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NEW HAVEN, Conn. – The No. 2 Yale women's sailing team will travel to Cornell in Ithaca, N.Y., this weekend for the Atlantic Coast Championships. This will be the Bulldogs' final regatta before they enter their three-month winter offseason.
This fall has been one of the Bulldogs' best seasons to date. A five-week winning streak helped them hold on to the No. 1 national ranking for longer than any other team.
The team is aware, however, that it had a similarly successful season last fall, only to fall short at the Atlantic Coast Championships. They finished eighth after finishing in the top three at every previous regatta.
"We know that we have the skills as a team to win the regatta, it is just a matter of executing," said senior team captain Marlena Fauer.
She also noted that staying warm will be an important factor this weekend. Racing at Cornell at this time of year has the potential to be extremely cold. Fortunately though, current forecasts call for relatively warm temperatures reaching the mid-50s on both days.
Wind speeds are also predicted to be fairly moderate from the southeast all weekend.
Fauer will skipper the Bulldogs' A division boat with senior Eugenia Custo Greig as crew. The two seniors are coming off a strong performance at the ACCs qualifier two weeks ago where they won B division by 13 points.
Junior skipper Morgan Kiss and senior crew Amanda Salvesen will represent the Bulldogs in B division. They have finished in the top two at all but one regatta this season.
Since Cornell only has one fleet of FJs, the divisions will not be able to race simultaneously. But Fauer sees this as an advantage for the Bulldogs. She said that offsets between races will better enable the team "to pass along information from the race course to each other."
Follow the results posted here as the Bulldogs work to finish the fall season strong.
Report filed by Chris Segerblom '14, Yale Sports Publicity


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Did I forget to change the pages of my calendar? Are my clocks off? I could have sworn that just yesterday I was wearing short sleeves quite comfortably, but that must be a false memory. Now when I wake up to prepare for the long school day ahead, the temperature drops to nearly freezing. I thought this was supposed to be autumn, not winter yet!With this increasingly cold and disagreeable weather that's recently come about, the effect its been having on everyone is not so surprising. I like cold, I'm good with that. But in autumn? With rain and dark storm clouds all day? The last thing I'd like to do is, well, just about anything. At least I still have my health, which is more than I can say for some…
Yes, the seasonal colds and flu's have already begun, getting a head start this year along with the climate conditions. A good friend of mine showed up at the train station yesterday, snuffling a bit and swearing she could feel a cold coming on. As the day continued, her symptoms only worsened. I hate feeling helpless when others are feeling crappy, so I did the only thing I believed would aid the situation: Make soup.
Sitting in class, I queried this friend as to what soups she enjoys. Pumpkin? Meh… Carrot? No, thanks. Potato? Mmm, yes!
As soon as I got home, I pulled out my knives and veggies and got to work. It was done in time to drive down to her house that very night, and while I can't definitely say that it helped aleviate her sickness, she did still show up at school the next day! Even if you're not sick, this is a rich, thick soup that is sure to warm you up and provide comfort on those colder days. There are of course thousands of recipes for potato leek soup, but this is mine.
Potato Leek Soup
-2 Medium Potatoes, Peeled and Cubed
-3 Leeks, Sliced into Rounds
-2 Tablespoons Margarine
-4-6 Cups Plain Soymilk
-1 Cube Vegetable Bouillon
-1 Teaspoon Salt
In a large stock pot, melt your margarine and saute the potatoes and leeks together until they are entirely coated with the margarine and the leeks are slightly softened. After about 10 minutes or so of sauteeing the veggies, add in 2 cups of the soymilk, the bouillon, and salt. Bring it all to a boil, and then reduce the heat to its lowest setting, cover, and let it cook for 30-45 minutes, until the potatoes are nice and tender.
Using an immersion blender (Or a regular stand-mixer, but working in batches) pulverize the mixture until it's mostly smooth, but be sure to leave some chunks for texture. Once you're happy with the consistency, add in 2-4 more cups of soymilk, depending on your desired viscosity. I used only 2 cups in mine, and it's so thick, you could probably stand a spoon upright in it. It's up to you as to how you prefer your soup.
This recipe will make a good amount, (Minimum of 5 cups) which makes it an excellent food to freeze and defrost for later when you're not feeling up to cooking. If you're going to pack it up and toss it in the ice box, just be sure that it's completely cooled before fitting on the lid.

subset: commoncrawl


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The Nike Zoom Janoski model sees two new styles for 2013. The traditional model is outfitted in a bright Hyper Red canvas upper with tonal Swoosh and accents, all sitting on a solid gum rubber vulcanized sole. The Mid is offered here with a dark obsidian upper, the model features a higher cut at the ankle to help provide additional protection and support. Accented with digital pink on the laces and on the outsole, the Nike SB Zoom Stefan Janoski models are available now at select retailers, including Concepts.
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Pierre Corneille, (born June 6, 1606, Rouen, France—died Oct. 1, 1684, Paris), French poet and dramatist, considered the creator of French classical tragedy. His chief works include Le Cid (1637), Horace (1640), Cinna (1641), and Polyeucte (1643).
Early life and career.
Pierre Corneille was born into a well-to-do, middle-class Norman family. His grandfather, father, and an uncle were all lawyers; another uncle and a brother entered the church; his younger brother, Thomas, became a well-known poet and popular playwright. Pierre was educated at the Jesuit school in his hometown, won two prizes for Latin verse composition, and became a licentiate in law. From 1628 to 1650 he held the position of king's counselor in the local office of the department of waterways and forests.
