text:
Death and the Powers
music by Tod Machover
story by Robert Pinsky and Randy Weiner
lyrics by Robert Pinsky
Sung in English with English supertitles
Jump to: Synopsis | Cast Biographies | Production Team
Science fiction and poignant family drama combine in one of the most stunning, cutting-edge operas of the 21st century, with a libretto by former Poet Laureate Robert Pinsky, coming to the stage of the Winspear Opera House in a production directed by Diane Paulus, designed by Alex McDowell (Steven Spielberg's Minority Report) and conducted by Nicole Paiement (TDO's The Lighthouse).
This visually spectacular robot pageant by MIT Media Lab's Tod Machover tells the story of a terminally ill billionaire, sung by Robert Orth, who downloads his consciousness into "the System" and proceeds to use all his powers to persuade his loved ones to join him there. Without bodies, without the possibility of touch, sex, suffering, and death — are we still genuinely human?
Explore these existential questions and much more in a piece Variety described as "playful, lyrical and…mesmerizing." Also starring Joélle Harvey as Miranda, Patricia Risley as Evvy, and Hal Cazalet in his Dallas Opera debut as Nicholas.
Joy and Ronald Mankoff Pre-Opera Talks for Carmen will be given by Michael Heaston one hour before each performance in Hamon Hall at the Winspear Opera House. Learn more.
Darkness. Robots roll, lurch, and glide onstage as a group and then disassemble into separate units. Four robots emerge from the pack and begin to speak. In their dialogue, each robot tries to understand the meaning of the word "death," a strange concept they encounter in a drama left behind by their human creators. At the end of the prologue, still puzzled by the idea of death, the robots proceed to follow the human creators' command to perform the ritual drama. The robot leader announces: "Now it is time we started."
Memory Download
Each robot now begins a complete transformation into its human character. There is a download of information including fragments of personality and memories. One by one, the human characters emerge from the robots, ready to enact the drama: Simon Powers—a billionaire entrepreneur obsessed with his death. Mid-sixties. Mad, eccentric, charismatic, virile, successful. Has a devilish side to him, mischievous. Miranda—Simon's daughter. Late teens. The daughter of a previous marriage. Special, prescient. Antigone, Cordelia. Nicholas—Simon's protégé. Grad student age: twenties. When a child, rescued by Simon from ward for severely disabled children. Now moves like an agile machine. Evvy—Simon's third wife, her first marriage. Thirties. Glamorous, sexy, but wary.
Scene 1: Simon and The System
In the home of Simon Powers, the final preparations are being made for Simon's total immersion into The System. This technology will allow him to control the physical environment after his death, meaning that he will be able to forever be in touch with his loved ones, manipulate his businesses, and propagate his legacy. Simon is excited, giddy, like a child. Miranda is afraid. Evvy is trying to be practical, trying to stay calm, indulgent of her husband's behavior in spite of her own anxieties. Nicholas is serious, sweating, focused on his work, his eye on the clock. As the time approaches for Simon to enter The System, they all chant: "The matter is mortal, The System lives on." Simon quotes poetry by William Butler Yeats ("Once out of nature") and May Swenson ("Body my house my horse my hound, What will I do when you are fallen"), and then gleefully declares that The System will allow him to be more immortal than mere poets. Simon finally enters The System, saying to the others: "See you later!" Evvy wonders "What now?", and they are plunged into darkness.
Scene 2: System Soliloquy
Simon gradually transmogrifies into The System. The physical environment subtly takes on many of Simon's characteristics, moving and vibrating as if he were alive. Simon's voice is heard in short phrases and fragments ("Remember. No matter the matter—I did that.") that capture the essence of his life's memories, feelings and experiences. By the end of this scene, there is no trace left of Simon's human body. His voice is heard asserting over and over: "I am the same."
Scene 3: Getting to Know You
Time has passed. The System is humming—in quiet mode—resting. Miranda and Nicholas are in the room, as the walls continue to stir mysteriously, enticingly. It becomes an animated environment, expressive of Simon's physical presence. Nicholas assures Miranda that it truly is Simon in The System. Nicholas displays his own mechanical arm and explains to Miranda that the new technology is "Like my left arm that is mine, not me." Nicholas and Miranda can hear Simon's voice, and they discover that Simon has the ability to interact with them. Simon announces that although he is now in The System, he still has all his previous powers: "And I have billions of bucks. And I can still sign checks."
Scene 4: Evvy's Touch
It is the middle of the night. Evvy enters in a daze, as in a dream, sleepwalking. Simon now inhabits The Chandelier, which vibrates with delicate music. They share a memory. Evvy asks, "Simon, do you remember the first time we danced?" and vivid sensory details of the experience come flooding back to them both. Simon assures Evvy that his appetite for life is endless and that he will always desire more, as Evvy strokes the Chandelier and conjures new sounds to envelope Simon's voice. She calls out to Simon, "Touch me," as Simon's voice in The Chandelier endlessly repeats "More." From a memory of love in the past comes a renewal of erotic passion, melding Evvy's physicality with Simon's new form.
Scene 5: Nicholas and the Robots
Nicholas is in his lab, inhabited by the robots he has been building as part of The System. The robots start moving to the music emanating from the walls, then come to life and start dancing with Nicholas. Miranda is archiving and exploring The System, and is also reflecting on life outside the family compound and The System: "How are we linked to all the rest of the earth?" Nicholas tells Miranda the story of how Simon came and rescued him from a children's ward when he was a young boy and gave him a new life. Nicolas swears he will repay the favor: "Now I'll help him live in The System. Without a body, post-organic like me."
Scene 6: The World Reacts
A new, stranger atmosphere: Miranda, Nicholas, and Evvy are apparently accustomed to it. Evvy is now wearing headphones, swaying a little as if to music, nodding and tilting her head as though channeling Simon's presence. A delegation from the outside world—composed of The United Way, The United Nations, and The Administration—arrives and wishes to speak with Simon. The whole world has been plunged into a state of war and famine ever since Simon entered The System. When Miranda brings in the delegation, they implore: "What is the meaning of your behavior? We demand an answer!" Simon refuses to answer them and instead quotes a passage of German poetry ("O Röschen rot! … Man lies in deepest need. Man lies in deepest pain. Yes, I would rather be in Heaven"). This only further confuses the delegates. After Nicholas reads a strange report from one of Simon's newspapers ("Group of Young Men Beat Nurse to Death"), the delegation is finally sent away. Left alone, Miranda reflects on her own feelings of isolation now that her father has entered The System: "I miss having a father like any other person."
Scene 7: Into The System
Everything—the walls, The Chandelier, the robots—is working together. Simon seems to be everywhere, inhabiting them all, omnipotent. Evvy finally removes the headphones and tells Nicholas and Miranda that she has been channeling Simon: "I've been listening to Simon. It's like when we fell in love … You can jump. You can fall forever, and do it again." Now it is Evvy and Nicholas who are transformed, as they too are absorbed into The System. Only Miranda is left to face the outside world.
Scene 8: Miseries, Memory, and Miranda
Miranda is surrounded by a parade of the world's Miseries: the victims of famine, torture, crime, and disease. In the wake of the Miseries, the figure of Simon, in some version or simulacrum of his human body, emerges from the shadows. Miranda and Simon have a final confrontation, in which Simon explains why he chose to live in The System: "Now there's no help but evolving, out of the meat and into The System. It isn't the many and the few—it's yourself, it's you!" He beckons to Miranda: "Come into the world of light." Miranda is unsure whether she should follow Simon into The System. She has lingering doubts: "The body of this death is who I am, it is my mind … Who will I be? And what will I see when my body is gone?" Simon enters back into The System. Miranda hesitates. She turns towards the audience, repeating a soaring high note as sound swirls around her: "Who? What? When? How? Light. Death. Alone. Alive. Live." Light grows to a blinding level. Music emanates in all directions from Miranda's voice, filling the space and extending well beyond.
The System dematerializes into a Matrix of Light. The robots reform into a regular grid and begin to light. The robots discuss the drama they have enacted, but they are left with unanswered questions about the meaning of death. The robot leader assures the others: "Questions are excellent." The chorus of robots concludes: "Now is the time for the ordained ritual to come to rest." After a few flickers and pulsations of sound and shadow, all gently fades away.
MIT Media Lab
Actively promoting a unique, antidisciplinary culture, the MIT Media Lab goes beyond known boundaries and disciplines, encouraging the most unconventional mixing and matching of seemingly disparate research areas. It creates disruptive technologies that happen at the edges, pioneering such areas as wearable computing, tangible interfaces, and affective computing. Today, faculty members, research staff, and students at the Lab work in more than 25 research groups on more than 350 projects that range from digital approaches for treating neurological disorders, to a stackable, electric car for sustainable cities, to advanced imaging technologies that can "see around a corner." The Lab is committed to looking beyond the obvious to ask the questions not yet asked–questions whose answers could radically improve the way people live, learn, express themselves, work, and play. Further information at http://www.media.mit.edu.
Cast Biographies
Robert Orth (Simon Powers) Robert Orth made his Dallas Opera debut in the world premiere of Moby-Dick in 2010 and returned in 2012 in Peter Maxwell Davies' The Lighthouse. Performing new American operas has brought Mr. Orth particular acclaim, including appearances in Hoiby's Summer and Smoke (based on the Tennessee Williams play), which was broadcast nationally on PBS. He played the Lodger in Dominick Argento's The Aspern Papers in its east coast premiere at the Kennedy Center and was the Lecturer in Argento's one-man opera A Waterbird Talk in Chicago. He created the title role in the world premiere of Wallace and Korie's Harvey Milk in Houston, and again at New York City Opera and San Francisco Opera. Other premieres include Hagen's Shining Brow, based on the life of Frank Lloyd Wright, Jake Heggie and Terrence McNally's Dead Man Walking at the San Francisco Opera and Heggie's The End of the Affair at Houston Grand Opera. He is renowned for his portrayal of Richard Nixon in John Adams' Nixon in China, which he has performed in St. Louis, Portland, Chicago, Cincinnati, Denver, Vancouver, Toronto, London and Berlin, and which he recorded. He also created the role of LBJ in the world premiere of Steven Stucky and Gene Scheer's August 4, 1964 with the Dallas Symphony.
