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Custom Controls | Catch. A custom control is any child window which displays information or allows the user to interact with it in some way. This article describes the steps required to create a custom user control from scratch, using pure Win. This custom control will not be an Active. Creating A Windows ImageI want to program in Win32.How do I create a child window inside another program with an OpenGL canvas? . Is it possible to create child window in opengl.Validity of creating a Child window in a separate process to the parent (COM/win32) I have a COM based local-server (.exe) with say a method. X control, or possess any other magical properties. Rather, we will be creating a simple control, similar to the way edit controls, buttons or listboxes work. The example control we will build will be a simple text label, but will change colour whenever the user clicks on it. This simple example will be sufficient to help explain all the steps necessary to create any custom control. Getting Started. A custom control is nothing special. It is just a standard window, but created with the WS_CHILD style set. ![]() The custom part comes in because we write a new window procedure to provide the necessary control display and interaction. So, first things first. We're going to create a new source- file to put just the custom- control code in. ![]() Call this Cust. Ctrl. If you take this modular approach from the start you will find it so much easier to develop and maintain your code. This source file just needs to contain the following two lines for now. The < tchar. h> file enables us to write Unicode- compatible windows programs. In a few places in the code, you will see things like "TCHAR" and "_T". These are macros defined in < tchar. Unicode applications, if we want. Our custom control won't be Unicode, but it could be if we used the correct compiler settings. In order to create a new type of window, we need to register a new window class. This is achieved with the Register. Class. Ex API call, shown below. TCHAR sz. Class. Name[] = _T("Cust. Ctrl. 34. 5"). void Init. Creating A Window In Java![]() Custom. Control(). WNDCLASSEX wc. wc. Size = sizeof(wc). Class. Name = sz. I was trying without any success to create a child window with a menu bar in it. However, according to MSDN documentation windows with WS_CHILD styl. 2797567. · Hi, I'm wondering if the following idea would be possible: I have a win32 App(A) and from that I start another win32 App(B) using the CreateProcess call. Class. Name. wc. h. Instance = Get. Module. Handle(0). Wnd. Proc = Cust. Wnd. Proc. wc. h. Cursor = Load. Cursor (NULL, IDC_ARROW). Icon = 0. wc. Menu. Name = 0. wc. Background = (HBRUSH)Get. Sys. Color. Brush(COLOR_BTNFACE). Cls. Extra = 0. Wnd. Extra = 0. Icon. Sm = 0. Register. Class. Ex(& wc). So far so good. The next step is to write a window procedure (Cust. Wnd. Proc) which the custom control uses to process it's messages. This is just a standard window procedure, like the one shown below. LRESULT CALLBACK Cust. Wnd. Proc(HWND hwnd, UINT msg, WPARAM w. Param, LPARAM l. Param). Def. Window. Proc(hwnd, msg, w. Param, l. Param). Now, it may look as if this window procedure doesn't actually do anything, but this is not the case. The Def. Window. Proc API call performs alot of default processing (window focus, painting, activation etc) for a window. It is only when we need to provide additional functionality (like drawing the window focus) that we need to start filling in that switch statement to handle specific windows messages. Creating the control. Now we can create a custom control! There are two ways to do this.The first is to manually create the control at run- time (probably in the main window's WM_CREATE message, or something similar).This is achieved with the Create. here. Window. Ex API call, like this. HWND Create. Custom. Control(HWND hwnd. Parent). HWND hwnd. Ctrl. hwnd. Ctrl = Create. Window. Ex(. WS_EX_CLIENTEDGE, // give it a standard border. Class. Name. _T("A custom control"). WS_VISIBLE | WS_CHILD. Parent. NULL, Get. Module. Handle(0), NULL. Ctrl. }The second way, assuming you are using some kind of resource editor (like in Visual C++), is to create a custom control in a dialog template, in the exact same way you might place edit controls or list boxes on a dialog box. The only difference is, you create a "Custom Control", and manually define the name of the window class (in this case, "Cust. Ctrl. 34. 5"). When your dialog is created, Windows automatically creates the custom control for you, and gives it a control ID. Custom control state information. At some point in time, you will want to make the control do something. And, unless your control is going to be extremely simple, you will undoubtably want to define variables, text strings or arrays to represent the state of the control. For example, in a custom list control, you would at the very least need to keep track of the items in the list, using an array or linked list. You would also need a variable which keeps track of how many items there are in your list. In addition, if you want your control to be scrollable, you will need to keep track of the scrollbar position, and the minimum and maximum scroll ranges. You need to take my word that you will need to define a structure (or class, if you are using C++) which will encapsulate ALL of the control's state information. If you take this approach (and avoid using global variables), you will be able to create multiple custom controls at the same time, and each one will look after itself. We need to decide what attributes our custom control will have. The list below describes these attributes. Text colour (Foreground and Background). Display text (what the control actually displays). Font (what type- face the text will be drawn in)The following structure will hold some simple state information. COLORREF cr. Fore. Gnd; // Foreground text colour. COLORREF cr. Back. Gnd; // Background text colour. HFONT h. Font; // The font. HWND hwnd; // The control's window handle. Cust. Ctrl; The one element missing from this structure is the display text. For our simple example, this is not necessary, because every window has it's own window text. Therefore we will just use this standard window text