Corneille's first play, written before he was 20 and apparently drawing upon a personal love experience, was an elegant and witty comedy, Mélite, first performed in Rouen in 1629. When it was repeated in Paris the following year, it built into a steady (and, according to Corneille, surprising) success. His next plays were the tragicomedy Clitandre (performed 1631) and a series of comedies including La Veuve (performed 1632; The Widow), La Galerie du palais (performed 1633; The Palace Corridor), La Suivante (performed 1634; The Maidservant), La Place royale (performed 1634), and L'Illusion comique (performed 1636). His talent, meanwhile, had come to the attention of the Cardinal de Richelieu, France's great statesman, who included the playwright among a group known as les cinq auteurs ("society of the five authors"), which the Cardinal had formed to have plays written, the inspiration and outline of which were provided by himself. Corneille was temperamentally unsuited to this collective endeavour and irritated Richelieu by departing from his part (Act III) of the outline for La Comédie des Tuileries (1635). In the event, Corneille's contribution was artistically outstanding.
During these years, support had been growing for a new approach to tragedy that aimed at "regularity" through observance of what were called the "classical" unities. Deriving from Italy, this doctrine of the unities demanded that there be unity of time (strictly, the play's events were to be limited to "the period between sunrise and sunset"), of place (the entire action was to take place in the one locus), and of action (subplots and the dramatic treatment of more than one situation were to be avoided). All this was based on a misunderstanding of Aristotle's Poetics, in which the philosopher attempted to give a critical definition of the nature of tragedy. The new theory was first put into dramatic practice in Jean Mairet's Sophonisbe (1634), a tragedy that enjoyed considerable success. Corneille, not directly involved in the call for regular tragedy of this kind, nevertheless responded to Sophonisbe by experimenting in the tragic form with Médée (1635). He then wrote Le Cid (performed early 1637), first issued as a tragicomedy, later as a tragedy.
Le Cid, now commonly regarded as the most significant play in the history of French drama, proved an immense popular success. It sparked off a literary controversy, however, which was chiefly conducted by Corneille's rival dramatists, Mairet and Georges de Scudéry, and which resulted in a bitter pamphlet war. Richelieu, whose motives are not entirely clear, instructed the then recently instituted Académie Française to make a judgment on the play: the resulting document (Les Sentiments de l'Académie française sur la tragi-comédie du Cid, 1637), drafted in the main by Jean Chapelain, a critic who advocated "regular" tragedy, was worded tactfully and admitted the play's beauties but criticized Le Cid as dramatically implausible and morally defective. Richelieu used the judgment of the Académie as an excuse for suppressing public performances of the play.
Corneille, indeed, had not observed the dramatic unities in Le Cid. The play has nevertheless been generally regarded as the first flowering of French "classical" tragedy. For the best French drama of the "classical" period in the 17th century is properly characterized, not so much by rules—which are no more than a structural convention—as by emotional concentration on a moral dilemma and on a supreme moment of truth, when leading characters recognize the depth of their involvement in this dilemma. In Le Cid, Corneille rejected the discursive treatment of the subject given in his Spanish source (a long, florid, and violent play by Guillén de Castro y Bellvis, a 17th-century dramatist), concentrating instead on a conflict between passionate love and family loyalty, or honour. Thus Le Cid anticipated the "pure" tragedy of Racine, in whose work the "classical" concept of tragic intensity at the moment of self-realization found its most mature and perfect expression.
Major tragedies.
Corneille seems to have taken to heart the criticisms levelled at Le Cid, and he wrote nothing for three years (though this time was also taken up with a lawsuit to prevent the creation of a legal office in Rouen on a par with his own). In 1640, however, appeared the Roman tragedy Horace; another, Cinna, appeared in 1641. In 1641 also Corneille married Marie de Lampérière, the daughter of a local magistrate, who was to bear him seven children to whom he was a devoted father. Corneille's brother Thomas married Marie's sister, and the two couples lived in extraordinary harmony, their households hardly separated; the brothers enjoyed literary amity and mutual assistance.
Le Cid, Horace, Cinna, and Polyeucte, which appeared in 1643, are together known as Corneille's "classical tetralogy" and together represent perhaps his finest body of work for the theatre. Horace was based on an account by the Roman historian Livy of a legendary combat between members of the Horatii and Curiatii families, representing Rome and Alba; Corneille, however, concentrated on the murder by one of the patriots of his pacifist sister, the whole case afterward being argued before the king (a "duplicity" of action admitted by Corneille himself, who otherwise seems by now to have decided to follow the classical rules). Cinna was about a conspiracy against the first Roman emperor, Augustus, who checkmates his adversaries by granting them a political pardon instead of dealing them the expected violent fate, boasting that he has strength enough to be merciful. The hero of Polyeucte (which many critics have considered to be Corneille's finest work), on adopting Christianity seeks a martyr's death with almost militaristic fervour, choosing this as the path to la gloire ("glory") in another world, whereas his wife insists that the claims of marriage are as important as those of religion.
These four plays are charged with an energy peculiar to Corneille. Their arguments, presented elegantly, rhetorically, in the grand style, remain firm and sonorous. The alexandrine verse that he employed (though not exclusively) was used with astonishing flexibility as an instrument to convey all shades of meaning and expression: irony, anger, soliloquy, repartee, epigram. Corneille used language not so much to illumine character as to heighten the clash between concepts, hence the "sentences" in his poetry which are memorable even outside their dramatic context. Action here is reaction. These plays concern not so much what is done as what is resolved, felt, suffered. Their formal principle is symmetry: presentation, by a poet who was also a lawyer, of one side of the case, then of the other, of one position followed by its opposite.
