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310-560 - Sun Certified Engineer for Sun One Directory Server 5.x - Dump Information

Vendor : SUN
Exam Code : 310-560
Exam Name : Sun Certified Engineer for Sun One Directory Server 5.x
Questions and Answers : 173 Q & A
Updated On : June 23, 2017
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310-560 Questions and Answers


should be in the blank following X-ORIGIN to accomplish this?

  1. 'custom'

  2. 'user defined'

  3. 'Siroe defined'

  4. 'Sun ONE Directory Server'


F. <?xml version="1.0" encoding="UTF-8"?>

Answer: B


Which script do you use to initialize a server database from an LDIF file?

  1. db2ldif

  2. ldif2db

  3. ldif2rep

  4. db2ldap

  5. ldif2ldap

Answer: B


You are using the db2bak command to back up the Sun ONE Directory Server database. Which two items are not backed up by this command and must therefore be included as part of a normal file system backup? (Choose two.)

  1. transaction log

  2. cn=config suffix

  3. cn=schema suffix

  4. userRoot database

  5. o=NetscapeRoot suffix Answer: B, C QUESTION: 164

Which two operational size parameters can be specified by an LDAP client application? (Choose two.)

  1. size limit

  2. time limit

  3. idle time out

  4. look through limit

Answer: A, B


You have an LDIF file that contains data that you want to use to overwrite the existing database

data. Which three import methods can be used to do this? (Choose three.)

  1. use the ldif2db command line script

  2. use the ldif2ldap command line script

  3. use the command line script

  4. use the Sun ONE Directory Server Console to perform an export database

  5. use the Sun ONE Directory Server Console to perform an Initialize Database

Answer: A, C, E


Which command should be run before installing Sun ONE Directory Server 5.x?

  1. iostat

  2. vmstat

  3. modrate

  4. profmon

  5. idsktune

Answer: E


What can you do that might improve search performance? (Choose three.)

  1. increase the nsIdleTimeOut value

  2. add new indexes for non-indexed searches

  3. increase the number of threads on the server

  4. increase the all IDs threshold and re-index the database

  5. increase the all IDs threshold without re-indexing the database

Answer: B, C, D


You need to manually create an ACI for all users in the Marketing subtree of dc=Siroe,dc=com

that targets the password (userPassword) attribute. Which portion of the LDIF ACI correctly specifies these entries and the attribute?

  1. (targetattr="ldap:///userPassword,ou=Marketing,dc=Siroe,dc=com")

  2. (target="ldap:///ou=Marketing,dc=Siroe,dc=com") (attribute="userPassword")

  3. (target="ldap:///ou=Marketing,dc=Siroe,dc=com") (targetattr="userPassword")

  4. (targetfilter="ldap:///ou=Marketing,dc=Siroe,dc=com") (targetattrfilters="userPassword")

Answer: C


On which two server types can a replication agreement be configured? (Choose two.)

  1. supplier server

  2. multimaster server

  3. dedicated consumer server

  4. Sun ONE Directory Proxy Server

Answer: A, B


Which replication agreement is correct for the information shown in the worksheet below?

  1. dn: cn=SiroeChocRoot ATL-M1 to ATL-M2,cn=replica,cn="dc=siroechocroot", cn=mapping tree,cn=config

    objectclass: top

    objectclass: nsDS5ReplicationAgreement cn: SiroeChocRoot ATL-M1 to ATL-M2

    description: Atlanta M1 to M2 for SiroeChocRoot nsDS5ReplicaRoot: dc=siroechocroot

    nsDS5ReplicaHost: nsDS5ReplicaPort: 10012

    nsDS5ReplicaBindDN: cn=RepManager nsDS5ReplicaCredentials: netscape

    nsDS5ReplicaBindMethod: SIMPLE

  2. dn: cn=SiroeChocRoot ATL-M1 to ATL-M2,cn=replica,cn="dc=siroechoc,dc=com",

    cn=mapping tree, cn=config objectclass: top

    objectclass: nsDS5ReplicationAgreement cn: SiroeChocRoot ATL-M2 to ATL-M1

    description: Atlanta M2 to M1 for SiroeChocRoot nsDS5ReplicaRoot: dc=siroechoc,dc=com

    nsDS5ReplicaHost: nsDS5ReplicaPort: 10011 nsDS5ReplicaBindDN: cn=RepManager,cn=config nsDS5ReplicaCredentials: netscape nsDS5ReplicaBindMethod: ALWAYS

