The festival that Ashland built Essay Example For Students

The festival that Ashland built Essay Business is booming at the Oregon Shakespeare Festival. Is everybody happy? Sort of. Ashland, Oregon sits at the foot of the Siskyou Mountains like a favorite pair of boots at the foot of a bed, 20 miles outside of Medford, a cow patties toss from Interstate 5. The nearest major metropolitan area is Portland, more than 300 miles away, and the nearest professional baseball team resides 400 miles to the south in San Francisco. Certainly there are more convenient places to produce Shakespeare, but none more popular. We will write a custom essay on The festival that Ashland built specifically for you for only $16.38 $13.9/page Order now Back in 1970, 172,334 people made the trip to see the Bard performed under the stars on Oregon Shakespeare Festivals outdoor stage, most of them coming from more than 150 miles away. Then, the town of Ashland was little more than a gas stop buffeted by a couple of restaurantsand modest ones at that. Outside under a gibbous moon in Ashland, seeing Shakespeare was a matter of sweating (if the 100-plus daytime temperature lingered too long) or shivering (when the cold night wind whistled down the mountains and cut through your skin like a lance). City Shakespeare it was not. Nineteen-seventy was also the year the 600-seat Angus Bowmer theatre was christened, paving the way for an entirely new era of theatre in Ashland. Indoors, air-conditioned, versatile and modern, the Angus Bowmer opened with a production of Tom Stoppards Rosencrantz and Guildenstern Are Dead, thus whetting the OSF audiences appetite for new and more challenging non-Shakespearean work. OSF has been growing like a well-tended weed ever since. More than 400,000 people attended the festival last year, bringing close to $68 million in revenue to the tiny town of Ashland. The much-anticipated $7.6-million Allen Pavilion of the outdoor Elizabethan stage was also unveiled last summer, and new artistic director Henry Woronicz took the creative reins from the companys long-time overseer Jerry Turner, who held the position for 21 years. To be sure, the Oregon Shakespeare Festival is poised at the end of one era and the beginning of another, as it was in 1970, and has been many other times in its venerable history. Business is booming, and the popularity of the festival is at an all-time high. But success has come at a price. The economic growth that was so vital and welcome during the 1980s has arguably reached a point of diminishing returns. Because their fates are so symbiotically linked, both OSF and the city of Ashland are discovering that too much of a good thing can be a strain. As OSF has grown, so has the city of Ashland. Once upon a time the venerable Mark Antony Hotel was virtually the only place in Ashland where you could get a room and a meal. Ashland has since swelled to the point where it now has more than 100 restaurants and, according to the most boastful of Chamber of Commerce brochures, the highest number of bed and breakfasts per capita in the nation. So many upscale clothing stores, restaurants, wine shops, boutiques and espresso bars have opened in the last five years that locals euphemistically refer to the phenomenon as the Carmelization of Ashland. Indeed, while many of the 14,000 people who live in Ashland year-round still drive overhauled Volkswagen Beetles, one now finds a conspicuous overrepresentation of Lexuss, Jaguars, BMWs and Mercedes Benzs parked along the main drag during the summer. Predictably enough, real estate in Ashland has also skyrocketed. Land in and around Ashland is now the most expensive in Oregon. Though the relationship between the city and the festival is reportedly very amicable, longtime residents still occasionally wake up bewildered that the festival and its hundreds of thousands of patrons have virtually taken over their town. A sign posted by Citizens for a Poodle-free Ashland in one of Ashlands more renegade countercultural hangouts hints at the tongue-in-cheek tolerance of the locals for the yuppification of their city, but the perception of who actually owns Ashland depends entirely on who you ask. PATRONS OF THE OREGON SHAKESPEARE FESTIVAL tend to think fondly of Ashland as their town, but most of them visit only for four or five days per year, so the feeling isnt necessarily mutual. To the Deadheads and politically correct hippie wannabes who play frisbee in the park and busque for quarters on the streetcorner, the festival itself is viewed as a kind of cultural Disneyland where upper-middle class white people come to have