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Space shuttle Atlantis 'go' for public viewing
CAPE CANAVERAL, Fla. - The last space shuttle to soar makes its museum debut this weekend, and it's the belle of NASA's retirement ball.
The Atlantis exhibit opens to the public Saturday at Kennedy Space Center, the centerpiece of a $100 million attraction dedicated to the entire 30-year shuttle program.
For the first time ever, ordinary Earthlings get to see a space shuttle in a pose previously beheld only by a select few astronauts.
Tilted at a deliberate angle of 43.21 degrees - as in 4-3-2-1, liftoff - Atlantis is raised in feigned flight with its payload bay doors wide open and a replicated robot arm outstretched.
Toss in a life-size replica of the Hubble Space Telescope and astronaut-captured images of the International Space Station beamed on the wall, and the impact is out-of-this-world.
More than 40 astronauts who flew on Atlantis planned to take part in Saturday's grand opening at the visitor complex, a popular tourist attraction an hour's drive due east of Orlando.
Retired astronaut Bob Springer got a sneak preview last week and liked what he saw. He rode Atlantis into orbit in 1990 - one of its 33 missions from 1985 to 2011.
"It's awesome what they've been able to do," Springer said.
So many museum displays are static and cold, he noted.
"This is exactly the opposite. It's like seeing a wild animal in its native habitat. It really looks like you're looking at Atlantis from an astronaut's vantage point in space."
Only a small group of astronauts have seen Atlantis like this in orbit - those out on a spacewalk or those aboard a space station watching Atlantis come and go.
It makes this perspective - in flight in orbit - all the more riveting.
A family visiting from Karlskrona, Sweden, lucked out last week, among a limited number of tourists granted early access as part of a trial run for the exhibit.
"Amazing," said Peter Trossing, accompanied by his wife and two young daughters.
"Pretty cool," added Cincinnati's Amanda Cook as her two sons tried out the space station toilet display. Children lined up to pose for pictures on the space potty mock-up.
Another hands-on draw for the younger set: two main landing gear tires used on Atlantis' final touchdown on July 21, 2011. One after another, children spun the tires, which were mounted on a low pedestal.
Retired for two years, Atlantis is the last of NASA's three space shuttles to go on public display.
Discovery is parked at a Smithsonian Institution hangar in Chantilly, Va. Endeavour is also horizontal at the California Science Center in Los Angeles; it will be displayed upright in launch position once its permanent exhibition hall is completed in 2018.
And the prototype Enterprise rests atop the Intrepid Sea, Air and Space Museum in New York City. The exhibit was closed following damage caused by Superstorm Sandy last fall; the new pavilion opens in two weeks.
Unlike its sister ships, the 155,000-pound Atlantis - tilting to the port, or left, side - has its nose 30 feet off the floor, its right wing 62 feet up and its left wing 7 feet up. Visitors can walk underneath and gaze up at its belly and the thousands of thermal tiles, and all the way around.
Towering over the outside entrance is a full-scale model of a shuttle external fuel tank paired with two booster rockets, 184 feet tall just like for launch. Inside are an authentic shuttle main engine (the three engines on Atlantis are facsimiles), astronauts' spacewalking tools, the so-called beanie cap that covered the tops of space shuttles on the launch pad, as well as numerous interactive exhibits showcasing the phases of flight.
The display does not ignore the NASA's two lost shuttles - Challenger, destroyed during liftoff in 1986, and Columbia, shattered during descent in 2003. In fact, the short movie viewed before entering the Atlantis gallery pays special homage to NASA's first shuttle flight, by Columbia, in 1981.
The so-called "reveal theater" ends with Atlantis appearing right before the guests.
"You want an emotional connection and you want that wow factor, and it delivers on both of those," said Tim Macy, director of project development and construction for Delaware North Co., which operates Kennedy's visitor complex for NASA.
Delaware North nabbed Atlantis in a high-stakes national competition two years ago. Kennedy was considered a shoo-in by many, given all 135 shuttle flights began here and most ended here as well.
A six-story structure was built to accommodate Atlantis. The fourth and final wall was erected once the shuttle was towed inside last November.
"It's a doggone big building, and it really tells the shuttle story in an amazing way," said William Moore, chief operating officer of the visitor complex.