Joélle Harvey (Miranda) Joélle Harvey made her Dallas Opera debut as Barbarina in Mozart's Le nozze di Figaro in 2008. She has appeared with Portland Opera as "Flora" in Britten's The Turn of the Screw (a role which later also served as her debut with Houston Grand Opera) and was in Jonathan Miller's new production of Purcell's Dido and Aeneas at Glimmerglass Festival. She made her debut at New York City Opera as Zerlina in Christopher Alden's new production of Don Giovanni. Her 2010-2011 season included a return engagement with the San Francisco Symphony Orchestra for Carmina Burana, performances of George Frideric Handel's Messiah in Spain, Dido and Aeneas at the Concertgebouw in Amsterdam, Werther with Washington Concert Opera and she created the role of Miranda in the world premiere of Death and the Powers at the Opéra de Monte-Carlo. She made her debut with Festival d'Aix-en-Provence as Galatea in Handel's Acis and Galatea, with subsequent performances at the Teatro La Fenice in Venice; and has also sung Handel's Saul at London's Barbican, which she also recorded. She debuted at the Glyndebourne Festival in Purcell'sThe Fairy Queen, and later performed Susanna in Le nozze di Figaro with Glyndebourne on tour. She has also sang in Handel's Radamisto at Carnegie Hall. Her debut with the New York Philharmonic was in J.S. Bach's Magnificat.
Patricia Risley (Evvy) Patricia Risley, who returns to the Dallas Opera after her debut with the company in Götterdämmerung, created the role of Evvy Powers in Death and the Powers in the world premiere at the Opéra de Monte-Carlo. Also this season, she returns to the Metropolitan Opera for Tisbe in La cenerentola, where she has previously sung such roles as Rosina in Il barbiere di Siviglia, Tebaldo in Don Carlo, Altichiara in Francesca da Rimini, and Ciesca in Gianni Schicchi. Other performances include Cherubino in Le nozze di Figaro and Donna Elvira in Don Giovanni at Berlin's Staatsoper, Siebel in Faust, Stephano in Roméo et Juliette and Meg Page in Falstaff at Lyric Opera of Chicago, Dorabella in Così fan tutte at Madrid's Teatro Real and with the Santa Fe Opera, Sesto in Giulio Cesare and Stéphano in Roméo et Juliette at Houston Grand Opera and the title role in Carmen with Palm Beach Opera. Previous productions of contemporary repertoire include the world premieres of Bolcom's A Wedding at Lyric Opera of Chicago and Pasatieri's Frau Margot with Fort Worth Opera, in addition to performances of Harbison's The Great Gatsby at Lyric Opera of Chicago, and Ades' The Tempest with the Santa Fe Opera, Los Angeles Philharmonic and Amsterdam's Concertgebouw.
Hal Cazalet (Nicholas) Tenor Hal Cazalet makes his Dallas Opera debut with these performances of Death and the Powers. He divides his time between the United States and Europe performing in opera, musical theatre and cabaret. Engagements have included Ruddigore for Opera North, Gerard in the world premiere of Philip Glass's Les Enfants Terribles at BAM in New York, the world premiere of The Music Programme for Polish National Opera, Warsaw and at London's Royal Opera House's Linbury Studio, the title role in Albert Herring for Glyndebourne Touring Opera, La Rondine for Opera Holland Park, Monteverdi's L'Orfeo, Abduction from the Seraglio, A Midsummer Night's Dream and The Turn of the Screw for English Touring Opera, Let's Make an Opera at the Aldeburgh Festival, Tobias and the Angel at the Young Vic, MacHeath in Threepenny Opera at the Theatre Royal, Brighton, The Merry Widow for English National Opera, Mr Angel in Mozarts L'Impressario at The Kennedy , DC with the NSO under Christopher Hogwood and as Nicholas in the world premiere of Tod Machover's Death and the Powers in Monte Carlo, and subsequently in Boston and Chicago. Mr Cazalet has also performed in concert with The New York Festival of Song at London's Wigmore Hall and at Weill Hall at Carnegie Hall, and in Cabaret with Tim Rice and Stephen Fry. As a composer/Lyricist he has had works performed at the Santa Fe and Aspen Music festivals and performed on BBC Radio. He is just written a new musical on Wilde's fairytale The Happy Prince.
Frank Kelley (The United Way) Frank Kelley makes his debut with Dallas Opera in Tod Machover's Death and the Powers, a role he performed at the opera's world premiere at Opéra de Monte Carlo. Mr. Kelley's performances with Boston Lyric Opera include performances in Eugene Onegin, Die Fledermaus, Madama Butterfly, Tosca, and Die Zauberflöte. With Opera Boston he has appeared in La vie parisienne, The Consul and The Rise and Fall of the City of Mahagonny. His other recent operatic appearances include Grandpa Joe in the world premiere of Peter Ash's The Golden Ticket with Opera Theatre of St. Louis and the European premiere at the Wexford Festival. Mr. Kelley appeared in the PBS broadcasts of Peter Sellars' productions of Le nozze di Figaro and Così fan tutte. He also has long associations with Boston's premier concert organizations, including multiple performances with Emmanuel Music under the direction of Craig Smith, Christopher Hogwood, and Seiji Ozawa; the Handel and Haydn Society; Boston Baroque; and the Boston Symphony Orchestra. Mr. Kelley's recordings feature him in repertoire spanning ten centuries, including three Deutsche Harmonia Mundi CDs, a Teldec release of Stravinsky's Renard with Hugh Wolff and the St. Paul Chamber Orchestra and Kurt Weill's Das Kleine Mahagonny with Kent Nagano from Erato.
David Kravitz (The United Nations) Baritone David Kravitz makes his Dallas Opera debut with this production. His 2013-2014 season brings engagements as Paolo Orsini in Rienzi for the debut performance of Boston's Odyssey Opera; Sondheim's A Little Night Music with Emmanuel Music; and performances with Boston Lyric Opera as both the Speaker in Die Zauberflöte and Marullo in Rigoletto. Concert performances this season include Mohammed Fairouz's Symphony No. 3 (Poems and Prayers) with the UCLA Philharmonic, and A Sea Symphony, with the Pioneer Valley Symphony Orchestra. His 2012-2013 season began with a return to the Boston Symphony Orchestra for Stravinsky's Le Rossignol under Charles Dutoit, and Boston Modern Orchestra Project for Tippett's The Midsummer Marriage, and to Boston Baroque for performances of Pergolesi's La serva padrona. Other engagements included debuts with Chautauqua Opera, Washington National Opera and with Lyric Opera of Kansas City, Carnegie Hall for Handel's Radamisto with the English Concert under Harry Bicket; Boston Lyric Opera for the American premiere of MacMillan's Clemency; and Emmanuel Music for the Boston and Tanglewood premieres of Harbison's The Great Gatsby. Mr. Kravitz appears as a featured soloist on several commercial recordings that were recently released, including Mohammed Fairouz's For Victims (Naxos) and Peter Ash's The Golden Ticket (Albany Records.)
Tom McNichols (The Administration) Bass Tom McNichols' has been heard on five continents in live performance, recorded radio broadcasts, and made studio recordings in works ranging from the narration of How the Grinch Stole Christmas with the Boston Pops to world premieres of new operatic work. Following the premiere of Tod Machover's Death and the Powers at Opera Monte Carlo in 2010 he was engaged by Opera Orchestra of New York for Massenet's La Navarraise at Carnegie Hall. The 2011 season began with a revival of Death and the Powers with The American Repertoire Theater in Boston and with Chicago Opera Theater. In 2012 he sang Sarastro in Die Zauberflöte with Opera Grand Rapids and with Trenton's Boheme Opera. He began the following season singing the role of God in the world premiere of Matthew Harris' sThe Mark of Cain with Chelsea Opera, followed by his Opera Omaha and Opera Carolina debuts again as Sarastro. He also made his Lincoln Center debut in I Lombardi with Eve Queler's Opera Orchestra of New York. Later this year he will be seen in a movie, The Bohemians, a modern adaptation of La bohème set in present day Brooklyn, in which he plays the role of Colline.
Production Team
Tod Machover (Composer/Creative Director) Tod Machover has been called "America's Most Wired Composer" by the Los Angeles Times and is celebrated for creating music that breaks traditional artistic and cultural boundaries. He is Muriel R. Cooper Professor of Music & Media and Director of the Opera of the Future Group at the MIT Media Lab, and is also Visiting Professor of Composition at the Royal Academy of Music in London. He studied with Elliott Carter at The Juilliard School, and was the first Director of Musical Research at Pierre Boulez's IRCAM Institute in Paris. Machover's music has been commissioned and performed by many of the world's most important performers and ensembles, and has received numerous international prizes and awards, including the Chevalier des Arts et Lettres from the French Culture Ministry and the 2013 Arts Advocacy Award from the Kennedy Center. Machover is also acclaimed for inventing new technologies for music, such as his Hyperinstruments that augment musical expression for everyone from virtuosi like Yo-Yo Ma and Prince to players of Guitar Hero, which grew out of his Lab. Machover is particularly noted for his radically inventive operas, which include "VALIS" (1987), based on a novel by Philip K. Dick, the audience-interactive "Brain Opera" (1996/7), and "Skellig" (2008), based on the best-seller by David Almond. Since launching Death and the Powers (finalist for the 2012 Pulitzer Prize in Music) in the fall of 2010, Machover has premiered Spheres and Splinters for hypercello, Chomsky Suite for the Kronos Quartet with linguist/activist Noam Chomsky, and "collaborative symphonies" in Toronto and Edinburgh, with the latest – Between the Desert and the Deep Blue Sea – premiering at the Perth (Australia) Festival in March 2014.
Robert Pinsky (Librettist) Robert Pinsky is an American poet, essayist, literary critic, and translator. From 1997 to 2000, he served as Poet Laureate Consultant in Poetry to the Library of Congress. During his tenure, Pinsky founded the Favorite Poem Project (favoritepoem.org), in which thousands of Americans shared their favorite poems. Pinsky is the author of nineteen books. His newest is an anthology for poets called Singing School: Learning to Write (and Read) Poetry by Studying with the Masters. Other recent works are his Selected Poems and PoemJazz, a CD with Grammy-winning pianist Laurence Hobgood. His landmark, best-selling translation of The Inferno of Dante received the Los Angeles Times Book Award in poetry. His volume of poetry The Figured Wheel: New and Collected Poems 1966-1996 was a Pulitzer Prize nominee and received the Lenore Marshall Award. This spring, the Shakespeare Theatre Company performed Pinsky's newly commissioned adaptation and translation of Friedrich Schiller's Wallenstein. Pinsky teaches in the graduate writing program at Boston University. He is the winner of the PEN/Voelcker Award, the William Carlos Williams Prize, and the Theodore M. Roethke Memorial Poetry Award. He is the only member of the American Academy of Arts and Letters to have appeared on The Simpsons and The Colbert Report.