their sense of Western cultural superiority reaffirmed. To the people who descend on Ashland for the ski season after the festival closes on Nov. 1, Ashland is a ski town, period. Festival crowds are something they are happy to avoid. Students of Southern Oregon State College, located a mile outside of Ashland, can hardly wait for festivalgoers to leave so that they can reclaim what they see as their turf. To be sure, Halloween partygoers during the late 1980s bid the festival such an enthusiastic farewell that the police had to intervene. And to the businesspeople who live and work in Ashland, of course, those same festivalgoers are the backbone of their existence, earning them an average of $53,000 per year of the $68 million per anum the audiences unload on the local economy. Indeed, one of the great and mysterious charms of Ashland is how it can possibly be so many things to so many different people. Visitors tend to see in Ashland exactly what they want to see, and the contradictions are staggering. Like so many small American towns that have been discovered by urban professionals looking for a bucolic getaway, the great challenge of the future is whether Ashland can continue to grow and embrace the contradictory forces that sustain it without destroying the very character that makes it such a wonderful place to visit. .ubed583199675af4ae9cd9b7d247f26e1 , .ubed583199675af4ae9cd9b7d247f26e1 .postImageUrl , .ubed583199675af4ae9cd9b7d247f26e1 .centered-text-area { min-height: 80px; position: relative; } .ubed583199675af4ae9cd9b7d247f26e1 , .ubed583199675af4ae9cd9b7d247f26e1:hover , .ubed583199675af4ae9cd9b7d247f26e1:visited , .ubed583199675af4ae9cd9b7d247f26e1:active { border:0!important; } .ubed583199675af4ae9cd9b7d247f26e1 .clearfix:after { content: ""; display: table; clear: both; } .ubed583199675af4ae9cd9b7d247f26e1 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ubed583199675af4ae9cd9b7d247f26e1:active , .ubed583199675af4ae9cd9b7d247f26e1:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ubed583199675af4ae9cd9b7d247f26e1 .centered-text-area { width: 100%; position: relative ; } .ubed583199675af4ae9cd9b7d247f26e1 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ubed583199675af4ae9cd9b7d247f26e1 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ubed583199675af4ae9cd9b7d247f26e1 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ubed583199675af4ae9cd9b7d247f26e1:hover .ctaButton { background-color: #34495E!important; } .ubed583199675af4ae9cd9b7d247f26e1 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ubed583199675af4ae9cd9b7d247f26e1 .ubed583199675af4ae9cd9b7d247f26e1-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ubed583199675af4ae9cd9b7d247f26e1:after { content: ""; display: block; clear: both; } READ: First Act of 'The Crucible' EssayTHE FESTIVAL IS CAUGHT SMACK DAB IN THE MIDDLE of that challenge, and the theatres administration is all too aware of the pitfalls. The new Allen Pavilion was built as much to keep increasing traffic and party noise out as to keep the actors voices in, and the street adjacent to the pavilion is still blocked off during showtime to keep the noise level down. For many years, OSF enticed people to become dues-paying members of the festival by offering preferential treatment on ticket reservations. Now it is impossible for OSF to promise good seats to everybody exactly when they want them because membership has become so popular. Tickets for sh ows in the tiny 140-seat Black Swan theatre are particularly difficult to reserve, with a limit of two per customer, creating what OSF management calls the Black Swan problem, their biggest public relations bugaboo to date. Though staff people say there is still room for the festival to market its shoulder seasons in spring and fall, the festival already plays to 95 percent of capacity and is rapidly reaching the audience saturation point. Those who have been around the festival for a while say that growth has always been a mixed blessing in the festivals 57-year history. And now that the Allen Pavilion has been built and the companys new Portland branch is in full swingPortland Center Stage was launched in 1988 with a five-play October-to-March season and a separate administrative and production staffexecutive director William W. Patton is inclined to think that enough is enough. In fact, he says, Nobody wants to grow any larger than we are now. Our primary concern at the moment is to deepen the artistic integrity of the work. Patton was the festivals first paid employee back in 1953, when fewer than 16,000 people per year made the pilgrimage to Ashland. For