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Daughter Duo is Dancing in The Same Company
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There's a surprising twist to Regina Willoughby's last season with Columbia City Ballet: It's also her 18-year-old daughter Melina's first season with the company. Regina, 40, will retire from the stage in March, just as her daughter starts her own career as a trainee. But for this one season, they're sharing the stage together.
Performing Side-By-Side In The Nutcracker
Regina and Melina are not only dancing in the same Nutcracker this month, they're onstage at the same time: Regina is doing Snow Queen, while Melina is in the snow corps, and they're both in the Arabian divertissement. "It's very surreal to be dancing it together," says Regina. "I don't know that I ever thought Melina would take ballet this far."
Left: Regina and Melina with another company member post-snow scene in 2003. Right: The pair post-snow scene in 2017 (in the same theater)
Keep reading at dancemagazine.com.
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www.pointemagazine.com
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2017-12-11 20:19:05
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There's a surprising twist to Regina Willoughby's last season with Columbia City Ballet: It's also her 18-year-old daughter Melina's first season with the company.
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http://www.pointemagazine.com/mother-daughter-duo-dancing-2516681965.html
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There's a surprising twist to Regina Willoughby's last season with Columbia City Ballet: It's also her 18-year-old daughter Melina's first season with the company. Regina, 40, will retire from the stage in March, just as her daughter starts her own career as a trainee. But for this one season, they're sharing the stage together.
Performing Side-By-Side In The Nutcracker
Regina and Melina are not only dancing in the same Nutcracker this month, they're onstage at the same time: Regina is doing Snow Queen, while Melina is in the snow corps, and they're both in the Arabian divertissement. "It's very surreal to be dancing it together," says Regina. "I don't know that I ever thought Melina would take ballet this far."
Left: Regina and Melina with another company member post-snow scene in 2003. Right: The pair post-snow scene in 2017 (in the same theater)
Keep reading at dancemagazine.com.
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Daughter Duo is Dancing in The Same Company
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New York City Ballet Announces Interim Leadership Team
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The New York City Ballet Board of Directors announced on Saturday the interim team that has been appointed to run the artistic side of the company during ballet master in chief Peter Martins' leave of absence. Martins requested a temporary leave from both NYCB and the School of American Ballet last Thursday while the company undergoes an internal investigation into the sexual harassment accusations aimed at him.
The four-person group is made up of members of the company's current artistic staff, led by ballet master and former principal dancer Jonathan Stafford. Joining Stafford are NYCB resident choreographer and soloist Justin Peck and ballet masters Craig Hall and Rebecca Krohn, both former dancers with the company. While the members of this group haven't had much leadership experience, their close familiarity with the company (Krohn left the stage for her new role just two months ago) should help to ease the dancers' transition.
The team will be responsible for the day-to-day artistic needs of the company including scheduling, casting and conducting rehearsals. While there's no word yet on the length of their tenure, we'll continue to keep you updated as the story surrounding Martins unfolds.
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www.pointemagazine.com
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2017-12-11 17:02:55
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NYCB has announced an interim leadership team to run the company during Peter Martin's leave of absence amidst sexual harassment accusations.
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http://www.pointemagazine.com/nycb-interim-leadership-team-2516618703.html
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The New York City Ballet Board of Directors announced on Saturday the interim team that has been appointed to run the artistic side of the company during ballet master in chief Peter Martins' leave of absence. Martins requested a temporary leave from both NYCB and the School of American Ballet last Thursday while the company undergoes an internal investigation into the sexual harassment accusations aimed at him.
The four-person group is made up of members of the company's current artistic staff, led by ballet master and former principal dancer Jonathan Stafford. Joining Stafford are NYCB resident choreographer and soloist Justin Peck and ballet masters Craig Hall and Rebecca Krohn, both former dancers with the company. While the members of this group haven't had much leadership experience, their close familiarity with the company (Krohn left the stage for her new role just two months ago) should help to ease the dancers' transition.
The team will be responsible for the day-to-day artistic needs of the company including scheduling, casting and conducting rehearsals. While there's no word yet on the length of their tenure, we'll continue to keep you updated as the story surrounding Martins unfolds.
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New York City Ballet Announces Interim Leadership Team
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Watch Pennsylvania Ballet & Boston Ballet Face Off for the Super Bowl
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The Philadelphia Eagles and the New England Patriots aren't the only teams bringing Super Bowl entertainment this week. To celebrate game day (and cheer on their region's respective teams), the dancers of Pennsylvania Ballet and Boston Ballet took a break from their usual rehearsals to perform some Super Bowl-themed choreography.
Dressed in their Eagles green, the PAB dancers performed a fast-paced routine full of fouetté turns, sky-high jumps and some swan arms (because they're known as the birds, get it?).
But Boston Ballet also decided to get in on the fun—with five Super Bowl wins, they're used to seeing their team in the big game. Sharing their own video on Facebook, which stars principal Paul Craig and soloist Derek Dunn, Boston Ballet threw in a few Balanchine tricks thanks to some props from Prodigal Son.
This is officially our new favorite way to get in on the football fun.
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www.pointemagazine.com
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2018-02-02 21:58:13
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The Philadelphia Eagles and the New England Patriots aren't the only teams bringing Super Bowl entertainment this week. To celebrate game day (and cheer on their region's respective teams), the dancers of Pennsylvania Ballet and Boston Ballet took a break from their usual rehearsals to perform some Super Bowl-themed choreography.
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http://www.pointemagazine.com/watch-pennsylvania-ballet-boston-ballet-face-off-for-the-super-bowl-2530816257.html
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The Philadelphia Eagles and the New England Patriots aren't the only teams bringing Super Bowl entertainment this week. To celebrate game day (and cheer on their region's respective teams), the dancers of Pennsylvania Ballet and Boston Ballet took a break from their usual rehearsals to perform some Super Bowl-themed choreography.
Dressed in their Eagles green, the PAB dancers performed a fast-paced routine full of fouetté turns, sky-high jumps and some swan arms (because they're known as the birds, get it?).
But Boston Ballet also decided to get in on the fun—with five Super Bowl wins, they're used to seeing their team in the big game. Sharing their own video on Facebook, which stars principal Paul Craig and soloist Derek Dunn, Boston Ballet threw in a few Balanchine tricks thanks to some props from Prodigal Son.
This is officially our new favorite way to get in on the football fun.
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Watch Pennsylvania Ballet & Boston Ballet Face Off for the Super Bowl
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dance shoes
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Looking for your next audition shoe? Shot at and in collaboration with Broadway Dance Center, Só Dança has launched a new collection of shoes working with some pretty famous faces of the musical theater world! Offered in two different styles and either 2.5" or 3" heels, top industry professionals are loving how versatile and supportive these shoes are! Pro tip: The heel is centered under the body so you can feel confident and stable!
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www.pointemagazine.com
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2018-04-24 19:00:11
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Looking for your next audition shoe? Shot at and in collaboration with Broadway Dance Center, Só Dança has launched a new collection of shoes working with some pretty famous faces of the musical theater world! Offered in two different styles and either 2.5" or 3" heels, top industry professionals ar...
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https://www.pointemagazine.com/dance-shoes-2562960796.html
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Looking for your next audition shoe? Shot at and in collaboration with Broadway Dance Center, Só Dança has launched a new collection of shoes working with some pretty famous faces of the musical theater world! Offered in two different styles and either 2.5" or 3" heels, top industry professionals are loving how versatile and supportive these shoes are! Pro tip: The heel is centered under the body so you can feel confident and stable!
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dance shoes
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Rebecca Krohn on Her Retirement from New York City Ballet
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New York City Ballet principal dancer Rebecca Krohn will take her final bow with the company this Saturday night. Krohn joined NYCB as an apprentice in the fall of 1998 and slowly rose through the ranks, becoming a principal in 2012. Though Krohn is best known for her flawless execution of classic Balanchine leotard ballets, her repertoire is vast, spanning Jerome Robbins to Justin Peck. After dancing Stravinsky Violin Concerto with Amar Ramasar on Saturday, Krohn will return to the NYCB studios on Monday in a new role: ballet master. We had the chance to talk to the thoughtful and eloquent dancer about her time with the company and goals for the future.
Was New York City Ballet always your dream company?
As soon as I knew I wanted to be a professional dancer, I knew that I wanted to be in New York City Ballet. I moved to New York when I was 14 to train at the School of American Ballet, and I got my apprenticeship with the company when I was 17, so it was really a dream come true.
Krohn and Adrian Danchig-Waring in Balanchine's Stravinsky Violin Concerto. Video Courtesy NYCB.
What have been your favorite ballets or roles to dance?
Balanchine's Stravinsky Violin Concerto, which I'll dance for my final show, has always been a favorite, as well as Balanchine's Movements for Piano and Orchestra and Agon. Also Robbins' Dances at a Gathering... there are so many, it's hard to choose! I've always really loved the Balanchine black and white ballets, and there are some Robbins ballets that are always so fulfilling.
Can you think of a favorite moment with the company?
After almost 20 years there are countless things. In general I would say the time that I've had onstage with some of my friends and dancing partners has been so special. It's one thing to be a friend with someone and another to also share the stage with them. There's just an amazing sense of trust and spontaneity; I feel so connected when I'm out there. That's something I'll never forget.
What's the main way that your experience in the company has changed over the years?
As I was getting older the company all of a sudden started to seem younger and younger. When I became a soloist and especially a principal my relationship with the corps de ballet dancers shifted. I wanted to be someone that the young dancers could look up to; I wanted to reach out and connect to them more, and to offer support and advice.
Krohn and Amara Ramasar in Balanchine's "Movements for Piano and Orchestra." Photo by Paul Kolnik, Courtesy NYCB.
Did you always know that you wanted to stay on with the company?
It had been in the back of my mind for a number of years, but I didn't really address it formally until a year ago. I spoke to Peter (Martins), just to kind of let him know what I had been thinking. I wanted to hear how he felt about it, which was actually a little nerve-wracking, but he thought it was a great idea.
What are you most looking forward to in your new role?
I'd like to nurture them and their talents; I'm always amazed to see how talented everyone is. The ballets that we have in our repertoire are so amazing—it's a great honor to be able to carry them on with the new dancers for the future.
Krohn with Robert Fairchild in Justin Peck's Everywhere We Go. Video Courtesy NYCB.
Is there someone who's teaching style or mentorship style you'd most like to emulate?
There are a couple of ballet masters that I've connected to. I'm very close to Karin von Aroldingen. Her undying passion for these pieces is incredibly inspiring. Susan Hendl has also been an inspiration. She has a wonderful talent of drawing out everyone's unique qualities and femininity.
What parts of your life outside of ballet do you most look forward to cultivating now that you'll have more time on your hands?
I'm looking forward to having more time to enjoy museums in the city. While I was dancing I didn't want to be up on my legs all day on my days off. I won't have to worry about that so much now, and I can spend my day off roaming around and being inspired. I also love to cook, so I'll get to cook a lot more and hopefully host more dinner parties.
Krohn and Company in Balanchine's "Serenade." Photo by Paul Kolnik, Courtesy NYCB.
Do you have a piece of advice for young dancers who are just starting out?
What's so special about ballet is the discipline that it instills. It's important for young dancers to really understand that that is what's taught to you in ballet class every day. It's an invaluable quality for a person to have, whether they continue to dance or end up doing other things.
My other piece of advice is that you have to treat each day as a new start. Some days you might not feel good about yourself, or things in your body might not be working well—every day is different. But you have to start fresh, be positive and move forward.
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www.pointemagazine.com
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2017-10-06 14:44:51
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We interviewed New York City Ballet principal Rebecca Krohn on her company retirement, exciting new career as a ballet master, and her advice for young dancers.
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http://www.pointemagazine.com/rebecca-krohn-retirement-nycb-2493308072.html
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New York City Ballet principal dancer Rebecca Krohn will take her final bow with the company this Saturday night. Krohn joined NYCB as an apprentice in the fall of 1998 and slowly rose through the ranks, becoming a principal in 2012. Though Krohn is best known for her flawless execution of classic Balanchine leotard ballets, her repertoire is vast, spanning Jerome Robbins to Justin Peck. After dancing Stravinsky Violin Concerto with Amar Ramasar on Saturday, Krohn will return to the NYCB studios on Monday in a new role: ballet master. We had the chance to talk to the thoughtful and eloquent dancer about her time with the company and goals for the future.
Was New York City Ballet always your dream company?
As soon as I knew I wanted to be a professional dancer, I knew that I wanted to be in New York City Ballet. I moved to New York when I was 14 to train at the School of American Ballet, and I got my apprenticeship with the company when I was 17, so it was really a dream come true.
Krohn and Adrian Danchig-Waring in Balanchine's Stravinsky Violin Concerto. Video Courtesy NYCB.
What have been your favorite ballets or roles to dance?
Balanchine's Stravinsky Violin Concerto, which I'll dance for my final show, has always been a favorite, as well as Balanchine's Movements for Piano and Orchestra and Agon. Also Robbins' Dances at a Gathering... there are so many, it's hard to choose! I've always really loved the Balanchine black and white ballets, and there are some Robbins ballets that are always so fulfilling.
Can you think of a favorite moment with the company?
After almost 20 years there are countless things. In general I would say the time that I've had onstage with some of my friends and dancing partners has been so special. It's one thing to be a friend with someone and another to also share the stage with them. There's just an amazing sense of trust and spontaneity; I feel so connected when I'm out there. That's something I'll never forget.
What's the main way that your experience in the company has changed over the years?
As I was getting older the company all of a sudden started to seem younger and younger. When I became a soloist and especially a principal my relationship with the corps de ballet dancers shifted. I wanted to be someone that the young dancers could look up to; I wanted to reach out and connect to them more, and to offer support and advice.
Krohn and Amara Ramasar in Balanchine's "Movements for Piano and Orchestra." Photo by Paul Kolnik, Courtesy NYCB.
Did you always know that you wanted to stay on with the company?
It had been in the back of my mind for a number of years, but I didn't really address it formally until a year ago. I spoke to Peter (Martins), just to kind of let him know what I had been thinking. I wanted to hear how he felt about it, which was actually a little nerve-wracking, but he thought it was a great idea.
What are you most looking forward to in your new role?
I'd like to nurture them and their talents; I'm always amazed to see how talented everyone is. The ballets that we have in our repertoire are so amazing—it's a great honor to be able to carry them on with the new dancers for the future.
Krohn with Robert Fairchild in Justin Peck's Everywhere We Go. Video Courtesy NYCB.
Is there someone who's teaching style or mentorship style you'd most like to emulate?
There are a couple of ballet masters that I've connected to. I'm very close to Karin von Aroldingen. Her undying passion for these pieces is incredibly inspiring. Susan Hendl has also been an inspiration. She has a wonderful talent of drawing out everyone's unique qualities and femininity.
What parts of your life outside of ballet do you most look forward to cultivating now that you'll have more time on your hands?
I'm looking forward to having more time to enjoy museums in the city. While I was dancing I didn't want to be up on my legs all day on my days off. I won't have to worry about that so much now, and I can spend my day off roaming around and being inspired. I also love to cook, so I'll get to cook a lot more and hopefully host more dinner parties.
Krohn and Company in Balanchine's "Serenade." Photo by Paul Kolnik, Courtesy NYCB.
Do you have a piece of advice for young dancers who are just starting out?
What's so special about ballet is the discipline that it instills. It's important for young dancers to really understand that that is what's taught to you in ballet class every day. It's an invaluable quality for a person to have, whether they continue to dance or end up doing other things.
My other piece of advice is that you have to treat each day as a new start. Some days you might not feel good about yourself, or things in your body might not be working well—every day is different. But you have to start fresh, be positive and move forward.
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Rebecca Krohn on Her Retirement from New York City Ballet
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Roy Kaiser to Become Nevada Ballet Theatre's New Artistic Director
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In 2014 the dance world was surprised when longtime Pennsylvania Ballet artistic director Roy Kaiser stepped down. It was announced yesterday that Kaiser will be rising to the helm again as the Las Vegas-based Nevada Ballet Theatre's new artistic director, replacing James Canfield. Kaiser will be the fourth artistic director in NBT's 46 year history.
The company will be gaining a highly experienced leader. Following his rise through the ranks to principal dancer at Pennsylvania Ballet, Kaiser worked as a ballet master and eventually took the reigns as the company's artistic director in 1995. Pennsylvania Ballet added 90 new ballets and 35 world premieres to their repertoire under his leadership.
Roy Kaiser with Pennsylvania Ballet Dancers. Photo by Alexander Iziliaev, Courtesy Nevada Ballet Theatre.
NDT is the largest professional ballet company and dance academy in the state, with 35 company dancers and a vibrant school. Kaiser will hit the ground running with the company's 10th Anniversary Celebration of A Choreographer's Showcase, its collaboration with Cirque du Soleil, opening this weekend. In November the company will reference Kaiser's Balanchine roots with a program titled Classic Americana featuring Serenade and Western Symphony, as well Paul Taylor's Company B.
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www.pointemagazine.com
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2017-10-06 20:30:05
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Former Pennsylvania Ballet dancer and director Roy Kaiser will take the helm at the Las Vegas-based Nevada Ballet Theatre as the company's artistic director.
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http://www.pointemagazine.com/roy-kaiser-artistic-director-nevada-ballet-theatre-2493742773.html
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In 2014 the dance world was surprised when longtime Pennsylvania Ballet artistic director Roy Kaiser stepped down. It was announced yesterday that Kaiser will be rising to the helm again as the Las Vegas-based Nevada Ballet Theatre's new artistic director, replacing James Canfield. Kaiser will be the fourth artistic director in NBT's 46 year history.
The company will be gaining a highly experienced leader. Following his rise through the ranks to principal dancer at Pennsylvania Ballet, Kaiser worked as a ballet master and eventually took the reigns as the company's artistic director in 1995. Pennsylvania Ballet added 90 new ballets and 35 world premieres to their repertoire under his leadership.
Roy Kaiser with Pennsylvania Ballet Dancers. Photo by Alexander Iziliaev, Courtesy Nevada Ballet Theatre.
NDT is the largest professional ballet company and dance academy in the state, with 35 company dancers and a vibrant school. Kaiser will hit the ground running with the company's 10th Anniversary Celebration of A Choreographer's Showcase, its collaboration with Cirque du Soleil, opening this weekend. In November the company will reference Kaiser's Balanchine roots with a program titled Classic Americana featuring Serenade and Western Symphony, as well Paul Taylor's Company B.
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Roy Kaiser to Become Nevada Ballet Theatre's New Artistic Director
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What It's Like Inside NYCB After Peter Martins
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New York City Ballet continues its first year without Peter Martins at the helm as our spring season opens tonight.
When he retired at the start of the new year, we plunged headfirst into unknown, murky waters. Who would the new director be? When would we know? Would we dancers get some say in the decision? Who would oversee the Balanchine ballets? Who would be in charge of casting? Would a new director bring along huge upheaval? Could some of us be out of a job?