Nicole Paiement (Conductor) Nicole Paiement, who made her Dallas Opera debut conducting Peter Maxwell Davies' The Lighthouse in 2012, is the Artistic Director of Opera Parallèle (OP), a professional company in San Francisco, dedicated to contemporary opera. With the company, Paiement has conducted many new productions including the World premiere of the commissioned chamber version of John Harbison's The Great Gatsby, the West Coast premiere of John Rea's re-orchestration of Berg's Wozzeck, Osvaldo Golijov's Ainadamar and the commission of Dante De Silva's opera Gesualdo, Prince of Madness – presented as a graphic opera. Upcoming projects include the American premiere of Adam Gorb's opera Anya 17, Francis Poulenc's Les mamelles de Tirésias and Kurt Weill's Mahagonny Songspiel. Paiement is an active guest conductor, specializing in contemporary music. She has premiered and commissioned numerous works from composers around the world and recorded extensively. Paiement is the Artistic Director of the BluePrint Project – a new music series sponsored by the San Francisco Conservatory of Music. With this music series, she has commissioned, premiered and recorded works from many living American composers. Paiement is also the Director of Ensembles at the University of California, Santa Cruz, where she conducts the orchestra and opera productions.
Diane Paulus (Original Stage Director) Diane Paulus was the recipient of the 2013 Tony Award for Best Direction of a Musical (Pippin) and was twice nominated for the same honor (The Gershwins' Porgy and Bess and Hair). She is the Artistic Director at the American Repertory Theater (A.R.T.) where her recent work includes The Gershwins' Porgy and Bess, adapted by Pulitzer prize-winning playwright Suzan-Lori Parks, Prometheus Bound, a new musical inspired by Aeschylus's ancient Greek tragedy, Death and The Powers by Tod Machover, in collaboration with MIT Media Lab; The Donkey Show a disco adaptation of A Midsummer Night's Dream, which ran for six years Off-Broadway and toured internationally; Best of Both Worlds and Johnny Baseball. Her other recent theater credits include The Public Theater's Tony-Award winning revival of Hair on Broadway and London's West End. Other recent work includes Kiss Me, Kate (Glimmerglass Opera) and Lost Highway (ENO co-production with the Young Vic.) As an opera director, her credits include The Magic Flute (Canadian Opera Company), Il mondo della luna at the Hayden Planetarium in New York; Don Giovanni, Le nozze di Figaro, The Turn Of The Screw, Così fan tutte, Il ritorno d'Ulisse in patria, L'incoronazione di Poppea, and Orfeo at the Chicago Opera Theater. Diane is a Professor of the Practice of Theater in Harvard University's English Department and was recently named one of the 50 Most Powerful Women in Boston by Boston Magazine and is a recipient of an Honorary Doctorate from Boston Conservatory.
Andrew Eggert (Stage Director) Andrew Eggert makes his Dallas Opera debut with this production. Recent productions include directing La descente d'Orphee aux enfers and serving as the associate director on La hija de Rappaccini for the Gotham Chamber Opera, the US premiere of Clemency by James MacMillan for Boston Lyric Opera and Bluebeard's Castle for Opera Omaha. At Chicago Opera Theater he has directed Mosè in Egitto and La Tragédie de Carmen, as well as serving 8 seasons there as an assistant director. He is a regular collaborator of Diane Paulus having served as Associate Director on the world première of Death and the Powers at the Opéra de Monte Carlo, as well as US performances at the American Repertory Theatre and Chicago Opera Theater; Gotham Chamber Opera's production of Il mondo della luna at the Hayden Planetarium; Die Zauberflöte at Canadian Opera Company and Macbeth at Boston Lyric Opera. He has been a regular guest director at the Chicago College of Performing Arts, Princeton University, and the Yale Baroque Opera Project, and has worked with the young artist programs of Glimmerglass Opera, Santa Fe Opera, and Wolftrap Opera. He is the director of the opera program at Chicago's Roosevelt University.
Alex McDowell (Production Design) Alex McDowell is one of the most innovative and influential designers working in narrative media, with the impact of his ideas extending far beyond his background in cinema. McDowell advocates an immersive design process that acknowledges the key world-building role of design in storytelling. McDowell trained as a painter in London in the '70s, and then opened a graphic design firm where he built his reputation designing album covers for seminal groups in the London punk scene. He moved into production design for music videos and commercials, settled in Los Angeles in the mid-'80s, and moved into film in 1990. Since then he has designed for directors as diverse as Steven Spielberg, Terry Gilliam, Tim Burton and David Fincher. With many awards for his film design work, McDowell was named Royal Designer for Industry by the UK's most prestigious design society, the Royal Society of Arts, in 2006. He currently serves as adjunct professor at the Interactive Media Department/School of Cinematic Arts, USC, and is Visiting Artist at MIT Media Lab, where he has been working for several years with Tod Machover's Opera of the Future Lab.
Karole Armitage (Choreography) Karole Armitage, director of the New York-based Armitage Gone! Dance Company, was rigorously trained in classical ballet. As a professional dancer she performed in Balanchine's Grand Théâtre de Genève Company and in the Merce Cunningham Dance Company. She directed the Ballet of Florence Italy (1995–98) and the Biennale of Contemporary Dance in Venice (2004), served as resident choreographer for the Ballet de Lorraine in France (1999–2004), and created works for many companies including the Bolshoi Ballet, Ballet Nacional de Cuba, Les Ballets de Monte Carlo, Paris Opéra Ballet, Kansas City Ballet, and Alvin Ailey Dance Theater. She has also directed several operas, including Orfeo ed Euridice at Teatro San Carlo in Naples, Italy and Bartok's Bluebeards Castle at Het National Theater in Amsterdam, Ms. Armitage choreographed Janá?ek's The Cunning Little Vixen (2011) and the Stravinsky celebration A Dancer's Dream for the New York Philharmonic (2013). On Broadway she has choreographed Passing Strange and Hair, the latter earning her a Tony nomination, as well as videos for Madonna and Michael Jackson, and several films for Merchant Ivory productions. Ms. Armitage choreographed the Cirque du Soleil production Amaluna (2012). Ms. Armitage is the recipient of a Guggenheim Fellowship, and was awarded the Commandeur de l'Ordre des Arts et des Lettres, France's most prestigious honor.
David C. Woolard (Costume Design) Broadway credits include A Time to Kill, First Date, Lysistrata Jones, West Side Story, Jane Fonda's clothing for 33 Variations, Dividing the Estate, The Farnsworth Invention, Old Acquaintances, Ring of Fire, All Shook Up, 700 Sundays, The Smell of the Kill, The Rocky Horror Show (2001 Tony Award Nomination), Voices in the Dark, The Who's Tommy (1993 Tony and Olivier Award nominations), Bells are Ringing, Marlene, Wait Until Dark, Horton Foote's The Young Man from Atlanta, Damn Yankees and A Few Good Men. Other credits include costumes for The Italian Girl in Algeria for the Dallas Opera, Gentlemen Prefer Blondes (Encores), The Old Friends and Orphans Home Cycle (Signature Theatre) with the latter winning a Drama Desk and Hewes Award, Toxic Avenger (off-Broadway and Alley Theatre), The Donkey Show (A.R.T.), Midsummer Night's Dream (La Jolla Playhouse) and Oscar (Santa Fe Opera). Mr. Woolard is currently designing Bronx Bombers for Broadway.
Donald Holder (Lighting Design) Tony Award winning Lighting designer Donald Holder made his Dallas Opera debut lighting the world premiere of Jake Heggie and Gene Scheer's Moby-Dick in 2010. Other opera productions include Two Boys (the world premiere at English National Opera and the American premiere earlier this season at the Metropolitan Opera, The Magic Flute at the Metropolitan Opera, Grendel for Los Angeles Opera and the Lincoln Center Festival, Dark Sisters (Philadelphia Opera Company), Salome (Kirov Opera), Carmen (Houston Grand Opera) and Faust at Germany's (Baden-Baden Festival). On Broadway, Mr. Holder has been the lighting designer for Big Fish, The Bridges of Madison County, Bullets Over Broadway, South Pacific (2008 Tony Award), The Lion King (Tony, Drama Desk, Outer Critics Circle Awards, Paris Moliere Award), Golden Boy, Ragtime, Movin' Out, Les Liasons Dangereuses, Gem of the Ocean, A Streetcar Named Desire, Juan Darien (all Tony nominated), Spiderman – Turn Off the Dark, Annie, Promises, Promises, Come Fly Away, Cyrano de Bergerac, The Boy From Oz and many others. For television he was the lighting designer for the NBC series Smash for two seasons. He is a graduate of the Yale School of Drama.
Chris Full (Sound Design) Sound designer Chris Full began his career at the Sherman Theatre in Cardiff, Wales in 1984 and enjoyed several seasons before moving to London where he has worked on West End musicals such as City of Angels, Five Guys Named Moe, Les Misérables, The Rink, Follies, Cats , Chess and several seasons with Kenneth Brannah's Renaissance Theatre Company, as well as on productions of Les Misérables in Denmark, Sweden, Czech Republic, France and Germany, Candide in Copenhagen and West End productions of Mamma Mia!, We Will Rock You, Return to the Forbidden Planet, She Loves Me, Fame, Fosse, Voyeurz and worldwide productions such as Cats, Copacabana, Song and Dance, Evita, Grease, Les Misérables, Mamma Mia!, Oliver!, Fosse, Soul Train, Ragtime, Joseph and his Amazing Technicolor Dreamcoat, Grand Hotel at the Donmar Warehouse, Sweeney Todd, Cabaret, Into the Woods and most recently Shrek and Rock of Ages. He was nominated for awards for his work on Ragtime and Guys and Dolls. His live broadcast credits include Live from the London Palladium, the BAFTA awards, and The Marriage of Figaro for BBC Four which won an award for best sound. Recently he has been pioneering the emerging field of immersive audio and multimedia integration on projects like the opera Death and the Power and Ladies and Gentlemen with the film director Jonathan Glazer and J Spaceman, while bringing his experience to Walking with Dinosaurs (European and Asian Arena Tour) and How to Train Your Dragon Live Spectacular (US Arena Tour.)
David Zimmerman (Wig and Make-up Supervisor) David Zimmerman has worked with Dallas and other opera companies around the world. These include The Metropolitan Opera, Opera Theatre of St. Louis, Santa Fe Opera, Paris National Opera, and Opera Santa Barbara. Mr. Zimmerman's career extends to Broadway, as well, where he has worked on shows including Wicked, Rocky Horror, Show Boat, South Pacific and Evita. Personal clients include Deborah Voigt, Joyce DiDonato, Patricia Racette, Martha Stewart, Olympia Dukakis and Ricky Martin. Mr. Zimmerman has also done the makeup for DIFFA Fashion Runway, Dallas Fashion and Art Charity, and the Yelp.com fashion event. Print credits include two features in Opera News plus features in both Vanity Fair and The New Yorker. TV and film credits include Glamour Magazine's "Women of the Year" and a feature film starring Anna Paquin.
Please note
Please note that strong strobe lights are used in this production. It is also intended for mature audiences and may not be suitable for young children. The Dallas Opera has rated this opera PG-13. If you have questions or concerns, please contact our box office at 214.443.1000.
Global Simulcast
The February 16th performance will be simulcast to nine venues across the globe! For more information about the simulcast venues, click here.
In Dallas, the simulcast is taking place at the Perot Museum of Nature and Science. This venue is sold out. For details, visit the Perot Museum website here.
Tod Machover discusses Death and the Powers.