him, change has been a constant, and the new multimillion dollar Allen Pavilion is a perfect metaphor for the direction in which he wants the festival to move. The pavilion was built largely to solve problems that had grown along with the city of Ashland itself. Noise from traffic and the park behind the former Elizabethan Theatre had gotten so bad that people sitting in the back third of the theatre could only decipher about half of the words. Actors were forced to shout their lines in order to be heard, straining their voices even in the most intimate scenes, to the point where people up front began complaining that the productions were looking more and more ridiculous. Actors were becoming reluctant to accept parts on the outdoor stage, and many people were beginning to feel that the viability of outdoor Shakespeare in Ashland was being threatened. The idea was to create a sound barrier to the encroaching world outside while simultaneously improving the acoustics and intimacy inside. The futuristic stadiumlike structure wraps around the seating area, and the back third of the seats have been raised into a secondtier balcony, creating an acoustic shell that reflects sound back into the theatre. An entirely new lighting system housed in the perimeter of the shell has quintupled the technical capabilities of the theatre, the stage itself was extended by three-and-a-half feet, and two new vomitorium entrances have doubled the number of entrances and exitsall of which have turned the formerly beleaguered space into a directors playground. Its like a microwave oven, actor Mark Booher tells people on his backstage tours. Now that we have it, we cant remember how we got along without it. In keeping with the festivals current growth-control thinking, no new seats were added when the pavilion was constructed, though it would have been a perfect opportunity to do so. We built this to improve the quality of our productions, not the quantity, reminds Patton, and the pavilion has done just what he and other advocates of the project promised it would. In fact, the acoustics are so good inside the Allen Pavilion that not only can the actors be heard, but so can every cough, sniffle, rustle, slurp, sneeze, whisper and crackle of a cellophane candy wrapper. In the past, nobody cared if people talked to their neighbors or popped cans of soda in the middle of a scene, but veteran Ashland theatregoers now find themselves having to be on their best behavior in these sensitive new surroundings. The problem was so noticeable last year that management is considering banning soft drinks and food in the future to minimize distractions. Except for a few people reluctant to give up their view of mountains silhouetted by stars, reactions to the pavilion during its first year were mostly positive, especially from people who remember how bad the noise problems were getting. Mention the new pavilion in the OSF members lounge and faces beam with enthusiasm. Its wonderful, says Audrey Bernstein, a member from San Diego who has been coming to Ashland for more than 12 years. When you walk in, it just feels more like I imagine things must have felt in Shakespeares day. Its very exciting. The wind doesnt come down the mountain and smack you in the cheek like it used to, either, adds Carol Tomas, another longtime OSF member. But the flipside to added wind protection is that the pavilion traps more heat on sweltering midsummer days, taking longer to cool down at night. THE OVERWHELMINGLY POSITIVE RESPONSE TO THE Allen Pavilion is also good news to fledgling artistic director Henry Woronicz, not only because he was the one who advised the board of directors six years ago to build the structure, but because now that most of the problems associated with the outdoor stage have been solved, Woronicz can turn his attention to other more pressing issues facing him as artistic directornamely the fresh artistic vision he wants to implement. .u5eabfd87a20bd3945ffd6bc8b20958cd , .u5eabfd87a20bd3945ffd6bc8b20958cd .postImageUrl , .u5eabfd87a20bd3945ffd6bc8b20958cd .centered-text-area { min-height: 80px; position: relative; } .u5eabfd87a20bd3945ffd6bc8b20958cd , .u5eabfd87a20bd3945ffd6bc8b20958cd:hover , .u5eabfd87a20bd3945ffd6bc8b20958cd:visited , .u5eabfd87a20bd3945ffd6bc8b20958cd:active { border:0!important; } .u5eabfd87a20bd3945ffd6bc8b20958cd .clearfix:after { content: ""; display: table; clear: both; } .u5eabfd87a20bd3945ffd6bc8b20958cd { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u5eabfd87a20bd3945ffd6bc8b20958cd:active , .u5eabfd87a20bd3945ffd6bc8b20958cd:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u5eabfd87a20bd3945ffd6bc8b20958cd .centered-text-area { width: 100%; position: relative ; } .u5eabfd87a20bd3945ffd6bc8b20958cd .