformed data, drop two TDataSource components (one for each TClientDataSet component), a TDBEdit (for the Title field of cdsChapter) and a TDBGrid (for the entire cdsSection).
You can now use this application to browse through the grid as if you were indeed browsing through a regular dataset. If you make changes to the data, you can call the ApplyUpdates methods of the (master) ClientDataSet cdsChapter to apply the updates back to the original XML document (via the TXMLTransformProvider component, hence the need for the transformation back to an XML document).
Note that you are probably the only user of the XML document, so we don't have to concern ourselves with multi-user issues and hence ApplyUpdates can have an argument value of 0 (see the DataSnap chapter for more details on ApplyUpdates).
This webpage © 2002-2009 by Bob Swart (aka Dr.Bob - www.drbob42.com). All Rights Reserved.


The Grid component is a CSS Grid wrapper. It goes very well together with the Column component, which allows to set column widths in a very comfortable way. Any other element within the Grid component can be used as well though.
Check out the Column component docs for all available column widths.
The Grid component can be used with any child element. By default each element has a width of 1/12. You can either control the width of each element with the grid-column-start CSS property, or you can change the number of columns of the grid.


Definition at line 107 of file llviewerpartsource.h.
Definition at line 83 of file llviewerpartsource.cpp.
References LLViewerImageList::getImage(), LLControlGroup::getString(), gImageList, gViewerArt, llassert, LLViewerPartSource::mImagep, LLViewerPartSource::mPosAgent, LLViewerPartSource::mSourceObjectp, LLMemType::MTYPE_PARTICLES, and TRUE.
Definition at line 121 of file llviewerpartsource.h.
Definition at line 98 of file llviewerpartsource.cpp.
References LLViewerPartSource::mIsDead, LLViewerPartSource::mSourceObjectp, mTargetObjectp, LLMemType::MTYPE_PARTICLES, NULL, and TRUE.
Definition at line 408 of file llviewerpartsource.cpp.
Definition at line 414 of file llviewerpartsource.cpp.
Definition at line 376 of file llviewerpartsource.cpp.
References LLViewerObjectList::findObject(), gObjectList, LLViewerPartSourceScript(), LLMemType::MTYPE_PARTICLES, LLPointer< Type >::notNull(), and NULL.
Definition at line 334 of file llviewerpartsource.cpp.
References LLViewerObjectList::findObject(), gObjectList, LLPartSysData::isNullPS(), LLViewerPartSourceScript(), LLMemType::MTYPE_PARTICLES, LLPointer< Type >::notNull(), and NULL.
Definition at line 106 of file llviewerpartsource.cpp.
References angle, f, F_PI, FALSE, LLViewerObjectList::findObject(), gObjectList, gPipeline, gWorldPointer, LLPipeline::hasRenderDebugMask(), i, LLPointer< Type >::isNull(), ll_frand(), LLPartData::LL_PART_FOLLOW_SRC_MASK, LLPartSysData::LL_PART_SRC_PATTERN_ANGLE, LLPartSysData::LL_PART_SRC_PATTERN_ANGLE_CONE, LLPartSysData::LL_PART_SRC_PATTERN_DROP, LLPartSysData::LL_PART_SRC_PATTERN_EXPLODE, LLPartData::LL_PART_TARGET_LINEAR_MASK, LLPartSysData::LL_PART_USE_NEW_ANGLE, llmax(), llmin(), LLVector3::magVec(), LLVector3::magVecSquared(), LLPartSysData::mAngularVelocity, LLPartSysData::mBurstPartCount, LLPartSysData::mBurstRadius, LLPartSysData::mBurstRate, LLPartSysData::mBurstSpeedMax, LLPartSysData::mBurstSpeedMin, LLPartData::mEndColor, LLPartData::mEndScale, LLPartSysData::mFlags, LLPartData::mFlags, LLViewerPartSource::mImagep, LLPartSysData::mInnerAngle, LLViewerPartSource::mIsSuspended, LLViewerPartSource::mLastPartTime, LLViewerPartSource::mLastUpdateTime, LLPartData::mMaxAge, LLPartSysData::mMaxAge, LLPartSysData::mOuterAngle, LLPartSysData::mPartAccel, LLPartSysData::mPartData, mPartSysData, LLPartSysData::mPattern, LLViewerPartSource::mPosAgent, mRotation, LLViewerPartSource::mSourceObjectp, LLPartSysData::mStartAge, LLPartData::mStartColor, LLPartData::mStartScale, mTargetObjectp, LLViewerPartSource::mTargetPosAgent, LLPartSysData::mTargetUUID, LLMemType::MTYPE_PARTICLES, LLVector3::mV, LLVector3::normVec(), LLUUID::notNull(), LLPointer< Type >::notNull(), NULL, LLPipeline::RENDER_DEBUG_PARTICLES, LLVector3::rotVec(), S32, setDead(), LLQuaternion::setQuat(), setTargetObject(), TRUE, VX, VY, and VZ.
Definition at line 123 of file llviewerpartsource.h.
Definition at line 128 of file llviewerpartsource.h.
Definition at line 129 of file llviewerpartsource.h.
Referenced by setDead(), setTargetObject(), and update().


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text:
The Red Room, located at and sponsored by Normals Books and Records is the laboratory for paracultural revolution of the Mid-Atlantic Region. It is a space run entirely by volunteers, intent on expanding their own and society's cultural horizons—"expanding the definition of expanding the definition."
Since late 1996, the Red Room has produced approximately 50 concerts a year of experimental, improvised, and harder-to-describe music (not to mention vital film, language and performance). That's a lot! You do the math, Thousands of musicians and performers have passed through the space, including many of the most famous and infamous experimental musicians and sound artists. It has also been the birthplace of many collaborations and significant groups.
The vibe of the Red Room is equal parts nonconformist, uninhibited fun, culturally expansive, and critically serious—contradictions we have no interest in resolving.The Red Room is one of the most inspired and longstanding series dedicated to experimental culture in the country, or certainly at least on the East Coast. It frequently merges Baltimore's unusually and uninhibited experimental community with the best performers from around the world.
Run by a unusually stable collective with very occasionally changing membership (formally known as The High Zero Foundation (a 501(c)3 tax deductible nonprofit group)), the series is intensely connected with The High Zero Festival of Experimental Improvised Music, a number of vital local music labels, and with a larger network of experimental venues on the east coast.
In addition to the primary series, Red Room activities have included educational workshops, and also include a number of longstanding but irregular sub-series:
The Volunteers Collective, a usually monthly open session/free music workshop for anyone who wants to experiment with non-idiomatic improvised music or expand their base of player associations. Check schedule for details.
The Philosopher's Union, a lecture series designed to cross-engage the experimental cultural scene with interesting figures in contemporary philosophy. Previous speakers have included Alphonso Lingis, Henry Flynt, Jane Bennet, Graham Harman, and Archdruid John Michael Greer.
Very occasionally, Baltimore Technology Overdrive, a workshop/meet dedicated to digital signal processing software development.
If you are interested in performing at the Red Room, click here to read more about that and submit your work.
Sign Up For Red Room Emails.
The Red Room is a volunteer-run space in Baltimore dedicated to mind-expanding experimental culture, headquartered at Normals Books and Records.
Contact High Zero Foundation
The Red Room Room at Normals Books and Records, 425 E 31st Street, Baltimore MD 21218 USA
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