when we draw the control. For more complicated controls (lists, edit controls), you would need to store the text yourself. Associating a structure with the custom control. At this point you will hit a stumbling block. The problem is, your custom window procedure is a simple callback function, which processes all messages for all custom controls you create. Depending on which window is currently having it's message processed, we will have to obtain the correct state structure for that window, and use that structure when processing the message. There are many ways to "attach" a structure to a window. Which one you use can depend on many things, but I will describe each method below. First though, we will define two simple functions, which will set and retrieve our custom structure for a window. Cust. Ctrl * Get. Cust. Ctrl(HWND hwnd). Cust. Ctrl *ccp = ??? Set. Cust. Ctrl(HWND hwnd, Cust. Ctrl *ccp). // attach pointer to window. The GWL_USERDATA area. Every window in the system has a 3. This 4 byte storage area is enough to store a pointer to a structure. We set this integer using Set. Window. Long, and retrieve the integer using Get. Window. Long. Using this technique, our function will look like this. Cust. Ctrl * Get. Cust. Ctrl(HWND hwnd). Cust. Ctrl *)Get. Window. Long(hwnd, GWL_USERDATA). Set. Cust. Ctrl(HWND hwnd, Cust. Ctrl *ccp). Set. Window. Long(hwnd, GWL_USERDATA, (LONG)ccp). This method is usually used when subclassing a control rather than writing one from scratch, because there are better alternatives. The problem with this method is that any application or window can set this user- data- area, so you need to be careful it is never used by two conflicting components. Window Properties. Window properties allow a program to attach multiple 3. In actual fact, a window property is really a HANDLE value (i. GDI resource). However, a HANDLE is still a 3. HANDLE. TCHAR sz. Prop. Name[] = _T("Cust. Ctrl. Ptr"). Cust. Ctrl * Get. Cust. Ctrl(HWND hwnd). return (Cust. Ctrl *)Get. Prop(hwnd, sz. Prop. Name). void Set. Cust. Ctrl(HWND hwnd, Cust. Ctrl *ccp). Set. Prop(hwnd, sz. Prop. Name, (HANDLE)ccp). This method will be a little slower than the rest, simply because of the string comparisons that windows will have to do when it retrieves a window property for us. It's not much slower though, and because we only need to do this once for every message we receive, it's not much of an overhead at all. Extra window bytes. This is the best way to go if you are writing a control from scratch. When you initially register a control's window class, you have the option of specifying how many extra bytes of user- storage each window of that class will contain. If we set this value to be the size of a pointer (to our state structure), then we can use this special- purpose space exclusively for our custom control. This then leaves the GWL_USERDATA area for other purposes. Register the window class. Wnd. Extra = sizeof( Cust. Create. Window function (Windows)Creates an overlapped, pop- up, or child window. It specifies the window class, window title, window style, and (optionally) the initial position and size of the window. The function also specifies the window's parent or owner, if any, and the window's menu. To use extended window styles in addition to the styles supported by Create. Window, use the Create. Window. Ex function. Syntax. HWND WINAPI Create. Window(. _In_opt_ LPCTSTR lp. Class. Name. _In_opt_ LPCTSTR lp. Window. Name. _In_ DWORD dw. Style. _In_ int x. In_ int y. In_ int n. Width. _In_ int n. Height. _In_opt_ HWND h. Wnd. Parent. _In_opt_ HMENU h. Menu. _In_opt_ HINSTANCE h. Instance. _In_opt_ LPVOID lp. Param. Parameterslp. Class. Name [in, optional]Type: LPCTSTRA null- terminated string or a class atom created by a previous call to the Register. Class or Register. Class. Ex function. The atom must be in the low- order word of lp. Class. Name; the high- order word must be zero. If lp. Class. Name is a string, it specifies the window class name. The class name can be any name registered with Register. Class or Register. Class. Ex, provided that the module that registers the class is also the module that creates the window. The class name can also be any of the predefined system class names. For a list of system class names, see the Remarks section. Window. Name [in, optional]Type: LPCTSTRThe window name. If the window style specifies a title bar, the window title pointed to by lp. Window. Name is displayed in the title bar. When using Create. Window to create controls, such as buttons, check boxes, and static controls, use lp. Window. Name to specify the text of the control. When creating a static control with the SS_ICON style, use lp. Window. Name to specify the icon name or identifier. To specify an identifier, use the syntax "#num". Style [in]Type: DWORDThe style of the window being created. This parameter can be a combination of the window style values, plus the control styles indicated in the Remarks section. Type: int. The initial horizontal position of the window. For an overlapped or pop- up window, the x parameter is the initial x- coordinate of the window's upper- left corner, in screen coordinates. For a child window, x is the x- coordinate of the upper- left corner of the window relative to the upper- left corner of the parent window's client area. If this parameter is set to CW_USEDEFAULT, the system selects the default position for the window's upper- left corner and ignores the y parameter. CW_USEDEFAULT is valid only for overlapped windows; if it is specified for a pop- up or child window, the x and y parameters are set to zero. Type: int. The initial vertical position of the window. For an overlapped or pop- up window, the y parameter is the initial y- coordinate of the window's upper- left corner, in screen coordinates. For a child window, y is the initial y- coordinate of the upper- left corner of the child window relative to the upper- left corner of the parent window's client area. For a list box, y is the initial y- coordinate of the upper- left corner of the list box's client area relative to the upper- left corner of the parent window's client area. If an overlapped window is created with the WS_VISIBLE style bit set and the x parameter is set to CW_USEDEFAULT, then the y parameter determines how the