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FEAR (More Beer?)
A little clarification before we begin. A long time ago I put a note on the top of this page that says, "I enjoy getting your e-mails. But please be aware, if you send me e-mail, I may use it in a blog either here or on Suicide Girls." The note is over there to your left, down the page about a 1/3 of the way. I wish I could put it up higher.
Anyway, this applies to all e-mail I get in response to articles and books I've written or questions on practice and suchlike. If you don't want what you say to be published, please tell me. OK?
With that in mind, here's a little question from a reader some of you might enjoy:
Hey Brad,
How's it going? I'm a fan of your books. Read Hardcore Zen twice and am now reading Sit Down and Shut Up. Just for background here, I've been meditating daily for 5-6 years, and doing shik-an-taza (that might be spelled wrong) for a bit over a year (and am just starting to feel decent at it).
I've got a problem I'm not sure how to handle, and was hoping for some advice. My dad died about four years ago, and since then I've helped take care of my mom quite a bit. I've also been a stress case since then. Recently, probably through meditation, I realized that I'm stressing at all times about death, or to be more descriptive, a fear of death and, conversely, a fear of messing up my life. I'm scared to make any wrong action for fear of being hurt, or of doing something wrong that will make my life go the wrong way. When friends or family are going on a trip, I constantly worry they'll get into an accident or something, and feel I need to give all my time to them before in case something happens, as I don't want any regrets either. This is a problem. I can't really go about my life because I'm constantly worrying about shit. And I do know it's shit, and nothing more (at least intellectually). Don't get me wrong, I'm not looking for a saviour, but if there's an action I can take, or any idea you have, that would help me, it would be greatly appreciated.
Thanks again brother,
Thanks for writing. I wish I had a magic solution to your problem. But there isn't any.
Ultimately even your most deep seated and seemingly real fears are just thoughts. Everyone fears something. The problem has nothing to do with the specific nature of the fear. Whether it's fear of death, or fear of high places, or fear of ducks in bowler hats, it's still the same stuff.
It's very hard to root out fear. You'll probably never succeed completely. I don't think anyone, even Buddha himself, has ever succeeded in getting rid of it all.
One thing that helps me is to face it down. Nishijima Sensei said something to me once like, "I always try to look at hated information." Meaning if there's something specific you fear it can often help to study that thing carefully. In my own case I used to have an intense fear of Huntington's Disease, the hereditary ailment that killed my mom. Then I just went out & read all I could about it. I was terrified to do this. But what I found in that literature was just a bunch of smart people throwing around theories. They really didn't know anything. That study helped a lot to remove my constant fear of the disease. The fear still pops up in my mind now and again. I just know there's no sense paying attention to it.
The fear of death and of messing up your life is just a thought loop in your head. It means nothing. You don't have to believe it. You never have to believe yourself.
I hope this advise has some use to you.


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What an ignorant person or dealership tech says the problem is when he or she does not have the mental capacity to properly diagnose an electrical problem in a vehicle. This conclusion is typically drawn after a tech plugs in a scan tool that does not tell him what the problem is and has no clue how to troubleshoot further.
I cannot figure out why your car won't start, something must be grounded out.
by estebansux May 25, 2011
buy the domain for your diy vlog

subset: commoncrawl


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JOHNSON CITY, Tenn. (May 12, 2010) - ETSU head baseball coach Tony Skole announced the signing of Bret Gallihugh (Sevierville, Tenn.) to the 2010-11 Buccaneer class on Tuesday.
Gallihugh joins left-handed pitcher Justin Willis (Knoxville, Tenn.), catcher Steven Monger (Oak Ridge, Tenn.) and left-handed pitcher Clinton Freeman (Johnson City, Tenn.) on the 2010-11 signing class.
"We couldn't be more excited that Bret has decided to come to ETSU," Skole said. "We have watched Bret pitch for a long time now, and his development has been amazing to witness. He just continues to get better and better each year as evidenced by his outstanding performance this season. Bret will have an opportunity to make an immediate impact on our pitching staff. He is a great competitor who has a very quick arm. He will be a welcomed addition to our program, campus and community."
Gallihugh, a 6-foot-1, 180-pound, right-handed pitcher comes from Pigeon Forge High School where he plays for Mike Guinn. A four-year letterwinner, Gallihugh was a member of the state runner-up Tigers and is a three-time all-district honoree. Gallihugh has compiled a 16-5 record in two years at Pigeon Forge striking out 176 batters in 117 innings.
For more information on Buccaneer baseball or any other athletic news, please visit www.ETSUBucs.com.


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In recent weeks, USA Rice has worked closely with other major commodity groups to express strong opposition to the Grassley payment limitation amendment and educate members of Congress on the devastating impact it could have on U.S. agriculture and our rural communities.
Opposition to Grassley appears to be picking up steam due in part to USA Rice efforts. Some members of Congress that originally supported the amendment are joining the fight against it, writing letters to farm bill conferees expressing their opposition to Grassley and urging that at least $49 billion of the $73.5 billion in additional funds budgeted for agriculture be used for safety net programs for producers.
An analysis reported to Congress by the Food and Agricultural Policy Research Institute early in March revealed the negative impact the Grassley amendment would have on the cotton and rice industries. This resulted in several more senators changing their minds; they now oppose Grassley. USA Rice is working with senators that have expressed interest in signing letters to the conferees expressing this opposition.
USRPG and USA Rice are working hard to achieve four priorities on payment limitations:
- retaining full access to the marketing loan program under current law;
- achieving equal payment limits for husband and wife;
- retaining the three entity rule; and
- striking the 1,000 hours of labor and active personal management qualifier.
A new Congressional Budget Office estimate issued mid-March adds $6.3 billion in cost to the Senate bill over 10 years. It's not clear as of this writing what impact this could have on the farm bill conference report that is ultimately issued, but it may weaken the Senate's position.
Visit the USA Rice web site at www.usarice.com for the latest farm bill updates and other rice industry information.
Don Bransford is a Colusa, Calif., rice producer. He chairs the U.S. Rice Producers' Group and USA Rice Federation Government Affairs Committee.


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Government spending spurred by the U.S. war on terrorism is allowing the Mid-Atlantic region to remain relatively strong in a weak economy. According to Chicago-based Grubb & Ellis, the D.C. metro region will take on about 65,000 new jobs in 2002, increasing spending dollars and consumer demand for urban retail in the area.
The District currently ranks among the fastest growing economies in the United States and has a history of stability in times of economic recession, and the market's less-crowded peripheral areas in Maryland and Virginia stand to benefit by proxy as the District continues to float.
"I can't say enough good things about the epicenter of this Washington, D.C./Baltimore metro market," says Mike Gorsage, senior VP of Trammell Crow Co.'s Washington, D.C., office. The only downside to the market is its state of saturation. "The local economy is robust, and the retail market is upscale but supply-constrained with high barriers to entry."
Altogether, The District, Maryland and Virginia are currently home to 313.4 million sq. ft. of GLA, according to ICSC. Most major retailers already enjoy a presence in the Mid-Atlantic, but those chains wanting to enter or expand in the market are not finding the glut of new developments that were available in the expansive 1990s.
Instead, they are circling underperforming stores like buzzards, waiting for the chance to gobble up freshly vacated prime GLA. In other cases, retailers are moving into blighted urban areas where greyfields offer malleable space. "It's a function of available money and demand far exceeding supply," says Tom Maddux, president of Towson, Md.-based KLNB.