The dancers currently have little information about the search process and plans to move forward. But Mr. Martins' absence has certainly been felt around the theater.
I've noticed it the most during dress rehearsals, particularly for Balanchine ballets. Although he rarely attended daily rehearsals, he always supervised the final rehearsals before the ballets went before the audience. Frequently, he had a nugget of wisdom to share, often from the mouth of Balanchine himself, to help us fix a tricky partnering maneuver, or a difficult sequence of turns.
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www.pointemagazine.com
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2018-04-24 16:37:24
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New York City Ballet continues its first year without Peter Martins at the helm as our spring season opens tonight.When he retired at the start of the new year, we plunged headfirst into unknown, murky waters. Who would the new director be? When would we know? Would we dancers get some say in the de...
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https://www.pointemagazine.com/nycb-after-peter-martins-2562960808.html
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New York City Ballet continues its first year without Peter Martins at the helm as our spring season opens tonight.
When he retired at the start of the new year, we plunged headfirst into unknown, murky waters. Who would the new director be? When would we know? Would we dancers get some say in the decision? Who would oversee the Balanchine ballets? Who would be in charge of casting? Would a new director bring along huge upheaval? Could some of us be out of a job?
The dancers currently have little information about the search process and plans to move forward. But Mr. Martins' absence has certainly been felt around the theater.
I've noticed it the most during dress rehearsals, particularly for Balanchine ballets. Although he rarely attended daily rehearsals, he always supervised the final rehearsals before the ballets went before the audience. Frequently, he had a nugget of wisdom to share, often from the mouth of Balanchine himself, to help us fix a tricky partnering maneuver, or a difficult sequence of turns.
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What It's Like Inside NYCB After Peter Martins
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Nutcracker Secrets and Surprises
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Literary Roots
E.T.A. Hoffmann, a German writer, penned the eerie and dark tale "Nutcracker and Mouse King" in 1816. About 30 years later, the French writer Alexandre Dumas took the Nutcracker story into his own hands, lightening things up and softening the character descriptions. Dumas even cheered up the name of the protagonist. "Marie Stahlbaum" (meaning "steel tree," representing the repressive family Marie found herself in, which led her imagination to run wild) became "Clara Silberhaus" (translated to "silver house," a magnificent home filled with shiny magic.)
Snowflakes of the original cast, "The Nutcracker" at the Mariinsky Theatre, 1892. Photo by Walter E. Owen, Courtesy Dance Magazine Archives.
From Page to Stage
In 1892 St. Petersburg, choreographer Marius Petipa and composer Pyotr Ilyich Tchaikovsky pulled the story off the page and onto the stage of the Mariinsky Theatre. But Petipa fell ill while choreographing The Nutcracker and handed his duties over to his assistant, Lev Ivanov. Critics at the 1892 premiere were not pleased. Balletomanes felt the work to be uneven, and lamented the lack of a main ballerina in the first act. Many thought that the story was too light compared to historically based stories.
Out of Russia
Despite its initial reception, the ballet survived, partially due to the success of Tchaikovsky's score. Performances were scarce, though, as the Russian Revolution scattered its original dancers. The Nutcracker's first major exposure outside of Russia took place in London in 1934. Former Mariinsky ballet master Nikolas Sergeyev was tasked with staging Petipa's story ballets on the Vic-Wells Ballet (today The Royal Ballet) from the original notation. The notes were incomplete and difficult to read, yet Sergeyev persisted, and The Nutcracker made it to the stage.
Dancers from ballet Russe de Monte Carlo in "The Nutcracker" pas de deux. Photo Courtesy Dance Magazine Archives.
An American Premiere
The Ballet Russe de Monte Carlo brought an abridged version of The Nutcracker to the U.S. in 1940. Over the next decade, the company toured the ballet extensively, exposing it to audiences nationwide.
Willam Christensen (center) with his brothers Lew and Harold. Photo Courtesy San Francisco Ballet.
Across the Country…
In 1944, San Francisco Ballet founding artistic director Willam Christensen choreographed the U.S.'s first full-length Nutcracker. Christensen later founded Ballet West, which continues to perform his version of The Nutcracker each year.
Balanchine rehearsing the snow scene with NYCB. Photo by Frederick Melton, Courtesy Dance Magazine Archives.
A Christmas Staple
Though the ballet's popularity was already growing, some historians suggest that George Balanchine was the first to irretrievably link the work to the holidays. As dance critic Robert Greskovic puts it, Balanchine was "responsible for making the ballet a fixture of the Christmas season and of a ballet company's repertory." New York City Ballet first presented Balanchine's Nutcracker in February of 1954 but quickly recognized its holiday appeal and moved the ballet to December for the following year.
Nutcracker All Over
As regional ballet companies sprouted around the country, The Nutcracker became a staple.Today it's a holiday tradition that keeps families coming back year after year; its mass appeal keeps ballet in mainstream culture. Many companies attract audiences by infusing the classic with their own regional heritage: Christopher Wheeldon's Nutcracker for the Joffrey Ballet is set at Chicago's 1893 world's fair and The Washington Ballet serves a dose of American history with characters such as George Washington and King George III.
George Washington in The Washington Ballet's Nutcracker." Photo by Carol Pratt, Courtesy The Washington Ballet.
The Nutcracker also serves as the financial backbone of companies nationwide. Last year San Francisco Ballet sold a total of 87,926 tickets to the holiday ballet and Boston Ballet sold a total of 92,907. Despite its humble roots, The Nutcracker is now the show that companies rely on to put on inventive and cutting-edge works throughout the rest of the year.
More secrets and surprises…
According to dance historian Doug Fullington, in the original 1892 scenario the Nutcracker has two sisters who graciously welcome Clara to the Land of Sweets with warm hugs.
Pennsylvania Ballet's Craig Wasserman in the Candy Cane variation. Photo by Alexander Iziliaev, Courtesy Pennsylvania Ballet.
The Candy Cane variation (danced to the Russian Trepak music) was choreographed by its original 1892 dancer, Alexandre Shiryaev. Dance critic Mindy Aloff says that Shiryaev was "possibly the first practitioner of hand-drawn animation; he notated his choreography in sequential drawings that could be projected to show the dance in movement." Balanchine included Shiryaev's original choreography in his Nutcracker.
The ethereal twinkling sound in the Sugar Plum Fairy's solo comes from the celesta, a rare instrument Tchaikovsky heard in France. "He had one sent to him essentially in secret," says Fullington.
Balanchine was given a budget of $40,000 for his 1954 premiere and, according to Aloff, he spent $25,000 on the Christmas tree alone. When asked if he could do without the tree Balanchine responded, "[The ballet] is the tree." Today, New York City Ballet's tree weighs one ton and can reach a full height of 41 feet.
1892 "Nutcracker" costume sketch by Ivan Vsevolozhsky of the Sugar Plum Fairy's retinue. Courtesy Peter Koppers.
Choreographic notations suggest that the Cavalier's variation was originally danced by a retinue of eight female fairies representing things like fruit, flowers and dreams. According to Fullington, Pavel Gerdt, the dancer who created the role, was likely too old to dance the variation himself.
NYCB's Brittany Pollack and Chase Finlay in the grand pas de deux toe slide. Photo by Paul Kolnik, Courtesy New York City Ballet.
In Balanchine's grand pas de deux, the lead ballerina holds an arabesque while gliding across the stage on pointe, pulled by her gallant prince. According to Fullington, Balanchine took this slide from Ivanov's original choreography.
The Sugar Plum Fairy's prince's original name was "Prince Coqueluche." Meaning "whooping cough" in French, it likely referred to a lozenge candy.
NYCB's Unity Phelan and Silas Farley in Karinska's Hot Chocolate costumes. Photo by Paul Kolnik, Courtesy New York City Ballet.
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www.pointemagazine.com
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2017-12-11 17:37:37
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The iconic ballet's path from critical flop to holiday fixture. E.T.A. Hoffmann, a German writer, penned the eerie and dark tale "Nutcracker and Mouse King" in 1816.
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http://www.pointemagazine.com/nutcracker-ballet-history-2515711657.html
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Literary Roots
E.T.A. Hoffmann, a German writer, penned the eerie and dark tale "Nutcracker and Mouse King" in 1816. About 30 years later, the French writer Alexandre Dumas took the Nutcracker story into his own hands, lightening things up and softening the character descriptions. Dumas even cheered up the name of the protagonist. "Marie Stahlbaum" (meaning "steel tree," representing the repressive family Marie found herself in, which led her imagination to run wild) became "Clara Silberhaus" (translated to "silver house," a magnificent home filled with shiny magic.)
Snowflakes of the original cast, "The Nutcracker" at the Mariinsky Theatre, 1892. Photo by Walter E. Owen, Courtesy Dance Magazine Archives.
From Page to Stage
In 1892 St. Petersburg, choreographer Marius Petipa and composer Pyotr Ilyich Tchaikovsky pulled the story off the page and onto the stage of the Mariinsky Theatre. But Petipa fell ill while choreographing The Nutcracker and handed his duties over to his assistant, Lev Ivanov. Critics at the 1892 premiere were not pleased. Balletomanes felt the work to be uneven, and lamented the lack of a main ballerina in the first act. Many thought that the story was too light compared to historically based stories.
Out of Russia
Despite its initial reception, the ballet survived, partially due to the success of Tchaikovsky's score. Performances were scarce, though, as the Russian Revolution scattered its original dancers. The Nutcracker's first major exposure outside of Russia took place in London in 1934. Former Mariinsky ballet master Nikolas Sergeyev was tasked with staging Petipa's story ballets on the Vic-Wells Ballet (today The Royal Ballet) from the original notation. The notes were incomplete and difficult to read, yet Sergeyev persisted, and The Nutcracker made it to the stage.
Dancers from ballet Russe de Monte Carlo in "The Nutcracker" pas de deux. Photo Courtesy Dance Magazine Archives.
An American Premiere
The Ballet Russe de Monte Carlo brought an abridged version of The Nutcracker to the U.S. in 1940. Over the next decade, the company toured the ballet extensively, exposing it to audiences nationwide.
Willam Christensen (center) with his brothers Lew and Harold. Photo Courtesy San Francisco Ballet.
Across the Country…
In 1944, San Francisco Ballet founding artistic director Willam Christensen choreographed the U.S.'s first full-length Nutcracker. Christensen later founded Ballet West, which continues to perform his version of The Nutcracker each year.
Balanchine rehearsing the snow scene with NYCB. Photo by Frederick Melton, Courtesy Dance Magazine Archives.
A Christmas Staple
Though the ballet's popularity was already growing, some historians suggest that George Balanchine was the first to irretrievably link the work to the holidays. As dance critic Robert Greskovic puts it, Balanchine was "responsible for making the ballet a fixture of the Christmas season and of a ballet company's repertory." New York City Ballet first presented Balanchine's Nutcracker in February of 1954 but quickly recognized its holiday appeal and moved the ballet to December for the following year.
Nutcracker All Over
As regional ballet companies sprouted around the country, The Nutcracker became a staple.Today it's a holiday tradition that keeps families coming back year after year; its mass appeal keeps ballet in mainstream culture. Many companies attract audiences by infusing the classic with their own regional heritage: Christopher Wheeldon's Nutcracker for the Joffrey Ballet is set at Chicago's 1893 world's fair and The Washington Ballet serves a dose of American history with characters such as George Washington and King George III.
George Washington in The Washington Ballet's Nutcracker." Photo by Carol Pratt, Courtesy The Washington Ballet.
The Nutcracker also serves as the financial backbone of companies nationwide. Last year San Francisco Ballet sold a total of 87,926 tickets to the holiday ballet and Boston Ballet sold a total of 92,907. Despite its humble roots, The Nutcracker is now the show that companies rely on to put on inventive and cutting-edge works throughout the rest of the year.
More secrets and surprises…
According to dance historian Doug Fullington, in the original 1892 scenario the Nutcracker has two sisters who graciously welcome Clara to the Land of Sweets with warm hugs.
Pennsylvania Ballet's Craig Wasserman in the Candy Cane variation. Photo by Alexander Iziliaev, Courtesy Pennsylvania Ballet.
The Candy Cane variation (danced to the Russian Trepak music) was choreographed by its original 1892 dancer, Alexandre Shiryaev. Dance critic Mindy Aloff says that Shiryaev was "possibly the first practitioner of hand-drawn animation; he notated his choreography in sequential drawings that could be projected to show the dance in movement." Balanchine included Shiryaev's original choreography in his Nutcracker.
The ethereal twinkling sound in the Sugar Plum Fairy's solo comes from the celesta, a rare instrument Tchaikovsky heard in France. "He had one sent to him essentially in secret," says Fullington.
Balanchine was given a budget of $40,000 for his 1954 premiere and, according to Aloff, he spent $25,000 on the Christmas tree alone. When asked if he could do without the tree Balanchine responded, "[The ballet] is the tree." Today, New York City Ballet's tree weighs one ton and can reach a full height of 41 feet.
1892 "Nutcracker" costume sketch by Ivan Vsevolozhsky of the Sugar Plum Fairy's retinue. Courtesy Peter Koppers.
Choreographic notations suggest that the Cavalier's variation was originally danced by a retinue of eight female fairies representing things like fruit, flowers and dreams. According to Fullington, Pavel Gerdt, the dancer who created the role, was likely too old to dance the variation himself.
NYCB's Brittany Pollack and Chase Finlay in the grand pas de deux toe slide. Photo by Paul Kolnik, Courtesy New York City Ballet.
In Balanchine's grand pas de deux, the lead ballerina holds an arabesque while gliding across the stage on pointe, pulled by her gallant prince. According to Fullington, Balanchine took this slide from Ivanov's original choreography.
The Sugar Plum Fairy's prince's original name was "Prince Coqueluche." Meaning "whooping cough" in French, it likely referred to a lozenge candy.
NYCB's Unity Phelan and Silas Farley in Karinska's Hot Chocolate costumes. Photo by Paul Kolnik, Courtesy New York City Ballet.
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Nutcracker Secrets and Surprises
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Inside the Beijing Dance Academy
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In one of 60 spacious dance studios at the Beijing Dance Academy, Pei Yu Meng practices a tricky step from Jorma Elo's Over Glow. She's standing among other students, but they all work alone, with the help of teachers calling out corrections from the front of the room. On top of her strong classical foundation and clean balletic lines, Pei Yu's slithery coordination and laser-sharp focus give her dancing a polished gleam. Once she's mastered the pirouette she's been struggling with, she repeats the step over and over until the clock reaches 12 pm for lunch. Here, every moment is a chance to approach perfection.
Pei Yu came to the school at age 10 from Hebei, a province near Beijing. Now 20, and in her third year of BDA's professional program, she is an example of a new kind of Chinese ballet student. Founded in 1954 by the country's communist government, BDA is a fully state-funded professional training school with close to 3,000 students and 275 full-time teachers over four departments (ballet, classical Chinese dance, social dance and musical theater). It offers degrees in performance, choreography and more. BDA's ballet program has long been known for fostering pristine Russian-style talent. But since 2011, the school has made major efforts to broaden ballet students' knowledge of Chinese dance traditions and the works of Western contemporary ballet choreographers. Pointe went inside this prestigious academy to see how BDA trains its dancers.
Getting In
BDA's admission process is extremely competitive, despite the school's large numbers. The ballet program is made up of a lower division, lasting seven years, and a four-year professional bachelor program.
The professional division's admission procedure is extensive. Every year, hundreds of students ages 16 to 18 audition in Beijing over the course of two days, presenting classical and contemporary variations and improvisational work, and taking an academic exam. "We are looking to produce artists with the technical skills to excel in professional companies and the knowledge to work in all jobs in the field of dance," says the ballet department's executive and artistic director and former National Ballet of China principal Zhirui (Regina) Zou.
Nearly 100 are currently enrolled in the professional ballet program. Though the school does admit foreign applicants, it does not host international students very often because the academic entrance exam measures Chinese language proficiency (most classes are taught in Chinese). BDA does participate in exchange programs with ballet schools around the world.
A Typical Day
Students begin their days with an early 8 am technique class. Following the Vaganova method, classes are strict and focus on precise positions and placement. Upper levels are split to keep class size small—around eight students per class. Teachers correct individual students—usually only the best ones, positioned front and center—using the terms "not good" (bù haˇo) and "better" (gèng haˇo), but rarely awarding praise.
The day continues with classical Chinese dance, character, contemporary, repertoire and pas de deux, as well as dance history, anatomy, music appreciation and injury prevention. "Classical Chinese dance is a large part of our identity as Chinese ballet dancers," explains Zou. She points out an example from a girls' ballet class, where students circle their heads as if in a reverse renversé during an attitude promenade. "Chinese dance focuses on circular upper-body movements, a unique coordination that complements ballet technique."
Rehearsals and classes can end as late as 9 pm. Students live on campus in dormitories; with little free time and all focus placed on their futures, they consider BDA home until graduation.
BDA's ballet department in a performance of "La Bayadère." Photo Courtesy BDA.
Stage Time
Performance is the most important aspect of BDA students' professional development, with annual productions featuring classical ballets, contemporary works and student choreography. Since dancers don't usually audition internationally, these performances are their chance to be discovered—directors from surrounding Chinese companies, including the National Ballet of China, attend in order to scout new talent.
As a result, preparation is intense. In a studio rehearsal for La Bayadère, Act II, no understudies are present, and any imperfection is pointed out by one of four coaches at the front of the room. All lines, heads, arms and feet are perfectly placed. Although Pei Yu sparkles in her variation, the other dancers are similarly strong and dedicated. Students run the piece twice for stamina. Between run-throughs, each fastidiously practices difficult sections, never satisfied with the results.
Dancers approach more contemporary movement with a mature coordination mirroring many professional dancers. Recent performances have included works by Paul Taylor, Jorma Elo and Christopher Wheeldon; students often get to work with the choreographers directly. Pei Yu learned Over Glow from Elo himself. "He showed us how to handle rhythm with the whole body," she says. "Ballet has so many rules, but contemporary ballet makes me feel excited and free."
Sun Jie, a coach and men's teacher at BDA since 2008, explains how introducing works from Western choreographers has broadened the overall abilities of Chinese ballet dancers. "When we started to teach new works at BDA in 2011, students struggled to move freely or adapt to new movement," he says. "But learning these styles over time has opened dancers' eyes to new possibilities."
Life After Graduation
BDA students enter professional life somewhat older than in the West, with graduates ranging from 20 to 22 years old. Only the most promising students receive company contracts, but others accept teaching and other dance-related posts at BDA and surrounding dance schools and institutions.
Although many have won awards at international competitions, the school does not actively focus on competing. "To prepare competitors, so much attention must be placed on individual students, whereas performances encourage the entire student body," says Zou.
Even so, competitions have given these students international exposure, though only a small percentage of graduates accept jobs abroad. BDA alumni in American companies include San Francisco Ballet soloists Wei Wang and Wanting Zhao and ABT corps members Zhiyao Zhang and Xuelan Lu.