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Hi guys,
I have been looking for any info on the connection of the hoses to the right gauntlet. On the scene in ESB in Slave I (where Fett is following the Falcon) his gauntlet hose appears to have an inner hose that is actually connected to the gauntlet. I was wondering if anyone could point me the right direction on how to accomplish this (if in deed this is the correct way to connect them)
hope that all makes sense

subset: commoncrawl


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Many teachers and trainers instruct students to go with their initial instinct when answering questions on a test, even if they have second thoughts. Except for those with infallible instincts, that is poor advice. Their response after thinking the question through is more often correct.
The same holds true in the workplace. Employers' first reactions are often wrong. But they don't have erasers. Long-term care facility, Ontario-based Ritz Lutheran Villa changed its mind twice when care worker Janet Williamson asked to assist an 87-year-old female resident by accompanying her on a vacation. After the resident's care companion had to back out of a cruise, she asked Williamson to attend. Williamson asked the Villa, which agreed and allotted her the vacation time.
Four days before the departure, the Villa changed its mind, informing Williamson the trip would violate its polices regarding outside employment and receiving gifts.
Williamson responded that she was not being paid by the resident and was willing to cover the costs out of her own pocket.
Refusing to admit defeat, the Villa's managers combed through their policy manual. Two days before departure, they told Williamson the trip would violate the conflict of interest policy, because it did not respect the resident-caregiver boundary.
Williamson refused to abandon the resident and went on the cruise, despite being warned she would be dismissed. The Villa fired her, alleging cause.
In a strongly worded judgment, the Court found the Villa had placed Williamson in an impossible position, and it awarded her 10 months' severance. It was not impressed by the Villa's changing explanations, ruling that its policies had little to do with its decision.
The Villa should have considered all of the issues when Williamson first asked for consent rather than waiting until the 11th hour to announce its change of heart. Even then, it could have made its case if it had provided the correct rationale.
It should have questioned Williamson about the arrangements for the trip and compared them to the relevant policies before delivering its ultimatum.
Even without a clear policy, as employer, it had the right to prohibit its caregiver from accompanying a resident on vacation.
It should have been honest with Williamson about its concerns instead of placing the emphasis on its policies, which might not support its position. Instead, its clumsy scramble to justify its decision led the court to find both wrongful dismissal and bad faith.
An initial reaction by the president of a Mississauga, Ont.-based engineering firm, Aquafor Beech Ltd., turned out to be far more costly. Two of Aquafor's partners left to set up their own shop, providing only a few weeks' notice.
Their clients followed, costing Aquafor up to $ 3.2 million.
The company would have had a strong legal case that the departing partners, as senior managers, should have given a year or more notice before leaving, giving Aquafor time to transition clients to other account managers. Instead, when they announced their resignation, the president asked them to stay on for a few extra weeks.
In the ensuing lawsuit, the company insisted they should have given 18 months' notice before departing. It was, by then, too late to take that position. A few weeks is what it asked for, so a few weeks was all it was entitled to.
Howard Levitt, counsel to Lang Michener LLP, practices employment law in eight provinces and is author of The Law of Dismissal for Human Resources Professionals.


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Funny user trouble reports
- Super Blue, 32500 points or more
Hall of Fame,
Founding Member
Cisco Designated VIP,
2017 IP Telephony, Unified Communications
Hello all,
I don't know why, but the trouble report I got yesterday just struck
me as being pretty humorous and I thought others might have some
similar user reporting that might brighten our day
Being a Voice guy I thought this was pretty sweet!
I've received a complaint from xxxx xxxxxx that when he picks up his phone's receiver, sometimes the call isn't
picked up. Maybe the little "hanger upper" thingy is sticking ... not sure.
Anyway you can swing by at some point and check it out?
Much appreciated,
Please remember to tag your threads and help support "Teachers without Borders"
Well on the line of Network Team is responsible for everything. I got a ticket the other day sent to the network infrastructure group that said, I missed a very important meeting because the clock on the wall had stopped, batteries died, can we get this resolved as soon as possible. Well lets see where do I begin...don't use a meeting appointment in Outlook where your laptop uses NTP to sync its time to milliseconds...nooooo, lets use a battery operated clock that is just there for show and maybe cost $5. Oh lets not forget the help-desk that sent it sits right under that clock and keeps batteries on hand for other things and just needed to stand up and change the batteries. So I went over made people move got the clock down and asked the person who sent the ticket over, who I made move, do you have a battery and they said sure here you go...still did not dawn on them....oh I could have done that. Oh have to run I just got an SNMP trap that the bathroom toilet paper is low..have to run.
Oh, the best one I had when I started at my current $POE came in like this
"Dear Helpdesk
Can you pleas install the Macquarie Online Dictionary on my new PC
Thank you"
Note the ONLINE word in the request. Accessing it is as simple as typing in a URL to a web browser and entering subscription login details.
God, I love users who do things by rote - I like to play with their heads by re-arranging their desktop icons - they panic when they can't find Micro$oft LookOut in its usual place!
Don't drink and drive ...
NOTE: I'd be jealous if Mike or George has this in their office. Bl00dy oath!
leolaohoo wrote:
Mind you, our standard image has not one, but *4* different browsers[1] installed, to allow for the varied demands of our remote users - so I'm not sure what part of "http://www.macquarieonline.com.au/" needed installing.
I prefer another referrral page, but the filtering here won't let me post the URL, I suspect. I'll try anyway.
You can embed searches, but it doesn't work as well as lmgtfy - but it gets the message across anyway.
Apologies if this actually works, and offends someone/breaks the rules somehow. I won't complain if a moderator removes/modifies it.
Got a call yesterday (31 January 2012) by the field tech. Converstation went like this:
Tech: Hey Leo, I'm here at because the users were complaining about a loud beeping sound. I checked and it's coming from your switch.
Me: My switch?
T: Yes. A Cisco 2960S.
M: My switch? You certain?
T: Yes. It's got to be the switch. There's nothing here that draws power and your switch is the only one plugged to the power source.
*** At this stage, I was fairly confused/amused. I'm very, very sure Cisco DID NOT install a speaker inside a Catalyst switch.
M: Can I ask if you pull the power of the switch?
T: You want me to power down the switch? Why?
M: I am certain it ain't our switch that beeps. I'm also certain Cisco appliance won't beep.
T: Uh ... You're not going to believe this ...
M: Huh?
T: It's still beeping.
M: SO where is the noise coming from?
T: It's coming from the power outlet.
M: Oh. Ok. Can I ask you do two things for me?
T: Sure. What?
M: One, can you please power up my switch?
T: Ok. Done. And the next?
M: Evacuate the building.
*** Hanged up the call. ***
Hey all.
I had a user call in about how "SLOW" his internet was. I asked him for his IP address and they had remote access on their machine and I connected to the PC. Once connected, I noticed had about 20 porn windows up and the streaming was running kind of slow.
Yes a user called in due to his porn, at work, was running slow. Had to contact his manager to check on the employee's work at his desk.
Have a good day and have fun.


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I don't attach any great significance to this, but do find it a little interesting, and would like to hear what other's think, or have experienced?
I have lately noticed an increased tendency to become very cold during meditation practice, regardless of the ambient temperature wherever I sit.
Also, an occasional shiver (of the type described as "someone walking on your grave") arises when my concentration is quite deep.
I have a friend who seems to generate lots of heat when she sits - which she puts down to "positive energy" arising. We both have slightly below average blood pressures. I went through a phase of energetic sitting, where my body jumped around a little, but this seems to have passed
Do you get hot under the collar, feel a post meditation chill, or have never been subject to either change?