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u5eabfd87a20bd3945ffd6bc8b20958cd .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u5eabfd87a20bd3945ffd6bc8b20958cd .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u5eabfd87a20bd3945ffd6bc8b20958cd:hover .ctaButton { background-color: #34495E!important; } .u5eabfd87a20bd3945ffd6bc8b20958cd .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u5eabfd87a20bd3945ffd6bc8b20958cd .u5eabfd87a20bd3945ffd6bc8b20958cd-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u5eabfd87a20bd3945ffd6bc8b20958cd:after { content: ""; display: block; clear: both; } READ: Henry V Play Review EssayHiring Woronicz to pick up where Jerry Turner left off is considered by many OSF observers to be an extremely conservative move, if only because Woronicz has spent most of his adult life performing Shakespeare. Woronicz has been a beloved member of the acting company in Ashland for years, but some worry that, if he doesnt know anything else, he cant do much more than maintain the status quo. Woronicz himself gets a mischievous twinkle in his eye when the charge of conservativism comes up, because he knows why people say it and isnt very comfortable with the reasons. Woronicz agrees that relatively traditional productions will continue to be staged outdoors under his reign, though he will try to entice more diverse and prestigious directors to Ashland (a record four women directed plays in Ashland last year, and more than 10 percent of the acting company were people of color, a distinct change in the companys cultural diversity over past years). But where Woroniczs artistic touch will be felt most is in the Angus Bowmer and tiny Black Swan theatres. Speculation runs rampant about what exactly Woroniczs vision might look like, but at least a few clues about where he intends to guide OSF can be gleaned from last years program of plays, which he co-produced with Turner, particularly La Bete, the first non-Shakespearean play he chose to direct in his new role as artistic director. La Bete bombed on Broadway in 1991, but Woronicz was attracted to the language of the playwit-laced rhyming couplets mimicking Moliereand thought it would perfectly complement the festivals Shakespeare. He also thought that 32-year-old playwright David Hirson deserved a second chance, and liked the fact that the play took not-so-subtle satirical jabs at the staid arts-patron establishment, including the National Endowment for the Arts and OSFs own loyal but conservative supporters. I was looking for something that would jump out at peoplesomething with a little more bite to it, says Woronicz. On opening night, with Ray Porter playing the lead role of Valere, a bombastic pseudo-genius hired to add some zest to a lackluster 17th-century acting troupe, La Bete received one standing ovation at the end of Valeres monumentally self-absorbed 22-minute opening soliloquy in the middle of the first act, and another at the final curtain. Critics didnt embrace the play as warmly, but critics dont go unscathed in La Bete either. THOUGH DEVELOPMENT OF NEW PLAYS WILL NEVER be a main focus of the festival, Woronicz intends to keep challenging OSF audiences with increasingly adventurous work by up-and-coming playwrights. During the Turner era, OSF audiences were often treated to Turners own translations of his favorite playwrights, Ibsen and Strindberg. Eager to put his own stamp on OSF, Woronicz rattles off names such as Caryl Churchill, Steve Tesich, Steven Dietz and John Guare as examples of the kind of work he wants to produce. Woronicz is all too aware of OSFs lingering national reputation as a place that does safe plays for vacationing, relatively unsophisticated, middle-class audiences, and has made it his personal mission to see that theatre in Ashland gets the respect he thinks it deserves. Its easy for us to get lulled into complacency here, says Woronicz. People will come to whatever we put up, and thats both a blessing and a curse. As artists, we want to take this opportunity to breathe some life into some areas of the operation that may have gotten stale. For a theatre thats arguably the largest regional theatre in the country, with a $12-million budget, a company of 65 actors, four theatres in two cities producing 16 plays a year, we should be able to find some room to support new writers. Keeping his word, Woronicz has made sure that in addition to a full slate of Shakespeare next year, OSF audiences will also have the