Contribution to comedy.
The fame of his "classical tetralogy" has tended to obscure the enormous variety of Corneille's other drama, and his contribution to the development of French comedy has not always received its proper due. The Roman plays were followed by more tragedies: La Mort de Pompée (performed 1644; The Death of Pompey), Rodogune (performed 1645), which was one of his greatest successes, Théodore (performed 1646), which was his first taste of failure, and Héraclius (performed 1647). But in 1643 Corneille had successfully turned to comedy with Le Menteur (The Liar), following it with the less successful La Suite du Menteur (performed 1645; Sequel to the Liar). Both were lively comedies of intrigue, adapted from Spanish models; and Le Menteur is the one outstanding French comedy before the plays of Molière, Corneille's young contemporary, who acknowledged its influence on his own work. Le Menteur, indeed, stands in relation to French classical comedy much as Le Cid does to tragedy.
In 1647 Corneille moved with his family to Paris and was at last admitted to the Académie Française, having twice previously been rejected on the grounds of nonresidence in the capital. Don Sanche d'Aragon (performed 1650), Andromède (performed 1650), a spectacular play in which stage machinery was very important, and Nicomède (performed 1651) were all written during the political upheaval and civil war of the period known as the Fronde (1648–53), with Don Sanche in particular carrying contemporary political overtones. In 1651 or 1652 his play Pertharite seems to have been brutally received, and for the next eight years Corneille wrote nothing for the theatre, concentrating instead on a verse translation of St. Thomas à Kempis' Imitatio Christi (Imitation of Christ), which he completed in 1656, and also working at critical discourses on his plays that were to be included in a 1660 edition of his collected works.
Years of declining power.
Corneille did not turn again to the theatre until 1659, when, with the encouragement of the statesman and patron of the arts Nicolas Fouquet, he presented Oedipe. For the next 14 years he wrote almost one play a year, including Sertorius (performed 1662) and Attila (performed 1667), both of which contain an amount of violent and surprising incident.
Corneille's last plays, indeed, were closer in spirit to his works of the 1640s than to his classical tragedies. Their plots were endlessly complicated, their emotional climate close to that of tragicomedy. Other late plays include La Toison d'or (performed 1660; The Golden Fleece), his own Sophonisbe (performed 1663), Othon (performed 1664), Agésilas (performed 1666), and Pulchérie (performed 1672). In collaboration with Molière and Philippe Quinault he wrote Psyché (1671), a play employing music, incorporating ballet sequences, and striking a note of lyrical tenderness. A year earlier, however, he had presented Tite et Bérénice, in deliberate contest with a play on the same subject by Racine. Its failure indicated the public's growing preference for the younger playwright.
Corneille's final play was Suréna (performed 1674), which showed an uncharacteristic delicacy and sentimental appeal. After this he was silent except for some beautiful verses, which appeared in 1676, thanking King Louis XIV for ordering the revival of his plays. Although not in desperate poverty, Corneille was by no means wealthy; and his situation was further embarrassed by the intermittent stoppage of a state pension that had been granted by Richelieu soon after the appearance of Horace in 1640. Corneille died in his house on the rue d'Argenteuil, Paris, and was buried in the church of Saint-Roch. No monument marked his tomb until 1821.
Corneille did not have to wait for "the next age" to do him justice. The cabal that had led the attack on Le Cid had no effect on the judgment of the public, and the great men of his time were his fervent admirers. Balzac praised him; Molière acknowledged him as his master and as the foremost of dramatists; Racine is said to have assured his son that Corneille made verses "a hundred times more beautiful" than his own. It was left to the 18th century, largely because of the criticisms of Voltaire, to exalt Racine at Corneille's expense; but the Romantic critics of the late 18th century began to restore Corneille to his true rank.
It cannot be denied, however, that Corneille signed much verse that is dull to mediocre. Molière acknowledged this fact by saying: "My friend Corneille has a familiar who inspires him with the finest verses in the world. But sometimes the familiar leaves him to shift for himself, and then he fares very badly." But the importance of his pioneer work in the development of French classical theatre cannot be denied; and, if a poet is to be judged by his best things, Corneille's place among the great dramatic poets is beyond question.
Not only did Pierre Corneille produce, for nearly 40 years in all, an astonishing variety of plays to entertain the French court and the Parisian middle class: he also prepared the way for a dramatic theatre that was the envy of Europe throughout the 17th century. His own contribution to this theatre, moreover, was that of master as much as of pioneer. Corneille's excellence as a playwright has long been held to lie in his ability to depict personal and moral forces in conflict. In play after play, dramatic situations lead to a finely balanced discussion of controversial issues. Willpower and self-mastery are glorified in many of his heroes, who display a heroic energy in meeting or mastering the dilemma that they face; but Corneille was less interested in exciting his audiences to pity and fear through visions of the limits of man's agony and endurance than he was in stirring them to admiration of his heroes. Thus, only a few of his plays deal in tragic emotion. Nevertheless, because his most famous work, Le Cid, anticipated the tragic intensity of plays by Jean Racine, his younger contemporary, Corneille has often been referred to as the "father" of French classical tragedy; and his contribution to the rise of comedy has, in comparison, often been overlooked. From a 20th-century vantage point, however, it is as a master of drama that he appears, rather than of tragedy in particular.Robert J. Nelson


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This is a lesson about society and space exploration. Learners will survey the public about their different opinions about space exploration and the use of robotics in space exploration. Then they will represent and analyze the results. This is... (View More) lesson 5 of 16 in the MarsBots learning module. (View Less)
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The city of Ridgefield is a growing community located in northern Clark County, Washington. Settlers were drawn to the gently sloping land extending from elevated highland to the banks of Lake River. Originally named Union Ridge due to the number of residents originating from the Union ranks of the Civil War, the name was changed to Ridgefield in 1890 and was incorporated in 1900.