window is shown. If the y parameter is CW_USEDEFAULT, then the window manager calls Show. Window with the SW_SHOW flag after the window has been created. If the y parameter is some other value, then the window manager calls Show. Window with that value as the n. Cmd. Show parameter. Width [in]Type: int. The width, in device units, of the window. For overlapped windows, n. Width is either the window's width, in screen coordinates, or CW_USEDEFAULT. If n. Width is CW_USEDEFAULT, the system selects a default width and height for the window; the default width extends from the initial x- coordinate to the right edge of the screen, and the default height extends from the initial y- coordinate to the top of the icon area. CW_USEDEFAULT is valid only for overlapped windows; if CW_USEDEFAULT is specified for a pop- up or child window, n. Width and n. Height are set to zero. Height [in]Type: int. The height, in device units, of the window. For overlapped windows, n. Height is the window's height, in screen coordinates. If n. Width is set to CW_USEDEFAULT, the system ignores n. Height. h. Wnd. Parent [in, optional]Type: HWNDA handle to the parent or owner window of the window being created. To create a child window or an owned window, supply a valid window handle. This parameter is optional for pop- up windows. To create a message- only window, supply HWND_MESSAGE or a handle to an existing message- only window. Menu [in, optional]Type: HMENUA handle to a menu, or specifies a child- window identifier depending on the window style. For an overlapped or pop- up window, h. Menu identifies the menu to be used with the window; it can be NULL if the class menu is to be used. For a child window, h. Menu specifies the child- window identifier, an integer value used by a dialog box control to notify its parent about events. The application determines the child- window identifier; it must be unique for all child windows with the same parent window. Instance [in, optional]Type: HINSTANCEA handle to the instance of the module to be associated with the window. Param [in, optional]Type: LPVOIDA pointer to a value to be passed to the window through the CREATESTRUCT structure (lp. Create. Params member) pointed to by the l. Param param of the WM_CREATE message. This message is sent to the created window by this function before it returns. If an application calls Create. Window to create a MDI client window, lp. Param should point to a CLIENTCREATESTRUCT structure. If an MDI client window calls Create. Window to create an MDI child window, lp. Param should point to a MDICREATESTRUCT structure. Param may be NULL if no additional data is needed. Return value. Type: Type: HWNDIf the function succeeds, the return value is a handle to the new window. If the function fails, the return value is NULL. To get extended error information, call Get. Last. Error. This function typically fails for one of the following reasons: an invalid parameter valuethe system class was registered by a different module. The WH_CBT hook is installed and returns a failure codeif one of the controls in the dialog template is not registered, or its window window procedure fails WM_CREATE or WM_NCCREATERemarks. Before returning, Create. Window sends a WM_CREATE message to the window procedure. For overlapped, pop- up, and child windows, Create. Window sends WM_CREATE, WM_GETMINMAXINFO, and WM_NCCREATE messages to the window. The. l. Param parameter of the WM_CREATE message contains a pointer to a CREATESTRUCT structure. If the WS_VISIBLE style is specified, Create. Window sends the window all the messages required to activate and show the window. If the created window is a child window, its default position is at the bottom of the Z- order. If the created window is a top- level window, its default position is at the top of the Z- order (but beneath all topmost windows unless the created window is itself topmost). For information on controlling whether the Taskbar displays a button for the created window, see Managing Taskbar Buttons. For information on removing a window, see the Destroy. Window function. The following predefined system classes can be specified in the lp. Class. Name parameter. Note the corresponding control styles you can use in the dw. Style parameter. System class. Meaning. BUTTONDesignates a small rectangular child window that represents a button the user can click to turn it on or off. Button controls can be used alone or in groups, and they can either be labeled or appear without text. Button controls typically change appearance when the user clicks them. For more information, see Buttons. For a table of the button styles you can specify in the dw. Style parameter, see Button Styles. COMBOBOXDesignates a control consisting of a list box and a selection field similar to an edit control. When using this style, an application should either display the list box at all times or enable a drop- down list box. If the list box is visible, typing characters into the selection field highlights the first list box entry that matches the characters typed. ![]() Free internet piracy Essays and Papers. . Your search returned over 4.Next > >. These results are sorted by most relevant first (ranked search).You may also sort these by color rating. Six people from Santa Clara, California have been arrested and charged with selling arcade cabinets full of “counterfeit games”, which they are alleged to have. Ethical Issues In Hacking And Piracy Statistics Maritime