The recent bankruptcies of Kmart, Hechinger and Montgomery Ward mean big-box retailers such as Wal-Mart and Kohl's will have the easiest time expanding in the Mid-Atlantic in the next few years. Empty boxes that aren't snapped up by the big chains can be redeveloped profitably, as exemplified by The Market Common, Clarendon — a mixed-use project by Chicago-based developer McCaffery Interests.
McCaffery took a dark Sears store near Georgetown and redeveloped it to include 250,000 sq. ft. of retail, 300 apartments, 87 townhomes and 100,000 sq. ft. of office space. The Market Common's retail space is 100% leased to the likes of Pottery Barn, Crate & Barrel and Apple Computer — a lineup more suited to the area's tony consumers than Sears. Phase I of the project has been such a success that the company plans to add 10 more stores in a 125,000-sq.-ft. second phase this summer.
In the Baltimore suburb of Woodlawn, Md., the management of 1.1 million-sq.-ft. Security Square Mall is working with the buyer of a 143,252-sq.-ft. former Montgomery Ward building to explore possible uses and tenants for the two-story facility, says Deirdre Moore, vice president and general manager of the mall. The building, which underwent a $3 million renovation in 2000, was vacated in January as part of the 250-store national Wards bankruptcy.
The buyer is Security Wards LLC and Security Square Mall is owned by Bethesda-based Capitol Real Estate Services Inc. and is anchored by Hecht's and Sears.
Of course, success stories such as McCaffery's cannot be replicated at all greyfields and vacant buildings at high-traffic malls such as Security Square are rare. Vacant anchor spots with little promise of attracting a retail tenant will likely be converted to other uses such as medical or mini-storage, Maddux says.
One property type that is almost vacancy proof in the Mid-Atlantic is the stalwart neighborhood center. Not surprisingly, supermarket-anchored strip centers are the most popular formats with lenders and developers in the region, particularly those anchored by Safeway or Giant. At $200 per sq. ft., prices for these centers are as strong in the Mid-Atlantic states as anywhere else in the United States except for perhaps the West Coast, Gorsage says.
And investors are willing to pay more of a premium for the Washington, D.C., area in particular. Cap rates are 8.25 to 8.5 with an internal rate of return (IRR) of 10.5, he says. Although the majority of owners of these centers are small companies, a few larger companies have amassed healthy neighborhood portfolios, including Federal Realty Investment Trust (which recently announced plans to refocus on community center properties), Giant Food Realty and Combined Properties.
First Washington Realty, which advises and manages 85 community centers in the area, reports strong occupancies, attractive market rents and tenant sales consistent with performance before the recession took hold. "We're very pleased with the performance of our portfolio and the market appears to be rewarding this particular property type with strong pricing," says First Washington Realty chairman Stuart Walpert.
Other retail darlings in the Mid-Atlantic include well-leased, neo-Main Street developments and freestanding urban drug stores, Maddux says. One recent success is Simon Property Group's 650,000-sq.-ft. Bowie Town Center, which opened in the booming east D.C. suburb of Bowie, Md., in October. Hecht's — the locally based division of May Department Stores Co. — and Sears anchor the center.
Tenants are reporting above satisfactory sales per sq. ft. at the project, according to the developer. "From the feedback we're getting, anchors are exceeding their forecasts by a wide margin," says Mike McCarty, Simon's senior VP of research and corporate communications. "Given the level of success we've had here, this is clearly a market that's on our shopping list for acquisitions and new developments."
Another model Main Street — Federal Realty Investment Trust's Bethesda Row — occupies seven city blocks within the Bethesda, Md., CBD. Construction is underway on the project's 130,000 sq. ft. fifth phase — a 68,000-sq.-ft. Giant supermarket. The center is anchored by Barnes & Noble. According to Ron Kaplan, chief investment officer, the REIT considers Bethesda Row "the signature project in our Main Street retail program."
Washington, D.C., metroplex
"Although the nation is going through a recession, our local economy is much stronger, with new jobs being generated at a significant rate," says Deborah C. Bartlett, director of market research for Trammell Crow Co.'s Mid-Atlantic office in Washington, D.C. Lend Lease and PriceWaterhouseCoopers echo these sentiments in their Emerging Trends in Real Estate 2002 report, in which D.C. is identified as the second hottest real estate investment market to watch after New York. And according to the U.S. Bureau of Labor Statistics, the metro D.C. area's unemployment rate stands at 3.9%, lower than the national average of 4.8%.
Such favorable conditions have prompted several companies to scout for new properties in metro D.C. These include Edens & Avant of Columbia, S.C.; Regency Centers, a Jacksonville, Fla.-based REIT; and Kimco, which is buying eight neighborhood centers from The Rouse Co., Columbia, Md., Gorsage says.
Though budget-wary consumers are pinching pennies in all major markets, D.C. shoppers are still splurging on the occasional luxury item. Simon's 991,000-sq.-ft. The Fashion Centre at Pentagon City — which includes tenants Nordstrom, Coach, Bernini and Kenneth Cole — is faring well in spite of the slowdown in upscale retail sales, McCarty says. "Like every shopping center in America, Fashion Centre felt an immediate falloff in traffic following Sept. 11."
But with the quick return of office workers to the surrounding area, foot traffic picked up. Then the residential shoppers came back, and finally the tourist visitors. Of all major U.S. markets, Washington, D.C.'s tourism was the slowest to recover, McCarty says. Downtown's new convention center, scheduled for completion in 2003, should boost sales by bringing more foot traffic to the city.
Sometimes considered a component of the larger D.C. metroplex, Baltimore is home to more than 750,000 consumers. Ranked the No. 14 market to watch in the Emerging Trends 2002 report, Baltimore's retail inventory totals 54 million sq. ft. In Baltimore's city's CBD alone, 36 projects — including retail, office, hotel and mixed-use — totaling $695 million are underway, according to a recent report from Downtown Partnership of Baltimore.
The city's depressed downtown is on the road to resuscitation thanks to several ambitious developments, most notably Inner Harbor East — a $500 million project of locally based H&S Properties Development. Occupying what had been the last undeveloped tract along the city's harbor, the project will include an 18-screen cinema, 50 stores and nearly a dozen restaurants. A six-level office building and an 800-key Marriott have already opened at Inner Harbor, which will eventually encompass some 15 separate buildings.
Across from downtown Baltimore's aquarium, Kravco and co-developers A&R Development and Parkway Corp. are seeking tenants for the 125,000 sq.-ft. retail component of Lockwood Place. The mixed-use project, encompassing 600,000 sq. ft., will open this fall. And on Baltimore's West Side, Banc of America Community Development Corp. and Atlanta-based Harold Dawson Co. are redeveloping a gray department store district on Eutaw Street across from the Hippodrome Theater. The companies plan to turn the block into a mixture of apartment units and streetfront retail space.
Infill development is popular in central Virginia as well. In the past year, Lowe's, Wal-Mart and Kroger have all expanded into dark spaces in the Richmond market. The city has a vacancy rate of 8.1%, according to Grubb & Ellis, and specialty retailers in particular are having a tough time weathering the recession. For example, at Taubman's 945,000-sq.-ft. MacArthur Center in Norfolk, high-end tenants Sephora, Z Gallerie and Bostonian recently announced plans to pull out of the center, citing insufficient traffic to sustain business.