  3. dn: cn=SiroeChocRoot ATL-M1 to ATL-M2,cn=replica,cn="dc=siroechoc,dc=com",

    cn=mapping tree, cn=config objectclass: top

    objectclass: nsDS5ReplicationAgreement cn: SiroeChocRoot ATL-M1 to ATL-M2

    description: Atlanta M1 to M2 for SiroeChocRoot nsDS5ReplicaRoot: dc=siroechoc,dc=com

    nsDS5ReplicaHost: nsDS5ReplicaPort: 10011

    nsDS5ReplicaBindDN: cn=Replication Manager,cn=config nsDS5ReplicaCredentials: netscape

    nsDS5ReplicaBindMethod: SIMPLE

  4. dn: cn=SiroeChocRoot ATL-M1 to ATL-M2,cn=replica,cn="dc=siroechoc,dc=com",

cn=mapping tree, cn=config objectclass: top

objectclass: nsDS5ReplicationAgreement cn: SiroeChocRoot ATL-M1 to ATL-M2

description: Atlanta M1 to M2 for SiroeChocRoot nsDS5ReplicaRoot: dc=siroechoc,dc=com

nsDS5ReplicaHost: nsDS5ReplicaPort: 10012

nsDS5ReplicaBindDN: cn=Replication Manager,cn=config nsDS5ReplicaCredentials: netscape

nsDS5ReplicaBindMethod: SIMPLE

Answer: D


Which file automatically gets updated by the server when ldapmodify or Sun ONE Console is used to update the schema?

  1. the 00sch.ldif file

  2. the 99user.ldif file

  3. a custom schema file

  4. the X-ORIGIN portion of the dse.ldif file

Answer: B


Which statement is not true when tuning cache sizes for optimum performance?

  1. Optimally, both entry and database cache hit ratios should be above 95 percent.

  2. The total of the database and entry cache sizes can exceed the available physical memory without any negative effect.

  3. If choosing between allocating memory to the database or entry caches, preference should be given to the database cache.

  4. Both the database cache and entry cache are assigned by setting the amount of memory you want them to consume.

Answer: B


Which branching strategy does the exhibit best represent?

  1. X.560

  2. hosting

  3. multiple databases

  4. ease of administration

  5. access control or replication

Answer: B

SUN 310-560 Exam (Sun Certified Engineer for Sun One Directory Server 5.x) Detailed Information

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Performers Go It Alone and Like It That Way

Michael Raynor in "Who Is Floyd Stearn?"

Michael Raynor moves with the balletic grace and cocksure athleticism of a former pickup basketball player and street fighter. He simulates dribbling a ball between his legs with the adeptness of the highly recruited hoops star he once was, then he assumes his grandfather's boxer's crouch, takes on the gravelly voice of the onetime Louis Lepke associate and throws the jab. Effortlessly, Raynor switches time periods and voices, at one moment playing his sassy mother with her elbow against her rib, her wrist bent, and then his grandmother, with her stooped posture and her Old World idiosyncrasies.

In "Who Is Floyd Stearn?" playing at the Sidewalk Studio Theater in Toluca Lake, Raynor goes on a Rashomon-like search for the essence of his father, who left the family when the actor was a little boy. Was his father a deadbeat dad? A mentally ill genius? A con man?

The rugged-looking actor's only props are a chair and a black-and-white photograph of his father with his arm around him as Raynor, the little boy, plays a guitar. Raynor speaks with the sing-song patter of the New York City streets. He is a Jewish man who hails from an older tradition -- the Jews of the first half of the last century: tough Jews, who dominated sports like boxing and basketball and served disproportionately in the first two World Wars and in the ranks of gangsters. But he also has a vulnerability mixed in with that toughness, like John Garfield, to whom he has been compared.

Despite courageous performances by actors like Raynor, solo-show performers have been lampooned often by the likes of Martin Short and mocked by many as self-absorbed narcissists, bent on exploring their own navels rather than advancing the art form of the theater. Nonetheless, one-person shows continue to proliferate and provide performers with a unique outlet for meta-theatrical expression.

Stacie Chaiken, who runs a solo workshop in Santa Monica, says the medium is "a way for actors to take control of their destiny," but she also admits, these shows are "cheap to produce. It's very easy for a one-person show to travel around."

There are some big-name Jewish performers like Billy Crystal, who recently toured with his Tony-winning homage to his father, "700 Sundays," and Eve Ensler, creator of the "Vagina Monologues." But in recent months, many L.A. theaters have produced one-person shows featuring lesser-known Jewish talent, such as Judi Lee Brandwein, star of "Fornicationally Challenged," which played at the Hudson Guild and is moving to New York; Linda Lichtman, whose one-person show, "The Bride Can't Stop Coughing" is playing at the Actors Playpen; and Carla Zilbersmith, a singer and actress who revisits her days on the wedding circuit in "Wedding Singer Blues."