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No-registration upload of files up to 250MB. . How To Safely Remove Flash Drive '>How To Safely Remove Flash Drive . The Guy Who Invented Those Annoying Password Rules Now Regrets Wasting Your Time. We’ve all been forced to do it: create a password with at least so many characters, so many numbers, so many special characters, and maybe an uppercase letter. Guess what? The guy who invented these standards nearly 1. He is also very sorry. The man in question is Bill Burr, a former manager at the National Institute of Standards and Technology (NIST). In 2. 00. 3, Burr drafted an eight- page guide on how to create secure passwords creatively called the “NIST Special Publication 8. Appendix A.” This became the document that would go on to more or less dictate password requirements on everything from email accounts to login pages to your online banking portal. All those rules about using uppercase letters and special characters and numbers—those are all because of Bill. Latest trending topics being covered on ZDNet including Reviews, Tech Industry, Security, Hardware, Apple, and Windows. We’ve all been forced to do it: create a password with at least so many characters, so many numbers, so many special characters, and maybe an uppercase letter. The only problem is that Bill Burr didn’t really know much about how passwords worked back in 2. He certainly wasn’t a security expert. And now the retired 7. Much of what I did I now regret,” Bill Burr told. The Wall Street Journal recently, admitting that his research into passwords mostly came from a white paper written in the 1. In the end, [the list of guidelines] was probably too complicated for a lot of folks to understand very well, and the truth is, it was barking up the wrong tree.”Bill is not wrong. Simple math shows that a shorter password with wacky characters is much easier to crack than a long string of easy- to- remember words. This classic XKCD comic shows how four simple words create a passphrase that would take a computer 5. This is why the latest set of NIST guidelines recommends that people create long passphrases rather than gobbledygook words like the ones Bill thought were secure. Pro tip: Use this guide to create a super secure passcode using a pair of dice.)Inevitably, you have to wonder if Bill not only feels regretful but also a little embarrassed. It’s not entirely his fault either. ![]() ![]() You have not yet voted on this site! If you have already visited the site, please help us classify the good from the bad by voting on this site.I guess you can say it nicer, though, if you want. Something like, “I’m sorry, I don’t want to discuss this stuff with you anymore. I’d appreciate it if you. Fifteen years ago, there was very little research into passwords and information security, while researchers can now draw on millions upon millions of examples. Bill also wasn’t the only one to come up with some regrettable ideas in the early days of the web, either. Remember pop- ads, the scourge of the mid- aughts internet? The inventor of those is super sorry as well. Oh, and the confusing, unnecessary double slash in web addresses? The inventor of that idea (and the web itself) Tim Berners- Lee is also sorry. Technology is often an exercise of trial and error. If you get something right, like Jeff Bezos or Mark Zuckerberg have done, the rewards are sweet. If you screw up and waste years of unsuspecting internet users’ time in the process, like Bill did, you get to apologize years later. We forgive you, Bill. At least some of us do.[Wall Street Journal]. Every Voting Machine at This Hacking Conference Got Totally Pwned. A noisy cheer went up from the crowd of hackers clustered around the voting machine tucked into the back corner of a casino conference room—they’d just managed to load Rick Astley’s “Never Gonna Give You Up” onto the Win. Vote, effectively rickrolling democracy. The hack was easy to execute. Two of the hackers working on the touchscreen voting machine, who identified only by their first names, Nick and Josh, had managed to install Windows Media Player on the machine and use it to play Astley’s classic- turned- trolling- track. The rickroll stunt was just one hack at the security conference DEF CON, which ran a three- day Voting Machine Hacking Village to test the security of various machines and networks used in US elections. By the end of the weekend, every one of the roughly 3. Even though several of the exploits ended up paying tribute to Astley, they’re not jokes—they also present a serious lesson about the security vulnerabilities in voting machines that leave them open to tampering and manipulation. And the more vulnerable our voting infrastructure is shown to be, the less confidence voters may feel. The real takeaway is that you can install any software on this,” Nick told Gizmodo. There’s no control.” Nick had simply connected a keyboard to an exposed USB port at the back of the Win. Vote, which was used in elections as recently as 2. The voting village is the brainchild of a who’s- who list of security experts: DEF CON founder Jeff Moss, cryptographer Matt Blaze, computer programmer Harri Hursti (whose hack of Diebold voting machines in 2. Hursti Hack”), and others. Researchers have been uncovering problems with voting systems for more than a decade, but the 2. Now the entire country, and maybe the world, is paying attention. But poll workers and former campaign officials say that their primary security concerns still aren’t with voting machines themselves but with protecting voter registration systems and defending against basic phishing attacks like the ones used to gain entry to the Democratic National Committee’s network. Meet the machines“This is the great Satan,” said Joseph Lorenzo Hall, the chief technologist at the Center for Democracy & Technology, gesturing dismissively at the Win. Vote. The machine contains a cellular modem chip that allows its software to be updated remotely. Unfortunately, it also means that you can log into the damn thing from across the street if you know the right credentials,” Hall explained. What’s hundreds of miles between networked friends?” The Win. Vote was the first machine to fall, with a hacker achieving remote code execution on the machine within the first hours of the village. Win. Votes were decertified by Virginia’s election board in 2. American voting systems are largely cobbled together with antiquated technology. Voting machines can vary by state and county, and have to be certified by the Election Assistance Commission. But other devices, like the electronic poll books used in some jurisdictions to check in voters at their polling stations, aren’t subject to the certification process. Add in the voter registration databases themselves—which were reportedly breached in 3. The machines are mostly new to the hackers at DEF CON. They’re not very much fun, they’re like very boring ATMs,” Hall joked. It’s obvious that election systems aren’t very secure, but it’s important to understand why the security problems exist in the first place, and why they’re so hard to fix. The security industry encourages regular software updates to patch bugs and keep machines as impenetrable as possible. But updating the machines used in voting systems isn’t as easy as installing a patch because the machines are subject to strict certification rules. Any major software update would require the state to redo its certification process. It costs over $1 million to get certified,” Joshua Franklin, a security specialist with the National Institute of Standards and Technology’s cybersecurity and privacy application unit, explained to attendees. Franklin said that even though the Election Assistance Commission’s most recent election security standards were released in 2. The cost breaks down to about $3. Tom Stanionis, an IT manager for a county election agency in California who attended the village in his personal capacity. Most states just don’t have the money. What’s hundreds of miles between networked friends?”