With graduation in sight, Pei Yu shares the same dream as many of her classmates: a spot with the National Ballet of China. P
A men's classical Chinese dance class. Photo by Lucy Van Cleef.
Beijing's Bournonville Connection
Exposure to the Danish Bournonville style is a special component of the diverse ballet education that BDA offers. Former Royal Danish Ballet artistic director Frank Andersen has been a guest teacher at the school since 2002, and was awarded a professorship in 2012. So far, BDA students have performed in Bournonville ballets including Napoli's Act III, La Ventana and Conservatory, and some danced in the National Ballet of China's 2015 production of La Sylphide. Thanks to almost 23 years of Andersen's work in Beijing, Bournonville has found a second home in China.
Though there are Bournonville technique classes when time allows, Andersen imparts those lessons through the repertoire and Danish mime. "The most important part is making the mime believable," Andersen explains. "Young dancers often have the urge to overact. If I can't describe what I want with words, I have to show them." He holds his hands towards his chest, indicating the sign for "I." "Showing can be more effective than telling. That's the beauty of Bournonville's work. It's so honest."
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www.pointemagazine.com
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2018-03-19 14:57:19
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In one of 60 spacious dance studios at the Beijing Dance Academy, Pei Yu Meng practices a tricky step from Jorma Elo's Over Glow. She's standing among other students, but they all work alone, with the help of teachers calling out corrections from the front of the room. On top of her strong classical foundation and clean balletic lines, Pei Yu's slithery coordination and laser-sharp focus give her dancing a polished gleam. Once she's mastered the pirouette she's been struggling with, she repeats the step over and over until the clock reaches 12 pm for lunch. Here, every moment is a chance to approach perfection.
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http://www.pointemagazine.com/inside-beijing-dance-academy-2549891019.html
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Choose a title for the text below:
In one of 60 spacious dance studios at the Beijing Dance Academy, Pei Yu Meng practices a tricky step from Jorma Elo's Over Glow. She's standing among other students, but they all work alone, with the help of teachers calling out corrections from the front of the room. On top of her strong classical foundation and clean balletic lines, Pei Yu's slithery coordination and laser-sharp focus give her dancing a polished gleam. Once she's mastered the pirouette she's been struggling with, she repeats the step over and over until the clock reaches 12 pm for lunch. Here, every moment is a chance to approach perfection.
Pei Yu came to the school at age 10 from Hebei, a province near Beijing. Now 20, and in her third year of BDA's professional program, she is an example of a new kind of Chinese ballet student. Founded in 1954 by the country's communist government, BDA is a fully state-funded professional training school with close to 3,000 students and 275 full-time teachers over four departments (ballet, classical Chinese dance, social dance and musical theater). It offers degrees in performance, choreography and more. BDA's ballet program has long been known for fostering pristine Russian-style talent. But since 2011, the school has made major efforts to broaden ballet students' knowledge of Chinese dance traditions and the works of Western contemporary ballet choreographers. Pointe went inside this prestigious academy to see how BDA trains its dancers.
Getting In
BDA's admission process is extremely competitive, despite the school's large numbers. The ballet program is made up of a lower division, lasting seven years, and a four-year professional bachelor program.
The professional division's admission procedure is extensive. Every year, hundreds of students ages 16 to 18 audition in Beijing over the course of two days, presenting classical and contemporary variations and improvisational work, and taking an academic exam. "We are looking to produce artists with the technical skills to excel in professional companies and the knowledge to work in all jobs in the field of dance," says the ballet department's executive and artistic director and former National Ballet of China principal Zhirui (Regina) Zou.
Nearly 100 are currently enrolled in the professional ballet program. Though the school does admit foreign applicants, it does not host international students very often because the academic entrance exam measures Chinese language proficiency (most classes are taught in Chinese). BDA does participate in exchange programs with ballet schools around the world.
A Typical Day
Students begin their days with an early 8 am technique class. Following the Vaganova method, classes are strict and focus on precise positions and placement. Upper levels are split to keep class size small—around eight students per class. Teachers correct individual students—usually only the best ones, positioned front and center—using the terms "not good" (bù haˇo) and "better" (gèng haˇo), but rarely awarding praise.
The day continues with classical Chinese dance, character, contemporary, repertoire and pas de deux, as well as dance history, anatomy, music appreciation and injury prevention. "Classical Chinese dance is a large part of our identity as Chinese ballet dancers," explains Zou. She points out an example from a girls' ballet class, where students circle their heads as if in a reverse renversé during an attitude promenade. "Chinese dance focuses on circular upper-body movements, a unique coordination that complements ballet technique."
Rehearsals and classes can end as late as 9 pm. Students live on campus in dormitories; with little free time and all focus placed on their futures, they consider BDA home until graduation.
BDA's ballet department in a performance of "La Bayadère." Photo Courtesy BDA.
Stage Time
Performance is the most important aspect of BDA students' professional development, with annual productions featuring classical ballets, contemporary works and student choreography. Since dancers don't usually audition internationally, these performances are their chance to be discovered—directors from surrounding Chinese companies, including the National Ballet of China, attend in order to scout new talent.
As a result, preparation is intense. In a studio rehearsal for La Bayadère, Act II, no understudies are present, and any imperfection is pointed out by one of four coaches at the front of the room. All lines, heads, arms and feet are perfectly placed. Although Pei Yu sparkles in her variation, the other dancers are similarly strong and dedicated. Students run the piece twice for stamina. Between run-throughs, each fastidiously practices difficult sections, never satisfied with the results.
Dancers approach more contemporary movement with a mature coordination mirroring many professional dancers. Recent performances have included works by Paul Taylor, Jorma Elo and Christopher Wheeldon; students often get to work with the choreographers directly. Pei Yu learned Over Glow from Elo himself. "He showed us how to handle rhythm with the whole body," she says. "Ballet has so many rules, but contemporary ballet makes me feel excited and free."
Sun Jie, a coach and men's teacher at BDA since 2008, explains how introducing works from Western choreographers has broadened the overall abilities of Chinese ballet dancers. "When we started to teach new works at BDA in 2011, students struggled to move freely or adapt to new movement," he says. "But learning these styles over time has opened dancers' eyes to new possibilities."
Life After Graduation
BDA students enter professional life somewhat older than in the West, with graduates ranging from 20 to 22 years old. Only the most promising students receive company contracts, but others accept teaching and other dance-related posts at BDA and surrounding dance schools and institutions.
Although many have won awards at international competitions, the school does not actively focus on competing. "To prepare competitors, so much attention must be placed on individual students, whereas performances encourage the entire student body," says Zou.
Even so, competitions have given these students international exposure, though only a small percentage of graduates accept jobs abroad. BDA alumni in American companies include San Francisco Ballet soloists Wei Wang and Wanting Zhao and ABT corps members Zhiyao Zhang and Xuelan Lu.
With graduation in sight, Pei Yu shares the same dream as many of her classmates: a spot with the National Ballet of China. P
A men's classical Chinese dance class. Photo by Lucy Van Cleef.
Beijing's Bournonville Connection
Exposure to the Danish Bournonville style is a special component of the diverse ballet education that BDA offers. Former Royal Danish Ballet artistic director Frank Andersen has been a guest teacher at the school since 2002, and was awarded a professorship in 2012. So far, BDA students have performed in Bournonville ballets including Napoli's Act III, La Ventana and Conservatory, and some danced in the National Ballet of China's 2015 production of La Sylphide. Thanks to almost 23 years of Andersen's work in Beijing, Bournonville has found a second home in China.
Though there are Bournonville technique classes when time allows, Andersen imparts those lessons through the repertoire and Danish mime. "The most important part is making the mime believable," Andersen explains. "Young dancers often have the urge to overact. If I can't describe what I want with words, I have to show them." He holds his hands towards his chest, indicating the sign for "I." "Showing can be more effective than telling. That's the beauty of Bournonville's work. It's so honest."
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Inside the Beijing Dance Academy
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dance shoes
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Looking for your next audition shoe? Shot at and in collaboration with Broadway Dance Center, Só Dança has launched a new collection of shoes working with some pretty famous faces of the musical theater world! Offered in two different styles and either 2.5" or 3" heels, top industry professionals are loving how versatile and supportive these shoes are! Pro tip: The heel is centered under the body so you can feel confident and stable!
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www.pointemagazine.com
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2018-04-24 19:00:11
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Looking for your next audition shoe? Shot at and in collaboration with Broadway Dance Center, Só Dança has launched a new collection of shoes working with some pretty famous faces of the musical theater world! Offered in two different styles and either 2.5" or 3" heels, top industry professionals ar...
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https://www.pointemagazine.com/so-danca-is-taking-musical-theatre-to-the-next-level-2562960796.html
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Choose a title for the text below:
Looking for your next audition shoe? Shot at and in collaboration with Broadway Dance Center, Só Dança has launched a new collection of shoes working with some pretty famous faces of the musical theater world! Offered in two different styles and either 2.5" or 3" heels, top industry professionals are loving how versatile and supportive these shoes are! Pro tip: The heel is centered under the body so you can feel confident and stable!
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dance shoes
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Isabella Boylston and James Whiteside Get Hilariously Candid
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Though American Ballet Theatre principals James Whiteside and Isabella Boylston have long displayed their envy-worthy friendship on Instagram, this week the Cindies (their nickname for each other) offered viewers an even deeper glimpse into their world. While on tour with ABT at the Kennedy Center, the duo sat down in front of the camera to answer some questions from their fans via Facebook Live.
Starbucks in hand, they discuss their mutual love of food (particularly pasta and Japanese curry), the story behind the Cindy nickname and what it's like picking up contemporary choreography versus classical. Boylston also delves into her experience guesting with the Paris Opéra Ballet, her dream of choreographing an avant-garde ballet on Whiteside to a Carly Rae Jepsen song and best and worst Kennedy Center memories (like the time she fell onstage while doing fouettés at the end of La Bayadère's first act).
Whiteside, on the other hand, imitates a unicorn, talks about preparing for roles and creates a new middle name for Boylston. The twosome also offer heartfelt advice for aspiring professional dancers.
Check out the highlights in this video below; for the full 24-minute version, click here.
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www.pointemagazine.com
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2018-02-02 21:44:06
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Though American Ballet Theatre principals James Whiteside and Isabella Boylston have long displayed their envy-worthy friendship on Instagram, this week the Cindies (their nickname for each other) offered viewers an even deeper glimpse into their world. While on tour with ABT at the Kennedy Center, the duo sat down in front of the camera to answer some questions from their fans via Facebook Live.
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http://www.pointemagazine.com/isabella-boylston-james-whiteside-cindies-2530822663.html
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Though American Ballet Theatre principals James Whiteside and Isabella Boylston have long displayed their envy-worthy friendship on Instagram, this week the Cindies (their nickname for each other) offered viewers an even deeper glimpse into their world. While on tour with ABT at the Kennedy Center, the duo sat down in front of the camera to answer some questions from their fans via Facebook Live.
Starbucks in hand, they discuss their mutual love of food (particularly pasta and Japanese curry), the story behind the Cindy nickname and what it's like picking up contemporary choreography versus classical. Boylston also delves into her experience guesting with the Paris Opéra Ballet, her dream of choreographing an avant-garde ballet on Whiteside to a Carly Rae Jepsen song and best and worst Kennedy Center memories (like the time she fell onstage while doing fouettés at the end of La Bayadère's first act).
Whiteside, on the other hand, imitates a unicorn, talks about preparing for roles and creates a new middle name for Boylston. The twosome also offer heartfelt advice for aspiring professional dancers.
Check out the highlights in this video below; for the full 24-minute version, click here.
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Isabella Boylston and James Whiteside Get Hilariously Candid
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Ballet Performances This Week
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What's going on in ballet this week? We've pulled together some highlights.
The Bolshoi Premiere of John Neumeier's Anna Karenina
Last July Hamburg Ballet presented the world premiere of John Neumeier's Anna Karenina, a modern adaptation on Leo Tolstoy's famous novel. Hamburg Ballet coproduced the full-length ballet with the National Ballet of Canada and the Bolshoi, the latter of which will premiere the work March 23 (NBoC will have its premiere in November). The production will feature Bolshoi star Svetlana Zakharova in the title role. This is especially fitting as Neumeier's initial inspiration for the ballet came from Zakharova while they were working together on his Lady of the Camellias. The following video delves into what makes this production stand out.
World Premieres at Richmond Ballet and Ballet Arizona
Richmond Ballet's New Works Festival March 20-25 features pieces by four choreographers who have never worked with Richmond Ballet before: Francesca Harper, Tom Mattingly, Mariana Oliveira and Bradley Shelver. But there's a twist: each choreographer had only 25 hours with the dancers to create a 10-15 minute ballet.
Meanwhile the Phoenix-based company's spring season opens with Today's Masters 2018, March 22-25. The program includes a company premiere by Alejandro Cerrudo and world premieres by Nayon Iovino and artistic director Ib Andersen. Andersen's Pelvis features dance moves and costumes from the 1950s and references to Elvis Presley (pElvis, anyone?)
San Francisco Ballet Honors Robbins
Mysterious; romantic; witty; electrifying. That's how SFB describes their upcoming tribute to Jerome Robbins, March 20-25. The company is one of dozens of others honoring Robbins this year; last week we covered Cincinnati Ballet and New York Theatre Ballet. SFB is presenting four works celebrating the famed choreographer's career in ballet and Broadway: Fancy Free, Opus 19/The Dreamer, The Cage and Other Dances.
Reid and Harriet Designs at the Guggenheim
March 25-27, costume design duo Reid Bartelme and Harriet Jung take the stage as part of Guggenheim Works & Process. The partnership is known for creatively intersecting design and dance; last summer they created a swimwear line based on Justin Peck costumes, and in November they presented their design-driven Nutcracker. For this week's show they collaborated with a long list of choreographers including Lar Lubovitch and Pam Tanowitz to create short works featuring their costumes. A number of dancers including New York City Ballet principal Russell Janzen will be acting as moving models.
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www.pointemagazine.com
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2018-03-19 20:00:43
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What's going on in ballet this week? We've pulled together some highlights.
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http://www.pointemagazine.com/ballet-performances-this-week-2549913307.html
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Choose a title for text
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{{ title }}
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Choose a title for the text below:
What's going on in ballet this week? We've pulled together some highlights.
The Bolshoi Premiere of John Neumeier's Anna Karenina
Last July Hamburg Ballet presented the world premiere of John Neumeier's Anna Karenina, a modern adaptation on Leo Tolstoy's famous novel. Hamburg Ballet coproduced the full-length ballet with the National Ballet of Canada and the Bolshoi, the latter of which will premiere the work March 23 (NBoC will have its premiere in November). The production will feature Bolshoi star Svetlana Zakharova in the title role. This is especially fitting as Neumeier's initial inspiration for the ballet came from Zakharova while they were working together on his Lady of the Camellias. The following video delves into what makes this production stand out.
World Premieres at Richmond Ballet and Ballet Arizona
Richmond Ballet's New Works Festival March 20-25 features pieces by four choreographers who have never worked with Richmond Ballet before: Francesca Harper, Tom Mattingly, Mariana Oliveira and Bradley Shelver. But there's a twist: each choreographer had only 25 hours with the dancers to create a 10-15 minute ballet.
Meanwhile the Phoenix-based company's spring season opens with Today's Masters 2018, March 22-25. The program includes a company premiere by Alejandro Cerrudo and world premieres by Nayon Iovino and artistic director Ib Andersen. Andersen's Pelvis features dance moves and costumes from the 1950s and references to Elvis Presley (pElvis, anyone?)
San Francisco Ballet Honors Robbins
Mysterious; romantic; witty; electrifying. That's how SFB describes their upcoming tribute to Jerome Robbins, March 20-25. The company is one of dozens of others honoring Robbins this year; last week we covered Cincinnati Ballet and New York Theatre Ballet. SFB is presenting four works celebrating the famed choreographer's career in ballet and Broadway: Fancy Free, Opus 19/The Dreamer, The Cage and Other Dances.
Reid and Harriet Designs at the Guggenheim
March 25-27, costume design duo Reid Bartelme and Harriet Jung take the stage as part of Guggenheim Works & Process. The partnership is known for creatively intersecting design and dance; last summer they created a swimwear line based on Justin Peck costumes, and in November they presented their design-driven Nutcracker. For this week's show they collaborated with a long list of choreographers including Lar Lubovitch and Pam Tanowitz to create short works featuring their costumes. A number of dancers including New York City Ballet principal Russell Janzen will be acting as moving models.
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Ballet Performances This Week
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Guillaume Côté on NBoC's "Frame by Frame"
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This week marks the world premiere of Frame by Frame, The National Ballet of Canada's new full length ballet based on the life and work of innovative filmmaker Norman McLaren. While those outside of the cinephile community might not be familiar with McLaren's work, he is commonly credited with advancing film techniques including animation and pixilation in the 20th century—he died in 1987. The Canadian artist's many accolades include a 1952 Oscar for Best Documentary for his abstract short film Neighbours (watch the whole thing here). Later in life, McLaren became interested in ballet, and made a number of dance films including his renowned 1968 Pas de deux.
NBoC's new work, titled Frame by Frame, will run June 1-10 in Toronto. The ballet combines vignettes of McLaren's life with movement quotes from his films and real time recreations of his technological advances. It was created in collaboration by NBoC principal dancer and choreographic associate Guillaume Côté and film and stage director Robert Lepage, who is making his NBoC debut. Pointe touched base with Côté on how this interdisciplinary project came together.
Where did the initial spark for this idea come from?
Robert and I have been wanting to work together for years. I approached him about doing a different project a long time ago, and he said "well, maybe that's not the correct project." He came to me about four years after that and said "I think I finally have something I'd like to work on with you," so then I approached the National Ballet.
Were you familiar with McLaren's work before this project?
I wasn't. Robert had just worked on a big McLaren documentary, and he got me to come see it and I realized that it was all about movement, and that this animator was basically a choreographer himself, a choreographer of space and time. There was all this material to work with and he'd made a number of iconic dance films, so it seemed like a no brainer. So I started my research and kept finding out more surprising fun facts about McLaren's passion for dance, like that he met Guy Glover, the man that he was in a relationship with for 50 years or so, in the audience at Covent Garden while watching a ballet. Guy was a curator of a dance festival in Canada.
Robert Lepage and Guillaume Côté in rehearsal for "Frame By Frame." Photo by Elias Djemil-Matassov, Courtesy NBoC.
What was the research process like?
Robert had just finished his documentary and has a really deep understanding of this kind of Canadian culture. He'd already gotten incredible footage from the National Film Board of Canada of McLaren behind-the-scenes. I watched a tremendous amount of film, and I read a lot about him and his collaborators, and even met a few who are still alive. The research was truly enriching, because I realized how wonderful of a person he was as well, which dictates how we share his personal life onstage.
What was the timeline of the project?
We had our first workshop four years ago. Since then we've been doing five-day workshops once a year in Robert's studio, Ex Machina, where he has a multi media team. They would put together projections and props for us to experiment with. Robert would give me some homework, and I'd take it on myself to create some impressionist sections. Sometimes we decided that they were great, and sometimes we decided that they weren't. It was this really collaborative way of getting things started because I was able to present dance first, and then we were able to add technology to it, as opposed to the technology taking over and stealing from the dance.