While each show follows its own trajectory, Chaiken points out that many Jewish-themed plays explore the issue of legacy. These performers describe conflicted feelings about their parents and the aspirations held out for them. As clichéd as such scenarios may seem, they speak to the pain and humor of family, a commonality that usually resonates with audiences.

Zilbersmith, who has a music degree from the New England Conservatory of Music and a theater degree from NYU, cites the lineage of the art form: "The ancient conversation we call theater has always contained some form of solo performance, and I would argue that the most successful solo pieces acknowledge these theatrical roots."

Those roots surely include King David, who soothed Saul by singing and playing the harp or lyre, troubadours during the Middle Ages who wandered from town to town and entertained crowds, and, in the past century, Lord Buckley, the now-forgotten, Beat-era monologist who started out in vaudeville and later told tales in a bebop idiom that centered on historical and biblical characters like "the Nazz," a jive take on Jesus. Buckley's influence could be seen in the work of Lenny Bruce and Bob Dylan, the latter a modern-day Jewish troubadour, who cites Buckley in his recent "Chronicles, Vol. 1."

Notable works in the field include, of course, Hal Holbrook's Mark Twain in "Mark Twain Tonight!" and Julie Harris' Emily Dickinson in "The Belle of Amherst," formal one-person shows about external subjects. In the past 15 years or so, as memoirs, particularly those of addiction and recovery, have staked out a dominant place on the bookshelf, solo shows too have become much more personal, including the work of performance artists and monologists.

Chaiken, who teaches acting and solo performance at USC and who studied with Spalding Gray at the Performance Group in New York, credits Gray with formulating "a me that was very close to the me that was him," and ushering in a new sensibility for monologists.

Fred Johntz has partnered with Mark Travis for seven years in writing and directing numerous one-person shows, including "Fornicationally Challenged." Johntz says that performance art by L.A. performance artists such as John Fleck (whose work was denied NEA grants due to its provocative subject matter) and Sandra Tsing Loh are "pretty much in the same vein" as the one-person shows he directs.

The trend in self-involved storytelling, which may have reached its apotheosis in the blog phenomenon, has also led to the dissemination of many factual errors and even hoaxes. Likewise, one-person shows and their variants often could benefit from editing. Many suffer from poor storytelling if not outright posing.

Not surprisingly, there have been parodies even in one-person shows. In "Wedding Singer Blues," Zilbersmith at one point portrays a performance artist as a brain-dead, pot-headed character who spins naked on a rotating East Village stage.

Women have been among the pioneers in this avant-garde art form. Anna Deveare Smith used journalistic techniques for her solo gigs. In the aftermath of the 1991 Crown Heights riots in Brooklyn and the 1992 Rodney King riots here in Los Angeles, she took to the streets with a tape recorder in hand and captured the colloquialisms that would later inform her award-winning performances in "Fires in the Mirror" and "Twilight: Los Angeles 1992," respectively.

Most one-woman shows, however, favor sexual politics over political or racial issues.

Lichtman regales us with stories of her liaisons with younger men in "The Bride Can't Stop Coughing" -- a brave performance, not least because she is in her 60s. She invokes Jewish icons like the Dodgers of the 1950s, intersperses her act with Yiddish expressions and speaks in characteristically Jewish syntax when she utters lines like, "Lucky, I didn't set myself on fire."

Are Jews particularly well-suited to one-person shows?

Zilbersmith, starring in "Wedding Singer Blues," now playing at the Coronet Theater, says that while she has a variety of students at the College of Marin in the Bay Area, where she teaches solo performance, those who tend to focus on writing and storytelling are Jewish. But she also notes the strong oral traditions of African Americans and the Irish; she says that most of her friends who are solo performers are African American.

One of Chaiken's students, Frankie Colmane, wrote and acted in "Body and Soul," a one-person show about her experience as a French Algerian Jew living in America. With immigration a searing topic both in this country and in France, Colmane's show, which moved on to the Edge of the World Theater Festival in downtown Los Angeles, transcends Jewishness and speaks to all audiences. Of course, it also speaks to her.

As Chaiken says, "We're all very interested in ourselves."

"The Bride Can't Stop Coughing" plays Mondays, 8 p.m., through July 31 at the Actors Playpen, 1514 N. Gardner St., Hollywood, (310) 560-6063 or (310) 582-0025.

"Cheerios in My Underwear" plays July 30, 3 p.m. and on selected Sundays, once a month, at the Empty Stage Theater, 2372 Veteran Ave., West Los Angeles, (310) 308-0947.

"Wedding Singer Blues" plays Thurs.-Sat., 8 p.m., Sun. 3 p.m., through July 16, at the Coronet Theater, 366 N. La Cienega Blvd., West Hollywood, (310) 657-7377.

"What's the Story?" a series of new works-in-progress, plays July 10 and on selected Mondays, once a month, at the Powerhouse Theater, 3116 Second St., Santa Monica, (310) 450-1312.