“The reality is, we’ve known about issues with voting machines for a long time,” Stanionis told Gizmodo. Since purchasing brand new systems is out of the question, Stanionis said most states do their best to protect the systems they have, walling them off from the internet and storing them securely when they’re not being used. The rat king of decentralized state vendors and machines might actually be a good defense during a general election—it would force hackers to successfully target many disparate systems. It would be really hard in most jurisdictions to do anything to affect the voting machines,” Stanionis said. Difficult doesn’t mean impossible, though, and that’s what DEF CON’s hackers have set out to prove. If a hacker tucked away in a corner of a Las Vegas casino can alter a vote count, then surely a nation- state attacker can too. The thing you have to ask about any new technology is, compared with the technology that proceeded it, does this make that threat easier or harder? Does it make us better off or worse off?” Blaze told attendees. Does whatever the technology we’re using make this threat an easier threat or a tougher threat? That’s the question we haven’t really been sharply asking for very long.” Email security and beyond. Robby Mook, the former manager of Hillary Clinton’s presidential campaign, is at DEF CON for the first time, and you can kind of tell—he looks a bit too clean cut for a conference often filled with hoodie- wearing hackers. But he’s got experience being targeted by nation- state hackers that few other attendees can claim. Although hackers were hard at work down the hall figuring out how to alter vote tallies, Mook said he was still mostly worried about getting campaign workers to secure their email accounts with two- factor authentication and stop retaining data for longer than necessary.“It’s much more a matter of culture and education than it is of spending enormous resources,” Mook told Gizmodo. People in the security community know a lot of things instinctually that a campaign professional has never had exposure to, ever.” “Public confidence in elections is what gives government legitimacy.”Mook, along with former Mitt Romney campaign manager Matt Rhoades and former Assistant Secretary of Defense Eric Rosenbach, launched an initiative at Harvard University earlier this summer focused on providing security resources to campaigns and election officials. The Defending Digital Democracy project received a founding investment from Facebook, and executives from the social network as well as Google and Crowd. Strike are helping establish an information sharing organization that will give political committees and campaigns quick access to threat intelligence.“If you pull aside any campaign manager and say, ‘Do you want to get hacked?’ they’d say no,” Mook told DEF CON attendees. If you asked them, ‘Have you done everything you can?’ they’d say, ‘No, but I don’t really know.’” Campaigns, along with voter registration databases, are softer targets for hackers—the events of the last year demonstrate that. And as exciting as it is to tear a voting machine apart, the goal of securing elections might be reached faster through educating election officials about cybersecurity best practices. The voter registration databases are becoming a more obvious target,” Stanionis said. Altering the voter roll to show an incorrect polling location for just a few voters could drastically slow down the voting process for many, he explained. If a voter isn’t believed to be in their correct polling station, she’ll be asked to fill out a provisional ballot, slowing down the line for everyone. Some might get sick of waiting and leave. That’s hacking the election but doesn’t look illegal from the outside,” he said. These kinds of softer attacks strike at public trust in election systems. ![]() ![]() Hollywood Reporter | Entertainment News. Elsewhere, 'My Little Pony' looks to come in No. Idris Elba and Kate Winslet's 'Mountain Between Us' may scale less than $1. Good morning! Welcome to The Morning Shift, your roundup of the auto news you crave, all in one place every weekday morning. Here are the important stories you need. Was that supposed to be an argument against my thinking? So it's total fantasy and b s to say no income for several years -results not dependant on future outcomes. By Hadley, Skin Care Specialist at Zimmet Vein & Dermatology. I recently took the plunge into Fractional CO2 laser resurfacing (Active FX) and survived! Archives and past articles from the Philadelphia Inquirer, Philadelphia Daily News, and Philly.com. ![]() Company Lookup - Search for UK listed companies. VIDEO EXCLUSIVE: Cabot Energy CEO (CAB) delivers on growth and sees more to come Watch here. Datafeed and UK data supplied by NBTrader and Digital Look. While London South East do their best to maintain the high quality of the information displayed on this site, we cannot be held responsible for any loss due to incorrect information found here. All information is provided free of charge, 'as- is', and you use it at your own risk. The contents of all 'Chat' messages should not be construed as advice and represent the opinions of the authors, not those of London South East Limited, or its affiliates. London South East does not authorise or approve this content, and reserves the right to remove items at its discretion. This site requires cookies in order to give you the best user experience. By using this site, you are agreeing to the use of cookies. Time Clock, Attendance and Payroll Solution. Complete on- line documentation and support for Time. IPS systems. Time. IPS hosted/cloud- based "ASP service" is now available. 