opportunity to see Caryl Churchills latest play, Mad Forest, written in response to the fall of Romanias Ceausescu regime, as well as Light in the Village by John Clifford, The Baltimore Waltz by Paula Vogel, Tony Kushners adaptation of Corneilles The Illusion, Georges Feydeaus A Flea In Her Ear, and in Portland Lips Together, Teeth Apart by Terrence McNally, and Spunk by George C. Wolfe. The largely white artistic staff will also take a multicultural microstep forward this year when Clinton Turner-Davis, only the second African-American can ever to direct an OSF production, directs August Wilsons Joe Turners Come and Gone. Privately, under his breath, Woronicz also whispers about the possibility of finding a small fourth theatre somewhere in Ashland where his more esoteric side can be indulged. For now, however, his pet solution to the Black Swan problem is to use it as a venue for more experimental, artistically adventurous work, since it will be packed to the gills no matter what goes up, making the popularity factor almost irrelevant. Somewhere between managing, directing, holding hands and sleeping, Woronicz also wants to get back onto Ashlands outdoor stage and have a go at Hamlet once more before he turns 40. Like the festival and the city of Ashland itself, Woronicz is in the midst of a middle-age transition. He has gotten where he is by stretching himself to the limit, as have OSF and Ashland. Ten years from now, neither the festival or Ashland will be same as they are today. Continuous growth has been relatively kind to them in the past, and one can only hope that future change will be managed intelligently to preserve the magic and character of both. As almost half a million people a year can attest, Shakespeare and sage-brush have never gone so well together. With any luck, the Bard will be able to kick his boots off and hang out in the hills of southern Oregon for a long time to come.

Free Essays on Internet Security

, images, sounds, and video. The Internet is continuing to grow at 40% a year, with about 20 million users, mainly in USA, Canada, and Australia, but still many all over the world. You can do many things on the Internet, such as shop for just about anything, bank and manage money, watch and listen to live cable televison and radio broadcasts, talk to other users with voice like a telephone, conduct international meetings, and access all kinds of information on any subject imaginable. As mentioned earlier, the WWW consists of pages and pages of text, images, sounds, and video. Unlike pages in a book, there is no maximum size for a page, and there is HyperText Links. If you click on any one of these links, the computer will automatically go to the page specified by the link. The WWW is programmed in a computer language called Hyper Text Markup Language, or HTML. Searching the Web can be a difficult thing to do, or if you use a search engine, it can be really easy. Since so many new web pages are added to the Web a day, a very good index is hard to keep, and an alphabetical listing of millions of web pages would be almost impossible to navigate through. To help this problem, people developed search engines that search the Web for you. Some search engines, like Yahoo, search in a big web directory they have made of hundreds of thousands of web ... Free Essays on Internet Security Free Essays on Internet Security He doesn't wear a stocking mask over his face, and he doesn't break a window to get into your house. He doesn't hold a gun to your head, nor does he ransack your personal possessions. Just the same he's a thief. Although this thief is one you'll not only never see,but you may not even realize right away that he's robbed you. The thief is a computer hacker and he "enters" your home via your computer, accessing personal information such as credit card numbers which he could then use without your knowledge at least until you get that next credit card statement. RichardBernes, supervisor of the FBI's Hi-Tech squad in San Jose, California, calls the Internet "the unlocked window in cyberspace through which thieves crawl" (Erickson 1). There seems to be an unlimited potential for theft of credit card numbers, bank statements and other financial and personal information transmitted over the Internet. It's hard to imagine that anyone in today's technologically oriented world could function without computers. Personal computers are linked to business computers and financial networks, and all are linked together via the Internet or other networks. More than a hundred million electronic messages travel through cyberspace every day, and every