Just 24 miles north of Portland, the city of Ridgefield is a growing area with a great deal to offer. It's known for its breathtaking scenery of rivers and waterfalls, involved community members, small town atmosphere and business-friendly environment. Ridgefield has a variety of single family homes, acreage, townhomes and condos.
The sweeping views of the picturesque Ridgefield National Wildlife Refuge and downtown tree-lined streets create a peaceful environment to enjoy unique shops, an antique store, art gallery and charming restaurants. The city hosts events for the community throughout the year, including seasonal festivals, and First Saturdays in downtown Ridgefield, which features a farmers market and displays of artwork by local artist. Ridgefield parks also host family friendly activities every Tuesday in August that appeal to a diverse range of interests.
The Ridgefield National Wildlife Refuge has 5,218 acres of marsh, grasslands and woodlands. Stately cranes, shorebirds and a great variety of songbirds stop at the refuge during spring and fall migrations. Situated at the base of a valley, surrounded by Mount St. Helens, Mt. Adams and Mt. Hood, the Tri-Mountain Golf Course provides a picturesque vista and unmatched natural beauty golfers will not soon forget. The course is just five minutes from downtown Ridgefield.
Private mortgage insurance is an insurance policy that a residential mortgage lender requires of the borrower if the loan-to-value (LTV) ratio of the home is greater than 80%. Mortgage insurance protects the lender from the risk that the borrower may default on the loan. Federal law requires lenders to notify borrowers when the loan-to-value ratio drops below 80%. Mortgage insurance premiums vary, but generally range from $1,000 to $5,000 a year for an average priced home.
Assessments are monthly fees such as Home Owners Association(HOA) Fees etc... Results received from this calculator are designed for comparative purposes only, and accuracy is not guaranteed.
Information deemed reliable but subject to change without notice. Qualified buyers only, subject to credit approval. This is not a commitment to lend. Consumer Loan License NMLS-3240, CL-3240.
In association with our #1 preferred local lender, Directors Mortgage, Hasson Company, Realtors® is able to provide a full spectrum of financial services, from online pre-approval to offering a guiding hand throughout the entire home buying process.
4 Beds | 3.1 Baths | 4,086 SQFT
4 Beds | 3 Baths | 2,915 SQFT
3 Beds | 2.1 Baths | 3,255 SQFT
3 Beds | 3 Baths | 4,264 SQFT
4 Beds | 3.1 Baths | 6,000 SQFT
5 Beds | 4.2 Baths | 5,874 SQFT
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1. Who do you think is team number One?cara and Jamie2. How do you think the "blind" detour works?they will not know who did it3 Who do you think is U-Turned?Mark and Mike4. Two legs in Russian do you think either will be a non elimination?This one. 5. Who's dying to know how far back Tammy & victor start this leg?3 hours
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spotzen needed a new logo design and created a contest on 99designs.
A winner was selected from 152 designs submitted by 24 freelance designers.
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Find out how a design contest works or learn more about our logo design services.


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Find a haunted house near you locate haunted houses by the city, state and zip code using Hauntworld.com the biggest online directory. Haunt world helps you rate and review every haunted house in the state of New York including, Buffalo, Long Island, New York City, Orange County, Poughkeepsie, Rochester and everywhere across New York. Find, rate and review haunted, hayrides, corn mazes, pumpkin patches, escape rooms, across New York. Haunt world will also help you find haunted house videos and photos in New York. The Scariest haunted houses await your review so please share your experiences here at Haunt world.
New York Haunted Houses have grown over the years to feature some really amazing haunted houses some of which have been featured on Travel Channel. Several years ago when we visited haunted houses in Buffalo, New York the haunted houses in New York seemed to be around every corner especially in the Buffalo, New York area haunted houses are very popular form of entertainment and more haunted houses in New York can be found at Hauntworld.com. On Hauntworld.com you will find every type of haunted houses in New York from a haunted hayride, haunted house, Halloween Attractions, ghost tours, to paranormal ghost hunting. Read all about the best and scariest haunted houses in the state of New York here at Hauntworld.com. New York has some of the biggest haunted houses in cities like Rochester, Syracuse, Buffalo, Utica, Yonkers, Albany and New York City, New York.
When looking for a scary or the best haunted house in New York City look no further than the area of Buffalo, Albany, Yonkers, New York City, New York because this is an absolute hotbed for haunted houses which would also include the Rochester area. New York has more haunted houses than almost any other state in America, and not only do they have several haunts but they have some of the best found anywhere. New York has many cities with great haunted houses especially New York area which has more of the top rated haunts than any other city in America.
Do you want to know what we feel are the best haunted houses in Rochester? Do you want to know the Scariest Haunted Houses in Poughkeepsie? You will find Long Island haunted houses here at Hauntworld.com. We want you to share your experiences on our Facebook page.