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The Downloads section contains programs, tools, and examples that we recommend for use with your Time. IPS system. The FAQ section includes general questions and answers regarding the Support Portal and getting help with Time. IPS. The News section includes news articles regarding coming features and products and news relevant to Time. IPS customers. The Web Links section contains links to other sites that may be helpful to Time. IPS users. If you cannot find what you are looking for,contact Time. IPS Technical Supportat support@timeips. Libro - Wikipedia, la enciclopedia libre. Un libro (del latínliber, libri) es una obra impresa, manuscrita o pintada en una serie de hojas de papel, pergamino, vitela u otro material, unidas por un lado (es decir, encuadernadas) y protegidas con tapas, también llamadas cubiertas. Un libro puede tratar sobre cualquier tema. Según la definición de la Unesco,[1] un libro debe poseer 2. También se llama "libro" a una obra de gran extensión publicada en varias unidades independientes, llamados "tomos" o "volúmenes". Otras veces se llama también "libro" a cada una de las partes de una obra, aunque físicamente se publiquen todas en un mismo volumen (ejemplo: Libros de la Biblia). Hoy en día, no obstante, esta definición no queda circunscrita al mundo impreso o de los soportes físicos, dada la aparición y auge de los nuevos formatos documentales y especialmente de la World Wide Web. ![]() El libro digital o libro electrónico, conocido como e- book, está viendo incrementado su uso en el mundo del libro y en la práctica profesional bibliotecaria y documental. Además, el libro también puede encontrarse en formato audio, en cuyo caso se denomina audiolibro. Desde los orígenes, la humanidad ha tenido que hacer frente a una cuestión fundamental: la forma de preservar y transmitir su cultura, es decir, sus creencias y conocimientos, tanto en el espacio como en el tiempo. El planteamiento de esta cuestión supone: por un lado, determinar la forma de garantizar la integridad intelectual del contenido de la obra y la conservación del soporte en el que fue plasmada, y por otro, encontrar el medio por el cual se mantendrá inalterada la intención o finalidad para la cual se concibió. Los orígenes de la historia del libro se remontan a las primeras manifestaciones pictóricas de nuestros antepasados, la pintura rupestre del hombre del paleolítico. Con un simbolismo, posiblemente cargado de significados mágicos, estas pinturas muestran animales, cacerías y otras escenas cotidianas del entorno natural del hombre antiguo, que trataba de dominar las fuerzas adversas de la naturaleza capturando su esencia mediante su representación. Son el más antiguo precedente de los primeros documentos impresos de que se tiene memoria. Comunicación oral y formas rudimentarias[editar]Las señales gestuales fueron la primera forma de expresar y transmitir mensajes. La palabra hablada es la manera más antigua de contar historias. Mediante fórmulas de valor mnemotécnico[2] se estructuraban narraciones, que pasaban de generación en generación como valiosa herencia cultural de los más diversos grupos humanos. Dichas reglas mnemotécnicas ayudaban tanto a la memorización como a la difusión de los relatos. Es el caso de los poemas homéricos, que han merecido valiosos estudios sobre el particular. Posiblemente, gran parte de las tradiciones y leyendas han tenido semejante inicio. Un libro è un insieme di fogli, stampati oppure manoscritti, delle stesse dimensioni, rilegati insieme in un certo ordine e racchiusi da una copertina. Esta transmisión oral tenía el inconveniente de los «ruidos» que deformaban el mensaje. La mayoría de las veces era el narrador (rapsoda, aeda, juglar) quien en función de sus intereses la deformaba de una u otra forma. La escritura[editar]Cuando los sistemas de escritura fueron inventados en las antiguas civilizaciones, el hombre utilizó diversos soportes de escritura: tablillas de arcilla, ostracon, placas de hueso o marfil, tablas de madera, papiros, tablillas enceradas, planchas de plomo, pieles curtidas, etc. La escritura fue el resultado de un proceso lento de evolución con diversos pasos: imágenes que reproducían objetos cotidianos (pictografía); representación mediante símbolos (ideografía); y la reproducción de sílabas y letras. Los más antiguos vestigios de escritura se encuentran, hacia finales del IV milenio a. C., en el Antiguo Egipto, con jeroglíficos, y la antigua Mesopotamia, mediante signos cuneiformes (escritura cuneiforme; utilizaban una varilla con sección triangular, que al hendir en placas de arcilla, dejaba una marca en forma de cuña). La usaron los sumerios, acadios, asirios, hititas, persas, babilonios etc. La escritura egipcia, que perduró más de tres milenios, mediante jeroglíficos, representaba ideas abstractas, objetos, palabras, sílabas, letras y números. Evolucionó en las escrituras hierática y demótica. Otros pueblos, como los hititas y los aztecas también tuvieron tipos propios de escritura. La escritura china más antigua que se conoce son 5. C. en el yacimiento de Xiaotun, en la provincia de Henan. Pero los primeros libros reconocibles de China corresponden al siglo VI a. C., los jiance o jiandu, rollos de finas tiras de bambú o madera grabados con tinta indeleble y atados con cordel. Estos textos servían principalmente a causas institucionales , era la obra de funcionarios civiles o militares.[3]Desde Confucio en adelante (5. C.) los libros se convirtieron en importantes instrumentos de aprendizaje, se escribieron tratados de filosofía, medicina, astronomía y cartografía. En el período de los reinos combatientes (4. C.) La seda se usó mucho como soporte para escribir. ![]()