In Richmond, a long-delayed pipeline of upscale department store-anchored regional centers appears to be moving again. Forest City Enterprises and local developer Thomas Pruitt recently pushed back the opening of their 1.1-million-sq.-ft. Short Pump Town Center by six months to 2003. The future of the center, which will be anchored by Nordstrom, Lord & Taylor, Hecht's and Dillard's, hinges on a legal dispute over $22 million in public bonds to be used for site improvements. The bonds would pay for the necessary road and utility improvements to the site. According to the Richmond Times Dispatch, competing developer Taubman Centers and three Henrico County taxpayers are protesting that the public bonds are being misappropriated.
After a similar six-month delay, Taubman finally broke ground on its 690,000-sq.-ft. Stony Point Fashion Park, which would directly compete with the Forest City project. Anchored by Dillard's and Saks Fifth Avenue, the center is set to open this September. Taubman is still securing a tenant for a third anchor spot, but it reports the center is 50% leased.
Richmond real estate pundits say the market can only support one of these malls. Average regional mall rent in Richmond runs up to $40 per sq. ft., which could force the area's high-end retailers to choose one mall over another. So the first center built will probably win the market. At the current rate of progression, it appears Taubman will be the first out of the gate.
Paula Stephens is an Atlanta-based writer.
The Mid-Atlantic region at a glance
- Population, 2000 7,078,515
- Pop., % change, 1990 to 2000 14.4%
- Persons under 18 years old, %, 2000 24.6%
- Housing units, 2000 2,904,192
- Households, 2000 2,699,173
- Median household money income, $40,209
1997 model-based estimate
- Retail sales, 1997 ($1,000) 62,569,924
- Retail sales per capita, 1997 $9,293
- Population, 2000 5,296,486
- Pop., % change, 1990 to 2000 10.8%
- Persons under 18 years old, %, 2000 25.6%
- Housing units 2,145,283
- Households, 2000 1,980,859
- Median household money income, $45,289
1997 model-based estimate
- Retail sales, 1997 ($1,000) 46,428,206
- Retail sales per capita, 1997 $9,116
District of Columbia
- Population, 2000 572,059
- Pop., % change, 1990 to 2000 -5.7%
- Persons under 18 years old, %, 2000 20.1%
- Housing units 274,845
- Households, 2000 248,338
- Median household money income, $34,980
1997 model-based estimate
- Retail sales, 1997 ($1,000) 2,788,831
- Retail sales per capita, 1997 $5,274
|Project Name | City, State
|Developer | Headquarters
|Center | Project Type
|Total GLA*
|Completion Date*
| Montgomery Town Center
|Bonsai Real Estate.
Annandale, Va.
|October 2003
| Lockwood Place
|Kravco Co.
King of Prussia, Pa.
|600,000 sq. ft.
|April 2003
| Fallsgrove Village Center
|Lerner Enterprises
North Bethesda, Md.
|150,000 sq. ft.
|November 2002
| Prince Georges Plaza
Philadelphia, Pa.
|877,019 sq. ft.
|2nd quarter 2003
|Hecht's, Kids R Us
JCPenney, Old Navy
| Oxon Hill Plaza
Oxon Hill
|Combined Properties Inc.
Washington, D.C.
|143,000 sq. ft.
| Garrison Forest Plaza
Owings Mills
|M. Leo Storch Management
|150,000 sq. ft.
Jo-Ann Fabrics
|Project Name | City, State
|Developer | Headquarters
|Center | Project Type
|Total GLA*
|Completion Date*
| Towne Center of Virginia Beach
Virginia Beach
|Divaris Real Estate Inc.
Virginia Beach, Va.
|1.8 million sq. ft.
|Fall 2002
| Jemal's Featherstone Square
|Douglas Development Corp.
Washington, D.C.
|187,977 sq. ft.
| Towne Crossings
|Edens & Avant
Columbia, S.C.
|110,748 sq. ft.
|3rd quarter 2002
|Bed Bath & Beyond
| Crosspoint Plaza
|Edens & Avant
Columbia, S.C.
|4th quarter 2002
| Dulles Town Center
|Lerner Enterprises
North Bethesda, Md.
|1.4 million sq. ft.
|September 2002
|Hecht's, JCPenney
Nordstrom, Sears
| Mercury Plaza
|Mall Properties Inc.
North Bethesda, Md.
|338,000 sq. ft.
|August 2003
| Cheshire Station
Dale City
|Regency Centers
Jacksonville, Fla.
|97,226 sq. ft.
| Ashburn Village Phase IV
|Saul Centers Inc.
Chevy Chase, Md.
|240,000 sq. ft.
|May 2002
|Giant Food
| Stafford Crossing
|AIG Baker
Birmingham, Ala.
|389,000 sq. ft.
|Winter 2002
| Short Pump Town Center
Richmond, Va.
|Forest City Enterprises
Cleveland, Ohio
|560,000 sq. ft.
|Fall 2002
|Hecht's, Lord & Taylor
Nordstrom, Dillard's
| Colonnade Court
|Lerner Enterprises
North Bethesda, Md.
|50,000 sq. ft.
|November 2002
| Gateway Community Center
|S.L. Nusbaum Realty Co.
Norfolk, Va.
|225,000 sq. ft.
| The Glen
|Saul Centers Inc.
Chevy Chase, Md.
|151,639 sq. ft.
|October 2002
|Safeway, CVS
| Fairfax Corner
|The Peterson Cos.
Fairfax, Va.
|1 million sq. ft.
|Ruth's Chris Steakhouse
|Washington, D.C.
|Project Name | City, State
|Developer | Headquarters
|Center | Project Type
|Total GLA*
|Completion Date*
| Cady's Alley
Washington, D.C.
|EastBanc Inc.
Washington, D.C.
|154,000 sq. ft.
|Spring 2003
| Center Type: S=Strip Center, N=Neighborhood Center, C=Community Center, M=Regional/Superregional Mall, P=Power Center, O=Outlet Center, L=Lifestyle Center, F=Fashion/Specialty Center, MU=Mixed-Use Development.
Project Type: N=New Project, E=Expansion, RN=Renovation (updating look, refacing, common area or amenities upgrade), RD=Redevelopment (demalling or remerchandising), U=Urban retail.
Completion Date*: Subject to change.
Existing/Planned GLA (Expansion GLA): GLA=Gross Leasable Area. TBA=To be announced/unavailable.


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Signature Theatre Presents SYCAMORE TREES With Marc Kudisch & More, Opens 5/18
Signature Theatre, the current recipient of the Tony Award® for Regional Theatre, presents the world premiere musical Sycamore Trees by Ricky Ian Gordon, composer of the acclaimed opera The Grapes of Wrath and the OBIE Award-winning Orpheus and Euridice, as well as the musicals My Life with Albertine and Dream True. Gordon's autobiographical setting of his family's struggles and triumphs over 50 years, Sycamore Trees will run May 18 - June 13, 2010 in the intimate playing space of the 276-seat MAX Theatre.
Sycamore Trees is the second part of Signature's "American Musical Voices Project" sponsored by The Shen Family Foundation. The American Musical Voices Project is the largest single musical theater commissioning and producing initiative of any U.S. non-profit theater.
The world premiere of Sycamore Trees will be staged by Steppenwolf Theatre member and acclaimed director Tina Landau, a frequent collaborator with Gordon. The production will feature seven outstanding Broadway actors: Farah Alvin (Nine, The Look of Love, Kuni-Leml), Marc Kudisch (9 to 5, Thoroughly Modern Millie, Bells Are Ringing; Signature's Witches of Eastwick, The Highest Yellow), Judy Kuhn (Les Misérables, Rags, She Loves Me; Signature's The Highest Yellow), Jessica Molaskey (Parade, A Man of No Importance), Matthew Risch (Pal Joey, Legally Blonde), Diane Sutherland (She Loves Me, 1776, Cats), and Tony Yazbeck (Gypsy, A Chorus Line, Irving Berlin's White Christmas). Tony Award winner Bruce Coughlin will provide orchestrations, with musical direction by Fred Lassen of Broadway's South Pacific and Dirty Rotten Scoundrels.