There are several of haunted cemeteries in Orange County, New York. The Mount Hope Cemetery first started in 1838. It was created due to the deadly break in the deadly disease called Cholera. The town of Rochesters became concerned as the deaths became more and more and finally reaching over one hundred. The town decided to open this small cemetery for all the bodies to be buried. The Cemetery is on alot of land. Some of which has ben called haunted by the Native Americans. Thees Indians witnessed many different types of unexplained phenomenon and also whitnessed a lot of paranormal activity. There were many reports of of lights appearing during hte day, horrifuc sounds of cryaing or screaming. So, even before this cemetery was created or built on this cemetery was doomed to be haunted. Todya, many of the haunteind are related to the unusual acpast activity that has been said to be doen on the grounds. Ther is a certain area that is called the "Devils Bowl" THis is where many believe satanic rituals have taken place.
At the Holy Sepulchre Cemetery located also in Rochester is another popular cemetery reported to be very haunted. There have been several reporteing s of ghostly figures being seen, dark shadows and many times a woman who is dressed in black has been reported. In the children part of the cemetery ther ehave been sightings of white figures that almost look like smoke. Although it cannot be explained who or what these figures are. There is definitely someone haunting the Holy Sepulchre Cemetery.
When looking for a scary or the best haunted house in New York look no further than the area of Poughkeepsie, New York because this is an absolute hotbed for haunted houses in New York. One of the biggest around is Headless Horseman haunted hayride which has been ranked as one of the best haunted houses in New York. The fact is Poughkeepsie area is close to New York City and many other area's filled with the scariest haunted houses in New York. Kevin McCurdy's Haunted Mansion is another haunted house in this area which we've seen personally and reviewed. Use the zip code finder here on Hauntworld.com to find the best and scariest haunted houses in Poughkeepsie, New York.
NEW YORK HAUNTED HOUSES - Headless Horseman
As legend has it the Headless Horseman galloped the streets of Sleepy Hollow whacking off heads of local towns people. Now over 100 years later the Horseman is back and scaring thousands of New Yorkers all over again. As some already know our company has been hard at work on a Spider-Man dark ride. Last October I had to visit to the Marvel headquarters in New York so while I was there I decided to stop in and take a tour of the Headless Horseman attraction. Kevin McCurdy, his crew and myself all jumped into a couple vans and headed over to meet with Mike and Nancy (owners) to see first hand what American Airlines rated one of the ten best haunted houses in the United States. I gave Mike and Nancy a call but unfortunately they were closed (darn)…but wait they said 'c'mon over we'll fire it up just for you guys'. They were not kidding either, they turned on everything and gave us a personal tour of the entire event. Everyone including myself felt this attraction was one of the best-haunted events in the nation. I quickly realized no magazine in our industry has ever covered this event so I jumped at the chance to feature Headless Horseman and here's the story…
A: We both love Halloween. Michael has been doing disguises for years through his police career and I love horror films. We own a horse and carriage business and were looking for a location that we could do special events for the holidays. We found an incredible 45 acre farm
with 200 years of history, ponds, outbuildings,barns, fields, woodlands and orchards. An ideal atmosphere and environment for our attraction. We closed on our farm on Sept lst and opened our first season on Oct lst. From the first year we had a theme and storyline, storytellers and ran by reservation.
Q: I can't say how awesome your attraction was so please tell me how you've never been a speaker at Transworld, you've never had one industry magazine feature your event and I've hardly heard much about your place until now?
A: What can we say, we're the best kept secret in the industry! Actually, we attract guests from the five surrounding states. We were invited and participated in the NYC Halloween Parade in Greenwich Village and were seen on FOX and the FX channel. We have also done a haunted house for Central Park in New York City. We were named #1 Hayride in Amereica by American Airlines Magazine, and #1 Outside Haunted Attraction by Fright Times Magazine.
As far as Transworld, no one has invited us to speak. (Maybe they will now)
We have a private close knit group that works with us and they are all professionals. We focus on our attraction year round to make it the best it can be.
Q: Give us some fast facts about your place such as how many attractions, how many acres for attractions/parking, admission fee, how long it takes to complete the event, etc.
A: We have 5 attractions: Hayride, 3 Haunted Houses, and a 4 acre cornmaze, 10 acres of parking. Admission is $20.00 for adults and $18.00 for children under 12. In addition we have 3 gift shops: The Magic Moon Gift Shop, Ghoulish Gifts, and the Dark Hour. Three food concessions: The Evil Eatery, The Croaked Crow Café, and Witch Hazel's, also 2 DJ's playing, a full stage with a master illusionist and side show performer. Also a wildlife educator with hawks, falcons, vultures and other birds of pray. It its so important to educate the public about our environment and to protect our wildlife. We have a Children's Day Weekend the third weekend of October during the day. We also have a Tarot Card Reader and photographer and country games. The entire attraction takes 2-3 hours to complete depending on the time of the evening you attend.
Q: When I visited this past October I couldn't believe how huge the entire event takes to complete. Considering the attraction is so huge and so spread around you must have a lot of security issues. How do you handle security?
A: We have more off-duty police officers on our property than most cities do during a given shift. I know this from experience since I'm a retired detective from Kingston NY Police Dept. We also have horse mounted patrols in our parking lot for security. ( This is a great asset) The mounted rider is 10 feet tall and can see a great distance. We have 2 EMT's on duty each night as well as NY State Certified Safety Officer at the attraction each night.