Delaware North hopes to recoup some of its $100 million outlay through increased ticket sales. The Atlantis exhibit is included in the ticket price for the visitor center: $50 for adults; $40 for children ages 3-11.
Kennedy Space Center Visitor Complex: http://www.kennedyspacecenter.com/


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Electronics repair experts iFixit spared no time in getting Apple's latest 13-inch Retina MacBook Pro under the knife, tearing down the new laptop to bare aluminum. Inside is an architecture very similar to the 15-inch MacBook Pro, with a few key differences.
Like its larger 15-inch sibling, the 13-inch Retina MacBook Pro ditches the optical drive, spinning hard disks, and FireWire ports. It also relies on Apple's custom SSD modules (though at least one third-party is making alternatives), soldered-in RAM, Intel's mobile Ivy Bridge processors, and a unique asymmetrical fan design for quieter cooling.
However, the laptop's smaller design required a few more design compromises. For instance, the 8GB of soldered RAM is the only option; unlike the 15-inch model, there doesn't appear to be room on the logic board to solder on an additional 8GB. There's no discrete graphics chip, either. We'll definitely look into the performance more once we have a sample to review, but we suspect these limitations could push some potential users up to the 15-inch model.
The 13-inch Retina MacBook Pro uses an asymmetrical lithium-ion cell configuration for its battery. Two of the cells are easily removed with screws, though the remaining four are glued to the aluminum unibody shell, just like the 15-inch model. iFixit's Miro Djuric told Ars that the adhesive does seem slightly easier to work with in comparison to the strong adhesive on the 15-inch model.
In an interesting move, the battery on the 13-inch machine is not glued over the trackpad assembly, which makes it fairly easy to access and replace. Instead, Apple tucked the SSD module underneath the trackpad, connecting to the logic board with a ribbon cable.
However, the space underneath the trackpad is large enough to hold a slim 2.5-inch form factor drive. Djuric noted that a 9.5mm SSD didn't quit fit, but "only by a smidge." A 7mm or 5mm drive could fit, though it would require a custom cable to connect to the logic board's SATA port. Still, such a solution may offer potentially less expensive SSD replacements.
Unsurprisingly, iFixit gave the 13-inch Retina MacBook Pro a 2/10 score for repairability. The drive module and trackpad are easier to replace, and the battery is "slightly" easier to work with, giving it a one point advantage over the 15-inch Retina MacBook Pro. However, everything is tucked inside with Apple's pentalobe screws, RAM is impossible to upgrade or replace, and the fused Retina display module is a pricey, integrated unit.
Listing image by iFixit

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NCSA Call For Papers
31st Annual Conference of the Nineteenth Century Studies Association
The University of Tampa, March 11-13, 2010, Tampa, Florida
Theatricality and the Performative in the Long Nineteenth Century
Dramatic expression and self-conscious performances marked almost every aspect of nineteenth century life and artistic culture, as theatrical turns and performative mindsets introduced in the 17th-18th centuries expanded in the 1780s through the beginning of World War One. We invite paper and panel proposals that explore these themes and subjects in the long Nineteenth Century (1780-1914). Papers might address the theatrical shows—whether serious drama, circus displays, vaudeville, operas, or Shakespearean revivals—that appeared in cities and towns on both sides of the Atlantic (as well as in more distant lands). Or they might investigate how politics, social events, military engagements, domestic affairs, public trials, crime reports, religious rituals, architectural spaces, sculptural moments, exhibition halls, artistic and musical compositions, and the early moving pictures of the cinema, assumed a theatrical sensibility. Welcome also are proposals for papers and panels that bring scholarly and theoretical interests in performativity to bear on concepts of identity, individuality, and audience in the given era.
Please submit abstracts of approximately 500 words along with a brief (one page) c.v. to the Program Co-Chairs, Janice Simon (U of Georgia) and Regina Hewitt (U of South Florida) at the conference address firstname.lastname@example.com by Sept. 15, 2009. Speakers will be notified by or before Dec. 15.
Any graduate student whose proposal is accepted may at that point submit a full-length version of the paper in competition for a travel grant to help cover transportation and lodging expenses.