Artists of the Ballet in rehearsal for "Frame by Frame." Photo by David Leclerc, Courtesy NBoC.
How does the piece balance a narrative retelling of McLaren's life with reproductions of his works?
I would say that the vignettes of his life are one third, and then the technologies that he pioneered and making abstract dance interpretations based on those technologies like stop motion or body painting and body projection are the second third. And then the last third is basically just direct quotes from his films and bringing them back to life. Like with Pas de deux, the effects in that film took him months to make, but now thanks to technology we can duplicate it live. It's not a story ballet per say, but there is a story from beginning to end.
What was the process like of taking movement quotes from McLaren's films?
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www.pointemagazine.com
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2018-05-30 21:05:57
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This week marks the world premiere of Frame by Frame, The National Ballet of Canada's new full length ballet based on the life and work of innovative filmmaker Norman McLaren. While those outside of the cinephile community might not be familiar with McLaren's work, he is commonly credited with advancing film techniques including animation and pixilation in the 20th century—he died in 1987. The Canadian artist's many accolades include a 1952 Oscar for Best Documentary for his abstract short film Neighbours (watch the whole thing here). Later in life, McLaren became interested in ballet, and made a number of dance films including his renowned 1968 Pas de deux.
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https://www.pointemagazine.com/guillaume-cote-frame-by-frame-2573694411.html
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This week marks the world premiere of Frame by Frame, The National Ballet of Canada's new full length ballet based on the life and work of innovative filmmaker Norman McLaren. While those outside of the cinephile community might not be familiar with McLaren's work, he is commonly credited with advancing film techniques including animation and pixilation in the 20th century—he died in 1987. The Canadian artist's many accolades include a 1952 Oscar for Best Documentary for his abstract short film Neighbours (watch the whole thing here). Later in life, McLaren became interested in ballet, and made a number of dance films including his renowned 1968 Pas de deux.
NBoC's new work, titled Frame by Frame, will run June 1-10 in Toronto. The ballet combines vignettes of McLaren's life with movement quotes from his films and real time recreations of his technological advances. It was created in collaboration by NBoC principal dancer and choreographic associate Guillaume Côté and film and stage director Robert Lepage, who is making his NBoC debut. Pointe touched base with Côté on how this interdisciplinary project came together.
Where did the initial spark for this idea come from?
Robert and I have been wanting to work together for years. I approached him about doing a different project a long time ago, and he said "well, maybe that's not the correct project." He came to me about four years after that and said "I think I finally have something I'd like to work on with you," so then I approached the National Ballet.
Were you familiar with McLaren's work before this project?
I wasn't. Robert had just worked on a big McLaren documentary, and he got me to come see it and I realized that it was all about movement, and that this animator was basically a choreographer himself, a choreographer of space and time. There was all this material to work with and he'd made a number of iconic dance films, so it seemed like a no brainer. So I started my research and kept finding out more surprising fun facts about McLaren's passion for dance, like that he met Guy Glover, the man that he was in a relationship with for 50 years or so, in the audience at Covent Garden while watching a ballet. Guy was a curator of a dance festival in Canada.
Robert Lepage and Guillaume Côté in rehearsal for "Frame By Frame." Photo by Elias Djemil-Matassov, Courtesy NBoC.
What was the research process like?
Robert had just finished his documentary and has a really deep understanding of this kind of Canadian culture. He'd already gotten incredible footage from the National Film Board of Canada of McLaren behind-the-scenes. I watched a tremendous amount of film, and I read a lot about him and his collaborators, and even met a few who are still alive. The research was truly enriching, because I realized how wonderful of a person he was as well, which dictates how we share his personal life onstage.
What was the timeline of the project?
We had our first workshop four years ago. Since then we've been doing five-day workshops once a year in Robert's studio, Ex Machina, where he has a multi media team. They would put together projections and props for us to experiment with. Robert would give me some homework, and I'd take it on myself to create some impressionist sections. Sometimes we decided that they were great, and sometimes we decided that they weren't. It was this really collaborative way of getting things started because I was able to present dance first, and then we were able to add technology to it, as opposed to the technology taking over and stealing from the dance.
Artists of the Ballet in rehearsal for "Frame by Frame." Photo by David Leclerc, Courtesy NBoC.
How does the piece balance a narrative retelling of McLaren's life with reproductions of his works?
I would say that the vignettes of his life are one third, and then the technologies that he pioneered and making abstract dance interpretations based on those technologies like stop motion or body painting and body projection are the second third. And then the last third is basically just direct quotes from his films and bringing them back to life. Like with Pas de deux, the effects in that film took him months to make, but now thanks to technology we can duplicate it live. It's not a story ballet per say, but there is a story from beginning to end.
What was the process like of taking movement quotes from McLaren's films?
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Guillaume Côté on NBoC's "Frame by Frame"
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Broadway's "Carousel" Stars Some Familiar Ballet Faces
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The Broadway revival of Richard Rogers and Oscar Hammerstein's Carousel opened last week, and while it stars luminaries from the worlds of musical theater (Joshua Henry, Jessie Mueller) and opera (soprano Renée Fleming), it also stars choreography by one of ballet's own heavy hitters: New York City Ballet soloist and resident choreographer Justin Peck, who shares top billing with the musical's director, Jack O'Brien.
There are more than a few familiar faces onstage, too. NYCB principal Amar Ramasar is cast as ne'er-do-well sailor Jigger Craigin, while NYCB soloist Brittany Pollack plays Louise, who dances Act II's famous "dream ballet." American Ballet Theatre soloist Craig Salstein took a leave of absence from the company to serve as the show's dance captain and to perform in the ensemble, where he's joined by recent Miami City Ballet transplants Adriana Pierce and Andrei Chagas (a Pointe 2015 Star of the Corps). Several other veteran Broadway ballet dancers round out the cast, including An American in Paris alumni Leigh-Ann Esty (Miami City Ballet), David Prottas (NYCB) and Laura Feig (Atlanta Ballet, BalletX), and Come Fly Away's Amy Ruggiero (American Repertory Ballet, Ballet Austin, Twyla Tharp).
"CBS Sunday Morning" recently ran a lengthy profile on Peck, who at age 30 has already established himself as one of the world's most in-demand choreographers. In addition to shedding light on his efforts to make ballet more accessible to modern audiences ("I don't want ballet to feel like an elitist art form"), Peck answers the question on everyone's mind in the post Peter Martins era: whether he's interested in becoming NYCB's next director. The profile also includes fun behind-the-scenes Carousel footage—check it out above.
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www.pointemagazine.com
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2018-04-24 21:00:20
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The Broadway revival of Richard Rogers and Oscar Hammerstein's Carousel opened last week, and while it stars luminaries from the worlds of musical theater (Joshua Henry, Jessie Mueller) and opera (soprano Renée Fleming), it also stars choreography by one of ballet's own heavy hitters: New York City Ballet soloist and resident choreographer Justin Peck, who shares top billing with the musical's director, Jack O'Brien.
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https://www.pointemagazine.com/carousel-broadway-ballet-dancers-2562987882.html
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The Broadway revival of Richard Rogers and Oscar Hammerstein's Carousel opened last week, and while it stars luminaries from the worlds of musical theater (Joshua Henry, Jessie Mueller) and opera (soprano Renée Fleming), it also stars choreography by one of ballet's own heavy hitters: New York City Ballet soloist and resident choreographer Justin Peck, who shares top billing with the musical's director, Jack O'Brien.
There are more than a few familiar faces onstage, too. NYCB principal Amar Ramasar is cast as ne'er-do-well sailor Jigger Craigin, while NYCB soloist Brittany Pollack plays Louise, who dances Act II's famous "dream ballet." American Ballet Theatre soloist Craig Salstein took a leave of absence from the company to serve as the show's dance captain and to perform in the ensemble, where he's joined by recent Miami City Ballet transplants Adriana Pierce and Andrei Chagas (a Pointe 2015 Star of the Corps). Several other veteran Broadway ballet dancers round out the cast, including An American in Paris alumni Leigh-Ann Esty (Miami City Ballet), David Prottas (NYCB) and Laura Feig (Atlanta Ballet, BalletX), and Come Fly Away's Amy Ruggiero (American Repertory Ballet, Ballet Austin, Twyla Tharp).
"CBS Sunday Morning" recently ran a lengthy profile on Peck, who at age 30 has already established himself as one of the world's most in-demand choreographers. In addition to shedding light on his efforts to make ballet more accessible to modern audiences ("I don't want ballet to feel like an elitist art form"), Peck answers the question on everyone's mind in the post Peter Martins era: whether he's interested in becoming NYCB's next director. The profile also includes fun behind-the-scenes Carousel footage—check it out above.
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Broadway's "Carousel" Stars Some Familiar Ballet Faces
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The Joffrey Presents Ekman's "Midsummer Night's Dream"
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This spring, The Joffrey Ballet will present the North American premiere of Alexander Ekman's Midsummer Night's Dream. The Swedish choreographer is best known for his absurdist and cutting-edge productions. "This is not Shakespeare's Midsummer," says Joffrey Ballet artistic director Ashley Wheater. The title of Ekman's version, which premiered with the Royal Swedish Ballet in 2015, refers not to Shakespeare but to Midsummer, the traditional Scandinavian summer solstice festival. The piece follows a young man through a day of revelry followed by a nightmare, blurring the line with reality. "It's a kind of otherworldly dream," says Wheater.
Bringing Ekman's production to life is no small feat; the piece utilizes the entire Joffrey company. "I can't think of another performance that has so many props," says Wheater, listing giant bales of hay, long banquet tables, umbrellas, beach chairs and more. The piece features a commissioned score by Swedish composer Mikael Karlsson, which will be performed onstage by singer Anna von Hausswolff. "She is very much a part of the performance; she's kind of the narrator," says Wheater. Dancers also contribute to the narration with spoken text, including imagery of young love and a dose of humor.
The Royal Swedish Ballet in Alexander Ekman's "Midsummer Night's Dream." Photo by Hans Nilsson, Courtesy Joffrey Ballet.
This will be the fourth work by Ekman that The Joffrey has performed. "I think it says something that Alex trusts us to bring the work to its full realization," says Wheater. "It's not just a few ballet steps here and there; he asks you to fully engage with yourself, not only as a dancer but as an actor and a person." Ekman's Midsummer will run April 25–May 6 at the Auditorium Theatre in Chicago.
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www.pointemagazine.com
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2018-04-24 15:00:34
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This spring, The Joffrey Ballet will present the North American premiere of Alexander Ekman's Midsummer Night's Dream. The Swedish choreographer is best known for his absurdist and cutting-edge productions. "This is not Shakespeare's Midsummer," says Joffrey Ballet artistic director Ashley Wheater. The title of Ekman's version, which premiered with the Royal Swedish Ballet in 2015, refers not to Shakespeare but to Midsummer, the traditional Scandinavian summer solstice festival. The piece follows a young man through a day of revelry followed by a nightmare, blurring the line with reality. "It's a kind of otherworldly dream," says Wheater.
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https://www.pointemagazine.com/joffrey-ballet-midsummer-nights-dream-2562923405.html
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This spring, The Joffrey Ballet will present the North American premiere of Alexander Ekman's Midsummer Night's Dream. The Swedish choreographer is best known for his absurdist and cutting-edge productions. "This is not Shakespeare's Midsummer," says Joffrey Ballet artistic director Ashley Wheater. The title of Ekman's version, which premiered with the Royal Swedish Ballet in 2015, refers not to Shakespeare but to Midsummer, the traditional Scandinavian summer solstice festival. The piece follows a young man through a day of revelry followed by a nightmare, blurring the line with reality. "It's a kind of otherworldly dream," says Wheater.
Bringing Ekman's production to life is no small feat; the piece utilizes the entire Joffrey company. "I can't think of another performance that has so many props," says Wheater, listing giant bales of hay, long banquet tables, umbrellas, beach chairs and more. The piece features a commissioned score by Swedish composer Mikael Karlsson, which will be performed onstage by singer Anna von Hausswolff. "She is very much a part of the performance; she's kind of the narrator," says Wheater. Dancers also contribute to the narration with spoken text, including imagery of young love and a dose of humor.
The Royal Swedish Ballet in Alexander Ekman's "Midsummer Night's Dream." Photo by Hans Nilsson, Courtesy Joffrey Ballet.
This will be the fourth work by Ekman that The Joffrey has performed. "I think it says something that Alex trusts us to bring the work to its full realization," says Wheater. "It's not just a few ballet steps here and there; he asks you to fully engage with yourself, not only as a dancer but as an actor and a person." Ekman's Midsummer will run April 25–May 6 at the Auditorium Theatre in Chicago.
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The Joffrey Presents Ekman's "Midsummer Night's Dream"
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Wonderfully Simple Graphic Design Software
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DesignWizard Sponsors rebelCon 2017
DesignWizard has joined forces with some of our tech peers to create rebelCon, a not for profit software development conference. The one day event will take place on Friday June 16th at the Republic of Work...
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www.designwizard.com
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DesignWizard is a Wonderfully Simple FREE Graphic Design Software. Create Stunning Content in Seconds! Unleash Your Creativity. Become a DesignWizard NOW!
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https://www.designwizard.com/
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DesignWizard Sponsors rebelCon 2017
DesignWizard has joined forces with some of our tech peers to create rebelCon, a not for profit software development conference. The one day event will take place on Friday June 16th at the Republic of Work...
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Wonderfully Simple Graphic Design Software
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Bay Community News
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The Bay County Sheriff’s Office has arrested four men from Atlanta after they allegedly hired local transients to cash fraudulent checks for them using stolen personal information. Three transients have also been arrested for their participation.
BCSO Criminal Investigations opened an investigation after deputies initially responded to a call from a local transient who claimed he had been robbed by two men.
Investigators now believe that four black males came from Atlanta to the Destin area on October 1, 2017, and rented two vehicles. On October 3, 2017, they came to Bay County and two of them─Johnathan Johnson and Germarco Johnson─ picked up transient Scott Allen McNeight, age 44. McNeight was recently released from prison on October 1, 2017. They first asked McNeight if he had a photo ID, which he did. The men took a photo of the ID and sent it to the two other men from Atlanta. A fraudulent check was created using McNeight’s information and stolen routing numbers and checking account numbers.
The other two suspects from Atlanta─Clarence Suggs and Reginald Hughes─ picked up transient James Dean Riles, age 58, for the same purpose. The two transients were first taken to a thrift store in Springfield. The Atlanta men purchased better clothing for the transients to wear when they entered banks to cash the fraudulent checks. Once dressed, McNeight was taken to a bank on Panama City Beach and was able to cash a 1,600 check. Although the agreement was for the transients to get about $80 for their part in the scam, McNeight took half of the money and fled on foot.
Demarko Johnson and Johnathan Johnson were able to find McNeight at a gas station at Magnolia Beach Road and Thomas Drive. The two men entered the gas station after McNeight, one of them carrying a tire iron. Johnathon Johnson put McNeight in a choke hold, and they threatened McNeight with the tire iron, and took the money, his wallet, and his cell phone.
That was when McNeight called the BCSO to report the robbery. Although initially not forthcoming about the true circumstances surrounding the robbery, McNeight eventually told investigators how he got the money.
James Dean Riles, the other transient, was unable to cash his fraudulent check at the first bank, and was taken by Clarence Suggs and Reginald Hughes to a second bank where he was successful. He was paid $80 and was taken by the two men to Millville and left. Riles then called the Panama City Police Department to file a complaint about what he had done. Riles had important tag information on one of the vehicles.
Using the tag information, investigators were able to learn the two vehicles were rentals and eventually identified the four men from Atlanta. A BOLO was put out to local law enforcement on the vehicles.
One was located at a business on East Avenue and contact was made with Clarence Suggs, age 27, and Reginald Hughes, age 26. They were arrested. Suggs and Hughes were charged with Counterfeiting of an Instrument with Intent to Defraud (two counts), Principal/Accessory to Uttering a False Bank Bill (two counts), and Larceny $300 or more but less than $5000 (two counts).
A BCSO investigator spotted the second vehicle in a grocery store parking lot in Lynn Haven. He watched as a man left a bank adjacent to the parking lot, and got into the vehicle with two black males. A traffic stop was done and Johnathan Johnson, age 22, and Germarco Johnson, age 27, cousins, were arrested. Johnathan Johnson was charged with Robbery with a Weapon, Counterfeiting of an Instrument with Intent to Defraud (two counts), Principal/Accessory to Uttering a False Bank Bill (two counts), Larceny $300 or more but less than $5000 (two counts), and Violation of Probation for Financial Identity Fraud. Germarco Johnson was charged with Robbery with a Firearm, Counterfeiting of an Instrument with Intent to Defraud (two counts), Principal/Accessory to Uttering a False Bank Bill (two counts), and Larceny $300 or more but less than $5000 (two counts).
The white male with them was identified as Charles Edward Sinard, age 39, a transient. He was also arrested and charged with Uttering a False Bank Bill, Larceny $300 or more but less than $5000, and Criminal Mischief, $1000 or more.
The other two transients involved in this case, Riles and McNeight, were also arrested and charged with Uttering a False Bank Bill and Larceny $300 or more but less than $5000.
During a search warrant on the two vehicles two printers, blank checks, cash, and a computer with check-making software were located and seized.
All seven men were taken to the Bay County Jail and booked.
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baycommunitynews.com
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2017-10-06 21:59:22
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The Bay County Sheriff’s Office has arrested four men from Atlanta after they allegedly hired local transients to cash fraudulent checks for them using stolen personal information. Three transients have also been arrested for their participation.
BCSO Criminal Investigations opened an investigation after deputies initially responded to a call from a local transient who claimed he had been robbed by two men.
Investigators now believe that four black males came from Atlanta to the Destin area on October 1, 2017, and rented two vehicles. On October 3, 2017, they came to Bay County and two of them─Johnathan Johnson and Germarco Johnson─ picked up transient Scott Allen McNeight, age 44. McNeight was recently released from prison on October 1, 2017. They first asked McNeight if he had a photo ID, which he did. The men took a photo of the ID and sent it to the two other men from Atlanta. A fraudulent check was created using McNeight’s information and stolen routing numbers and checking account numbers.
The other two suspects from Atlanta─Clarence Suggs and Reginald Hughes─ picked up transient James Dean Riles, age 58, for the same purpose. The two transients were first taken to a thrift store in Springfield. The Atlanta men purchased better clothing for the transients to wear when they entered banks to cash the fraudulent checks. Once dressed, McNeight was taken to a bank on Panama City Beach and was able to cash a 1,600 check. Although the agreement was for the transients to get about $80 for their part in the scam, McNeight took half of the money and fled on foot.