Eric Schaeffer, Signature Theatre's artistic director, stated, "Sycamore Trees marks Signature's second world premiere musical commission of the American Musical Voices Project and I'm thrilled for our audiences to witness the artistry of Ricky Ian Gordon and Tina Landau. It's a truly unique piece of musical theater and Signature is the perfect setting for it to be born."
Composer Ricky Ian Gordon says of his new work, "When my father came home from World War II in 1945, my family lived in a crowded tenement in the Bronx, poor and with bed bugs. Then my parents got the idea to move to the suburbs where the dream of life flowering in a clean and spacious environment promised to be the answer. It wasn't. This is the story of a family and what happened to them ... and music is its heartbeat and inner life." Dramaturg Nina Mankin collaborated with Gordon on the book.
Director Tina Landau stated, "In Sycamore Trees, an American family speaks directly to the audience as they tell, and re-live, their stories in the second half of the 20th century. The piece is very intimate, and deeply personal, yet it also has a historical sweep as it places these characters in the tumult of the times-the chaotic 60s, the pressurized 80s, and so on. It's exquisite-in its sense of longing and loss, and the profound ties that bind family together. Above all, the piece has a form which is completely unique-unlike any other show I can think of. It's highly inventive and idiosyncratic in its storytelling-constantly surprising, creating and breaking its own rules. The whole piece feels like a poem-some haunting combination of memory, music, and dream."
Working with Tina Landau on the creative team are Scenic Designer James Schuette, Costume Designer Kathleen Geldard, Lighting Designer Scott Zielinski, and Sound Designer Matt Rowe.
Composer Ricky Ian Gordon is the second recipient of the "American Musical Voices Project" Award to present a new work of musical theater on Signature's stage. His opera The Grapes of Wrath. written with librettist Michael Korie and commissioned by The Minnesota, Utah, and Pittsburgh Operas, premiered February 10, 2007 and was immediately called "The Great American Opera" by Musical America. It was recently performed in a concert version at Carnegie Hall in a sold out one-night-only event with an all-star cast and narrated by Jane Fonda. His Green Sneakers (Recording, Blue Griffin Records), commissioned by Bravo! Vail Valley Music Festival, was hailed a "masterpiece" in Opera Today and The American Record Guide. When Orpheus and Euridice (Recording, Sh-k-Boom) premiered at Lincoln Center as part of the Great Performers/New Visions Series, it won an OBIE Award, and the citation read: "One of the year's most moving theatrical events in any genre."
Born in Oceanside, New York and raised on Long Island, Gordon was in love with poetry and fascinated from an early age by all forms of opera and musical theater. He attended Carnegie Mellon University as a piano major, but soon realized that his true vocation was as a composer. After college he settled in New York City and quickly emerged as one of the most successful writers of a kind of vocal music that straddles the world of theater and art song. His unusual ability to find the musical core of a poem or lyric and express that essence in an appropriate musical style, has given his songs great appeal to singers of all styles and persuasions. Gordon's songs have been performed and/or recorded by such internationally renowned singers as Renee Fleming, Dawn Upshaw, Audra McDonald, Kristin Chenoweth, the late Lorraine Hunt Lieberson, Andrea Marcovicci, Harolyn Blackwell, Betty Buckley, and many others.
On March 13, 2001, Gordon's music was presented at Lincoln Center as part of the American Songbook Series in a concert entitled "Bright Eyed Joy: The Music of Ricky Ian Gordon." In The New York Times Stephen Holden wrote, "If the music of Ricky Ian Gordon had to be defined by a single quality, it would be the bursting effervescence infusing songs that blithely blur the lines between art song and the high-end Broadway music of Leonard Bernstein and Stephen Sondheim...It's caviar for a world gorging on pizza."
Gordon's accomplishments in musical theater are also notable, with shows such as My Life with Albertine, written with Richard Nelson for Playwrights Horizons (recorded on PS Classics); Dream True, written with Tina Landau for The Vineyard Theater (Recording, PS Classics); The Tibetan Book of the Dead, written with Jean Claude Van Itallie for Houston Grand Opera; Only Heaven, which uses poems by Langston Hughes, for Encompass Opera, (Recording, PS Classics); and Morning Star, with librettist William Hoffman, for the Lyric Opera Of Chicago's Opera Studio.
Gordon's current projects include commissions with librettist Michael Korie from the Minnesota Opera for a work to be based on the novel The Garden of the Finzi-Continis and from the Metropolitan Opera for a work about Victor Hugo's daughter, Adele in Nova Scotia. For Virginia Opera and The Virginia Arts Festival he has been commissioned to write Rappahannock County with librettist Mark Stephen Campbell. His awards include an OBIE, the National Institute for Music Theater Award, the Stephen Sondheim Award, The Gilman and Gonzalez-Falla Music Theater Foundation Award, the Jonathan Larson Foundation Award, the Constance Klinsky Award, The Shen Family Foundation Award, a National Institute For Music Theater Award, A Carnegie-Mellon Alumni Award, and several awards from ASCAP and The American Music Center.
Ricky Ian Gordon's music is widely recorded, and is published by Carl Fischer Music, Presser Music and Rodgers and Hammerstein/Williamson Music. For more information about the composer and his works go to http://www.rickyiangordon.com<http://www.rickyiangordon.com/>.
Sycamore Trees is sponsored by The Shen Family Foundation and supported by the National Endowment for the Arts. It is a recipient of the Edgerton Foundation New American Plays Award<http://www.tcg.org/tools/newplays/details2009.cfm?ShowID=67>.
Tickets for Sycamore Trees range from $52 - $76 and are available by calling Ticketmaster at (703) 573-SEAT (7328) or visiting www.signature-theatre.org. Group discounts are available for parties of ten or more by contacting Jackie Carl at email@example.com.
Performances of Sycamore Trees run from May 18 through June 13, 2010 (please note date change). The press performance is Sunday, May 30 at 7:00 pm. Show times are Tuesday and Wednesday at 7:30 pm, Thursday and Friday at 8:00 pm, Saturday at 2:00 pm and 8:00 pm, and Sunday at 2:00 pm and 7:00 pm. There are no performances of Sycamore Trees on Saturday, May 22 at 2:00 pm and Tuesday, June 1 at 7:30 pm.
Starting one hour before and extending for one hour after performances, patrons can visit Ali's Bar for outstanding wine, beer, mixed drinks, and chef-prepared light fare. The theater's much praised source of refreshment overlooking a tree-lined boulevard has been masterminded by wine expert Suzanne McGrath, the proprietor of Shirlington's gourmet wine store, The Curious Grape. Ticket purchase is not required to eat or drink at Ali's Bar.