Conference sessions will be held at the University of Tampa, a campus with both the historic late-19th century Plant Hall (formerly the Tampa Bay Hotel) and a state-of-the-art conference center. Accommodations will be available at the Hyatt Regency in downtown Tampa, a short walk from campus. For further information—available in midsummer—please visit the NCSA website http://www.english.uwosh.edu/roth/ncsa/ or contact Elizabeth Winston, Local Arrangements Director (U of Tampa), at the conference address email@example.com.


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MTV is airing a special with profiles of three young people who have the HIV infection, amid worries that some people are taking the condition too casually.
The special, "I'm Positive," will air Saturday, Dec. 1. Drew Pinsky, who is one of the show's producers, said that if it does well, he hopes it can become a regular series.
In three decades, infection with the virus that causes AIDS has gone from a virtual death sentence to a chronic condition that can be controlled with early detection and a drug regimen. But even if it doesn't develop into full-blown AIDS, there's still some doubt about the long-term health implications of living with HIV and the drugs designed to keep control of it, Pinsky said.
"People are taking it too casually … and forgetting about it," Pinsky said.
A generational divide is evident in the profiles on "I'm Positive." California girl Kelly, one of the three subjects, feels in control of the situation despite her infection. The mother of Stephanie, a single Southern girl infected through one instance of unprotected sex, is distraught and thinks her daughter is about to die.
The third profile subject, Otis, had a hard time telling his family that he was HIV positive since it was only a year earlier that he revealed he was gay.
As proven by its programming on teenage pregnancy, MTV finds that this documentary-style programming is a good way to reach its young viewers with a message.
"Young people relate when they see their peers struggling with this phenomenon," Pinsky said.
MTV began running "safe sex" campaigns in 1985, and has been encouraging youngsters to get themselves tested for 15 years in an effort funded together with the Kaiser Family Foundation.
Two in five people infected with HIV each year in the United States are between the ages of 13 and 29, MTV's targeted audience. More than 1.1 million Americans are living with HIV infection, according to the Centers for Disease Control.
What: "I'm Positive"
When: 6 p.m. Saturday, Dec. 1
Where: MTV


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The most immediate reason that brings all of us into genealogy is, of course, a desire to learn more about our own families. Even professional genealogists like myself started by researching our own families. I had been researching my own family history off and on for almost twenty years, and intensively for almost ten years, before I even considered becoming a professional.
Before I come back to this, I would like to recommend a website I recently discovered: "1698 Southold LI Census: A Study of Identities, Town of Southold, Suffolk County, Long Island, New York," by Norris M. Taylor, Jr.
On this website, Mr. Taylor has started with a single record set at the core, the 1698 census of Southold, New York, and explored the community represented within these records by comparing the information with that held by other contemporary records. In conducting this intensive research, and compiling this information, Mr. Taylor has succeeded in two accomplishments. First, he has created a resource that anyone with roots in 1698 Southold (including this author) can use with their own research. Second, and more importantly, Mr. Taylor has combined the methods of genealogical research with the methods of historical research, and produced a deep exploration of an entire community.
I conducted a similar project several years ago, using a community of Palatine Germans who settled in Schoharie County, New York in the early 18th century–a community of which quite a few of my direct ancestors (and of course their families) were a part. My project has unfortunately had to sit on the shelf for a few years as other opportunities have come up, and limitations in my access to certain records have crept in.
However, I am currently about four years into a separate project, one where the access to records is much better, exploring a community of slaves and slave owners in Prince George's County, Maryland. The fruits of this project will hopefully begin to see the light of day over the next several months.
I would like to ask other researchers: do you have a genealogy project?
Even as we explore our own direct ancestors, we must remember that these individuals did not live on islands by themselves. They were parts of communities. By fully exploring the family and other relationships within a single community, we are able to gain insight into that community, and our ancestor's relative place within it. But more importantly, it is through broad community projects of this nature that we are able to break down even the toughest brick walls.
It is not at all uncommon to find exactly this type of community work in historical literature. Academic history, however, is interested more in generalities than in specific individuals, so the relationships are not often the focus. Just a few of hundreds of articles that I have collected over the years:
- Thomas, William G., III, and Edward L. Ayers. "An Overview: The Differences Slavery Made: A Close Analysis of Two American Communities." The American Historical Review, Vol. 108 (2003), pp. 1299-1307.
- Kenzer, Robert C. "The Black Businessman in the Postwar South: North Carolina, 1865-1880." The Business History Review, Vol. 63 (1989), pp. 61-87.