Demarko Johnson and Johnathan Johnson were able to find McNeight at a gas station at Magnolia Beach Road and Thomas Drive. The two men entered the gas station after McNeight, one of them carrying a tire iron. Johnathon Johnson put McNeight in a choke hold, and they threatened McNeight with the tire iron, and took the money, his wallet, and his cell phone.
That was when McNeight called the BCSO to report the robbery. Although initially not forthcoming about the true circumstances surrounding the robbery, McNeight eventually told investigators how he got the money.
James Dean Riles, the other transient, was unable to cash his fraudulent check at the first bank, and was taken by Clarence Suggs and Reginald Hughes to a second bank where he was successful. He was paid $80 and was taken by the two men to Millville and left. Riles then called the Panama City Police Department to file a complaint about what he had done. Riles had important tag information on one of the vehicles.
Using the tag information, investigators were able to learn the two vehicles were rentals and eventually identified the four men from Atlanta. A BOLO was put out to local law enforcement on the vehicles.
One was located at a business on East Avenue and contact was made with Clarence Suggs, age 27, and Reginald Hughes, age 26. They were arrested. Suggs and Hughes were charged with Counterfeiting of an Instrument with Intent to Defraud (two counts), Principal/Accessory to Uttering a False Bank Bill (two counts), and Larceny $300 or more but less than $5000 (two counts).
A BCSO investigator spotted the second vehicle in a grocery store parking lot in Lynn Haven. He watched as a man left a bank adjacent to the parking lot, and got into the vehicle with two black males. A traffic stop was done and Johnathan Johnson, age 22, and Germarco Johnson, age 27, cousins, were arrested. Johnathan Johnson was charged with Robbery with a Weapon, Counterfeiting of an Instrument with Intent to Defraud (two counts), Principal/Accessory to Uttering a False Bank Bill (two counts), Larceny $300 or more but less than $5000 (two counts), and Violation of Probation for Financial Identity Fraud. Germarco Johnson was charged with Robbery with a Firearm, Counterfeiting of an Instrument with Intent to Defraud (two counts), Principal/Accessory to Uttering a False Bank Bill (two counts), and Larceny $300 or more but less than $5000 (two counts).
The white male with them was identified as Charles Edward Sinard, age 39, a transient. He was also arrested and charged with Uttering a False Bank Bill, Larceny $300 or more but less than $5000, and Criminal Mischief, $1000 or more.
The other two transients involved in this case, Riles and McNeight, were also arrested and charged with Uttering a False Bank Bill and Larceny $300 or more but less than $5000.
During a search warrant on the two vehicles two printers, blank checks, cash, and a computer with check-making software were located and seized.
All seven men were taken to the Bay County Jail and booked.
34 total views, 34 views today
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Bay Community News
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25 Year Old Molests Child Under 12
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The Bay County Sheriff’s Office announced the arrest of a local man on charges he committed sexual battery on a child.
The victim confided in a family member that Shanard Cameron had molested her. Cameron, age 25, allegedly took the victim without parental consent to a festival and had sex with her.
The victim was interviewed at Gulf Coast Children’s Advocacy Center. Contact was made with Shanard Cameron and he was subsequently arrested and charged with Sexual Battery on a Child Under the Age of Twelve.
36 total views, 36 views today
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baycommunitynews.com
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2017-10-06 21:29:26
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http://baycommunitynews.com/25-year-old-molests-child-under-12/
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The Bay County Sheriff’s Office announced the arrest of a local man on charges he committed sexual battery on a child.
The victim confided in a family member that Shanard Cameron had molested her. Cameron, age 25, allegedly took the victim without parental consent to a festival and had sex with her.
The victim was interviewed at Gulf Coast Children’s Advocacy Center. Contact was made with Shanard Cameron and he was subsequently arrested and charged with Sexual Battery on a Child Under the Age of Twelve.
36 total views, 36 views today
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25 Year Old Molests Child Under 12
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How to install the Trac project management tool on Ubuntu 16.04
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One of the most challenging tasks on an admin's list is the management of projects and tickets. This can be especially overwhelming when you have a larger IT department and a staff working on numerous projects at once. But the management of projects and ticket issues doesn't just fall on the heads of large companies. Even if you're a one-person shop consultancy, it can be easy to drown in a quagmire of projects.
Thankfully, there are a lot of tools available to help you with that. If you happen to be a fan of open source (and who isn't?), those tools are not only readily available, they are free and (generally speaking) easy to set up. I want to walk you through the installation of one such tool: Trac. Trac can be used as a wiki, a project management system, and for tracking bugs in software development. I'll be demonstrating the installation on a Ubuntu Server 16.04. And so, let's get to it.
Installation
The installation isn't terribly challenging, but does require a bit of typing. Log into your Ubuntu server and let's take care of the dependencies.
If your Ubuntu Server platform is without Apache, install it with the command:
sudo apt-get install apache2 -y
Once that completes, install Trac with the command:
sudo apt-get install trac libapache2-mod-wsgi -y
Next, the auth_digest module must be enabled with the command:
sudo a2enmod auth_digest
Now we create the necessary document root for Trac (and give it the correct permissions) with the following commands:
sudo mkdir /var/lib/trac sudo mkdir -p /var/www/html/trac sudo chown www-data:www-data /var/www/html/trac
For our next trick, we create a Trac project directory (we'll call it test) with the command:
sudo trac-admin /var/lib/trac/test initenv test sqlite:db/trac.db
Time to give that new directory the proper permissions. This is done by issuing the following commands:
sudo trac-admin /var/lib/trac/test deploy /var/www/html/trac/test sudo chown -R www-data:www-data /var/lib/trac/test sudo chown -R www-data:www-data /var/www/html/trac/test
Finally, we create both an admin user and a standard user with the commands:
sudo htdigest -c /var/lib/trac/test/.htdigest "test" admin sudo htdigest /var/lib/trac/test/.htdigest "test" USER
Where USER is the name of the user you prefere.
After both of the above commands, you'll be prompted to type (and confirm) a password. Remember these passwords.
Configure Apache
Create an Apache .conf file for Trac with the following command:
sudo nano /etc/apache2/sites-available/trac.conf
Add the following content to the new file:
WSGIScriptAlias /trac/test /var/www/html/trac/test/cgi-bin/trac.wsgi AuthType Digest AuthName "test" AuthUserFile /var/lib/trac/test/.htdigest Require valid-user
Save and close that file.
Enable our new site (and restart Apache) with the following commands:
sudo a2ensite trac sudo systemctl restart apache2
Accessing Trac
Open a web browser and point it to http://SERVER_IP/trac/test (where SERVER_IP is the IP address of your server). You will be prompted for login credentials. Log in with the user admin and the password you set when you created admin user earlier. You can also login with the non-admin user you created. There is actually no difference between the users (which could be a deal-breaker for some). One thing to note: If you need more users, you'll create them from the command line (in similar fashion as you did above). For every user you need to add to Trac, issue the command:
sudo htdigest /var/lib/trac/test/.htdigest "test" USER
Where USER is the username. The above command will add the user to the project test. If you need to create more projects, you must go back through the process of creating a new project directory and then add users to it.
Once you've successfully authenticated, you'll be presented with the Trac web interface, were you can begin working (Figure A).
Figure A
You can now go to Preferences and configure your installation of Trac. Once you've completed that, you can begin creating new tickets. If you get the (please configure the [header_logo] section in trac.ini) error, you can configure this with the command:
sudo nano /var/lib/trac/test/conf/trac.ini
In that file, you'll see the section:
[header_logo] alt = (please configure the [header_logo] section in trac.ini) height = -1 link = src = site/your_project_logo.png width = -1
That is where you'll configure a header logo to suit your company.
SEE: IT project management: 10 ways to stay under budget (free PDF) (TechRepublic)
Congratulations
You now have your Trac system up and running. Although you might find systems with more features (and a more powerful configuration system), Trac is very simple to set up and use. If you're looking for a basic ticketing system that can serve as a project management tool, Trac just might fit the bill.
Automatically sign up for TechRepublic's Open Source Weekly Newsletter for more hot tips and tricks. Subscribe
Also see
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www.techrepublic.com
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2018-05-30 00:00:00
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Trac is a basic ticket system and project management tool. Here's a look at the process of installing this handy tool on Ubuntu Server.
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https://www.techrepublic.com/article/how-to-install-the-trac-project-management-tool-on-ubuntu-16-04/
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One of the most challenging tasks on an admin's list is the management of projects and tickets. This can be especially overwhelming when you have a larger IT department and a staff working on numerous projects at once. But the management of projects and ticket issues doesn't just fall on the heads of large companies. Even if you're a one-person shop consultancy, it can be easy to drown in a quagmire of projects.
Thankfully, there are a lot of tools available to help you with that. If you happen to be a fan of open source (and who isn't?), those tools are not only readily available, they are free and (generally speaking) easy to set up. I want to walk you through the installation of one such tool: Trac. Trac can be used as a wiki, a project management system, and for tracking bugs in software development. I'll be demonstrating the installation on a Ubuntu Server 16.04. And so, let's get to it.
Installation
The installation isn't terribly challenging, but does require a bit of typing. Log into your Ubuntu server and let's take care of the dependencies.
If your Ubuntu Server platform is without Apache, install it with the command:
sudo apt-get install apache2 -y
Once that completes, install Trac with the command:
sudo apt-get install trac libapache2-mod-wsgi -y
Next, the auth_digest module must be enabled with the command:
sudo a2enmod auth_digest
Now we create the necessary document root for Trac (and give it the correct permissions) with the following commands:
sudo mkdir /var/lib/trac sudo mkdir -p /var/www/html/trac sudo chown www-data:www-data /var/www/html/trac
For our next trick, we create a Trac project directory (we'll call it test) with the command:
sudo trac-admin /var/lib/trac/test initenv test sqlite:db/trac.db
Time to give that new directory the proper permissions. This is done by issuing the following commands:
sudo trac-admin /var/lib/trac/test deploy /var/www/html/trac/test sudo chown -R www-data:www-data /var/lib/trac/test sudo chown -R www-data:www-data /var/www/html/trac/test
Finally, we create both an admin user and a standard user with the commands:
sudo htdigest -c /var/lib/trac/test/.htdigest "test" admin sudo htdigest /var/lib/trac/test/.htdigest "test" USER
Where USER is the name of the user you prefere.
After both of the above commands, you'll be prompted to type (and confirm) a password. Remember these passwords.
Configure Apache
Create an Apache .conf file for Trac with the following command:
sudo nano /etc/apache2/sites-available/trac.conf
Add the following content to the new file:
WSGIScriptAlias /trac/test /var/www/html/trac/test/cgi-bin/trac.wsgi AuthType Digest AuthName "test" AuthUserFile /var/lib/trac/test/.htdigest Require valid-user
Save and close that file.
Enable our new site (and restart Apache) with the following commands:
sudo a2ensite trac sudo systemctl restart apache2
Accessing Trac
Open a web browser and point it to http://SERVER_IP/trac/test (where SERVER_IP is the IP address of your server). You will be prompted for login credentials. Log in with the user admin and the password you set when you created admin user earlier. You can also login with the non-admin user you created. There is actually no difference between the users (which could be a deal-breaker for some). One thing to note: If you need more users, you'll create them from the command line (in similar fashion as you did above). For every user you need to add to Trac, issue the command:
sudo htdigest /var/lib/trac/test/.htdigest "test" USER
Where USER is the username. The above command will add the user to the project test. If you need to create more projects, you must go back through the process of creating a new project directory and then add users to it.
Once you've successfully authenticated, you'll be presented with the Trac web interface, were you can begin working (Figure A).
Figure A
You can now go to Preferences and configure your installation of Trac. Once you've completed that, you can begin creating new tickets. If you get the (please configure the [header_logo] section in trac.ini) error, you can configure this with the command:
sudo nano /var/lib/trac/test/conf/trac.ini
In that file, you'll see the section:
[header_logo] alt = (please configure the [header_logo] section in trac.ini) height = -1 link = src = site/your_project_logo.png width = -1
That is where you'll configure a header logo to suit your company.
SEE: IT project management: 10 ways to stay under budget (free PDF) (TechRepublic)
Congratulations
You now have your Trac system up and running. Although you might find systems with more features (and a more powerful configuration system), Trac is very simple to set up and use. If you're looking for a basic ticketing system that can serve as a project management tool, Trac just might fit the bill.
Automatically sign up for TechRepublic's Open Source Weekly Newsletter for more hot tips and tricks. Subscribe
Also see
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How to install the Trac project management tool on Ubuntu 16.04
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New Amazon class certifies cloud pros in securing data on AWS
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Building a slide deck, pitch, or presentation? Here are the big takeaways:
A new class from Amazon, the AWS Certified Security - Specialty Exam, will validate a cloud pro's ability to secure the AWS platform.
Cloud skills are in high demand, but added security expertise could help set job seekers apart.
A new professional exam from Amazon Web Services (AWS) will help cloud experts validate their ability to secure data on the platform, according to a Monday blog post. The AWS Certified Security - Specialty Exam is now available to those who hold either an Associate or Cloud Practitioner certification from AWS.
As noted in the post, AWS recommends that those taking the exam have at least five years experience working in IT security and two years experience working on AWS workloads. The exam will deal with such topics as "incident response, logging and monitoring, infrastructure security, identity and access management, and data protection," the post said.
The exam consists of 65 multiple choice questions and will likely take 170 minutes to complete. The registration fee is $300.
SEE: Cloud computing policy (Tech Pro Research)
According to the post, once the exam is complete, the test taker will have a working knowledge or understanding of the following:
Specialized data classifications on AWS
AWS data protection mechanisms
Data encryption methods and AWS mechanisms to implement them
Secure Internet protocols and how to implement them on AWS
AWS security services and features
Additionally, the post noted that those who pass the exam will have a competency in working with AWS security services in production, an understanding of security operations, and the "ability to make tradeoff decisions with regard to cost, security, and deployment complexity given a set of application requirements."
For those looking to prepare for the exam, the post recommends going to the AWS Training website and working on the Advanced Architecting on AWS and Security Operations on AWS trainings. Additional security trainings on AWS Security Fundamentals, Authentication and Authorization with AWS Identity and Access Management, AWS Shared Responsibility Model, and AWS Well-Architected Training are also helpful.
Additionally, compliance and security whitepapers will also help prepare would-be test takers.
Stay informed, click here to subscribe to the TechRepublic Cloud Insights newsletter. Subscribe
Also see
|
www.techrepublic.com
|
2018-04-24 00:00:00
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The AWS Certified Security - Specialty Exam could help tech professionals broaden their skills on the AWS platform.
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https://www.techrepublic.com/article/new-amazon-class-certifies-cloud-pros-in-securing-data-on-aws/
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Choose a title for text
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Choose a title for the text below:
{{ text }}
|||
{{ title }}
|
Choose a title for the text below:
Building a slide deck, pitch, or presentation? Here are the big takeaways:
A new class from Amazon, the AWS Certified Security - Specialty Exam, will validate a cloud pro's ability to secure the AWS platform.
Cloud skills are in high demand, but added security expertise could help set job seekers apart.
A new professional exam from Amazon Web Services (AWS) will help cloud experts validate their ability to secure data on the platform, according to a Monday blog post. The AWS Certified Security - Specialty Exam is now available to those who hold either an Associate or Cloud Practitioner certification from AWS.
As noted in the post, AWS recommends that those taking the exam have at least five years experience working in IT security and two years experience working on AWS workloads. The exam will deal with such topics as "incident response, logging and monitoring, infrastructure security, identity and access management, and data protection," the post said.
The exam consists of 65 multiple choice questions and will likely take 170 minutes to complete. The registration fee is $300.
SEE: Cloud computing policy (Tech Pro Research)
According to the post, once the exam is complete, the test taker will have a working knowledge or understanding of the following:
Specialized data classifications on AWS
AWS data protection mechanisms
Data encryption methods and AWS mechanisms to implement them
Secure Internet protocols and how to implement them on AWS
AWS security services and features
Additionally, the post noted that those who pass the exam will have a competency in working with AWS security services in production, an understanding of security operations, and the "ability to make tradeoff decisions with regard to cost, security, and deployment complexity given a set of application requirements."
For those looking to prepare for the exam, the post recommends going to the AWS Training website and working on the Advanced Architecting on AWS and Security Operations on AWS trainings. Additional security trainings on AWS Security Fundamentals, Authentication and Authorization with AWS Identity and Access Management, AWS Shared Responsibility Model, and AWS Well-Architected Training are also helpful.
Additionally, compliance and security whitepapers will also help prepare would-be test takers.
Stay informed, click here to subscribe to the TechRepublic Cloud Insights newsletter. Subscribe
Also see
|
New Amazon class certifies cloud pros in securing data on AWS
|
|
How to set up a Gitstorage appliance for in-house code collaboration
|
Git is the largest revision control and collaboration system available for development. Git has replaced larger, more costly systems across the globe and has become the de facto standard tool for coders.
But for some companies, small or large, housing code on a third-party cloud storage service might be a no-go. If that's the case, the only solution is in-house. For some, that means setting up a server and running a Git repository for the housing of proprietary or open source code. However, for some companies (especially those on the smaller side), having the resources (and time) to set up a server dedicated for Git storage may not be an option. That being the case, what do you do?
Fortunately there's a solution, one that's incredibly simple. Said solution is Gitstorage, an easy-to-deploy appliance dedicated to housing your Git repositories. Each appliance is a single board computer (based on the Raspberry Pi). The device is smaller than a credit card, has no moving parts, generates no heat, is wall-mountable, is powered by a standard USB (or included mini USB), and offers a standard ethernet connection. The full specs are:
Dimensions - 3.44" × 2.93" × 1.28" (87.4 mm × 74.3 mm × 32.5 mm)
Weight - 2.08 oz (59 g)
Wall mount - 4 screws
Ambient temperature - 32 °F - 104 °F (0 °C - 40 °C)
Memory capacity - 16 GB (GS-16) 64 GB (GS-64)
Storage for git repos - 10.6 GB (GS-16) 58.6 GB (GS-64)
Certifications - CE, FCC
Processor - H2 quadcore Cortex-A7 with 512 MB RAM
Power supply - Standard USB
Connectors - 1 × 10/100 MBit/s Ethernet, USB-A, Power (USB Micro-B)
Web interface languages - English (US), French, German
Price (MSRP) - $399 USD (GS-16) $499 USD (GS-64)
But how well does the Gitstorage appliance work? Is it really that easy to deploy? Let's deploy one and find out.
SEE: How to build a successful developer career (free PDF) (TechRepublic)
Setup
The setup of the Gitstorage is remarkably simple:
Unpack the box. Plug the device into your network (you'll need a Cat5 cable). Connect the power cable. Wait 60 seconds.
At this point, things get a bit complicated. According to the directions, you should then be able to point a browser to http://gitst.net and the Gitstorage interface will appear. I tried that on both a Linux desktop and a MacBook Pro. Neither machine could find the device. In fact, if I attempted to ping the gitst.net address, I received a WAN IP address that didn't respond. The only way I was able to reach my Gitstorage device was to log into my router, look for gitstorage among the connected devices, and find out the IP address of the device. Once I had that IP address, I could point my browser to that address and login with user root and password password. At that point, the setup wizard is presented (Figure A).