piece of information stored in a computer is vulnerable to attack (Icove-Seger-VonStorch 1). Yesterday's bank robbers have become today's computer hackers. They can walk away from a computer crime with millions of virtual dollars (in the form of information they can use or sell for an enormous profit). Walking away is precisely what they do. The National Computer Crimes Squad estimates that 85-97 % of the time, theft of information from computers is not even detected (Icove-Seger-VonStorch 1). Home computer users are vulnerable, not only for credit card information and login IDs, but also their files, disks, and other computer equipment and dat a, which are subject to attack. Even if this information i... Free Essays on Internet Security The Internet, or ?net, is a vast network of computers that connects many of the world's businesses, institutions, and individuals. The Internet is composed of many parts, including the World Wide Web, FTP, IRC, Newsgroups, Gopher, WAIS, Archie, and of course Electronic Mail (Email). The Internet is mainly used for communication. Email is the most heavily used resource of the Internet- over 40 million email messages are sent through the Internet a day. The second most used resource, called the World Wide Web, or WWW, consists of pages of words, images, sounds, and video. The Internet is continuing to grow at 40% a year, with about 20 million users, mainly in USA, Canada, and Australia, but still many all over the world. You can do many things on the Internet, such as shop for just about anything, bank and manage money, watch and listen to live cable televison and radio broadcasts, talk to other users with voice like a telephone, conduct international meetings, and access all kinds of information on any subject imaginable. As mentioned earlier, the WWW consists of pages and pages of text, images, sounds, and video. Unlike pages in a book, there is no maximum size for a page, and there is HyperText Links. If you click on any one of these links, the computer will automatically go to the page specified by the link. The WWW is programmed in a computer language called Hyper Text Markup Language, or HTML. Searching the Web can be a difficult thing to do, or if you use a search engine, it can be really easy. Since so many new web pages are added to the Web a day, a very good index is hard to keep, and an alphabetical listing of millions of web pages would be almost impossible to navigate through. To help this problem, people developed search engines that search the Web for you. Some search engines, like Yahoo, search in a big web directory they have made of hundreds of thousands of web ... Free Essays on Internet Security Internet security in one of the hottest topics in the e-commerce industry today. Industry experts predict security issues on the Internet are the primary reasons many companies and consumers are hesitant to do business online. The Internet is a large-scale network of systems that is highly unbounded. This means it has no system of administrative control and no security policies. If there are security policies or laws they constantly need to be altered because of the changing technology. You are always up for an attack or an intrusion of your own privacy. Survivability is the key. Just the simple task of checking email, browsing, chatrooms, or even shopping can be harmful. You can be safe in this environment but you must always be on the alert for problems. Three kinds of Internet security issues that are the topic of conversation; Unauthorized access, back doors and loopholes and, the potential threat of confidential information sent over the internet can be viewed (Scott, 1998). There are several ways you can become a victim of these issues. Email, browsing, shopping or banking and chat rooms are a potential threat for your security. Email can be a type of security issue. America Online, Inc. was forced to admit that hackers had accessed member accounts recently through an email virus. Sending and receiving email from unknown people can cause a hazard. You can make common mistakes by revealing your identity from digital signatures and sending personal pictures of yourself. Although, it is highly unlikely for someone to capture your mail while it is in route to its destination, you should always think about whom you are sending this mail to. Encrypting also is a valuable key is you are mailing confidential information. Mostly email comes from a person or a group listed in the email. Sometimes people deliberately provide the wrong information in the listing. A security conscious user last year noticed five new email me...