Q: How many actors, ticket sellers, and security does it take to operate an attraction of your size? As a follow up question to that I'm guessing it take a bunch so does this limit the day you open? What I mean by that question is due to the fact that your place requires such a heavy amount of labor I would imagine you'd never consider opening on weekdays like a smaller warehouse type event.
A: We employee between 140 - 150 people. ( That is if they all show up) We actually over hire when we can so we can operate the attraction with a full acting staff. Also we have understudies for certain performances and illusions on the hayride. This total number includes: parking, tractor drivers, security, actors, food, gift shop, tickets and managers.
Believe it or not we run by reservations, which we have done since we started. This allows us to control our hours of operation and there are no empty gaps with no customers. This also gives the customer the freedom to shop, eat and enjoy the games and sideshow knowing they do not have to stand in a hayride line for hours. They know the time their hayride will leave and we run close to schedule.
We run our operation for 7-8 weekends Friday, Sat. and Sun. We have all paid employees and no volunteers.
Q: I'm guessing your baby is the hayride…where do you come up with all the ideas and how much do you change each year?
A: Ideas come from everywhere: movies, news, history, suspense novels, folklore, and personal experiences. Many meetings starting in early January with our crew. We meet with our managers, drivers, illusionist, special effects, and construction crew foremen. The storyline and haunted houses concepts are done by the end of January and we are on the phone with vendors and costume designers.
We change our theme for the hayride and haunted houses each year. Our big sets may remain in place for a few years but are redecorated, painted, etc. each year. Most of our 13 sets are changed along with costumes to coordinate with each years theme. We consider the hayride as a traveling play. The guest journey through the sets vs sitting in a theater.
Q: When I saw your attraction I was guessing you had to have invested nearly a million dollars would that be accurate because it sure does look it?
A: Over the years we have invested well over that amount. This attraction is worked on 24-7, 11 months a year. There is millions in sweat equity too! Nancy breathes, lives, and sleeps Headless Horseman Hayrides.
Q: As most of us already know it's harder to scare people on a hayride. What secrets can you share about scaring people on a hayride?
A: Its difficult to scare a group of 30 people, so we entertain with theatrical illusions, pyrotechnics, sudden scares, overheads, large sets are mirror imaged with scares coming from both sides. We use large puppets and oversize costumes. Everything must be larger-than-life to intimidate. We also have large drive through buildings and arbors to enclose the wagons.
Q: One thing that stood out like a sore thumb about your hayride specifically was that you hardly have a single 'store bought' prop, almost everything is custom made. Is this because you want to blaze your own trail or you just can't find what you're looking for from vendors?
A: Originality and detail are extremely important. and the fact we have an original production each year requires us to create many of our own props. Many animatronics and creatures are made for us by vendors from Transworld. There are very talented people at the show.
A: Yes! That would be great, but hayrides are the minority. The market tends to be oriented toward haunted houses. The majority of venues are haunted houses. We need props on a larger scale, sound systems, and animatronics that are weatherproof. Last year we saw a trend to larger props and we utilized many on our hayride.
Q: Another thing I noticed about your hayride was safety; you seemed to have several safety elements in place. Can you explain what they are?
A: Safety Safety Safety! Where do we start. Our fire marshal starts touring the Horseman in July. We want to address whatever concerns he might have well before our final inspection. Before the season starts, the haywagons are inspected by 2 independent mechanics. So if one should miss something the next will find it. We have double safety chains welded on the wagon that attaches to the tractor that will hold weight well beyond what the wagon holds. We have an on site mechanic and a tractor manager that inspects the tractor, tires, safety chains,etc each time the tractor pulls into staging. We have experienced tractor drivers that practice the course and tractor driver information and check sheets. After the wagon is loaded it is inspected by our staging manager to insure guests are seated safely. Our trail manager evaluates tractors, wagons, sets, actors.and trail conditions. All wagons have fire extinguishers, radios, flashlights, and emergency lights. We have a radio system in place so tractor drivers are on their own frequency and can radio to our dispatcher. Roads are maintained nightly. Tractors and wagons travel at a very slow speed. We have a storyteller/monitor on each wagon that can notify dispatch if there are any problems. We have a NYS Certified Safety Inspector that tours the hayride and other attractions constantly. In addition we have 3 four-wheel gators on the course with tech support and one gator for the 2 EMTS that are on staff nightly. We have an Information booth and a First Aid station. And everything is fire retarded - props, costumes, building materials, etc. OUR ENTIRE ATTRACTION IS NON-SMOKING. Yes this is a challenge to enforce.
A: NEVER USE A REAL ANYTHING!!!!! We stay away from guns. We use theatrical props and rehearse, rehearse, rehearse. We have a trail manager that is on the course constantly. We are very concerned about actor footing. Placement of actors is extremely important so the tractor drive knows where they are. Tractor drivers and storytellers are trained to know where actors should appear and any deviation in that is brought to the attention of the trail manager and addressed. We have personal riding with guests on each wagon. Wagons travel at a very slow speed.. Employee information check sheets which are initialed and signed by employees states they have been instructed to actor placement, etc. A prerecorded announcement instructs riders to the "Rules of the Road" so each guest receives the same instructions. Warning signs appear in parking, ticket booths, entrance, and at each attraction concerning the use of strobes, fog, etc.
Q: This past season it was very rainy all over the US. Your event is mostly outdoors how does rain effect your operation? How much rain does it take for you to call off the show or do you?