"Who Is Floyd Stearn?" plays Thursdays, 8 p.m., at the Sidewalk Studio Theater, 4150 Riverside Dr., Toluca Lake, (323) 960-1052, (818) 558-5702.

"Zero Hour" opens July 7, plays Fri.-Sat., 8 p.m., Sun. 2 p.m. and 7 p.m., through Aug. 13, at the Egyptian Arena Theater, 1625 N. Las Palmas Ave., Hollywood, (323) 860-6620. Special gala dinner and performance on Sunday, July 9, honoring West Coast Jewish Theater founder Naomi Jacobs.


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In the desert, an oasis for partygoers

THINK the Coachella Valley Music & Arts Festival is all about roughing it? Think again.

While many old-school Coachella boosters camp on-site in tents, a growing gaggle of the festival's fans are heading off to splashy $2,000-a-night house rentals and swank parties.

In fact, an entire ancillary scene has developed in the Coachella Valley over the last five years, with many Angelenos making the trek to the desert exclusively for parties only loosely connected with the main event.

Among the myriad choices this year: a GQ magazine happening at the Viceroy featuring DJ Paul Sevigny; a T-Mobile soiree in an airplane hangar; Anthem magazine's annual pool party; Tokio bar owner Danny B's after-hours Saturday night shindig with DJ Dave Dresden; Filter magazine's annual kickoff event tonight; Spin magazine's party Friday with Perry Farrell; Dim Mak's Sunday afternoon blowout; and perhaps the festival's most-buzzed-about (invitation-only) bash, BPM magazineParamount's the Smurf Village (celebrating the 50th anniversary of the cartoon).

"Every year, there are great parties going on around the festival," BPM vice president of marketing Matt Colon says. "As soon as word got out about our event, the response has been overwhelming."

But Smurf Village is hardly the only party for those seeking respite from the heat (not to mention the $7 beers inside the festival grounds).

"This is actually the first year that we've hired some private security just in case things get out of hand," says Anthem publisher Andreas Herr. Anthem has thrown pool parties during Coachella for the last three years, catering to many who skip the festival entirely.

"A majority of our guests come from L.A. due to the close proximity," Herr says, "but a lot are from major markets across the U.S. as well."

Companies such as T-Mobile, Adidas and the Gap (sponsoring the GQ bash) are keen to throw lavish events for the festival's prized demographic.

"This is where trends start," says Peter Hunsinger, vice president and publisher of GQ. "The people who come to Coachella go home and influence all their peers and friends and work associates and family. They become the agents of change that every client wants to make a part of their marketing outreach. If you are not here, you are not there."

Adds Tashion Macon, a senior promotions manager for T-Mobile: "We found that Coachella really works when it comes to targeting the young and social consumer."

So what can "young and social" types lucky enough to wrangle up an invite to T-Mobile's bash expect?

For starters, an open bar all night. Factor in DJ sets from Steve Aoki and a crush of celebs like Carmen Electra, and you have a party more fit for Hollywood than a music festival.

But not everyone thinks dropping thousands on a Palm Springs-area house (or airport hangar) is worth the effort. Urb magazine is passing on throwing a bash.

Josh Glazer, the mag's editor, says, "Sometimes you look up from your free (insert vodka sponsor) and (insert energy drink sponsor) and think, 'Hey, isn't there a concert going on?' "


-- Charlie.Amterlatimesm



TONIGHT: Filter Magazine's sixth annual Coachella kickoff party, location revealed with RSVP, open to the public. Limited spots at .filter-mag mCoachellaRSVP.

FRIDAY: GQ's "Rock Party," invite only, Viceroy Hotel. 12 a.m.-3 a.m.

Spin's "Friends and Family," invite only, undisclosed location.

Flaunt magazine's Music Loves Fashion party, invite only, Horizon Hotel. Also Sat.-Sun.

ATURDAY: Danny B Productions' "Hotel California," open to the public. Desert Palm Inn, 67-580 Highway 111, Cathedral City. 9 p.m.-5 a.m. $30. (310) 560-3540. .wanticketsm hotelcalifornia.

T-Mobile Sidekick party, undisclosed location, invite only. 11 p.m.-2 a.m.

Adidas Party, invite only (Palm Springs).

SATURDAY-SUNDAY: BPM's "Smurf Village," undisclosed location, invite only. Noon-6 p.m.

Anthem Magazine's "La Fiesta de Fiestas," location revealed with RSVP confirmation (limited number for magazine readers). Noon-6 p.m. .anthem magazinemrsvp

Dim Mak's party, 1-9 p.m. Sun., location with RSVP confirmation (limited spots: partylinedimmakm)


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