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An investor who diversified their holdings across several sectors, shouldn't have gotten as many dividend cuts in 2008 and 2009, in comparison to an investor whose portfolio was concentrated in certain high-yielding sectors such as financials, Canadian income trusts or business development corporations. In that case diversification mattered.
One troubling fact however is that most of the successful dividend growth stocks that I tend to focus on such as Coca Cola (KO), Johnson & Johnson (JNJ) and Abbott Labs (ABT) are large cap stocks. This could be both good and bad for my portfolio. Most dividend growth stocks have solid competitive advantages as well as large economies of scale, against which few competitors could compete. In addition to that the entry in those markets might be too costly for a smaller producer to challenge the "big guys". However if I added small or mid cap stocks to my portfolio, my dividend income could be diversified even further.
According to Investopedia, Large Cap stocks are those whose market capitalization is above $10 billions dollars; Mid Cap stocks are those whose market capitalization is between $2 billion and $10 billion dollars while companies whose market capitalization is between $200 million and $2 billion typically represent Small Cap Stocks.
Most large cap companies are the ones, which are mature and stable cash flow generators, which throw off enough cash to expand, reward shareholders and maintain liquidity. It would be difficult for a company with $100 billion in sales to expand at the rate that a company with $1 billion in sales could. Because of this fact stable dividend growth stocks tend to enjoy a lower price earnings multiple. In comparison, most small and mid cap stocks could spend most of their earnings to reinvest back into the business, thus paying little or no dividends to shareholders in the process.
A potential negative for holding the large cap market leader in any industry however is that if the activity in the whole sector declines significantly, chances are that the leader would feel the pinch as well. Despite the fact that the market leader could likely gain market share if competitors go bankrupt or by acquiring weaker rivals, a broad slowdown could hurt it badly.
At the same time a smaller competitor could be flexible enough to gain market share by utilizing some sort of a competitive advantage and actually achieve superior earnings growth and reward dividend investors with higher distributions as its sales skyrocket. Smaller dividend growth companies could have a higher price earnings multiple as the market prices in solid future growth. On the other hand, if earnings growth slows down, the price earnings multiple could shrink, leaving investors with large unrealized losses.
Even if you pick a promising small or mid cap dividend growth stock, chances are it could get acquired by one of the leaders in the industry. Thus, investors won't be able to fully realize the full growth potential of the small dividend stock. Although shareholders could generate a large capital gain in the process, they would have to find a new promising candidate for their money instead of patiently reinvesting their dividends.
According to Mergent's, 80% of the constituents of the Broad US Dividend Achievers index are large cap companies, while 14.10% and 5.90% are mid cap and small cap stocks respectively. The Dividend Achievers are corporations, which have increased annual dividends for at least the past 10 consecutive years.
The Dividend Aristocrats, which are S&P 500 constituent stocks with history of increased dividends of more than 25 consecutive years, must have a minimum capitalization of $3 billion dollars before they are eligible to join the elite dividend index. Of the 43 companies presently in the index (after omitting the dividend cutters year-to-date and Rohm & Haas, acquired by Dow Chemical), 21 or almost half have market capitalizations of less than $10 billion dollars.
You could find a list of mid cap Dividend Aristocrats below:
Link to the table
Just remember that not all of the stocks presented below are investment recommendations. At this moment only Stanley works (SWK),Cincinnati Financial (CINF), Dover (DOV), VF Corp(VFC), Sherwin Williams (SHW), Clorox (CLX), Consolidated Edison (ED) and McGraw Hill (MHP) fit my entry criteria to initiate positions or re-invest dividends.
For a full list of the current dividend aristocrats ranked by market capitalization (minus any acquired companies and minus any dividend cutters in 2009), check the chart below:
Link to the table
Full Disclosure: Long CINF, FDO, MTB, GWW, SHW, CLX, ED, MHP, APD, AFL, ADM, ADP, KMB, EMR, MMM, MCD, PEP, KO, JNJ, PG, WMT
Get an updated Trend analysis for your stocks.
This post was featured on The 208th Carnival of Personal Finance: Lobster Roll Edition
Relevant Articles:
- My Dividend Growth Plan - Diversification
- Why do I like Dividend Achievers
- Why do I like Dividend Aristocrats?
- My Dividend Growth Plan - Stock Selection


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Simon Le Bon was playing the ringmaster as a veritable wagonload of his family came to town last night. His wife Yasmin, luckily, saw the funny side of his circus get-up. The Le Bon parents and daughter Amber were at a party at Annabel's celebrating the new partnership between Johnnie Walker Blue Label and model David Gandy.
Reuse content


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Are you a Nozio Traveller?
Access extra discounts reserved only for you >
Villa Angela is a small and friendly boutique hotel in Taormina with only 27 rooms and an intimate atmosphere that makes every guest feel instantly at home.
Set in a stunning location above Taormina town centre with a spectacular panorama stretching from the crystal clear waters of the Ionian Sea all the way to the top of magnificent Mount Etna, Europe's highest active volcano, Villa Angela is a wonderful example of welcoming Sicilian hospitality.
Hotel with swimming pool, restaurant and free parking, Villa Angela offers an unforgettable vacation in romantic rooms (all with wi-fi, air conditioning/heating, furnished balconies and breathtaking views) amidst the warmth and hospitality of a splendid Sicilian residence.


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701 S. Main St.
Directions High Point, NC 27260
Ilderton Dodge Chrysler Jeep RAM is proud to be an High Point, NC area Chrysler, Dodge, Jeep, RAM dealership. We keep a full stock of new Chrysler, Dodge, Jeep and RAM vehicles including the Chrysler 300, Jeep Wrangler, RAM 1500 and Dodge Charger. We also offer all other new Chrysler, new Dodge, new Jeep and new RAM vehicles in the Greensboro, Winston-Salem, Kernersville, Asheboro and Lexington areas. Our impressive collection is located at our dealership at 701 S. Main St. waiting for your test drive! Ilderton Dodge Chrysler Jeep RAM doesn't just provide its customers with high quality vehicles; we also offer an inventory of Mopar parts, exceptional auto repair and maintenance services, financing, and more. To learn more, talk to our friendly staff by calling (888) 760-0853. We look forward to hearing from you!
Your privacy is important to us.
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* Images, pricing and options shown are examples, only, and may not reflect exact vehicle color, trim, options, pricing or other specifications.


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I am looking at buying a 1983 Firebird, comes with a 305 V8, and a three speed /w overdrive, and 4 barrel carb. I am looking to replace my 1980 Ford Fairmont with this car, and I was wondering if they are a good car for upgrades. I am getting rid of my Fairmont, cause it would cost me more to swap in a 302, than to buy annother car with a V8 already. Far as I can tell this car has mostly new stearing components, and all new door seals, and has had the body restored. the car has about 170,000 km on it. Just was wondering what the consensus is on cars like this?
say.... the fairmont.. unless its really trashed out.. might still be a decent ride... finding almost any 302/5.0 and C4/C5 will slide in.. the AOD transmissions should also fit.. i would prefer the fairmont.. over the firebird. but that is probably just my choice..don't get me wrong.. i like firebirds also..a few things to check on the firebird... take a friend with you.. open the hood... have the friend rock the steering wheel back and forth while you look down at the top of the steering box.. the steering box should NOT ROCK... there should be no creaking or cracking noises. this is just an issue with a few that have been abused... GM put triangles with 2 bolts into the cross member and one into the bottom of the frame horn.. this reduced the reaction of the end of the frame horn from the twisting of the steering box.. not all got them.. they are easily removed from donors.. take the bolts with you.. they are special just for that application. self tapping. 2 different sizes.. if the steering box rocks more than 1/4 inch.. RUN fast the OTHER way.. there are very few ways to fix them other than chopping and welding another front section on the frame.. you can see the bolt holes in the crossmember for the triangles just above the center drag link to the center of the idle arm end and on both sides of the end of the pitman arm.. to really help in tightening up the 3rd gen steering somebody came up with a brace that bolts between the top of the sway bar brackets and the frame rails.. this has an adjustable length rod between them... this really stiffens up the front of the frame.. probably have to check the superchevy or chevyhiperformance.. even camaro performers magazine print issues for an ad..with an 83 model.. you will probably have a feedback carb... guess what... those. if the system is working.. can get well over 20MPG... if you keep your foot out of it on the freeway... and if yours has a feedback system.. you will want to invest in probably an OBD1 scan tool.. perhaps finding a MONITOR 2000... as those will work just fine.. and can be had for 50 to 70 bucks on Craigs or ebay.. please.. don't get in and attempt to adjust the carb if its feedback.. its complicated and has to be done correctly while monitoring the system with a dwell meter or a scan tool..