Music by Ricky Ian Gordon
Direction by Tina Landau
Book by Ricky Ian Gordon and Nina Mankin
May 18 - June 13, 2010
Music Director/Conductor............ Fred Lassen
Orchestrations................................. Bruce Coughlin
Set Designer.................................... James Schuette
Costume Designer.......................... Kathleen Geldard
Lighting Designer............................ Scott Zielinski
Sound Designer.............................. Matt Rowe
Co-writer of Book/Dramaturg....... Nina Mankin
Production Stage Manager........... Kerry Epstein
Ginnie/The Youngest Daughter.... Farah Alvin
Sidney/The Father.......................... Marc Kudisch
Theresa/The Middle Daughter...... Judy Kuhn
Myrna/The Oldest Daughter.......... Jessica Molaskey
David/The Man................................ Matthew Risch
Edie/The Mother.............................. Diane Sutherland
Andrew/The Son............................. Tony Yazbeck
Farah Alvin (Ginny) BROADWAY: Nine, The Look of Love, Saturday Night Fever, Grease! (and Nat'l Tour), A Christmas Carol. OFF-BROADWAY: The Marvelous Wonderettes (Drama Desk nomination), I Love You Because, If You Give A Mouse A Cookie..., Cam Jansen, Kuni-Leml. REGIONAL: Goodspeed, Papermill, Huntington: Pirates of Penzance; White Plains: Ragtime; New Theatre Kansas City: I Do! I Do!, Funny Girl; soloist with numerous symphonies including The National (Kennedy Center). RECORDINGS: The Marvelous Wonderettes, I Love You Because, Hallway: The Songs of Carol Hall, Jekyll And Hyde Concept Album, and an album of original music entitled someday.
Marc Kudisch (Sidney) SIGNATURE: The Witches Of Eastwick (Helen Hayes Award), The Highest Yellow (Helen Hayes nomination). BROADWAY: 9 to 5 (Tony and Drama Desk nominations), The Apple Tree, Chitty Chitty Bang Bang (Tony and Outer Critics Circle nominations), Assassins (Drama Desk nomination), Thoroughly Modern Millie (Tony, Drama Desk, and Outer Critics Circle nominations), Bells Are Ringing, The Wild Party, The Scarlet Pimpernel, High Society, Beauty & the Beast, Joseph and the Amazing Technicolor Dreamcoat. OFF-BROADWAY: Lincoln Center: The Glorious Ones; Public Theatre: See What I Wanna See (Drama Desk nomination); New York City Opera: Pirates of Penzance, A Little Night Music; City Center Encores!: Girl Crazy, Broadway Bash, No Strings (Mike Robinson); The Thing About Men. REGIONAL: Los Angeles Opera: A Little Night Music. NATIONAL TOUR: Bye Bye Birdie. TV: Lifetime Network: Break In; ABC: Bye Bye Birdie; HBO: Sex & the City. Directorial credits include The Broadway Musicals of 1959 (2007), The Broadway Musicals of 1930 (2006), and The Broadway Musicals of 1963 (2004) in Scott Siegel's Broadway by the Year concert. EDUCATION: BFA in Theatre, Florida Atlantic University.
Judy Kuhn (Theresa) SIGNATURE: The Highest Yellow. BROADWAY: She Loves Me (Tony nomination), Chess (Tony and Drama Desk nominations), Les Misérables (Tony and Drama Desk nominations), Rags (Drama Desk nomination), Two Shakespearean Actors, King David, The Mystery of Edwin Drood. LONDON: Metropolis (Olivier Award nomination). OFF-BROADWAY: As Thousand's Cheer; Eli's Comin' (Obie Award), Martha Clarke's Endangered Species. DC AREA: Kennedy Center Sondheim Celebration: Passion. REGIONAL: Sunset Boulevard (LA/U.S. premiere), Three Sisters (Intiman), The Glass Menagerie, Martin Guerre. FILM/TELEVISION: Pocahontas (title role), Enchanted, Hope & Faith, Law & Order, The Secret Life of Mary Margaret (HBO), My Favorite Broadway: The Leading Ladies, The Kennedy Center Honors, Les Misérables 10th Anniversary Concert, In Performance at the White House. CDs: Just In Time: Judy Kuhn sings Jule Styne, Serious Playground: The Songs of Laura Nyro. judykuhn.net.
Jessica Molaskey (Myrna) BROADWAY: Sunday in the Park With George (Yvonne), A Man of No Importance (Mrs. Patrick), Parade, Dream, The Who's Tommy (Mrs. Walker), Crazy For You, Chess, Les Misérables, Cats, Oklahoma!. OFF-BROADWAY: WPA Theater: Songs For a New World, Weird Romance; Vineyard Theater: Ricky Ian Gordon's Dream True (directed by Tina Landau); New York Theater Workshop: Stephen Sondheim's Wise Guys (directed by Sam Mendes). REGIONAL: Prince Theater: 3hree (directed by Hal Prince); Goodman Theater: Another Mid-Summer Night's Dream (Helena), The Book of the Night (directed by Robert Falls). SOLO RECORDINGS: Pentimento, A Good Day, Make Believe, Sitting in Limbo, A Kiss to Build a Dream On. IN CONCERT: Carnegie, Alice Tully, Avery Fisher Halls, Jazz At Lincoln Center, Kennedy Center, Tanglewood, Montreal, JVC, Jazz Festivals, Algonquin Oak Room, the Café Carlyle in New York. CO-HOST: Nationally, syndicated weekly show called Radio Deluxe (WMET in DC).
Matthew Risch (David) BROADWAY: Pal Joey (Joey Evans), Legally Blonde (Carlos), Chicago (Sgt. Fogarty). FILM/TV: Sex and the City 2, Gossip Girl, Lipstick Jungle. TOUR/REGIONAL: Joseph...Dreamcoat (Levi), Hair (Woof), A Chorus Line (Greg).
Diane Sutherland (Edie) BROADWAY: The Light in the Piazza, She Loves Me (Amalia-1994 Revival), 1776, Three Sisters, Song and Dance, Cats (original company), A Chorus Line. OFF-BROADWAY: Transport Group: First Ladies Suite, Requiem for William, The Waves. NATIONAL TOURS: The Light in the Piazza, Guys & Dolls (50th Anniversary Tour), Cabaret, Phantom of the Opera, Les Misérables, (First National Tour) Cats (Helen Hayes Award). REGIONAL: A Civil War Christmas, Kiss Me Kate, Enter the Guardsman, Edwin Drood, Into the Woods, A Little Night Music, American Vaudeville. RECORDINGS: She Loves Me (1994), Guys & Dolls (50th Anniversary), Gershwin's Tell Me More, Man with a Load of Mischief (2004).
Tony Yazbeck (Andrew) BROADWAY: Irving Berlin's White Christmas (Phil Davis), Gypsy w/Patti LuPone (Tulsa) (Outer Critics Circle nomination.), A Chorus Line (Al), Oklahoma!, Never Gonna Dance, Gypsy w/Tyne Daly. OFF-BROADWAY: Encores!: On The Town (Gabey), Gypsy (Tulsa), Pardon My English, A Tree Grows in Brooklyn, The Apple Tree.; York Theatre Co: Fanny Hill. REGIONAL: Goodman: Animal Crackers (Wally Winston/Doucet); Trinity Rep: West Side Story (Tony); Toronto: Irving Berlin's White Christmas (Phil); Maine State: Crazy for You (Bobby); Pittsburgh CLO: Copacabana (Tony). NATIONAL TOURS: Thoroughly Modern Millie, Annie Get Your Gun, Doctor Dolittle. FILM/TV: All My Children, As the World Turns, Every Little Step (feature documentary), PBS South Pacific concert w/Reba McIntyre. www.tonyyazbeck.net<file:///igbirdhome$stephenssSYCAMORE%20TREESwww.tonyyazbeck.net>.