Figure A
The steps to the setup wizard are:
Language selection
EULA
Name the device
Device root CA creation or import (optional)
Encryption password
Admin setup (email/password)
Dropbox setup (optional)
Email setup (optional)
Once I completed the wizard, trouble in paradise arose. During the first round, the final screen was blank. After a reboot, I had to walk through the wizard again. This time around the final screen appeared, the All set link didn't work. So I returned to the IP address and was presented with a login screen. I attempted to use the admin email/password I'd setup during the wizard, but that wouldn't work. I then attempted root/password ... again to no avail. After another reboot (unplug, wait a few seconds, plug back in), I was (once again) sent to the setup wizard (only this time, half-way through). Once again, the final screen links wouldn't work.
Fortunately, I was sent two devices, so I unplugged the first (a GS-16) and plugged in the second (a GS-64). This time around, everything went smoothly and I was able to log into the Gitstorage interface (Figure B).
Figure B
Usage
From the main interface, your first task is to create users. Click on the Users button and add the necessary information for a new user (Figure C).
Figure C
You can now create a new repository. However, new repositories can only be created by the Root user. This is a problem. Why? Remember that admin user created during setup? I was unable to login with that user. So the only user with root privileges is root and the password is, well, not even remotely secure. Changing that password isn't nearly as intuitive as you might think (at least not from an admin perspective). Instead of the root user password change option being in the Settings sections, you must click on the Root user button in the upper right corner. From the popup menu (Figure D), click Account.
Figure D
In the resulting window, click Password. When prompted, type (and verify) the new password for the root user. Log out and log back in with your new credentials. Now click on the Repositories entry in the left navigation, click the Create button, give the repository a name, and click Submit. Once you've created the repository, click on the Settings entry for it and then click the Add user button, so you can add users to the repository (otherwise the root user will be the only one with access).
SEE: 10 Terminal commands to speed your work on the Mac (free PDF) (TechRepublic)
Smooth sailing
And that's pretty much all there is to setting up a Gitstorage device. Although I did have one hiccup with the first appliance, setting up the second resulted in some pretty smooth sailing for using an in-house Git repository. If you're looking for an incredibly simple solution for code collaboration (and you don't have the resources to setup your own Git server), I highly recommend a Gitstorage device. It's a simple, small, and elegant solution that should serve you well.
Automatically sign up for TechRepublic's Cloud Insights Newsletter for more hot tips and tricks. Subscribe
Also see
|
www.techrepublic.com
|
2018-05-30 00:00:00
|
If you're looking for an easy solution to house and collaborate on code, and you don't have the resources to setup a Git server, Gitstorage could be your best bet.
|
https://www.techrepublic.com/article/how-to-setup-a-gitstorage-appliance-for-in-house-code-collaboration/
|
Choose a title for text
|
Choose a title for the text below:
{{ text }}
|||
{{ title }}
|
Choose a title for the text below:
Git is the largest revision control and collaboration system available for development. Git has replaced larger, more costly systems across the globe and has become the de facto standard tool for coders.
But for some companies, small or large, housing code on a third-party cloud storage service might be a no-go. If that's the case, the only solution is in-house. For some, that means setting up a server and running a Git repository for the housing of proprietary or open source code. However, for some companies (especially those on the smaller side), having the resources (and time) to set up a server dedicated for Git storage may not be an option. That being the case, what do you do?
Fortunately there's a solution, one that's incredibly simple. Said solution is Gitstorage, an easy-to-deploy appliance dedicated to housing your Git repositories. Each appliance is a single board computer (based on the Raspberry Pi). The device is smaller than a credit card, has no moving parts, generates no heat, is wall-mountable, is powered by a standard USB (or included mini USB), and offers a standard ethernet connection. The full specs are:
Dimensions - 3.44" × 2.93" × 1.28" (87.4 mm × 74.3 mm × 32.5 mm)
Weight - 2.08 oz (59 g)
Wall mount - 4 screws
Ambient temperature - 32 °F - 104 °F (0 °C - 40 °C)
Memory capacity - 16 GB (GS-16) 64 GB (GS-64)
Storage for git repos - 10.6 GB (GS-16) 58.6 GB (GS-64)
Certifications - CE, FCC
Processor - H2 quadcore Cortex-A7 with 512 MB RAM
Power supply - Standard USB
Connectors - 1 × 10/100 MBit/s Ethernet, USB-A, Power (USB Micro-B)
Web interface languages - English (US), French, German
Price (MSRP) - $399 USD (GS-16) $499 USD (GS-64)
But how well does the Gitstorage appliance work? Is it really that easy to deploy? Let's deploy one and find out.
SEE: How to build a successful developer career (free PDF) (TechRepublic)
Setup
The setup of the Gitstorage is remarkably simple:
Unpack the box. Plug the device into your network (you'll need a Cat5 cable). Connect the power cable. Wait 60 seconds.
At this point, things get a bit complicated. According to the directions, you should then be able to point a browser to http://gitst.net and the Gitstorage interface will appear. I tried that on both a Linux desktop and a MacBook Pro. Neither machine could find the device. In fact, if I attempted to ping the gitst.net address, I received a WAN IP address that didn't respond. The only way I was able to reach my Gitstorage device was to log into my router, look for gitstorage among the connected devices, and find out the IP address of the device. Once I had that IP address, I could point my browser to that address and login with user root and password password. At that point, the setup wizard is presented (Figure A).
Figure A
The steps to the setup wizard are:
Language selection
EULA
Name the device
Device root CA creation or import (optional)
Encryption password
Admin setup (email/password)
Dropbox setup (optional)
Email setup (optional)
Once I completed the wizard, trouble in paradise arose. During the first round, the final screen was blank. After a reboot, I had to walk through the wizard again. This time around the final screen appeared, the All set link didn't work. So I returned to the IP address and was presented with a login screen. I attempted to use the admin email/password I'd setup during the wizard, but that wouldn't work. I then attempted root/password ... again to no avail. After another reboot (unplug, wait a few seconds, plug back in), I was (once again) sent to the setup wizard (only this time, half-way through). Once again, the final screen links wouldn't work.
Fortunately, I was sent two devices, so I unplugged the first (a GS-16) and plugged in the second (a GS-64). This time around, everything went smoothly and I was able to log into the Gitstorage interface (Figure B).
Figure B
Usage
From the main interface, your first task is to create users. Click on the Users button and add the necessary information for a new user (Figure C).
Figure C
You can now create a new repository. However, new repositories can only be created by the Root user. This is a problem. Why? Remember that admin user created during setup? I was unable to login with that user. So the only user with root privileges is root and the password is, well, not even remotely secure. Changing that password isn't nearly as intuitive as you might think (at least not from an admin perspective). Instead of the root user password change option being in the Settings sections, you must click on the Root user button in the upper right corner. From the popup menu (Figure D), click Account.
Figure D
In the resulting window, click Password. When prompted, type (and verify) the new password for the root user. Log out and log back in with your new credentials. Now click on the Repositories entry in the left navigation, click the Create button, give the repository a name, and click Submit. Once you've created the repository, click on the Settings entry for it and then click the Add user button, so you can add users to the repository (otherwise the root user will be the only one with access).
SEE: 10 Terminal commands to speed your work on the Mac (free PDF) (TechRepublic)
Smooth sailing
And that's pretty much all there is to setting up a Gitstorage device. Although I did have one hiccup with the first appliance, setting up the second resulted in some pretty smooth sailing for using an in-house Git repository. If you're looking for an incredibly simple solution for code collaboration (and you don't have the resources to setup your own Git server), I highly recommend a Gitstorage device. It's a simple, small, and elegant solution that should serve you well.
Automatically sign up for TechRepublic's Cloud Insights Newsletter for more hot tips and tricks. Subscribe
Also see
|
How to set up a Gitstorage appliance for in-house code collaboration
|
|
Qualcomm XR1 chip could bring faster, cheaper AR/VR to the enterprise
|
Qualcomm's new Snapdragon XR1 chip, announced via a Tuesday press release, aims to break down the barrier for high-quality virtual reality (VR) and augmented reality (AR) and bring the technologies to lower-end devices.
If successful, the XR1 chip could improve technologies found in modern smart glasses, and make VR and AR more affordable to get into for smaller companies. The chip could also help bring more artificial intelligence (AI) functionality into AR as well, the release noted.
In its release, Qualcomm called the XR1 an Extended Reality (XR) platform, noting that it will help bring higher quality experiences to mass-produced devices. And the addition of the AI capabilities will provide "better interactivity, power consumption and thermal efficiency," the release said.
SEE: Virtual and augmented reality policy (Tech Pro Research)
The XR1 features an ARM-based multi-core CPU, a vector processor, a GPU, and a dedicated AI engine for on-board processing. A software layer with dedicated machine learning, connectivity, and security is also part of the platform, the release said.
The chip can handle up to 4K definition at 60 frames per second, according to the release. It also supports OpenGL, OpenCL, and Vulkan, and its AI capabilities contribute to computer vision features.
Other hallmarks of the XR1 are high-fidelity audio and six-degrees of freedom (6DoF) head tracking and controller capabilities, making it easier to get around in the virtual world.
"As technology evolves and consumer demand grows, we envision XR devices playing a wider variety of roles in consumers' and workers' daily lives," Alex Katouzian, senior vice president and general manager of Qualcomm's Mobile Business Unit, said in the release.
OEMs like Meta, VIVE, Vuzix, and Picoare are already building on the XR1 platform, the release said.
The big takeaways for tech leaders:
Qualcomm has unveiled the Snapdragon XR1 chip, which could bring high-quality AR and VR experiences to more users, at a lower cost.
The Qualcomm Snapdragon XR1 features an on-board AI engine to boost computer vision capabilities in AR applications.
Stay informed, click here to subscribe to the TechRepublic Next Big Thing newsletter. Subscribe
Also see
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www.techrepublic.com
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2018-05-30 00:00:00
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The platform will also optimize for AI-powered AR experiences, and help with battery life.
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https://www.techrepublic.com/article/qualcomm-xr1-chip-could-bring-faster-cheaper-arvr-to-the-enterprise/
|
Choose a title for text
|
Choose a title for the text below:
{{ text }}
|||
{{ title }}
|
Choose a title for the text below:
Qualcomm's new Snapdragon XR1 chip, announced via a Tuesday press release, aims to break down the barrier for high-quality virtual reality (VR) and augmented reality (AR) and bring the technologies to lower-end devices.
If successful, the XR1 chip could improve technologies found in modern smart glasses, and make VR and AR more affordable to get into for smaller companies. The chip could also help bring more artificial intelligence (AI) functionality into AR as well, the release noted.
In its release, Qualcomm called the XR1 an Extended Reality (XR) platform, noting that it will help bring higher quality experiences to mass-produced devices. And the addition of the AI capabilities will provide "better interactivity, power consumption and thermal efficiency," the release said.
SEE: Virtual and augmented reality policy (Tech Pro Research)
The XR1 features an ARM-based multi-core CPU, a vector processor, a GPU, and a dedicated AI engine for on-board processing. A software layer with dedicated machine learning, connectivity, and security is also part of the platform, the release said.
The chip can handle up to 4K definition at 60 frames per second, according to the release. It also supports OpenGL, OpenCL, and Vulkan, and its AI capabilities contribute to computer vision features.
Other hallmarks of the XR1 are high-fidelity audio and six-degrees of freedom (6DoF) head tracking and controller capabilities, making it easier to get around in the virtual world.
"As technology evolves and consumer demand grows, we envision XR devices playing a wider variety of roles in consumers' and workers' daily lives," Alex Katouzian, senior vice president and general manager of Qualcomm's Mobile Business Unit, said in the release.
OEMs like Meta, VIVE, Vuzix, and Picoare are already building on the XR1 platform, the release said.
The big takeaways for tech leaders:
Qualcomm has unveiled the Snapdragon XR1 chip, which could bring high-quality AR and VR experiences to more users, at a lower cost.
The Qualcomm Snapdragon XR1 features an on-board AI engine to boost computer vision capabilities in AR applications.
Stay informed, click here to subscribe to the TechRepublic Next Big Thing newsletter. Subscribe
Also see
|
Qualcomm XR1 chip could bring faster, cheaper AR/VR to the enterprise
|
|
Why are companies moving to the cloud? 81% simply fear 'missing out'
|
If you've ever wondered why so many companies are making moves toward the cloud, the answer may surprise you: It's fear of missing out. According to recent report from Commvault and CITO Research, 81% of business leaders are embracing the cloud because they're concerned about missing out on cloud advancements.
So, just how many executives are making that move? According to the report, 93% of respondents said that at least some of their processes were being moved to the cloud. Additionally, 56% said that they had already moved, or intended to move, all of their processes to the cloud.
"The survey unequivocally confirms that Cloud FOMO is real and on the mind of C-level and other IT leaders who are grappling with bringing the value of this new frontier to their organizations, from increasing IT outcomes to being a strategic driver for increased business agility," Dan Woods, CTO of CITO Research, said in the release. "The research indicates the migration toward the cloud is underway in full force, even as companies struggle to understand cloud capabilities. Data protection and recovery was highlighted as a fundamental area where the cloud is having significant business impact."
SEE: Special report: The cloud v. data center decision (free PDF)
Don Foster, senior director of solutions marketing for Commvault, said in the report that cloud technologies are still seen as a key driver for digital transformation. As such, it makes sense that these business leaders would be concerned about getting to the cloud quickly.
The most important cloud projects cited by the respondents were data protection and backup, and data recovery, as noted by 75% of the respondents and 63% respectively.
However, there are some challenges holding these companies back from realizing their cloudy dreams. The sheer volume of data was cited by 68% of those surveyed as a key barrier, while 65% pointed to a struggle with skills and talent, and 55% said policies were the biggest barrier.
These business leaders are putting their money on the line, too. Some 87% plan on putting more money in their budget for cloud investments.
The reasons for why these respondents wanted to move to the cloud were varied. Of those surveyed, 33% noted that "customer focus through business agility" was their primary reason for moving to the cloud. Cost savings were the primary reason for 22% of respondents and 20% said "innovation and development of new apps, products and services" was the driving force behind their cloud journey.
The 3 big takeaways for TechRepublic readers
Some 81% of business leaders said that they're moving to the cloud simply out of a fear of missing out on the tech advances provided by the technology, according to a report from Commvault. Of those questioned, 93% said they would be moving at least some of their processes to the cloud, while increasing their budget for it. Increasing agility and customer focus was the main reason for 33% of business leaders to make a move to the cloud.
Stay informed, click here to subscribe to the TechRepublic Cloud Insights newsletter. Subscribe
Also see
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www.techrepublic.com
|
2017-08-14 00:00:00
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A new report from Commvault shows that IT executives are concerned about missing out on cloud advancements in their business.
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http://www.techrepublic.com/article/why-are-companies-moving-to-the-cloud-81-simply-fear-missing-out/
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Choose a title for text
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Choose a title for the text below:
{{ text }}
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{{ title }}
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If you've ever wondered why so many companies are making moves toward the cloud, the answer may surprise you: It's fear of missing out. According to recent report from Commvault and CITO Research, 81% of business leaders are embracing the cloud because they're concerned about missing out on cloud advancements.
So, just how many executives are making that move? According to the report, 93% of respondents said that at least some of their processes were being moved to the cloud. Additionally, 56% said that they had already moved, or intended to move, all of their processes to the cloud.
"The survey unequivocally confirms that Cloud FOMO is real and on the mind of C-level and other IT leaders who are grappling with bringing the value of this new frontier to their organizations, from increasing IT outcomes to being a strategic driver for increased business agility," Dan Woods, CTO of CITO Research, said in the release. "The research indicates the migration toward the cloud is underway in full force, even as companies struggle to understand cloud capabilities. Data protection and recovery was highlighted as a fundamental area where the cloud is having significant business impact."
SEE: Special report: The cloud v. data center decision (free PDF)
Don Foster, senior director of solutions marketing for Commvault, said in the report that cloud technologies are still seen as a key driver for digital transformation. As such, it makes sense that these business leaders would be concerned about getting to the cloud quickly.
The most important cloud projects cited by the respondents were data protection and backup, and data recovery, as noted by 75% of the respondents and 63% respectively.
However, there are some challenges holding these companies back from realizing their cloudy dreams. The sheer volume of data was cited by 68% of those surveyed as a key barrier, while 65% pointed to a struggle with skills and talent, and 55% said policies were the biggest barrier.
These business leaders are putting their money on the line, too. Some 87% plan on putting more money in their budget for cloud investments.
The reasons for why these respondents wanted to move to the cloud were varied. Of those surveyed, 33% noted that "customer focus through business agility" was their primary reason for moving to the cloud. Cost savings were the primary reason for 22% of respondents and 20% said "innovation and development of new apps, products and services" was the driving force behind their cloud journey.
The 3 big takeaways for TechRepublic readers
Some 81% of business leaders said that they're moving to the cloud simply out of a fear of missing out on the tech advances provided by the technology, according to a report from Commvault. Of those questioned, 93% said they would be moving at least some of their processes to the cloud, while increasing their budget for it. Increasing agility and customer focus was the main reason for 33% of business leaders to make a move to the cloud.
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Why are companies moving to the cloud? 81% simply fear 'missing out'
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How to request your personal data under GDPR
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Building a slide deck, pitch, or presentation? Here are the big takeaways:
Individuals can get access to all of their data from a given firm, including their employer, by filing a subject access request.
The GDPR will eliminate the cost for subject access requests and shorten the required response time from 40 days to 30.
The May 25 deadline for the EU's General Data Protection Regulation (GDPR) is fast-approaching, and the coming changes will greatly shift the ability of companies to interact with customer data.
Many people know the GDPR for its hard-line regulation around the "right to be forgotten," where an individual can request a company to erase the personal data it holds on them. However, it also contains the right to access any information that may be held by a company, including your employer.
The process for data access under GDPR will be mostly the same as it was under the Data Protection Act of 1998, but with a few slight differences. For starters, a person will need to file a subject access request (SAR) that, as noted by the Guardian, is simply "an email, fax or letter asking for their personal data."
SEE: EU General Data Protection Regulation (GDPR) policy (Tech Pro Research)
For clear guidelines on submitting an SAR, see the Subject access code of practice from the Information Commissioner's Office (ICO). There is no particular format required, as long as the request is made in writing.
There are two key differences between SAR requests made under the Data Privacy Act and those made under GDPR: The cost and time frame.
Before GDPR, the maximum fee that could be charged for access to your data was £10, or about $14. Under GDPR, however, that fee is being removed for standard requests. Although, the ICO also notes that a firm may charge a "reasonable fee" when "a request is manifestly unfounded or excessive, particularly if it is repetitive."
According to SAR guidelines from the ICO, an individual should have the personal data held on them described, be told whether their personal data is being processes, be told why it's being processed, be told if that data is being sent anywhere else, and be given a copy the data and details of its sourcing.