i believe thats called a wonder bar. heres a link with pics.http://www.thirdgen.org/techboard/suspension-chassis/465817-wonder-bar.html
I ended up getting the car, however I had not read the replys to my post proir unfortuntalely. It turned out that it is actually an '84 firebird trans am, with the regular 305. The steering is tight, and the metalwork is good, no excess bondo anyway, however the car was refinished about 15 yrs ago, and whoever painted it uesed lacquer thinner, instead of reducer in the paint, so I have large areas where it is cracking and coming off. I need to do someengine work on it aswell, but I had intended this to be a project car when I bought it. I drove it some and I am getting roughly 25 - 30 with it. I'm thinking that once it has some work done to it, it will possably have a bit more power, as it is all stock and hasnt been changed in years from the look of it. The main reason I decied to go the chevy route is cause its way cheaper than Dodge. Any idea if I can get a complete wiring harness for the whole car? I can just replace it all with new bulk color coded wires to rebuild it, but if the other is available it would be way less work. Thanks!
for wireing, id try a company like painless wiring. if you go to the junkyard, your gonna get 25-30 year old wiring. hardly worth it. you may find lots of useful info on thirdgen.org. its all about 82-92 camaros, firebirds and trans ams. i think an 84 trans am just won car of the month for september on there? click on message boards to enter the forum. many nice folks over there to help you, not that you cant get help here,...but its more specific to your ride.http://www.thirdgen.org/ heres an 84 TA i owned years ago. nice cars.
If you can get 25 to 30 MPG on a 28 year old car. I'd say do the cosmetic work and leave the engine alone...LOL... Your a true gear-head. You want to go faster...Good LuckBob
bob is completely right...DON'T touch a thing under the hood or the dashboard...that has a feedback carb... if you swap a single vacuum hose around... or a single wire...you will have issues...please do not adjust the carb... understand.. DO NOT ADJUST THE CARB.. let me say it again.. DO NOT ADJUST THE CARB... don't think about rebuilding the carb... don't think about exchanging the carb for a similar rebuilt... rebuilts will usually have the WRONG calibration... these carbs require a small selection of specialized tools... including an dwell meter and a scan tool to look at the live data stream.. really saves DAYS of work... if you attempt on getting more power out of it... you are going to SERIOUSLY reduce your fuel economy...one fellow on one of these forums... took some bodys advice.. toss all that computerized stuff out.. throw a holley and an intake on it.. a vacuum advance HEI... he went from 26 MPG... to 12 MPG.. ask how to get his fuel economy back like it was...put the feed back system on.. and restore it to full function...if eventually you get a check engine light flashing at you .. or you have drive ablity issues..first.. these really need a scan tool...check craigs.. for OTC or snap on MT 2500 ... with the correct cables and cartridges a monitor 2000, monitor 4000E ... or one of the many versions of that... some other harder to find used scan tools can also be used... i used to specialize in feedback fuel systems.. rebuilding those feed back carbs.. spending several hours fixing wires... replacing a few parts... verifying .. each sensor is working properly and communicating with the computer... it gets complicated..one thing.. the computer harness is on the engine and a few places under the hood... but it runs through a hole in the firewall on the passenger side of the firewall...where the engine control harness and the lighting harness pass through a bulk head connector on the drivers end of the firewall past the power brake booster...also... with trans ams...look at the image above with the RED bar... look closely at the bottom of the radiator core support... see the air dam.. there is a replacement air dam from GM... fits like 86 or 87 models.. retrofits to earlier models.. this is a fairly rigid bolt on air dam... limits the airflow under the car by bulldozing the air at the core support... this builds a pressure wave in front of the radiator at highway speeds... if this car has the shorter factor air dam... or is missing the central section under the core support.. it will usually overheat above 55 mph.. i know this for a fact... i measured it with a magnehelic pressure gauge used in the HVAC industry..
Wayne I could not have said it any better. Once you fool around with those feed back carbs your asking for trouble. I have a 2006 Impala with a 3.9. If I am only on the highway I may touch 30 MPG.I get an average around town and highway of 24.7 to 25.6. But it's a rocket ship.Bob
It is kinda hard to start at this point, I am going to replace the fuel pump and starter, alt, to see if that helps at all. I also plan to put new wires and plugs, distributur cap and stuff on it. just basic matenence for now. I honestly wouldnt mind it getting down as low as 15, I kinda of bought it expecting to get around 15 - 20 mpg out of it, cause my truck (1986 dodge ram, 318 2 barrel) gets about 20. I figgured a 305 with a 4 barrel should be able to get that. I was thinking about adding a cam, higer flowing heads, an aftermarket intake, headers, dual exhaust. I may decide to rebuild the engine yet, but at this point im not leaning in that direction. I may swap to a cowl induction hood too. Of course electric fans will be added aswell. It was bought as a hotrod project for a weekend cruser. It doent have to get phenonminal fuel economy. If i leave it like it is it already gets way better than my fairmont, cause i get 25 in it if I drive like a 90 year old gradma, lol. otherwise its about 15 in the city.
If you have over 100,000 miles on it when you replace the cam do a timing chain. If you are really looking to get some performance. Put the 305 under the bench and purchase a crate 350.Bob
one dis-advantage to trans ams of these years is, its hard to keep them cool when you start modifying them. not any airflow through the front. make sure you have that airdam as Wayne mentioned. they also made 2 different airdams. 1 is 1 piece,...the other is a 3 piece unit. dual exhaust is very tricky on these cars. not much room if you want to keep it off the ground. many pics and such on that site i gave you, to get some ideas. long tube headers usually bottom out and end up cutting holes or dinging the headers. any pics of your new ride? alot of people use photobucket. copy/paste the IMG code. im with Pepsi, park the 305 and get at least a 350 if your gonna build a hot street ride.
I do have some pictures, but I dont even know what photobucket is, lol. Its all black with T-tops. Decoding the VIN tells me that it is an SE, but the according to the licence issuer it is a trans am edition. I have a friend who said that he will help me build a 350 with about 400 hp for it. the reason I was thinking to add some of that to the other though is because of how cheap chevy parts are. I can rebuild the engine for less than half of what it woulda cost to do it in my '67 dodge dart. I have the 2 vent airdam in front, but it looks like it has been cracked in the corners, so i'm thinking about going to a knight rider bumper. I dunno they look kinda cool, lol.
oh and for the wiring, I wouldnt go to the autowreacker. I can get trailer wiring that is really good quality and is all color coded. It comes in differnt guages, and stuff. I just know on my 86 truck a lot of the insulation was falling of the wires, before I had a small meldown where the wires shorted. Wasnt so fun figguring out where 40 plus wires went after all the insulation burned off them, lol.
sounds like a good plan. hers a link to photobucket. its free. click on the link, like the ones above. http://photobucket.com/ start an account. i use my cell phone to take pics. once you start an account, you can get a number for mobile uploads. i program it in my phone like a contact. its longer than a phone number, with some computer looking adress. copy/paste the IMG code in your post. its easier than it sounds. heck, this dumb red neck figured it out. lol.
there should be RPO codes in you center console. it will tell you all the options on your car,...if its the original console. you can look them up by clicking on the 3rd gen link above on one of my previous posts. it will tell you alot about how the car was built originally.