La tela era ligera, resistente al clima húmedo, absorbía bien la tinta y proporcionaba al texto un fondo blanco, sin embargo era mucho más cara que el bambú, es por esto que en ocasiones se hacía una copia en bambú antes de grabarse en seda los textos importantes. La invención del papel según la tradición china, se atribuye a un eunuco de la corte imperial llamado Cai Lin en el 1. C. Usando nuevos ingredientes (trapos viejos, cáñamo, corteza de árbol y redes de pescar) creó un método de fabricación de papel muy similar al que se usa hoy en día. Pero el papel tardó cientos de años en reemplazar al bambú y la seda, fue hasta finales del siglo II d. C. que la corte imperial lo usó en cantidades importantes. Esta innovación no se propagó fuera de China hasta el 6. C. aproximadamente, y alcanzó Europa a través de España hasta el siglo XII. A mediados del siglo VIII los chinos inventaron la impresión xilográfica, o el grabado en madera, y la necesidad de reproducir un gran número de textos e imágenes budistas, calendarios, manuales de adivinación y diccionarios promovió una rápida y temprana propagación de la xilografía. El primer libro impreso chino que se ha encontrado es el Sutra del diamante del 8. C. Los impresores chinos crearon los tipos móviles hacia el siglo XI, el escritor chino Ch'en Kua (1. Mengshi Pitan), según el escritor el herrero Jen. Tsung de la dinastía de los Song del norte entre 1. ![]() También se le atribuye la creación de una mesa giratoria para guardar los caracteres, esta técnica se llamaba tipografía tablearia. Hacia el 1. 30. 0 Wang- Tcheng, un técnico agrónomo, emplazó la arcilla por madera de azufaifo, que era mucho más dura. Pero este avance no revolucionó la imprenta hasta el punto que lo hizo Gutenberg en Europa 4. A diferencia de las lenguas europeas, el chino escrito requiere miles de caracteres únicos, lo que hace mucho más eficaz los bloques de madera individuales que los enormes conjuntos de tipos reutilizables. En contraste con el declive de las artes de los escribas en occidente en los siglos que siguieron a la creación de la imprenta de tipos móviles, la caligrafía china conservó su prestigio, era un arte. No obstante, a finales del siglo XV, China había producido más libros que el resto del mundo junto. Los árabes aprendieron la técnica para fabricar papel de sus contactos con China en el siglo VIII, y este se introdujo en Europa en el siglo XII a través de la España musulmana.[3]La obra xilográfica más antigua encontrada hasta nuestros días es el Dharani Sutra de Corea, datado en el 7. C., aunque no se sabe quién fue el inventor de la xilografía los chinos y coreanos fueron los que impulsaron la impresión xilográfica, principalmente para editar textos religiosos. El budismo chino y coreano fue el vehículo que trasmitió la xilografía a Japón. Pero Corea realizó muchos otros avances que revolucionaron la manera de imprimir y en consecuencia el libro. Entre 1. 23. 4 y 1. Gwanghwa, debido a la invasión mongol, no disponían de madera dura fue entonces que imprimieron 2. Go geum sang jeong ye mun con caracteres móviles metálicos. La obra del año 1. Más tarde el rey Taejong puso en funcionamiento un taller que contribuía a la difusión de la escritura y en 1. Jujaso, donde se fabricaban caracteres móviles de imprenta, realizó la primera fundición de tipos móviles en bronce. Westfield Comics - premier new comic book mail order source for Marvel Comics, DC Comics, Dark Horse and more comic books. Marvel Vision Fine Art Statue - Kotobukiya - Avengers - Statues - Vision joins Kotobukiya's stunning Fine Art lineup! Measuring just over 16-inches tall, Vision is. Winston is named for the narrator of Aram Sarkisian’s short, a desperate man dashing off a fevered letter that reads like a crazed diary entry. “I’m not losing. Disney's Blizzard Beach is a water theme park located at the Walt Disney World Resort in Orlando, Florida. All water areas are heated (at approximately 80 °F or 27. StarCraft®: Remastered upgrades the essential sci-fi strategy experience from beginning to end. Welcome back to the original game and its award-winning expansion.Leroy Anderson > Official Biography > American Composer and Conductor of Light Concert Music. Swedish Parents. Leroy Anderson was born on June 2. Cambridge, Massachusetts. His parents were Swedish immigrants who had come to the United States as children.
They lived at 2. 69 Norfolk Street in Cambridge. His father, Bror Anton Anderson (B. A. Anderson), came from Övarp, Norra Strö, near Kristianstad in the province of Skåne. Bror worked as a postal clerk at the Central Square post office in Cambridge and played the mandolin. He changed the spelling of his first name to Brewer, the pronunciation of which was similar to his Swedish name - Bror. Leroy's mother, Anna Margareta (Jönsson) Anderson, came from Stockholm. Anna was an organist at the Swedish Mission Church in Cambridge. Brewer Anderson and Anna Jönsson (now Johnson) met at the Swedish Mission Church and were married there in 1. Leroy was born in 1. Brewer and Anna Anderson moved from Norfolk Street to 1. Chatham Street when Leroy was one year old. A another son, Russell Brewer Anderson, was born in 1. Cambridge would continue to be the center of Leroy Anderson's world for the next three decades. 4988017635469 I'm Not Dead, Pink 9789686842623 9686842624 La Constitucion, Trinidad Camacho, Christian Cymet 9780744119435 074411943X Making it Connect: Spring. Official biography of Leroy Anderson, American composer and conductor. ![]() ![]() Leroy Anderson lived at 1. Chatham Street with his parents and brother Russell from 1. New York City. "We were a musical family," Leroy said. My father played the mandolin, mother played the guitar and I accompanied them on the piano. Those were happy evenings doing Gilbert and Sullivan, 'Drink to Me Only with Thine Eyes' and all the other songs in 'The Golden Songbook.' Radio was in the earphone stage then and we had to make our own entertainment."The Anderson family attended the Swedish Mission Church in Cambridge which Anna Anderson's father Bengt Johnson had helped to establish. Brewer Anderson and his brother Nils Olof Anderson (N. O. Anderson) had built the three- story home at 1. Chatham Street where Bror and Anna lived with their children Leroy and Russell. N. O. Anderson went on to create a successful business building homes in Belmont, Watertown and Lexington, Massachusetts. Leroy's grandfather Bengt Johnson had built fine furniture in Stockholm before emigrating to Massachusetts. In Cambridge Bengt worked for the Ivers and Pond Company building piano cases