The other detail that will change with personal data access under GDPR is how long companies have to respond to your request. Under the Data Privacy Act, companies had 40 calendar days to respond once they received a request. Now, however, they will have to provide the data within one month of receiving the request. The company can file for an extension of an extra two months if the "requests are complex or numerous," according to the ICO's right of access page.
If the request is made electronically, the firm will provide the data in an accessible electronic format. However, the ICO's page notes that GDPR best practices recommend companies establish a secure self-service portal system for easy access.
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www.techrepublic.com
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2018-04-24 00:00:00
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A subject access request will require any company to turn over data it has collected on you, and it's pretty simple to do.
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https://www.techrepublic.com/article/how-to-request-your-personal-data-under-gdpr/
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Building a slide deck, pitch, or presentation? Here are the big takeaways:
Individuals can get access to all of their data from a given firm, including their employer, by filing a subject access request.
The GDPR will eliminate the cost for subject access requests and shorten the required response time from 40 days to 30.
The May 25 deadline for the EU's General Data Protection Regulation (GDPR) is fast-approaching, and the coming changes will greatly shift the ability of companies to interact with customer data.
Many people know the GDPR for its hard-line regulation around the "right to be forgotten," where an individual can request a company to erase the personal data it holds on them. However, it also contains the right to access any information that may be held by a company, including your employer.
The process for data access under GDPR will be mostly the same as it was under the Data Protection Act of 1998, but with a few slight differences. For starters, a person will need to file a subject access request (SAR) that, as noted by the Guardian, is simply "an email, fax or letter asking for their personal data."
SEE: EU General Data Protection Regulation (GDPR) policy (Tech Pro Research)
For clear guidelines on submitting an SAR, see the Subject access code of practice from the Information Commissioner's Office (ICO). There is no particular format required, as long as the request is made in writing.
There are two key differences between SAR requests made under the Data Privacy Act and those made under GDPR: The cost and time frame.
Before GDPR, the maximum fee that could be charged for access to your data was £10, or about $14. Under GDPR, however, that fee is being removed for standard requests. Although, the ICO also notes that a firm may charge a "reasonable fee" when "a request is manifestly unfounded or excessive, particularly if it is repetitive."
According to SAR guidelines from the ICO, an individual should have the personal data held on them described, be told whether their personal data is being processes, be told why it's being processed, be told if that data is being sent anywhere else, and be given a copy the data and details of its sourcing.
The other detail that will change with personal data access under GDPR is how long companies have to respond to your request. Under the Data Privacy Act, companies had 40 calendar days to respond once they received a request. Now, however, they will have to provide the data within one month of receiving the request. The company can file for an extension of an extra two months if the "requests are complex or numerous," according to the ICO's right of access page.
If the request is made electronically, the firm will provide the data in an accessible electronic format. However, the ICO's page notes that GDPR best practices recommend companies establish a secure self-service portal system for easy access.
Stay informed, click here to subscribe to the TechRepublic Cybersecurity Insider newsletter. Subscribe
Also see
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How to request your personal data under GDPR
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5 data protection policies your employees must know in the post-GDPR era
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The EU's General Data Protection Regulation (GDPR) went into effect in May, requiring all organizations that handle the data of EU citizens to comply with its provisions regarding collecting and using personal data. However, a majority of companies likely missed the compliance deadline, and many employees remain unaware of the policies needed to keep data safe.
"Data privacy is a hot topic with GDPR going into effect," said Dave Rickard, technical director at CIPHER Security. "An awful lot of companies may not think they have exposure to it, but there are lots of variables in that."
For example, one online retailer Rickard works with has many customers from the EU, but can't geolocate them from the website. Others don't work with EU citizens, but have data processing and storage facilities there, which are also subject to GDPR.
SEE: EU General Data Protection Regulation (GDPR) policy (Tech Pro Research)
GDPR will likely influence data privacy policies in other countries, Rickard said. However, cultural differences, particularly between the EU and US, may make this difficult.
"In the EU people are very centered on the perspective that 'My name, my social security number, my passport information, everything that is PII about me, belongs to me. It's part of my individuality,'" he said. "Whereas in North America, people have long since taken the perspective instead that data is currency. There are so many business models that are built on it. Data is money."
The majority of companies that need to be compliant with GDPR are not yet, Rickard said. "I'd say compliance right now is only at about 35% or 40% at the most," he said. "I think a lot of people are taking a wait and see approach."
Some of the bigger players like Facebook, Google, and Amazon are going to be the canaries in the coal mine, Rickard said. "I think that they'll have actions taken on them first, and people are going to wait and see if the actual GDPR penalties play out the way that they've been published."
Companies that fail to comply with GDPR will face a penalty of either 4% of their global revenue or €20 million, whichever is greater.
Here are five types of policies that companies must ensure they have in place and have trained employees on in the age of GDPR, according to Rickard.
1. Encryption policies
Most companies lack policies around data encryption, Rickard said. "Most people who are data owners are unaware of whether their data is encrypted at rest or not," he added. "GDPR is big on encryption at rest."
SEE: Encryption policy (Tech Pro Research)
2. Acceptable use policies
An acceptable use policy should covers things like what applications are allowed, what web searching and social media habits are appropriate for the business, and the potential threats to brand reputation, Rickard said.
3. Password policies
Passwords remain a common digital entry point into an organization for hackers. Even if, in the best case scenario, employees use complex passwords that are changed often and not shared, human error and carelessness can still put a business at risk. "One of the easiest ways to breach a company is to put somebody on the janitorial staff and go looking at desks," Rickard said. "People often have Post-it notes on monitors with passwords on them."
4. Email policies
IT should have an email policy in place that hardens systems and can detect spam and viruses, Rickard said. "The kind of information that can be disclosed via email should be spelled out very clearly," he added.
5. Data processing policies
Companies need to do data process flow mapping to see what data is being collected, how it's being processed, and who is receiving processed copies, Rickard said. "GDPR closes all those gaps," he added.
Employee training is paramount for ensuring these policies are enforced, Rickard said. Raising awareness of the threat landscape and common vulnerabilities can help counteract human error.
"Security awareness and training is the cornerstone of any security program," he added.
For tips on how to best train employees on cybersecurity practices, click here.
Stay up to date on all the latest cybersecurity threats. Click here to subscribe to the TechRepublic Cybersecurity Insider newsletter. Subscribe
Also see
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www.techrepublic.com
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2018-07-03 00:00:00
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Here are the policies that businesses must have in place to remain GDPR compliant, and meet best practices for data privacy.
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https://www.techrepublic.com/article/5-data-protection-policies-your-employees-must-know-in-the-post-gdpr-era/
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Choose a title for text
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{{ title }}
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Choose a title for the text below:
The EU's General Data Protection Regulation (GDPR) went into effect in May, requiring all organizations that handle the data of EU citizens to comply with its provisions regarding collecting and using personal data. However, a majority of companies likely missed the compliance deadline, and many employees remain unaware of the policies needed to keep data safe.
"Data privacy is a hot topic with GDPR going into effect," said Dave Rickard, technical director at CIPHER Security. "An awful lot of companies may not think they have exposure to it, but there are lots of variables in that."
For example, one online retailer Rickard works with has many customers from the EU, but can't geolocate them from the website. Others don't work with EU citizens, but have data processing and storage facilities there, which are also subject to GDPR.
SEE: EU General Data Protection Regulation (GDPR) policy (Tech Pro Research)
GDPR will likely influence data privacy policies in other countries, Rickard said. However, cultural differences, particularly between the EU and US, may make this difficult.
"In the EU people are very centered on the perspective that 'My name, my social security number, my passport information, everything that is PII about me, belongs to me. It's part of my individuality,'" he said. "Whereas in North America, people have long since taken the perspective instead that data is currency. There are so many business models that are built on it. Data is money."
The majority of companies that need to be compliant with GDPR are not yet, Rickard said. "I'd say compliance right now is only at about 35% or 40% at the most," he said. "I think a lot of people are taking a wait and see approach."
Some of the bigger players like Facebook, Google, and Amazon are going to be the canaries in the coal mine, Rickard said. "I think that they'll have actions taken on them first, and people are going to wait and see if the actual GDPR penalties play out the way that they've been published."
Companies that fail to comply with GDPR will face a penalty of either 4% of their global revenue or €20 million, whichever is greater.
Here are five types of policies that companies must ensure they have in place and have trained employees on in the age of GDPR, according to Rickard.
1. Encryption policies
Most companies lack policies around data encryption, Rickard said. "Most people who are data owners are unaware of whether their data is encrypted at rest or not," he added. "GDPR is big on encryption at rest."
SEE: Encryption policy (Tech Pro Research)
2. Acceptable use policies
An acceptable use policy should covers things like what applications are allowed, what web searching and social media habits are appropriate for the business, and the potential threats to brand reputation, Rickard said.
3. Password policies
Passwords remain a common digital entry point into an organization for hackers. Even if, in the best case scenario, employees use complex passwords that are changed often and not shared, human error and carelessness can still put a business at risk. "One of the easiest ways to breach a company is to put somebody on the janitorial staff and go looking at desks," Rickard said. "People often have Post-it notes on monitors with passwords on them."
4. Email policies
IT should have an email policy in place that hardens systems and can detect spam and viruses, Rickard said. "The kind of information that can be disclosed via email should be spelled out very clearly," he added.
5. Data processing policies
Companies need to do data process flow mapping to see what data is being collected, how it's being processed, and who is receiving processed copies, Rickard said. "GDPR closes all those gaps," he added.
Employee training is paramount for ensuring these policies are enforced, Rickard said. Raising awareness of the threat landscape and common vulnerabilities can help counteract human error.
"Security awareness and training is the cornerstone of any security program," he added.
For tips on how to best train employees on cybersecurity practices, click here.
Stay up to date on all the latest cybersecurity threats. Click here to subscribe to the TechRepublic Cybersecurity Insider newsletter. Subscribe
Also see
|
5 data protection policies your employees must know in the post-GDPR era
|
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Why a cloud-friendly Java could finally be possible with Jakarta EE
|
Over the past two decades, Java has arguably been the most successful programming language on the planet. Go is cool, Swift is nifty, but old-school Java keeps reinventing itself to power both yesterday's and tomorrow's applications.
Depending on how you count, some 14 million Java programmers code today, with many of them paid well to maintain massive enterprise applications (an estimated 80% of enterprise workloads run on Java). Redmonk, in its latest Q1 2018 survey, says Java is the second-most popular language after JavaScript among developers.
Not that Java lacks challenges. For example, Java is perhaps the most divisive technology in the industry—a morass of competing vendors with a constipated governance model that excludes much more than it includes. In this way, Java has left obvious gaps and frustration for developers who need a bridge to a cloud-native future.
SEE: Job description: Java developer (Tech Pro Research)
To ease that frustration, Tuesday the Eclipse Foundation unveiled new directions for Java EE under the recently-named-by-community-vote Jakarta EE Working Group, the successor to Java EE (which remains licensed by Oracle and maintained under the JCP).
Java, cloud-friendly? It just might happen.
An open Java
The one thing everyone agrees about Java is that it's imperfect. And yet there's hope. No longer your grandparent's Cobol, what if a vibrant community embraced Jakarta EE and pushed it much faster than any Java EE before? Under the Eclipse Foundation's guidance, we may finally get the power of open source collaboration to build on the best of Java's two decades of work. Through this new Jakarta EE Working Group process, we should see big Java EE vendors like IBM, Red Hat, and Oracle working within the open processes of the Eclipse Foundation with smaller vendors like Tomitribe and Payara.
In this world, there's no single vendor to impose its will on Java. Instead, we may finally get a true code meritocracy where Java communities and individuals function as peers. Instead of a divisive force, Jakarta EE could become a catalyst to join disparate Java communities behind a shared goal. In this case, my bet is on a race to some version of cloud-native implementation for Jakarata EE.
You can read all the details on the new Eclipse Foundation governance model online but for me, it's much more interesting to see where the community wants to go. To the credit of the Eclipse Foundation, they surveyed more than 1,800 Java developers worldwide to take the pulse of the Java community. Under Oracle's (or Sun's) control, this sort of community outreach simply didn't happen (though, to its credit, Oracle made the decision to move Java to the Eclipse Foundation's stewardship).
Java's cloudy future
In the survey, the Eclipse Foundation learned that the three most critical areas that developers want Jakarta EE to prioritize are:
Better support for microservices (60%) Native integration with Kubernetes (57%) Faster pace of innovation (47%)
SEE: How to build a successful developer career (free PDF) (TechRepublic)
Almost half (45%) of the Java developers surveyed are already building microservices, with more (21%) planning to do so within the next 12 months. Add to this the fact that half of these developers currently only run a fifth of their Java applications in the cloud but 30% say they'll run 60% or more of their applications in the cloud, and it's clear how much pent-up demand there is for a more cloud-friendly Java. To get there, roughly a third of the developers surveyed have embraced Kubernetes. This is a cloud-savvy crowd that needs their preferred programming model to keep pace with their ambitions.
None of this was a surprise, of course. Java developers aren't living in a cloud-free world. Developers want a framework of tools that helps them be more successful using the Java skills they already have to build next-generation, cloud native applications. With the new Jakarta EE, they just might get their wish.
Click here to subscribe to TechRepublic's Cloud Insights newsletter. Subscribe
Also see
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www.techrepublic.com
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2018-04-18 00:00:00
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Under the auspices of the Eclipse Foundation, Java developers are demanding more cloud, and are likely to get their wish.
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https://www.techrepublic.com/article/why-a-cloud-friendly-java-could-finally-be-possible-with-jakarta-ee/
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Choose a title for text
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Choose a title for the text below:
{{ text }}
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{{ title }}
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Choose a title for the text below:
Over the past two decades, Java has arguably been the most successful programming language on the planet. Go is cool, Swift is nifty, but old-school Java keeps reinventing itself to power both yesterday's and tomorrow's applications.
Depending on how you count, some 14 million Java programmers code today, with many of them paid well to maintain massive enterprise applications (an estimated 80% of enterprise workloads run on Java). Redmonk, in its latest Q1 2018 survey, says Java is the second-most popular language after JavaScript among developers.
Not that Java lacks challenges. For example, Java is perhaps the most divisive technology in the industry—a morass of competing vendors with a constipated governance model that excludes much more than it includes. In this way, Java has left obvious gaps and frustration for developers who need a bridge to a cloud-native future.
SEE: Job description: Java developer (Tech Pro Research)
To ease that frustration, Tuesday the Eclipse Foundation unveiled new directions for Java EE under the recently-named-by-community-vote Jakarta EE Working Group, the successor to Java EE (which remains licensed by Oracle and maintained under the JCP).
Java, cloud-friendly? It just might happen.
An open Java
The one thing everyone agrees about Java is that it's imperfect. And yet there's hope. No longer your grandparent's Cobol, what if a vibrant community embraced Jakarta EE and pushed it much faster than any Java EE before? Under the Eclipse Foundation's guidance, we may finally get the power of open source collaboration to build on the best of Java's two decades of work. Through this new Jakarta EE Working Group process, we should see big Java EE vendors like IBM, Red Hat, and Oracle working within the open processes of the Eclipse Foundation with smaller vendors like Tomitribe and Payara.
In this world, there's no single vendor to impose its will on Java. Instead, we may finally get a true code meritocracy where Java communities and individuals function as peers. Instead of a divisive force, Jakarta EE could become a catalyst to join disparate Java communities behind a shared goal. In this case, my bet is on a race to some version of cloud-native implementation for Jakarata EE.
You can read all the details on the new Eclipse Foundation governance model online but for me, it's much more interesting to see where the community wants to go. To the credit of the Eclipse Foundation, they surveyed more than 1,800 Java developers worldwide to take the pulse of the Java community. Under Oracle's (or Sun's) control, this sort of community outreach simply didn't happen (though, to its credit, Oracle made the decision to move Java to the Eclipse Foundation's stewardship).
Java's cloudy future
In the survey, the Eclipse Foundation learned that the three most critical areas that developers want Jakarta EE to prioritize are:
Better support for microservices (60%) Native integration with Kubernetes (57%) Faster pace of innovation (47%)
SEE: How to build a successful developer career (free PDF) (TechRepublic)
Almost half (45%) of the Java developers surveyed are already building microservices, with more (21%) planning to do so within the next 12 months. Add to this the fact that half of these developers currently only run a fifth of their Java applications in the cloud but 30% say they'll run 60% or more of their applications in the cloud, and it's clear how much pent-up demand there is for a more cloud-friendly Java. To get there, roughly a third of the developers surveyed have embraced Kubernetes. This is a cloud-savvy crowd that needs their preferred programming model to keep pace with their ambitions.
None of this was a surprise, of course. Java developers aren't living in a cloud-free world. Developers want a framework of tools that helps them be more successful using the Java skills they already have to build next-generation, cloud native applications. With the new Jakarta EE, they just might get their wish.
Click here to subscribe to TechRepublic's Cloud Insights newsletter. Subscribe
Also see
|
Why a cloud-friendly Java could finally be possible with Jakarta EE
|
|
Report: 32% of IT pros plan to switch jobs in 2018, most for better pay and training
|
High demand and low supply of IT professionals may lead to turnover in the new year, a new report found. Some 32% of IT professionals said they plan to search for or take an IT job with a new employer in 2018, according to Spiceworks' 2018 IT Career Outlook.
Among those planning to make a job move, 75% said they are seeking a better salary, 70% said they want to advance their skills, and 39% said they want to work for a company that prioritizes IT more than the one they currently work for.
Of the 2,163 IT professionals from North America and Europe surveyed, 7% said they plan to start working as a consultant, while 5% said they plan to leave the IT industry altogether. Another 2% reported plans to retire in 2018.
Some employees said they expect positive changes from their current employer in the new year: 51% of IT professionals said they expect a raise from their current employer next year, while 21% said they also expect a promotion. However, 24% said they don't expect any career changes or raises in the next year.
SEE: IT jobs 2018: Hiring priorities, growth areas, and strategies to fill open roles (Tech Pro Research)
Millennials in particular (36%) were more likely to say they were seeking new employment—more than Gen Xers (32%) and baby boomers (23%). Millennial IT professionals are also more likely to leave their current employer to find a better salary, advance their skills, work for a more talented team, and receive better employee perks than older employees. Meanwhile, Gen X IT professionals are more likely to leave their jobs to seek a better work-life balance, while baby boomers are more likely to leave due to burnout.
Despite those who plan to leave their jobs, 70% of IT professionals say they are satisfied with their current jobs—though 63% say they believe they are underpaid, the report found. This number is even higher among millennials: 68% of millennial IT workers feel underpaid, compared to 60% of Gen X and 61% of baby boomers.
In terms of salary, millennial IT professionals are paid a median income of $50,000 per year, while Gen X IT professionals are paid $65,000, and baby boomers are paid $70,000. These salaries also correlate to years of experience, the report noted.
In terms of tech skills needed to be successful in any IT job in the coming year, 81% of IT professionals reported that cybersecurity expertise was critical.