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Discussion in 'Pistons and NBA' started by buddahfan, Apr 13, 2007.
9 minutes in the first half. We he be on the Pistons playoff roster? Stay tuned
I sure do hope so.
You and me so far are the only ones. I guess everyone else on this board based on their posts feels he will be back at Sioux Falls. LOL
I don't know where he'll end up, but I think he would benefit more from spot minutes with Pistons than from any games with NBDL.
I heard Kelser say that he would be going back down to help Souix Falls in their playoffs. I know Flip played him 34 mins tonight and can put him on the playoff roster, but it may be too late to see if he wants to give him any playoff minutes unless it is a blowout. He may be this years Human Victory Cigar and lets hope that we have 16 of them!!
NBA - Philadelphia 76ers/Detroit Pistons Recap Sunday April 15, 2007 - Yahoo! Sports
While his shooting wasnt flash hot, he was only 4 blocks off a triple double, good performance from him, I would've expected less.
Can AJ prove C-Bill wrong and turn the NBA into his personal D-League? Pistons coast to loss
its a good barometer of his progress. If he had to, he could develop in the nba but this team has another agenda right now and time is short. We'll see him next year.
Bounce him back and forth. Finishing the Pistons season against real NBA talent who is equally athletic is very important. In addition he is also getting top level coaching with high short term expectations. Once our reg season ends return him to the DL playoffs. I bet he will return with a renewed commitment to improve as opposed to simply garnering gaudy numbers. Finally, sit him on our sideline in suit & tie as a spectator for the rest of our playoff run. Come October, Amir will give Nazr all he can handle.
It is very important to realize that a shot you think is working will actually get blocked in the NBA. Now he knows. But what is he going to do back in the D-League? Make a more difficult shot than is necessary to practice? Shoot a skyhook over a 6'8" unathletic defender when he could just throw it down? I think the D-League has been valuable for him to give him perspective and overall confidence in his abilities, but it has also given him a bit of false confidence in what works and what doesn't. Overall, I'm very impressed by his tenacity, confidence, and quickness. This dude is fast running and jumping. As we know more than any other fans out there, big men can look really bad as they are going through the transition to the NBA game. One other thought. His D may have been shaky, but he did block 6 shots.
Now, in the DL he will pay closer attention to detail. Getting two shots blocked makes him reconsider the value of proper footwork, selling the fake, maintaining body contact, using a bump to get space ..... Hopefully Amir won't be playing with the mindset of beating scrubbs anymore.
It makes you wonder if the Pistons have not brought him up to make him realize that dominating the NBDL doesn't translate. And maybe to provide some ammunition for their side of the upcoming contract negotiations. It's hard to sell "potential at the NBA level" when you've seen it.
Nazr or AJ I say put AJ on the roster for the playoffs. Right now he is the 2nd, behind Dyess, or maybe even the best rebounder that the Pistons have. He can also make his free throws and is agressive and explosive. He can hopefully develop his jump shot over the summer. I say put him on the playoff roster and play him as appropriate. Even if he only gets 5 minutes a game in the NBA playoffs that will be more beneficial, to the Pistons and to him than getting 35 minutes a game in the D-League playoffs. You got to take a chance if you want the gain. Waiting for him to be NBA perfect before they keep on the roster would be just stupid. His desire, athleticism and talent makes him deserving of a spot on the playoff roster.
I'm sure a large % of the purpose behind his presence and PT boils down to $$$$$$$$ negotiations. Like Murph, I find it kinda exciting to have a new stud in the stable. While Delfino, JMax and to a much lesser degree Blalock appear to have a future in the Association, none are real jewels. AJ on the other hand has size, mobility, raw skillz and gumption. (to borrow a term from Hatter)
What would that do to Nazr's trade value? Or are we stuck with him for the long haul?
It seems like you are thinking that AJ can not help us win during the playoffs. If that is your thinking than I understand your position and would also play the money game here. But I believe that AJ can help us win during the playoffs. I am not sure how adding a guy to the roster who could possibly be the best rebounder could hurt us. Even if he gets whistled for a lot of fouls I believe his agrerssive going to the glass will rub off on our other bigs and we will have a net gain from his presence on the playoff roster. If we are that concerned about it decreasing Nazr's trade value we can always leave Davis off the roster. He has no trade value at all. Of course he could help us against The Diesel if we have to face him during the playoffs. Other than that I would rather see AJ out there than Grandpa Davis. After all this ain't the Senior League Playoffs we are talking about.
I really enjoy watching AJ's progress! I think being on the playoff roster could be one important experience for him since this is far more special than the last games of the regular season or garbage time. I also think he could be the type of x- factor Tayshaun was some years ago. We all know that Flip isn't a guy who has tons of ideas but adding Johnson as a suprising piece would be a good one.
I was thinking exactly the same thing Ralphi. I see a lot we can gain by trying this and I don't see what we have to lose by switching. Amir could change the momentum of a playoff game by swatting a couple of shots away. But you know, Flip seems the conservative type to me, and I don't think there is much hope for it to occur. I was very encouraged by Amir's play last night. I know some people were somewhat deflated by the overall lack of effort by the team and Amir's misses, but I think if we had won that game folks would be very excited and enthusiastic about his performance.
I think AJ could help, but won't get the chance even if he is on the roster. The coach doesnt' have confidence in him and he hasn't been integrated into the scheme. So given that, I don't want to hurt the perceived value of Nazr... since we have him signed up for a long time. On Davis... this is one of my biggest dissapointments this season. When he has played, he has looked twice as good as I thought he would. But then he doesn't play for 20 game stretches. He's our toughest player, rebounds, plays great D, and doesn't demand the ball on offense... ala Ben Wallace. As well as Webber has played (and it has been going down hill), I'm still not convinced that the starting 5 with Webber is a better playoff team than the starting 5 with Davis. It won't happen, but I think Webber adds more to our bench unit than he does to our starting unit. The opposite is true with DD. It's all about redundancy. You don't need a defensive specialist with the bench unit of Lindsey D. Hunter and Carlos D-fino. And you don't need a "point" center with all the smart, but soft, starters on our team.
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|Topic Review (Newest First)
|sorry about the typo,its obviously a "671" roots blower,not 672.
bigdog,we have a fella here Harvey,He has a 390 inch stroker with a blower,fuel injection,similar cam as to what I use.He makes 980 rwhp.Its a daily driver. These cars are not that bad on the street.The only problem is fuel consumption. horse power burns fuel.
On the other side of the coin,a neighbour has a super charged 350 in a rat rod.dual carter AFBs,672,headers with cutouts,super fat rear tires,looks like it could fly if it had wings,,,
runs 12.0s on a good day. kinda sad,but looks/sounds mean,just doesnt have the big cam and other items to make it a rocket.
|He said it was driver way before he mentioned racing. To me that means racing comes second. If he dropped the compression on his current plan here and put a blower on he will make more power than his current plan. And that extra power will be more than enough to make up for the weight of the blower and then some. And since it's better mannered he will enjoy it more when driving on a day to day basis. If he said hey this is a track-only car then i could understand the high compression and giant cam But on a car that will be mostly street driven it will benefit more from a modest engine with a blower than a crazy lumpy race motor.
I was trying to help you bigdog.Im not arguing.What you said does not apply in this situation.I just wanted to help you understand what rice is talking about and why your alternative ideas did not apply here.Rice is racing at a much higher than usual level and because of that its harder to follow.Its like,why do some people race a 4 cylinder import when they can have an american v-8? There are as many answers as there are different cars.No one is really wrong or right if they like what they have. The Honda guys love taking their 280 h.p. hondas and beating 400 h.p. v-8s.
Think about how you would feel if your 3700 pound super charged 500 plus h.p. chevelle got beaten by a 320 h.p. 1.3 liter RX-7 rotary
|I'm done. There's no winning an argument I didn't start or even intend on starting. I simply said that he should highly consider a blower setup to make it more street friendly. I gave up on the OP a while ago since i can't understand anything he's saying.
|Please,show me the math as to how you arrived at 100 octane fuel for that mans engine?What is the mathematical formula that you are using?,,,look at his cam specs
|The new computer controlled engines can run a lot more compression. My audi was 10:1 with 8lbs of boost. Your 10.75:1 is high but not unreasonable. 11.5 is almost a whole point higher and on a carbed motor will require at least 100 octane. That gets expensive very quickly on a daily driven car that sees 50 miles a day.
|bigdog,my car is 10.75:1,and it is tuned for 92 octane pump gas.I can get 92 anywhere and 94 at our chevron stations.look at the Mazda economy car,its 14:1 cr and runs on pump gas.new ford car is 12:1 same with BMWs and other cars. 8:1 is good for a blown car,not N.A.
|If we were talking about race motors or cars that aren't driven daily, then i can understand where you are coming from. But for a daily driver 11.5:1 compression on race fuel is not nearly as convenient as 8:0 compression with a blower running on pump gas.
Ill try again bigdog,,,If we (people like myself and probably rice)built an engine with a blower on it,then it would still have a big cam and big heads,just lower compression and making 1,000 horse power.
Believe it or not,my car is decent to drive on the streets.I have 1 electric fan that comes on at 185 degrees,no water pump fan.Its a standard so stop and go is a pain because of clutch pressure,but it is fine at 35 mph in 3rd gear and lopes along at 65 mph in fifth gear around 2200 rpm.It accelerates smoothly and quickly from that rpm. You save zero money using a blower because ,,,If you blue print an engine and use good parts,the cost of a 400 hp engine and 500 engine are about the same.10k will build a solid roller engine with great parts.If you put a blower on a 4,000 dollar engine and raise the boost past 5 or 10 pounds you will have some broken parts.If you build a decent $4,000 engine add 3k in new blower and related parts you will have a 500 - 600 horse power engine that will look faster than mine,but wont be.Yes,you saved 3k and look cool
|I don't think you got what i was saying. If you want the engine in a daily driver, a supercharger will allow you to have the same power but better street manners. I really don't care what anyone's car looks like under the hood. Hell my looks terrible under the hood. It's not cheating or being lazy or anything like that to have forced induction either. But when you are trying to make as much power as you are, and you will be street driving it, then running low compression and a blower is a lot more street friendly than sky high compression and a giant cam. Plus the extra cost of the blower will be paid off extremely quickly since you can run it on pump gas instead of race fuel.
|And I also am like vinniek2q I like for people look under hood and not worry till its to late and all they see is tail lights gettin smaller cant tell u how many suoercharged and turbo ive taken there money cause people think just because u have turbo or supercharger u the fastest thing on the road in most chases thats not true most of them im out couple cars before it starts to really spool up and make real power running eight mile by then its to late and like I said I really dont like that sound I would much rather hear my motor and not a whine got enough whining from old lady and kids just like get in and let the rumble of the motor make my day better
|Easy horsepower is like a easy woman fun for a little while but nothing u bring home to mom years ago before I knew what I was doing I had twin turbo 383 cause everybody else had some form of forced induction some turbo some supercharger most love them I dont like the wine of the turbo that noise just bugged me most get off on it I dont. My happiest day was when I built another motor and sold that one Never had one since it might cost a little more build real horse power but thats how I like it and I run a spool because got tired of breaking limted slip units and got tired of replacing parts in them I have yet to break a spool and no matter what its going hook both tires ever time I like knowing what its going do mine does have small amount of hop to it if u in a parking lot turning sharp but other than that I never know its there
bigdog,I think I can answer that question.
Look under the hood of our cars and you see a small block,with aluminum intake and heads,same as everyone else.You expect the guy with 2x4 blown bb to destroy the guy with stockish looking car.My car appears stock except it has a 4 inch cowl hood.
Two possibilities,I drive away from him because he has a show but no go car or he broils his tires and I drive away from him. Worst case scenario,its a draw because we both have more power than traction,which is still a win for me in reality,because his car looks faster.
The only real way to decide whos faster is the race track.On my race track he has zero chance,on his drag strip Im only at a slight disadvantage.
Just cause you've never used forced induction before, or you think you don't like it, doesn't mean you just eliminate it as an option. I'm telling you to seriously look into it because it will really help your build out and get you to reach your power goals a lot easier while still improving drivability. There is no down side to it. It's not forcing your engine to do anything lol, and no damaging it either.
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Lone Peak senior Nick Emery helped lead the Knights to the Class 5A state title earlier this month.
He was honored Thursday as the Gatorade Utah boys' basketball player of the year.
Emery, who plans to play at BYU after serving an LDS mission, averaged 17.9 points and 3.8 rebounds. He added 3.6 assists and 2.8 steals.
The Knights finished 26-1 and ranked No. 1 in the nation by maxpreps.com.
Parsons gets shot at big stage
South Sevier senior Race Parsons will compete in the American Family Insurance High School Slam Dunk and 3-Point Championships in Atlanta.
Parsons, who plans to play at Southern Utah, won a competition on Facebook to get the opportunity to compete.
Parsons finished his high school career with 2,093 points, which ranks fifth all-time in Utah boys' basketball history.
Region 8 honors
Region 8 recently announced its honors for girls' basketball. Here are the first and second teamers and the honorable mention.
MVP • Malia Nawahine, Springville
First team • Savannah Park, Springville; Missy Belliston, Salem Hills; Aleksa Gappmayer, Maple Mountain; Lauryn De La Cruz, Timpview; Tatiana Monsen, Orem; Noa Talia, Provo; Erica Egbert, Salem Hills;
Second team • Jessica Raab, Mountain View; Gentry Oldham, Mountain View; Brooke Wheeler, Springville; Jamaica Christensen, Timpanogos; Lyndie Haddock, Timpview; Tarin Strosser, Maple Mountain;
Honorable mention • Miranda Waite, Salem Hills; Ashli Averett, Springville; Tiffany Madson, Salem Hills; Tila Tenney, Orem; Audrey Smith, Timpview; Cylee Tumaunei, Orem; Hannah Packard, Springville; Lennon Mangum, Timpview; Marcy Fuller, Timpanogos; Kylie Guthrie, Orem; Katie Muhlestein, Maple Mountain;
- Kevin Winters Morriss