decorated with detailed carvings. With a grandfather who made fine furniture and an uncle who built houses, it is no wonder that later in life Leroy Anderson enjoyed woodworking as a hobby. Leroy built his own desk, wood working bench, cabinets and numerous custom projects for his children. Leroy often returned to 1. Chatham Street where his parents continued to live. It was at this house that he arranged many Broadway show tunes for Arthur Fiedler and the Boston Pops Orchestra, and where he composed his Irish Suite in eleven days. Leroy's mother Anna gave Leroy his first piano lessons starting at age five, "as soon as his feet could reach the pedals." One day Anna and Brewer heard Leroy playing a song on the piano quite well. However it was a song that Anna had not taught her son to play. When asked how he knew this song, Leroy replied "it's just something I heard." Brewer and Anna Anderson discussed their son's increasingly apparent musical talent and decided that Leroy should have professional music lessons. Floyd Bigelow Dean of the New England Conservatory of Music was engaged to give Leroy private piano lessons in 1. Leroy was 1. 1 years old."My first composition was a minuet for string Quartet which I wrote at the age of 1. I showed it to my piano teacher at the New England Conservatory of Music, Floyd Bigelow Dean, and he took it to George W. Chadwick, who was then the director of the Conservatory. As a result I received a year's scholarship to study music harmony with Mr. Dean."Leroy said that he received all his education on one street - Broadway, Cambridge. He attended Harvard Grammar School, at the corner of Harvard Street and Broadway. In 1. 92. 1 he entered Cambridge High and Latin School (now Cambridge Rindge and Latin School) as a Freshmen. The Latin School (once also called the Cambridge Classical School) was located at the corner of Broadway and Trowbridge Streets. During his years in the Cambridge Latin School (administered jointly with the Cambridge High School beginning in February 1. Leroy Anderson followed "a course of study that had been created for the express purpose of meeting the admission requirements of Harvard University." Leroy was an honors student. While Leroy had learned to speak Swedish at home as a young boy, at CHLS he studied and mastered Latin under his teacher Cecil Thayer Derry and French, becoming president of the French Club. Leroy was at CHLS when his father Brewer Anderson bought him a trombone so that Leroy would have to play in the front row of the Harvard University Band. B. A. Anderson wanted to be sure that his son Leroy would be easy to see while he marched in the band at Harvard football games. Leroy studied music at CHLS under John A. Whoriskey. Leroy belonged to the Glee Club, the Mandolin Club and played trombone in the school orchestra. Whoriskey needed a double- bass player and convinced Leroy to take the instrument home for the weekend to practice. When Anderson returned to school on the following Monday, he played the double bass so well that one would have thought he had practiced all year. At Whoriskey's suggestion Leroy wrote a song for the graduating class of 1. Whoriskey appointed Anderson as leader of the school orchestra that year. Anderson composed a different song for the graduating class in 1. He conducted the school orchestra himself each time. Harvard Years. At Harvard Leroy studied musical harmony with Walter Spalding, counterpoint with Edward Ballantine, canon and fugue with William C. Heilman, and orchestration with Edward B. Hill and Walter Piston. Leroy received a B. A., Magna cum laude in 1. Phi Beta Kappa. He earned an M. A., Music in 1. 93. In Harvard University Graduate School, he studied composition with Walter Piston and Georges Enesco; organ with Henry Gideon and double bass with Gaston Dufresne of the Boston Symphony Orchestra. He continued his studies at Harvard through the early 1. Ph. D in German and Scandinavian languages (Swedish, Danish, Norwegian, Icelandic and Old Norse), while working as a music tutor at Radcliffe College. A gifted linguist, Leroy eventually mastered Danish, Norwegian, Icelandic, German, French, Italian, and Portuguese in addition to the English and Swedish of his upbringing. Not thinking that a career in music held much promise, Anderson intended to become a language teacher. He applied for and was offered a position at a private school in Pennsylvania. At the last moment he decided to give music a final try and sent his regrets to the school in Pennsylvania. This turned out to be a pivotal decision for him. Boston Pops Orchestra arranger. As a graduate student Leroy became Director of the Harvard University Band and wrote numerous clever arrangements for the band that brought him to the attention of Arthur Fiedler, Director of the Boston Pops Orchestra. His first arrangement for Fiedler in 1. Harvard songs - Harvard Fantasy. In 1. 93. 8 the Boston Pops performed his first composition, Jazz Pizzicato. It was an immediate hit. Fiedler encouraged him to write original compositions for the orchestra. Leroy wrote Jazz Legato in 1. This was followed by a succession of his now famous delightful miniatures. Arthur Fiedler and the Boston Pops Orchestra were the first to perform and record many of these compositions. During these years Leroy also performed along with his brother Russell in various popular dance orchestras. They also played on cruise ships of the Norwegian Line crossing between New York and Scandinavia."While taking graduate courses in German and the Scandinavian languages preparatory to a career teaching languages, I was playing in and conducting orchestras part time in and around Boston. One Spring after a performance of the Hasty Pudding Show which I had conducted, Mr. George Judd, the manager of the Boston Symphony Orchestra, came up to speak to me. He said he had heard my arrangements played by the Harvard Band at the Stadium football games and asked me to make a symphonic setting of Harvard songs for the 2. Pops. Thus I met Mr. Fiedler, who conducted the concert except for the "Harvard Fantasy", to which he listened off- stage. After the concert I went to the librarian's office and found Mr. Fiedler examining my score intently "This is very good", he said. |
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