Despite understanding how critical this area is, only 19% of IT pros reported having advanced cybersecurity knowledge—potentially putting organizations at risk. This echoes previous research about the dearth of cybersecurity professionals currently available to companies, as well as the need to upskill employees to fill security gaps.
SEE: Cheat sheet: How to become a cybersecurity pro
About 75% of IT professionals also said that it was critical to have experience in networking, infrastructure hardware, end-user devices, and storage and backup. Of these, 41% said they have advanced networking skills, 50% said they have advanced infrastructure hardware skills, and 79% said they are advanced in supporting and troubleshooting end user devices, including laptops, desktops, and tablets.
"Although the majority of IT professionals are satisfied with their jobs, many also believe they should be making more money, and will take the initiative to find an employer who is willing to pay them what they're worth in 2018," Peter Tsai, senior technology analyst at Spiceworks, said in a press release. "Many IT professionals are also motivated to change jobs to advance their skills, particularly in cybersecurity. As data breaches and ransomware outbreaks continue to haunt businesses, IT professionals recognize there is high demand for skilled security professionals now, and in the years to come."
Want to use this data in your next business presentation? Feel free to copy and paste these top takeaways into your next slideshow.
32% of IT professionals said they plan to search for or take an IT job with a new employer in 2018. -Spiceworks, 2017
Among IT pros planning to make a job move, 75% said they are seeking a better salary, 70% said they want to advance their skills, and 39% said they want to work for a company that prioritizes IT more. -Spiceworks, 2017
81% of IT professionals reported that cybersecurity expertise was critical in the field, but only 19% said they had advanced cybersecurity skills. -Spiceworks, 2017
Image: iStockphoto/Rawpixel
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www.techrepublic.com
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2017-12-11 00:00:00
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IT workers planning to change jobs are seeking higher salaries, skills advancement, and companies that prioritize IT, according to a Spiceworks report.
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https://www.techrepublic.com/article/report-32-of-it-pros-plan-to-switch-jobs-in-2018-most-for-better-pay-and-training/
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High demand and low supply of IT professionals may lead to turnover in the new year, a new report found. Some 32% of IT professionals said they plan to search for or take an IT job with a new employer in 2018, according to Spiceworks' 2018 IT Career Outlook.
Among those planning to make a job move, 75% said they are seeking a better salary, 70% said they want to advance their skills, and 39% said they want to work for a company that prioritizes IT more than the one they currently work for.
Of the 2,163 IT professionals from North America and Europe surveyed, 7% said they plan to start working as a consultant, while 5% said they plan to leave the IT industry altogether. Another 2% reported plans to retire in 2018.
Some employees said they expect positive changes from their current employer in the new year: 51% of IT professionals said they expect a raise from their current employer next year, while 21% said they also expect a promotion. However, 24% said they don't expect any career changes or raises in the next year.
SEE: IT jobs 2018: Hiring priorities, growth areas, and strategies to fill open roles (Tech Pro Research)
Millennials in particular (36%) were more likely to say they were seeking new employment—more than Gen Xers (32%) and baby boomers (23%). Millennial IT professionals are also more likely to leave their current employer to find a better salary, advance their skills, work for a more talented team, and receive better employee perks than older employees. Meanwhile, Gen X IT professionals are more likely to leave their jobs to seek a better work-life balance, while baby boomers are more likely to leave due to burnout.
Despite those who plan to leave their jobs, 70% of IT professionals say they are satisfied with their current jobs—though 63% say they believe they are underpaid, the report found. This number is even higher among millennials: 68% of millennial IT workers feel underpaid, compared to 60% of Gen X and 61% of baby boomers.
In terms of salary, millennial IT professionals are paid a median income of $50,000 per year, while Gen X IT professionals are paid $65,000, and baby boomers are paid $70,000. These salaries also correlate to years of experience, the report noted.
In terms of tech skills needed to be successful in any IT job in the coming year, 81% of IT professionals reported that cybersecurity expertise was critical.
Despite understanding how critical this area is, only 19% of IT pros reported having advanced cybersecurity knowledge—potentially putting organizations at risk. This echoes previous research about the dearth of cybersecurity professionals currently available to companies, as well as the need to upskill employees to fill security gaps.
SEE: Cheat sheet: How to become a cybersecurity pro
About 75% of IT professionals also said that it was critical to have experience in networking, infrastructure hardware, end-user devices, and storage and backup. Of these, 41% said they have advanced networking skills, 50% said they have advanced infrastructure hardware skills, and 79% said they are advanced in supporting and troubleshooting end user devices, including laptops, desktops, and tablets.
"Although the majority of IT professionals are satisfied with their jobs, many also believe they should be making more money, and will take the initiative to find an employer who is willing to pay them what they're worth in 2018," Peter Tsai, senior technology analyst at Spiceworks, said in a press release. "Many IT professionals are also motivated to change jobs to advance their skills, particularly in cybersecurity. As data breaches and ransomware outbreaks continue to haunt businesses, IT professionals recognize there is high demand for skilled security professionals now, and in the years to come."
Want to use this data in your next business presentation? Feel free to copy and paste these top takeaways into your next slideshow.
32% of IT professionals said they plan to search for or take an IT job with a new employer in 2018. -Spiceworks, 2017
Among IT pros planning to make a job move, 75% said they are seeking a better salary, 70% said they want to advance their skills, and 39% said they want to work for a company that prioritizes IT more. -Spiceworks, 2017
81% of IT professionals reported that cybersecurity expertise was critical in the field, but only 19% said they had advanced cybersecurity skills. -Spiceworks, 2017
Image: iStockphoto/Rawpixel
Keep up to date on all of the latest leadership news. Click here to subscribe to the TechRepublic Executive Briefing newsletter. Subscribe
Also see
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Report: 32% of IT pros plan to switch jobs in 2018, most for better pay and training
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How to protect your company from tax season phishing scams
|
Unfortunately, it seems there's a phishing scheme to go along with virtually every event in life, whether a holiday, a tragedy, or an annual ritual. Tax time is not exempt, so to speak.
Whether you work in finance or you support users who do, it's important to be on the lookout this tax season for phishing schemes geared towards obtaining confidential information from unsuspecting individuals.
What should users look out for?
A common phishing attempt involves compromised or spoofed emails which purport to be from an executive at your organization and are sent either to human resources or finance/payroll employees. The email requests a list of employees and their related W-2 forms.
That's not all, however. Another common scam (which can occur throughout the year) involves receiving a phone call from an individual claiming to be from the IRS (caller ID can be spoofed to show this as well) who informs you that you owe money for back taxes and often threatens law enforcement retribution if payment (usually via credit card over the phone) isn't provided.
The IRS will never call you on the phone to report you owe them money nor demand money over the phone; they utilize the postal service for such notifications. They also will not engage in threats and are supposed to provide an opportunity for you to work constructively with them or negotiate payment.
SEE: IT leader's guide to cyberattack recovery (Tech Pro Research)
What standard protection methods should be used?
The typical safeguards against phishing can protect you and your employees; establish a policy against requesting confidential information through email, call people directly to verify such requests, arrange for secure transfer of data, and limit the number of employees who possess the authority to access or handle W-2 forms.
The IRS also recommends contacting them about any malicious activity. Phishing attempts can be reported to phishing@irs.gov. If someone from your company has given out W-2 information, contact dataloss@irs.gov with a description of what happened and how many employees were affected. Also make sure not to attach any confidential information!
If your company is contacted by scammers claiming you owe the IRS money, report it via the IRS Impersonation Scam Reporting webpage. You can also call 800-366-4484. You should also report this to the Federal Trade Commission via the FTC Complaint Assistant on FTC.gov.
What else is available to help here?
Education and establishing proper procedures can be helpful in minimizing risk, but I also highly recommend using technology to safeguard data as well. While both technology and humans may be prone to failure, technology is harder to fool or take advantage of.
With that in mind, data loss prevention (DLP) can be a handy tool in combating phishing gimmicks of this nature. DLP systems examine traffic coming in and out of an organization: emails, instant messages, web access - anything that is sent over the network. These systems can sniff out confidential information such as Social Security numbers and block them from being transmitted.
This comes with a potential cost, however; legitimate traffic may end up blocked, such as when employees email tax information to their tax preparers or their own personal accounts. This can pose a challenge for DLP systems (and those responsible for administering them) in separating the wheat from the chaff. The end result is undoubtedly a slew of false positives with frustrated and/or confused employees.
SEE: Intrusion detection policy (Tech Pro Research)
Another potential solution is user and entity behavior analytics (UEBA). UEBA can determine the likelihood the employee is sending tax information to themselves via their personal email address by analyzing behavioral patterns to determine the legitimacy of specific activities.
For example, if an employee named Ray Donovan sends a W-2 form from his corporate email address (ray.donovan@company.com) to his Gmail address (ray.donovan72@gmail.com), UEBA can determine that it's highly likely this information is being sent to the same person and will not send a critical alert nor block the transmission. It helps if Ray has a history of sending himself emails of this nature so UEBA can mark that behavior as normal.
However, in a genuine phishing scenario where Ray sends a W-2 form to SWRedLeader55@gmail.com, an email address he has not previously contacted, UEBA could determine that it's not the same person, analyze further using behavioral comparisons and send alerts or take action as necessary.
What about a situation where an employee is emailing confidential information to themselves when they shouldn't (such as someone else's W-2 form, or their own despite company policies prohibiting this)? UEBA can still send alerts which can then result in investigational activity and appropriate discipline as needed, including termination. Making employees aware that this activity is analyzed and monitored can serve as a deterrent and ensure confidential information remains in appropriate hands.
For more security tips and news, subscribe to our Cybersecurity Insider newsletter. Subscribe
Also see:
|
www.techrepublic.com
|
2018-03-19 00:00:00
|
A current rash of phishing attacks involves obtaining W-2 forms. Here are some ways IT pros can help prevent data loss and make users aware of the threats.
|
https://www.techrepublic.com/article/how-to-protect-your-company-from-tax-season-phishing-scams/
|
Choose a title for text
|
Choose a title for the text below:
{{ text }}
|||
{{ title }}
|
Choose a title for the text below:
Unfortunately, it seems there's a phishing scheme to go along with virtually every event in life, whether a holiday, a tragedy, or an annual ritual. Tax time is not exempt, so to speak.
Whether you work in finance or you support users who do, it's important to be on the lookout this tax season for phishing schemes geared towards obtaining confidential information from unsuspecting individuals.
What should users look out for?
A common phishing attempt involves compromised or spoofed emails which purport to be from an executive at your organization and are sent either to human resources or finance/payroll employees. The email requests a list of employees and their related W-2 forms.
That's not all, however. Another common scam (which can occur throughout the year) involves receiving a phone call from an individual claiming to be from the IRS (caller ID can be spoofed to show this as well) who informs you that you owe money for back taxes and often threatens law enforcement retribution if payment (usually via credit card over the phone) isn't provided.
The IRS will never call you on the phone to report you owe them money nor demand money over the phone; they utilize the postal service for such notifications. They also will not engage in threats and are supposed to provide an opportunity for you to work constructively with them or negotiate payment.
SEE: IT leader's guide to cyberattack recovery (Tech Pro Research)
What standard protection methods should be used?
The typical safeguards against phishing can protect you and your employees; establish a policy against requesting confidential information through email, call people directly to verify such requests, arrange for secure transfer of data, and limit the number of employees who possess the authority to access or handle W-2 forms.
The IRS also recommends contacting them about any malicious activity. Phishing attempts can be reported to phishing@irs.gov. If someone from your company has given out W-2 information, contact dataloss@irs.gov with a description of what happened and how many employees were affected. Also make sure not to attach any confidential information!
If your company is contacted by scammers claiming you owe the IRS money, report it via the IRS Impersonation Scam Reporting webpage. You can also call 800-366-4484. You should also report this to the Federal Trade Commission via the FTC Complaint Assistant on FTC.gov.
What else is available to help here?
Education and establishing proper procedures can be helpful in minimizing risk, but I also highly recommend using technology to safeguard data as well. While both technology and humans may be prone to failure, technology is harder to fool or take advantage of.
With that in mind, data loss prevention (DLP) can be a handy tool in combating phishing gimmicks of this nature. DLP systems examine traffic coming in and out of an organization: emails, instant messages, web access - anything that is sent over the network. These systems can sniff out confidential information such as Social Security numbers and block them from being transmitted.
This comes with a potential cost, however; legitimate traffic may end up blocked, such as when employees email tax information to their tax preparers or their own personal accounts. This can pose a challenge for DLP systems (and those responsible for administering them) in separating the wheat from the chaff. The end result is undoubtedly a slew of false positives with frustrated and/or confused employees.
SEE: Intrusion detection policy (Tech Pro Research)
Another potential solution is user and entity behavior analytics (UEBA). UEBA can determine the likelihood the employee is sending tax information to themselves via their personal email address by analyzing behavioral patterns to determine the legitimacy of specific activities.
For example, if an employee named Ray Donovan sends a W-2 form from his corporate email address (ray.donovan@company.com) to his Gmail address (ray.donovan72@gmail.com), UEBA can determine that it's highly likely this information is being sent to the same person and will not send a critical alert nor block the transmission. It helps if Ray has a history of sending himself emails of this nature so UEBA can mark that behavior as normal.
However, in a genuine phishing scenario where Ray sends a W-2 form to SWRedLeader55@gmail.com, an email address he has not previously contacted, UEBA could determine that it's not the same person, analyze further using behavioral comparisons and send alerts or take action as necessary.
What about a situation where an employee is emailing confidential information to themselves when they shouldn't (such as someone else's W-2 form, or their own despite company policies prohibiting this)? UEBA can still send alerts which can then result in investigational activity and appropriate discipline as needed, including termination. Making employees aware that this activity is analyzed and monitored can serve as a deterrent and ensure confidential information remains in appropriate hands.
For more security tips and news, subscribe to our Cybersecurity Insider newsletter. Subscribe
Also see:
|
How to protect your company from tax season phishing scams
|
|
HTC VIVE announces price for the VIVE Pro VR headset, opens preorders
|
Building a slide deck, pitch, or presentation? Here are the big takeaways:
HTC has announced its latest VR headset, the VIVE Pro, and has also opened up preorders for the $799 unit.
The HTC VIVE Pro offers 78% increase in resolution over the previous VIVE model and is also capable of wireless connectivity using WiGig technology.
HTC's new flagship VR headset, the VIVE Pro, is now available for preorder for $799.
Included with the new VR headset is a six-month subscription to VIVEPORT, a VR gaming subscription service where subscribers can choose five titles from the service's catalog to rent at any given time. After the trial expires a VIVEPORT subscription will cost $8.99 per month, though purchasing a subscription prior to March 22nd will lock in the current rate of $6.99 per month, which will increase to $8.99 at that point.
Along with the release of the VIVE Pro, HTC is reducing the cost of the currently available VIVE headset to $499, a reduction of $100. Purchasing the currently available VIVE includes a two-month subscription to VIVEPORT and a free copy of Fallout 4 VR.
The VIVE Pro's capabilities
The VIVE Pro will begin shipping on April 5, 2018, and is a considerable upgrade over the previous VIVE model, all without needing much in the way of upgrades to the PC that powers the headset (VIVE units aren't standalone).
The VIVE Pro has dual OLED screens with a resolution of 2880x1600, a 78% increase in resolution over the current generation VIVE. It has a 90 Hz refresh rate and a 110 degree field of view and can be used with the current generation of controllers and base stations.
SEE: New equipment budget policy (Tech Pro Research)
The VIVE Pro VR headset is also WiGig compatible, meaning that users won't need to tether it to a computer or base station, provided they're willing to pay for a separate wireless module, which hasn't been priced or given a release date yet.
HTC VIVE US general manager Daniel O'Brien said that the VIVE Pro is designed to deliver "the best quality display and visual experience to the most discerning VR enthusiasts," as well as offering a premium product to drive adoption of VR technology and products.
Developers interested in becoming a part of HTC's vision for the future of VR can learn more about building applications for the HTC VIVE Pro at the VIVE developer's portal. Like other VR development platforms, VIVE makes use of Unity and the Unreal Engine and a proprietary SDK for building apps.
Learn more about the latest tech trends by subscribing to our Next Big Thing newsletter. Subscribe
Also see
|
www.techrepublic.com
|
2018-03-19 00:00:00
|
The new HTC VIVE Pro will be priced at $799 and can be preordered today for early April shipment. The price of the original VIVE is dropping to $499.
|
https://www.techrepublic.com/article/htc-vive-announces-price-for-the-vive-pro-vr-headset-opens-preorders/
|
Choose a title for text
|
Choose a title for the text below:
{{ text }}
|||
{{ title }}
|
Choose a title for the text below:
Building a slide deck, pitch, or presentation? Here are the big takeaways:
HTC has announced its latest VR headset, the VIVE Pro, and has also opened up preorders for the $799 unit.
The HTC VIVE Pro offers 78% increase in resolution over the previous VIVE model and is also capable of wireless connectivity using WiGig technology.
HTC's new flagship VR headset, the VIVE Pro, is now available for preorder for $799.
Included with the new VR headset is a six-month subscription to VIVEPORT, a VR gaming subscription service where subscribers can choose five titles from the service's catalog to rent at any given time. After the trial expires a VIVEPORT subscription will cost $8.99 per month, though purchasing a subscription prior to March 22nd will lock in the current rate of $6.99 per month, which will increase to $8.99 at that point.
Along with the release of the VIVE Pro, HTC is reducing the cost of the currently available VIVE headset to $499, a reduction of $100. Purchasing the currently available VIVE includes a two-month subscription to VIVEPORT and a free copy of Fallout 4 VR.
The VIVE Pro's capabilities
The VIVE Pro will begin shipping on April 5, 2018, and is a considerable upgrade over the previous VIVE model, all without needing much in the way of upgrades to the PC that powers the headset (VIVE units aren't standalone).
The VIVE Pro has dual OLED screens with a resolution of 2880x1600, a 78% increase in resolution over the current generation VIVE. It has a 90 Hz refresh rate and a 110 degree field of view and can be used with the current generation of controllers and base stations.
SEE: New equipment budget policy (Tech Pro Research)
The VIVE Pro VR headset is also WiGig compatible, meaning that users won't need to tether it to a computer or base station, provided they're willing to pay for a separate wireless module, which hasn't been priced or given a release date yet.
HTC VIVE US general manager Daniel O'Brien said that the VIVE Pro is designed to deliver "the best quality display and visual experience to the most discerning VR enthusiasts," as well as offering a premium product to drive adoption of VR technology and products.
Developers interested in becoming a part of HTC's vision for the future of VR can learn more about building applications for the HTC VIVE Pro at the VIVE developer's portal. Like other VR development platforms, VIVE makes use of Unity and the Unreal Engine and a proprietary SDK for building apps.
Learn more about the latest tech trends by subscribing to our Next Big Thing newsletter. Subscribe
Also see
|
HTC VIVE announces price for the VIVE Pro VR headset, opens preorders
|
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