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|Topic Review (Newest First)
|The small block 400 is an engineering marvel. To get that displacement out of a block originally desinged to be a 265 is just amazing. However, realize this was an attempt by GM to cheap-out and get some power for as little cost as possible. The 400 is a poor compromise since the heads and lower end were originally designed for an engine of only a small fraction the current size. Go with the 396 and beef up your suspension if you need to (stiffer springs, sway bar).
[quote]Originally posted by chevyelc81:
Which one would you go with?? Ive got the small block 400 which im planning on building up with aluminum heads(2.08in 1.60ex), 6 inch rods and a roller cam. But... I was just teased on a deal for a 396 big block bored 30 over(which makes it a 402ci) and its all redone pushing 430hp. If I got it, I would probably put aluminum heads on it with big valves and a roller camshaft. It would be pushing well over 500hp, but same with the 400 if I built that. I plan on running a supercharger also. The car is a 69 camaro which orginally had a 396 in it. Im leaning twards the 400 because I figured its lighter, but I don't know much about 396 motors, Are they better than the small block 400? The 400 has a 4.125 bore with a 3.75 stroke. The 396 has a 4.124 bore (thats .30 over) and a 3.76 stroke. Theres not much difference there. Whats the big difference becides big block and small block? Which one would you go with??

Dude sell me the 400 if it has not been bored out yet. What is the casting number? Send me an email. I would buy just the block if you like. I dont need it til December!
[ October 05, 2002: Message edited by: LD85 ]

true big block heads flow good but the worst big block head is not as good as some people say, they flow about 225cfm intake and 170 exhuast on a good day. the small block has potential, however you are limited by the difference in cylinder head design if your are going to go smallblock. A big block chevy was first designed as a replacement for the W motors, 348and 409, they combine the best from the smallblock and from the current big blocks of 1964. once the porcupine head was introduced it changed everything. it's splayed and canted valve design is far superior to anything of that time. with realy good heads, Im talking 3200 dollars worht of head, and a sold roller cam in the neighborhood of 320 deg. of duration and arountd .700 thousanths of valve lift or more, running about 10.5:1 c.r. you'll be over 600 ponies no problem.
and i wouldn't call a 396 in a camaro sluggish. in stock form, have you ever talked to a guy with and L78 or and L89. with tuning they can run high to mid 12's. if thats sluggish give me a semi.
and about boring them out have it sonic checked and you can take 125 over and make a 427, My buddy did it and ran 13.5:1 slugs with merlin rectangular port heads, a signle plane dart intake and a 1050 dominator, it's in a 1978 impala 2 door. I've never seen so much burnt rubber!!!!!!!!!!!!!!!
[ October 04, 2002: Message edited by: Jay396 ]
[ October 04, 2002: Message edited by: Jay396 ]

|Stay with the big boy
|Yes, I had an experience boring out a 402 block. I got a "deal" on some 12 to one 427 pistons. This was in about 1977 so I can't remember all of the details but the block had to be bored about 125 thousands. I was with my first wife then and didn't have much money hence the "cobbled together" big block with cheap used (forged) pistons. That motor lasted all of one week before it started belching large amounts of white smoke out of one of the exhausts. There was a huge crack in one of the cylinders! I tore the motor down and had a sleeve installed in that cracked cylinder. The motor ran fine for about a month until I noticed low oil pressure upon acceleration. I was running a stock pan and I'm pretty sure I sucked the pan dry because it wasen't long after the low oil pressure thing that it a main bearing spun. I went back to that same machine shop and the owner got me a "rebuilt steel crank kit" for a 100 bucks. After installiation of the rebuilt crank the motor ran great for a long time but I really hated that high compression. I never could keep it from pinging on hard accelleration. I've never had a big block since then and have enjoyed several trouble free small blocks and am now running a cheap home built 383 in my 4 speed Camaro. I must say that if you're on a strict budget like me then the small block is the way to go. Heck, that big block caused my first wife to leave me. Well, it could have been the womenizing, drinking and coming home very late that made her leave. No it was the big block!
|just something to keep in mind: for certain years of production, the 396 and 427 block were of the same casting - ie. a 396 could possibly be bored out to 427. i'm sure with a little research you could find out if this applies to your block. anybody have any experience doing this?
Hello from finland... i saw a comparision between sb400 vs bb402 in chevy hi perf a while ago(built whit similar parts) . BB did
produce more hp but LESS torque! It was those big heads and relatively smal engine. personnally i like that 400 sb.Its pretty light so car handels well and it produses almost enugh power...
You should just weigh the differences in the two different engines.
You have to give a big weight savings advantage to the 400 small block, and also remember that parts will be quite a bit cheaper for the small block also.
The 396 is heavier duty, and will make more horsepower due to it's superior breathing ability, and it also lends itself to more cubic inches if you want to stroke it, or bore it more, where you are limited with your 400.
And, as several have mentioned, the originality of your car, but that is just a personal preference, that you must decide. You have to make yourself happy, not everyone else.
|You got me thinking, I know thinking is dangerous but I put a 455 in my G-body Cutty and the only way I can describe the steering is that it's, well, sluggish! My wife really hates to drive it so I get to put 5 kids in my 455 Cutty and shuffle them back and forth to school. I figure that the 455 is about 80 pounds give or take heavier that the origional motor. My Question is, can I do anything such as putting in real stiff springs in the front etc? How about a little different front end allignment? One thing though, those yellow school busses sure play hell trying to get around me and my 5 little screamers!
I can tell you that you will be doing yourself an incredible injustice if you dont put a 396 back in an origional 396 camaro. They are worth so much...
But in camaros, 396's were pigs. They make the front end all sluggish. They car kinda feels like a big tank. 327-400 sbc keeps em nice and light.
My thought is to throw a 396 in that car, make a butt load of money off it. Then go buy another one (not 396 car) and throw a punched out 400 in it!
Only other thing that I would suggest doing is to throw a 427 in that car if you dont care about origional or the money you could make off it.
Go with 396, sb 400 don't have water jackets between the cylinders. I use to race a 73 camero with a mildly massaged 396 and it was great. Theres not alot to learn on big blocks, except when you mash your fingers you yell louder. More torque and hp for not much modofications.
Besides I like saying 396, 396, 396, sorry I got carried away.
|Super Streeter
|In stock form,a 396 has way more potential then a 400 smallblock.The worst stock 396 oval port heads ever made with stock little 2.07"intake valves and no port work with just a 3 angle valvejob will match or outflow even the best 23 degree head smallblock aftermarket racing heads.Bigblock bottom ends have way stronger components,and there are a few other good features.The bigblock has a larger diameter camshaft core,so most bigblock cams cam withstand more lift,and bigblocks come stock with 1.7:1 rockers,so you can get even more lift from that.In reality,even the mildest factory performance bigblock cams had .550" lift.The 396 has a better rod ratio because the stock rods are 6.135" long which is longer then almost any aftermarket 400 rod setup being offered in kit form,and the 396 stuff is stock.You can build a 396 with a stock 2 bolt main block,stock crank,stock rods with good bolts,stock replacemnt performance pistons,a stock GM camshaft{L78 solid lifter 396 cam would be real strong}with stock unported closed chamber heads with no porting,just a 3 angle valve job,stock rocker arms,pushrods,lifters and valvesprings,a performenr rpm intake,headers,and an 850 double pumper,and have a 500 hp engine that you can drive every day and be built with mostly stock parts,and shouldnt cost more then about 3 grand to build.The next idea is to not build a 396,but build a 454.You can find more 454's then 396's,and they come with even better stock heads,and they are externally the same,so you can dress it to be a 396 and nobody would know the differance.With a 468{.060" overbore}with stock heads with a good valve job,9.5:1 compression,and a mild cam such as a 280 degree Isky Mega cam,you can build an 11 second engine that will run on pump gas and not even sound radical.Add a 125 shot to it,and even the most mundane 2 bolt main cast crank 454 will be a 10 second beast.With aftermarket heads and a race cam you would be hard pressed not to make over 600 hp with either a 396 or 454,and that is with basically off the shelf parts.Good luck.
|It's got to be those big block heads with the huge porcupine valve arriangment. However, I'm showing my age here but I remember very distinctly when the big block came out. It most certainly was the talk of the town. The 375 horse power model would kick butt but the 325 horse power model was said to not be able to take on many small blocks and was considered a bit of a dog. I had a 427 once in a Chevelle and it was strong but quite often (much to my dismay), hot 350 Camaro's would beat me but they had to work hard to do so. I bet however, if I would have ported those huge heads and installed a hot hydraulic cam in that thing, it would have smoked most 350 Camaros. My vote....Big Block!
|Well, the thing is that, Im using the car with the 400 small block mildly built, and im impressed with the power. This winter is when im going to decide on what engine to use. The heater hoses are almost right under the hood hinge and the front end sits really high, do to the big block springs. If I keep the small block, I will end up changing the springs, but you guy are telling me the 396 is better. I don't understand how they build better low end torque when they have almost have the same stroke and piston size, can someone fill me in?
If you have a factory big block Camaro........duh....put a big block back in it!
Real Factory big block Camaros have the two heater hoses coming thru the firewall almost under the hood hinge, small blocks over the valve cover. In fact , to put a big block in a small block 69 Camaro, you almost have to bend the hose outlets to clear the BBC valve covers.
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Army has commissioned me to do a repaint on his recently purchased DP deluxe lid. This lid has seen some action with a few bondo spots reviled after the paint was removed, it also has been reinforced with fibergalss on the inside. I went through and removed the prvious paint job had have hit it with a fresh coat of primer. Tomorrow night I will hit it with the first layer of paint for this fully layed paint job.
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Student Achievement, Honor Societies and Awards
Student Achievement, Honor Societies and Awards
Academic achievement awards are annually presented to students earning a 3.5 overall cumulative average. Residence Life annually gives academic awards for a 3.25 and up, while the Athletic department annually gives academic awards for athletes with 3.25 and up.
Academic Distinction
The Latin designations - Summa Cum Laude, Magna Cum Laude, and Cum Laude - will be used for identifying honor graduates.
Graduates having cumulative quality point averages between 3.95 and 4.00 will be designated "Summa Cum Laude," while graduates having a cumulative quality point average between 3.75 and 3.94 will be designated "Magna Cum Laude." Graduates having cumulative quality point average between 3.50 and 3.74 will be designated as "Cum Laude."
Honors for the graduation ceremony will be awarded as of the semester prior to the last semester, while honors for transcript and diploma will be as of the end of the final semester. Forty-five credits must be completed at BU in order to be considered for academic honors at commencement.
Sixty credits must be completed at BU as of the previous semester in order to receive the designation at graduation of "Highest Honor Graduate" for each college. A full-time degree student whose semester QPA is 3.5 or higher in 12 or more semester hours of coursework for which a grade or grades are received will be named to the Dean's list for that semester.
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Each year, the CGA Awards Committee selects the outstanding freshman, sophomore, junior and senior. Students can be recommended by faculty or staff, or they may submit their own application describing their outstanding accomplishments during the time they have been students at BU.
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Membership requirements and policies governing these societies vary. The director of Kehr Union, 570-389-4346, has details.
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Seniors are eligible to apply for a "Service Key" award in the fall or spring, depending upon their graduation date. This award is presented to individuals who have been very active in leadership positions and who have earned 30 service points or more while at BU.
The award consists of a plaque and a lifetime Community Activities card. Information on the award is advertised on campus TV and is also published in The Voice each semester. Applications will be available at the Information Center in Kehr Union. Contact the assistant vice president for student life at 570-389-4065 for more information.
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Residence Life partners with numerous academic departments to present awards twice each year to students living in campus residential living-learning communities who earned a 3.0 or higher overall cumulative grade point average. Residential living-learning communities integrate faculty and academics into students' lives beyond the classroom.
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Nominations are compiled in October and assessed by a committee consisting of the deans of the colleges, director of student activities, the presidents of the classes, the president of the community government association and the director of student standards.
Seniors, with at least 88 earned credits, are encouraged to contact the faculty/staff in their major department or any other faculty/staff member who would be willing to nominate them based upon the qualifications listed below:
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Applications for Service Key and/or Outstanding Student are available about the fourth week of the semester. Contact the Dean of Students at 570-389-4734 for more information.