A: Rain KILLS us. Just like any other outside venue. We evaluate the weather hourly on event days. Safety of our guests and actors are our main concern. As to how much rain does it take to call off the show really depends on each storm. If it stops raining in the late afternoon we can run the show. Our roads are blacktop and groomed.
Q: Again considering your attraction depends on good weather do you have any experience with rain insurance? David Bertolino of Spookyworld buys this insurance every season and he recently told me it paid off big time this season. What are your thoughts on rain insurance for attractions that depend on good weather?
A: No, we don't carry rain insurance. We have talked to insurance companies about it and it depends on location of collection station. Ours is 10 miles away and being in the foot of the Catskill Mountains that's a catch22. We are reevaluating this. We're going to talk to David about this one.
Q: Have you noticed a loss of interest in Halloween the past two years? With the events of 911 of two seasons ago and sniper attacks this season Halloween has taken a beating with press. What are you thoughts as to what direction marketing a haunt should go?
A: Good question. No we have not noticed a loss of interest in Halloween. Marketing your haunt depends on many things, where attraction is located, what age group you are targeting etc. Our attraction is family entertainment so we are marketing to an age group of 8 to 88.
Our attractions builds with intensity from the hayride to the cornmaze to the 3 haunted houses. You can quit anywhere along the way after the hayride if it gets to scary.
We market ourselves as family entertainment and including an educational fun aspect of it too. By having a wildlife educator walking through the midway and que lines with his birds of prey, talking to our guests its offering another aspect. Total professionalism at your attraction from your staff being in dresscode uniform, a security force, and a safe show so your guests feel they can have fun in a controlled environment, word of mouth is a great marketing tool.
Q: I'm usually interviewed by a lot of national media every season and the big question this past season was gore, acceptable or not? I didn't notice much or any gore in your haunted house why or why not?
A: Being a Registered Nurse in intensive care has given me the opportunity to experience gore and gross. Trained professionals are much easily grossed out than gored out. So we carry that experience to our attraction. WE LIKE TO GROSS PEOPLE OUT NOT GORE THEM OUT. We smashed phlem pods at our guests on the hayride one year. We do artistic tasteful gore (whatever the hell that is)
Q: Back on the subject of your haunted house…I noticed you have a ton of gift stores and elaborate concession stands. The big thing that caught my eye was how nicely decorating and strategically positioned they where. Can you tell us how successful they're and some info about what you sell and your theory on selling gifts, etc at a haunted event.
A: I could do a seminar just on my gift shops and food concessions. We want our guests to have a total experience when they are at the Horseman, from the time they park their cars, they hear a profession soundtrack welcoming them and giving them a brief description of the storyline with sound effects and music. Having years of design and retail experience I want the entire attraction to be exciting. This makes people of all ages shop. We have The Magic Moon Gift Shop.(fall decorations for the home inside and out, candles, wreathes and crafts made by American craftsman. Prices in here are moderate to high end. Ghoulish Gifts for the kid in all of us. Here you can spend 25 cents to $25.00 from severed fingers, maggots, snakes, skulls, educational toys and games, the line never ends here. The third gift shop The Dark Hour is our black light gift shop. Everything is under black light from posters to mushroom lamps, glow sticks and incense. This beckons the teen shopper. This year we will add a fourth gift shop that will be Headless Horseman logo apparel. This was part of Magic Moon Gifts in the past and has outgrown the space so we are giving it a shop of its own. We sell tanktops, t-shirts, sweatshirts, hats, a variety of jackets, mugs, posters etc. Every shop has a great variety and stocked to the ceiling. Displays are everywhere. Our gift shops do great. If you can have only one gift shop make it a kids gift shop. There are great vendors at the show. Your markup can be as high as 800% on some items. All our gift shops are very successful. FOOD. We have The Croaked Crow Café (Food to Die For) is loaded with sweets. From homemade chocolate caramel apples to chocolate brownies..............no one can resist. The Evil Eatery (for the monster appetite) sausage and peppers, pizza, fresh cut french fries, and Headless Horseman labeled water. The newest food café is Witch Hazel's ( I named it after my mom) "Tasty bites and Morsels". Here you enter through an arbor to a beckoning 6 foot tall witch perched on a bird bath in a raised bed of mums holding a frog in her lap to the experience of a witches kitchen where sweets are again sold including the best hot chocolate with real whip cream. About the food shops - we were concerned that when we added Witch Hazel's it would compete with and cut into the profits of the Croaked Crow because they carry similar products.
That didn't happen. They ate twice as much! I can't emphasize how important detail and decorating is.
Q.As you will read in this issue of Hauntworld Magazine I'm advocating a return to the traditional marketing including logos for our haunts. I would say your logo is very traditional and in good taste not to mention you must have the best jackets in the industry. How important are all these things to your success?
A: Another seminar! ABSOLUTELY MOST IMPORTANT! We want to represent the industry and our attraction to the public in the most professional way we can. We require our staff management to adhere to dress code. Black jeans, black boots, and Headless Horseman logo apparel. Fortunately we own and operate a screening printing, embroidery, design and sign business which creates our jackets, hats, t's etc. (and we can do the same for you!)
A: We use a professional services to create radio and logo graphics . We are marketed 12 months a year by our county tourism and Chamber of Commerce. Starting in early August we distribute 250,000 promotional flyers with coupons. We have a promotional booth at a large county fair, billboards, radio ads newspaper ads and special appearances.