- Cody, Cheryll Ann. "Kin and Community among the Good Hope People after Emancipation." Ethnohistory, Vol. 41 (1993), pp. 25-72.
- Steffen, Charles G. "The Rise of the Independent Merchant in the Chesapeake: Baltimore County, 1660-1769." The Journal of American History, Vol. 76 (1989), pp. 9-33.
- Baptist, Edward E. "The Migration of Planters to Antebellum Florida: Kinship and Power." The Journal of Southern History, Vol. 62 (1996), pp. 527-554
Each of these journal articles is extremely useful contextual information for those who have ancestry within these geographic or demographic areas.
The difference between these projects and those that I would recommend genealogists conduct are several. Many of these historical works will focus only on a single record set or a limited number of additional records, but fail to explore other record groups. In other words, they fail to meet the Genealogical Proof Standard, in many cases. The historians have not completed a "reasonably exhaustive search" for all relevant records, not evaluated and correlated the evidence, and not reconciled contradictory evidence. This certainly limits the reliability of their conclusions with regard to individual family relationships. They can be excused because these individual relationships are not usually the focus of their research. For genealogists, these relationships would be the focus.
Here are some links to other broad genealogical projects I have come across over the years:
- 1790 Census: Slave Holders, Other Free Persons and Slaves – Cheshire County – New Hampshire
- African-Americans to Liberia, 1820-1904
- Black Loyalist ("is a repository of historical data about the African American loyalist refugees who left New York between April and November 1783 and whose names are recorded in the Book of Negroes.")
- The Valley of the Shadow: Two Communities in the American Civil War


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Who wrote at a higher level, Ronald Reagan or Abraham Lincoln? Check the results of a survey that calculated their grade levels using the readability statistics on Microsoft Word in this special encore presentation of last year's Presidents' Day post
Need a reason to feel good about the direction our country is taking on Presidents' Day? Try this: George W. Bush can write at a higher level than Thomas Jefferson.
Not long ago, I found that novelist Mitch Albom writes at a third-grade level when I typed part of For One More Day into my computer, then ran the Microsoft Word spell-checker www.oneminutebookreviews.wordpress.com/2006/11/16/. When you do this, you see the Flesch-Kincaid grade level at the bottom of the column of numbers that appears on your screen. (If you don't see the grade level, search Microsoft Word Help for "Readability Statistics," then select "Display Readability Statistics," which will tell you how to make them appear.)
So I wondered: Could any of our presidents write at a higher level than a No. 1 best-selling novelist? I used Microsoft Word to calculate the reading levels of the presidents' books, if these were easily available, and their best-known speeches if not. Here are the results:
John F. Kennedy, Profiles in Courage Grade 12
Jimmy Carter, Palestine: Peace, Not Apartheid Grade 12
Franklin D. Roosevelt, "Four Freedoms" Speech Grade 11.2
Ronald Reagan, An American Life Grade 11.1
Dwight Eisenhower, Crusade in Europe Grade 11.1
Abraham Lincoln, Gettysburg Address Grade 10.9
George W. Bush, A Charge to Keep Grade 10.8
Bill Clinton, My Life Grade 8.2
Gerald Ford, A Time to Heal Grade 8.1
Lyndon B. Johnson "Why Are We in Vietnam?" Speech Grade 7.3
Thomas Jefferson, Letter to Abigail Adams,
July 1, 1787 Grade 5.3
I entered 305 words from each book, beginning on page 24, because the first chapter of a book often doesn't represent the whole. A typical book chapter has about 20 pages, so I started on page 24. And because a paragraph or two may not represent the whole, either, I entered 305 words, or more than a page, which usually has about 250–300 words. When I used a speech, I entered the whole speech.
This survey showed that George Bush wrote in A Charge to Keep – what, you've forgotten it? — at a higher level than Thomas Jefferson did in a letter to Abigail Adams, wife of John Adams. Bush also wrote at higher level than Bill Clinton did in My Life and LBJ did in his "Why Are We in Vietnam?" speech at Johns Hopkins University. But Jefferson comes out ahead if you give him credit for writing the Declaration if Independence single-handledly. It's written at the level of Grade 12.
© 2008 Janice Harayda. All rights reserved.