Tina Landau (Director) Tina's recent directing credits include Tracy Letts' Superior Donuts (Broadway), Tarell McCraney's The Brother Sister Plays (Steppenwolf), In the Red and Brown Water (Public Theater, McCarter), Wig Out! (Vineyard Theater), Chuck Mee's Iphigenia 2.0 (Signature Theatre Company, NY), Mary Rose (Vineyard), Midsummer Night's Dream (McCarter/Papermill), and Bells are Ringing (Broadway). She has directed many productions at Steppenwolf in Chicago where she is an ensemble member including The Tempest, Diary of Anne Frank, Cherry Orchard, Time of Your Life (also Seattle Rep., A.C.T.), Ballad of Little Jo, Berlin Circle, and Space (which she wrote, also at Mark Taper Forum and NY'S Public Theater), among others. Landau wrote and directed the musicals Floyd Collins (composer Adam Guettel; Playwrights Horizons, Goodman, Old Globe, Prince) and Dream True (composer Ricky Ian Gordon; Vineyard), and is currently at work on a musical of her own play Beauty (originally produced at La Jolla Playhouse), for which she is writing the book, with music by Regina Spektor and lyrics by Michael Korie. Landau is a US Artist Fellow, teaches at Yale and, with Anne Bogart, co-authored The Viewpoints Book.
Fred Lassen (Music Director/Conductor) has just finished a yearlong run as the conductor of South Pacific at Lincoln Center Theater. Some other shows he has conducted on Broadway include Dirty Rotten Scoundrels with John Lithgow, Spamalot, Cabaret starring Natasha Richardson and Alan Cumming, 42nd Street, and Once Upon a Mattress. Other theatrical credits include Christopher Durang's musical Adrift in Macao (Off-Broadway), Judas & Me (NYMF), The Last Smoker in America (NYMF), notes to MariAnne (O'Neill, NY Stage & Film), and Pride & Prejudice (Eastman Theatre). Fred is active in the developmental process of new musical theater works, and in the past year he music directed readings and workshops of new pieces by Jason Robert Brown, Gabriel Kahane, and Harry Connick, Jr., among others. He has arranged and orchestrated for performers including Paulo Szot, Lauren Kennedy, Stephanie Block, Philip Chaffin, and Jeremy Schonfeld, and currently concertizes with Metropolitan Opera bass-baritone David Pittsinger. Lassen has a degree in Organ Performance from the Oberlin Conservatory.
Bruce Coughlin (Orchestrator) has created the orchestrations for many shows on Broadway and off including Dolly Parton's 9-to-5 and Grey Gardens. He co-orchestrated The Light in the Piazza, orchestrated the memorable Floyd Collins, the Broadway hit Urinetown, and the Grammy Award-winning revival of Annie Get Your Gun. His other Broadway shows include Guys and Dolls (2009 Broadway revival; Des McAnuff, dir.), The Wild Party, On the Town, The Sound of Music, Triumph of Love, Once Upon A Mattress, and The King and I. Other credits include Candide (National Theatre, London), Martin Guerre (Chicago; Leslie Arden, composer), Children of Eden (Papermill Playhouse and BMG recording), and many others. He was principal arranger for the Disney epic Fantasia 2000 and has worked with singers such as Audra McDonald, Kristin Chenoweth, Patti LuPone, Darius de Haas, and others. He has won a Tony Award, a Drama Desk Award and an OBIE. He has also received two additional Tony nominations and four additional Drama Desk nominations. Other recent productions include Giant (Michael John LaChiusa, Signature Theatre, VA), Pop! (Yale Rep), Happiness (Lincoln Center Theater; Susan Stroman, dir.), Hairspray (the movie) ("Miss Baltimore Crabs" with Marc Shaiman), and The Grapes of Wrath (opera; Ricky Ian Gordon/Michael Korie). Coming up: The Burnt Part Boys (Playwrights Horizons) and Johnny Baseball (A.R.T, directed by Diane Paulus).
James Schuette (Set Designer) is a set and costume designer based in New York City. Recent work includes Tarrell Alvin McCraney's Brother/Sister Plays directed by Tina Landau (McCarter Theatre, Public Theatre and Steppenwolf), The Ghosts of Versailles directed by James Robinson (Opera Theatre of Saint Louis and the Wexford Festival), Endgame directed by Frank Galati (Steppenwolf) and Tracy Letts' Superior Donuts directed by Tina Landau (Broadway/Music Box). His work has been seen at the American Repertory Theatre, Actors Theatre of Louisville, American Conservatory Theatre, Arena Stage, Brooklyn Academy of Music, Berkeley Rep, Court Theatre, Goodman Theatre, Minneapolis Children's Theatre, Long Wharf, La Jolla Playhouse, Mark Taper Forum, Manhattan Theatre Club, New York Theatre Workshop, Oregon Shakespeare Festival, Playwrights Horizons, The Public Theatre, Papermill Playhouse, Seattle Rep, Trinity Rep, Vineyard Theatre, Yale Rep, Boston Lyric Opera, Houston Grand Opera, Seattle Opera, New York City Opera, Santa Fe Opera, Minnesota Opera, Glimmerglass Opera, Opera Colorado and internationally. Upcoming projects include La Cenerentola (Minnesota Opera), La Fille du Regiment and The Death of Klinghoffer (Opera Theatre of St Louis), Nixon in China (Canadian Opera Company), and Un Ballo in Maschera (Washington National Opera).
Kathleen Geldard (Costume Designer) has designed costumes at Signature Theatre for Sweeney Todd, I Am My Own Wife, Show Boat, See What I Wanna See, Les Misérables, The Lieutenant of Inishmore, and The Happy Time. In the Washington, DC area she was costume designer at Woolly Mammoth Theatre for Eclipsed; at Round House Theatre for Permanent Collection, One Flew Over the Cuckoo's Nest, Eurydice, Orson's Shadow, and Life x 3; and for Imagination Stage, The Neverending Story (2008 Helen Hayes nomination), Twice Upon a Time, The Hundred Dresses, Huck Finn's Story, Charlotte's Web, and Liang and the Magic Paintbrush. At the Olney Theatre Center she designed costumes for Da, Is He Dead?, Rabbit Hole, Of Mice and Men, Elephant Man, and Having Our Say; for Studio-Arena Theatre Batboy; and at the Folger Theatre Comedy of Errors and All's Well that Ends Well. She has also been costume designer for productions at the Studio Theatre Secondstage, Everyman Theatre, Vineyard Playhouse, Theater J, Rep Stage, Catalyst Theater, and Theater Alliance. For the Liz Lerman Dance Exchange, Geldard designed costumes for Nocturnes, The Farthest Earth From Thee, 613 Radical Acts of Prayer, Funny Uncles, and Imprints on a Landscape: The Mining Project.
Scott Zielinski (Lighting Designer) Scott's New York credits include Topdog/Underdog on Broadway, Classic Stage Company, Joseph Papp Public Theater, Lincoln Center Festival, Manhattan Theater Club, New York Theater Workshop, Playwrights Horizons, Signature Theater, and Theater for a New Audience, among others. Scott has also worked extensively at many regional theaters throughout the United States. He has designed internationally in Adelaide, Amsterdam, Berlin, Edinburgh, Fukuoka, Goteborg, Hamburg, Hong Kong, Istanbul, Linz, London, Luang Prabang, Lyon, Orleans, Oslo, Ottawa, Paris, Reykjavik, Rotterdam, Singapore, Stockholm, Stuttgart, Tokyo, Toronto, Vienna, Vilnius, and Zurich. Highlights of his dance lighting include American Dance Festival, Joyce Theater, Kennedy Center (all with Twyla Tharp), American Ballet Theatre, Boston Ballet, Centre National de la Danse, Houston Ballet, Kansas City Ballet, National Ballet of Canada, and San Francisco Ballet. His opera designs include Arizona Opera, Brooklyn Academy of Music, English National Opera, Gotham Opera, Houston Grand Opera, Lithuanian National Opera, Minnesota Opera, Nederlandse Opera, New York City Opera, Opera Colorado, Pittsburgh Opera, San Francisco Opera, Spoleto Festival USA, and Toronto Opera. Upcoming projects include The White Snake for Edinburgh International Festival, Lincoln Center Festival, New Visions Festival (Hong Kong), Singapore Esplanade Festival, and Sydney Festival, The Magic Flute for Canadian Opera Company (Toronto), and Achterbahn, a new Judith Weir opera for Bregenz Festival (Austria) and the Royal Opera House (London).