A: START SLOW. We gradually added attractions over the past 10 years. You get experience as you grow. Its important to offer a variety of things for your guests to do. They will get to experience multi -attractions and make your place a destination. The cons are cost,cost,cost. Depending on the attraction you have, adding outside events makes your attraction become weather related.
A: WOW! We want to become BIGGER & BETTER. We want Headless Horseman to be eternal. We are our toughest critics. We are looking at other seasonal events. We will expand existing attractions and add new ones. ( I haven't told Mike about the roller coaster yet!)
Q: Here's a good question for you…Do you have a Headless Horseman riding the up and down the hayride? Also how does the theme and history of the Horseman play into your hayride?
A: Larry, the evening you came with your crew we were not operating so you missed the great costuming, acting and headless horseman. Actually we have 3 headless horsemen present during the show. The Horseman first appears on one of our solid black horses. ( we alternate 2 horses for this appearance) the additional two appearances are on foot.
The Headless Horseman is native to the Hudson Valley where we are located, and plays a promenade role in the storyline we create each year.
Q: Last question…many haunts are trying to find ways to make an extra buck from up charges. I noticed you had many gift shops, food and games. What have you found helps your bottom line through up charges (anything other than a ticket purchase).
A: All our gift shops and food concessions help our bottom line. Taking charge cards is a must. Presentation is key. Creating an atmosphere that is exciting, suspenseful and fun
Q: All things considered I think the future is bright at Headless Horseman. Your event is near the top in the nation, I was basically stunned by your attention to detail in every facet. Thanks for sharing your time with us today. Quickly tell the readers how they can learn more information about your event.
A: Thanks for the great compliments. Go to Headlesshorseman.com and please come talk to us at Transworld.
Haunted Houses in New York are some of the biggest and best in America and Buffalo probably has the largest of anywhere we've seen before. There are many great haunted houses located all through Buffalo, New York .
Find the best and scariest haunted houses, real haunts, Halloween attractions, Hayrides and more near or in the Buffalo New York area. The Buffalo Psyciatric Center dates back two centuries. The building is no longer in use, but it's large castle looking ramains is still standing in the downtown area of Buffalo. THere have been many reports of hauntings from the poor souls that once called this place home. Years ago these mental patients went through a ot of unusal and cruel punishments used as treament. The spririts of these lost and unforgiving souls live on in the Buffalo Psyciatric Center.
The Canisius College has had its share of paranormal events and haunted ghosts. There have been reported sightings in the Christ the King Chapel as well as voices being heard and strange noises druing classes. On the 5th floor of the Frisch Residence Hall is wera a late Canisius student comminted suicide and to this day that same student haunts the teachers and other students. In addition to these hauntes there have been many reported feeling's of students feeling eerie from two other areas of Canisius College. The Village Townhouses and the Griffin Hall. This area is where students stay and live and at times have reported mulitiple sightings and unexplained activity.
The Haunting of the Holiday Inn of Grand Island, New York has many different way it has been told throughout the years. Years ago there was a small town which was where the grand Hotiday Inn stans today. This town produced timber for the town of Boston and was then turned into ships. One evening there was a fire and part of the town was destroyed. There was only one person that died in that fire, a young little girl named Tanya. The body of the young girl was never recovered. The sprit of the young girl still hauntes the Holday Inn today. She is many times reported as running and laughing in the halls. Although she is a fun, loving spirit no one knows exactly why she continues to haunt the Holiday Inn.
New York City haunted houses aren't only attractions as one of the most famous haunted scare spots is Jekyll and Hyde restaurant. Jekyll and Hyde is a haunted dinner attraction with haunted animations and much more. When you visit New York prepare yourself for some of the best haunted attractions anywhere in America including haunted houses in New York City. On Hauntworld.com you will find every type of haunted houses in New York City from a haunted hayride, haunted house, Halloween Attractions, ghost tours, to paranormal ghost hunting. Read all about the best and scariest haunted houses in the state of New York here at Hauntworld.com
Find the best and scariest haunted houses, real haunts, Halloween attractions, Hayrides and more near or in the New York City area. Straten Island is located in the southwest part of New York city and is claimed to very extremely haunted. On of the more popular and scariest legends is one that perhaps has turned into a Urban legend is that of Arlo Road. One evening a young man in woman who were in love went there to spend some time alone with each other. The young man decided he needed to use the restroom. They were surrounded by trees and in the middle of nowhere, so he just went outside. The young woman decided to stay in the car. After a lot of time passed, the young woman became scared and worried where her boyfriend was. Soon, she heard this spine tingling scraping sound on the hood of the car. Frightened, she got out to see what this noise was and found her boyfriend hanging fron a tree with his throat slit! Today it is said that if couples go up to this same site to park on a cool evening they will here the same sound of a mans finger scraping across the hood of their car.
The Historic Old Bermuda Inn is know best for hold its grand weddings and for being a quant little Bed and Breakfast for many. This American beauty filled with history, stories and antiques and more is also known for its many ghosts and unexplanted events. Diners have reportes seeing a woman walking through the dining area and often times up the staircase. Employees and customers have also reported hearing strange noises, feeling a hand touch them and feeling a chill. Today the Old Bermuda is still very much in use andthe reports of it being haunted are stilll very much true. Some people come for he great historic value this building holds and yet others come for the rich true paranormal excitment they will get.
Every October Six Flags GreatAdventure has their greatest Halloween celebration ever with Fright Fest. Join this family-friendly adventure for haunted attrations, events, haunted rides and more! Celebrate Halloween in style in a safe and the scariest way.


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