Matt Rowe (Sound Designer) is Signature Theatre's house sound technician and has been sound designer for Sweeney Todd, Show Boat, First You Dream: The Music of Kander & Ebb, Dirty Blonde, Giant, The Little Dog Laughed, Les Misérables, Anyone Can Whistle in Concert, The Visit, The Happy Time, Kiss of the Spider Woman, Glory Days, Merrily We Roll Along, and The Witches of Eastwick. He also designed sound for the Kennedy Center's Nobody's Perfect.
Nina Mankin (Co-writer of the Sycamore Trees book and Dramaturg) is a dramaturg, writer and performer. As a dramaturg she has worked at the American Repertory Theatre, New York Theatre Workshop and The Public Theatre, among others, with artists as diverse as Anne Bogart (Assimil) and Tony Kushner (The Illusion). She created the original Patriot Act with Joe Shahadi and The Lovely and Talented Miss Tony Silver and has developed three shows with Taylor Mac: Red Tide Blooming, The Young Ladies Of..., and the epic The Lily's Revenge presented this past fall at HERE Arts Center to enormous acclaim. Taylor was featured in Nina's original political satire Kultur Kamp, presented by Dixon Place and developed through Voice and Vision Theatre. Her other original theatre works include the musical Two Orphans (Nina Mankin, lyricist and co-composer with Mark Bennett), an adaptation of the 17th century The Convent of Pleasure, and an upcoming chamber opera about the painter Frederic Church entitled Church.
As a songwriter and lyricist Nina has worked with Dave Soldier on "The People's Choice: Music," a spin-off of conceptual visual artists Komar and Melamid's global exercises in art and democracy (project produced by Dia Arts). She wrote the lyrics for the choral piece "Pictures from Rwanda," produced for the United Nations Peace Day (music by Ed Ware). She has written children's songs with writer/producer Gary Pozner and children's artist Bill Gordh with whom she developed "Fruit of Love" songs which were turned into an animated short by artist Nadia Roden. Her song "America Mrs. You," (co-written with Bradley Jones), appeared on The Jazz Passenger's Windham Hill/High Street Records album "In Love." Nina holds a Masters Degree (with honors) in Performance Studies from NYU and her critical writing has been published in various print and online books and journals. She has taught at both Hunter College and Borough of Manhattan Community College in New York City.
Kerry Epstein (Production Stage Manager) has stage managed many shows at Signature Theatre including Sweeney Todd, Show Boat, First You Dream: The Music of Kander and Ebb, The Hollow (21/24 Workshop), See What I Wanna See, Les Misérables, Ace The Visit, Kiss of the Spider Woman, The Studio, Merrily We Roll Along, The Witches of Eastwick, Saving Aimee, Into the Woods, My Fair Lady, Assassins, The Sex Habits of American Women, Nevermore, and Yemaya's Belly. She has staged managed several cabaret programs for Signature as well, including Partial Eclipse, December Divas, and The Last Garage Hurrah. Regionally she has worked for the Steppenwolf Theatre, The Goodman Theatre, Northlight Theatre, and the Rivendell Theatre Ensemble and internationally for the Dublin Theater Festival.
Signature Theatre's "American Musical Voices Project" is the largest single musical theater commissioning and producing initiative of any U.S. non-profit theater. Founded in May 2006 and funded by The Shen Family Foundation, the American Musical Voices Project demonstrates Signature's commitment to producing full productions of world premiere musical theatre works. Through the AMVP, Musical Theater Composer Grants have been awarded to Ricky Ian Gordon, Michael John LaChiusa, and Joseph Thalken, providing each composer $25,000 a year plus health coverage for four years. Each of the grants includes a commission to create a new full-length musical to be produced at Signature Theatre during its 2009-2011 seasons. In April and May 2009 Giant by Michael John LaChiusa received its premiere at Signature Theatre. Ricky Ian Gordon's Sycamore Trees premieres in May 2010, and Joseph Thalken's musical, Wheatly's Folly, will premiere in March 2011. In July 2009, AMVP expanded to add a commission and production of a new musical by Adam Guettel to be performed during Signature's 2011-2012 season.
As part of the AMVP, Musical Theater Leadership Awards have been made to four individuals in recognition of their extraordinary influence on and contribution to the advancement of new musical theater, orchestrator Bruce Coughlin, composer Adam Guettel, singer/actress Audra McDonald, and director/musical director/orchestrator Ted Sperling.
In June 2008, the American Musical Voices Project added The Next Generation program. That year emerging composers Matt Conner, Adam Gwon, and Gabriel Kahane each received a commission to write new musicals for Signature Theatre and honorees Peter Foley and Marisa Michelson were given grants for the development of their musical ideas. In July 2009, the Theater launched "21/24 Signature Lab," three weeks of rehearsal and performances of new works by The Next Generation composers. Also announced as part of The Next Generation segment of the AMVP were two additional musical commissions awarded to Peter Foley and Marisa Michelson, as well as honoree grants given to Chris Miller and Scott Davenport Richards for the development of future musical ideas.
Recipient of the 2009 Regional Theatre Tony Award, Signature Theatre is a non-profit professional theater company dedicated to producing contemporary musicals and plays, reinventing classic musicals, and developing new work. Under the leadership of co-founder and Artistic Director Eric Schaeffer and Managing Director Maggie Boland, Signature has presented 26 world premiere productions and is renowned for combining Broadway-quality productions with intimate playing spaces. In addition to the finest talent from the DC metropolitan area and New York, Signature has been a home to such theater luminaries as John Kander and Fred Ebb, Cameron Mackintosh, Terrence McNally, and the company's signature composer, Stephen Sondheim. Since its founding in 1989, Signature has been nominated for 276 Helen Hayes Awards for excellence in the professional theater and has been honored with 69 Helen Hayes Awards, including Outstanding Musical in 1992, 1993, 1995, 1997, 2000, 2005, 2006, 2008, and 2009, and Outstanding Play in 1999.
Signature is partially supported by a grant from the Virginia Commission for the Arts and the National Endowment for the Arts and by a gift from Arlington County through the Arlington Commission for the Arts and the Cultural Affairs Division of the Department of Parks, Recreation, and Cultural Resources.
Signature Theatre is just nine minutes from downtown Washington, DC in Arlington's Shirlington Village. The new theater complex is located at 4200 Campbell Avenue (22206) off I-395 at the Shirlington exit. After the exit, blue Signature signs mark the way to the Theatre. Free parking is available in two adjacent public garages. Please note that Campbell Avenue is a new street and some GPS online mapping systems do not yet recognize Signature Theatre's address. For directions visit http://signature-theatre.org/map.htm.
Photo Credit: Genevieve Rafter-Keddy


text:
Adam Equipment EBL 623i 620g x 0.001g Top Loading Precision 3yr Warranty
SKU: EBL 623i~ea
SKU: EBL 623i~ea
Adam Equipment EBL 623i
Capacity 620g
Readability 0.001g
Repeatability 0.002g
Pan size 6.3" ø / 160mm ø
- Illuminated capacitive touch keypad for intuitive, responsive operation. Vivid back-light LCD display for visibility in any lighting condition.
- Capacity tracker built into display, robust metal housing protects internal components. Level indicator and adjustable feet ensure proper balance set up.
- USB and RS-232 interfaces provide for speedy communication with computers and printers. Printouts include date and time for data tracking within Good Laboratory Practices (GLP) guidelines.
General Specifications:
- Units of measurement: g, mg, ct, GN, dr, oz, ozt, dwt, mm, tl.T, tl.S, ti, T, custom unit
- Interface: RS-232, USB
- Power Supply: 18VDC 830mA Adapter
- Display: Backlit LCD with capacity tracker with 24mm-high digits
- Calibration: Internal calibration
- Housing: Extruded aluminum base with a die cast aluminum case
- Operating Temperature: 15 to 35 C / 59 to 95 F
- Weighing
- Parts Counting
- Percentage Weighing
- Checkweighing
- Dynamic / Animal weighing
- Density determination
- Accumulation
Adam Equipment EBL Precision Manual
Adam Equipment EBL Precision PDF French
Adam Equipment EBL Precision PDF English


text:
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Celebration VI Through The Eyes Of Adam Lamping
Posted By
I was already looking forward to Celebration VI, but being that this was going to be the first time that I'd be attending a convention since I joined Rebelscum earlier this year, I was especially excited to have the opportunity to hang out with other members of the team.
Fellow Scummer D. Martin Myatt and I were travelling together and we decided to make something of a road-trip of it, stopping to look for toys on the way to the airport. Going toy-hunting with a buddy is always a lot of fun, and it's even better when you get to visit a place as awesome as the
Toy Stable
in Tacoma, Washington. Lynne the owner, has been trading for decades and has known super-collector Gus Lopez since he was just a wee boy! The only frustration was not wanting to leave anything in the car for the week we'd be away, so I sadly left empty-handed, but I certainly hope to be able to return at some point in the near future.
After uneventful flights (the best kind, but more on that later) from Sea-Tac airport to Miami International and from there to Orlando, we were met by another new member of the Rebelscum team, Rich Alot, who's a local lad and so he was able to show us some of the sights, including a visit to
Acme Comics, Cards, and Collectibles
, another awesome toy store, and this time I couldn't stop myself from picking up a few things to take back home. Having not had the opportunity to ride on the new Star Tours since its launch in May of 2011, I was desperate to go to Hollywood Studios while I was in Florida, and so the three of us made our way to the park where we were able to ride the attraction four times. Despite thoroughly enjoying the ride, knowing how varied Star Tours is, it was slightly disappointing to see the same introduction all four times, visit Kashyyyk three times, Coruscant and Naboo twice and Hoth just the once. Prior to going on the ride however, Dave, Rich and myself spent a good couple of hours picking up the build-a-droid parts for our friend Paul H., and it was really neat when one of the staff told us that she and her husband both frequently visit Rebelscum.com and that she'd look forward to seeing the new parts when we update our
Disney Parks Droid Factory Photo Archive
which includes an exclusive interview with Cody Hampton, Associate Product Developer of Toys for the Disney Theme Parks, conducted by our very own Chris Wyman.
Next day was set-up day, and the first real opportunity for me to work alongside the other members of the team, most of whom I'd previously met, but it was awesome to actually be a part of such an amazing group of people. I also got to meet yet another new addition to the Rebelscum and
Cool Toy Review
teams, Anthony Pomposello (AnthonyP on the Rebelscum forums), who I already knew to be an absolute posting machine on CTR. Hitting it off with both Anthony and Rich straight away, we all mucked in and did what we needed to do as we made last minute preparations ahead of Celebration VI starting the following day. Heading out for a fans of the ForceCast gathering at The Pub across from our hotel meant that we also got to down a few cold ones with Aussie brothers and Jedi Masters Saesee Tiin and Kit Fisto, also known as Jesse and Zac Jensen, fellow Jedi Aayla Secura, aka Amy Allen, as well as the likes of Matt Wood, David Acord, Stephen Stanton and Kyle Newman. The beauty of this gathering, is that it wasn't exclusive to a select few, and the guests seemed happy to talk to everyone and anyone who struck up a conversation with them.
In addition to spending time with the Scummer team, manning the booth for Rebelscum.com, TheForce.Net and the ForeCast.Net also provided me with the chance to meet many of the multitude of fans that visit the three sites, and who were keen to partake in our draw to win a patch from each of the sites, as well as the anchor patch from OfficalPix.com. Having started by asking for three phrases from each of the sites ("You can't spell
Star Wars
without 'RS'" - it's true, you can't!, "I get my daily dose of
Star Wars
from TheForce.Net" - I would certainly hope so! and "The galaxy is listening" - you bet it is!), we soon realised that it would be more fun to have visitors to the booth give us their favourite
Star Wars
quote. Among the more familiar "May the Force be with You", "These aren't the droids you're looking for" and "You Rebel scum!", we got some very uncommon quotes, and Anthony even had the good fortune to have a huge chunk of dialogue which had been impressively memorised recited to him. I consider it a privilege to be a part of Rebelscum, providing me the opportunity to give back to the
Star Wars
community, and it was extremely humbling at times to hear how appreciated the site, along with TheForce.Net and the ForceCast.Net, is to our readers.
After catching my first panel on Thursday, it was then back to help out with the ForceCast's
first Live Show of Celebration VI
and while I really shouldn't be all that surprised, it honestly never ceases to amaze me the quality of guests that Jason and Jimmy Mac draw to the show, with the likes of Steve Sansweet, Ashley Eckstein, Leland Chee, and James Arnold Taylor appearing on day one of CVI. What was especially satisfying for me on the show, was the awarding of Rebelscum's
Star Wars
Licensee of the Year
to Her Universe, which Philip presented to a very astounded Ashley Eckstein. Seeing the look on Ashley's face, hearing her reaction to the award, and later seeing it on the Her Universe stand validated the whole team's decision to recognise the achievements of Ashley's persistence and hard work in making Her Universe the force (pun intended) it is in providing apparel and jewellery for fan girls, something that Dave Filoni further alluded to in
Sunday's ForceCast Live show
Having spent a few hours working on posts and other site duties once the day's events had concluded, it was then time for TheForce.Net party and a further opportunity to catch up with friends old and new before heading back to the hotel for some much needed sleep ahead of the following day.
Friday began with the traditional Rebelscum/TheForce.Net/ForceCast team photo, though a first for me, and after gathering in front of the sites' booth, we then posed with Roxy the Rancor for a second set of pictures. With everyone from the family of sites in attendance, we took a moment to present the man responsible for bringing us all together, Philip Wise, with a photo album that was made up of contributions from many of the team, as a gesture of our combined appreciation for all he has done in our lives through our involvement with the sites that all started from "Philip's Star Wars Pictures, Toys and Thoughts" back in 1996.
Once the team had been dispersed, it was back to the booth to hand out more tickets for the patch draw and I must have been having fun, because the time just flew by before I needed to head to what would be my only panel of the day, to find out "What's New at Hasbro?", and then a little later in the day, myself, Dave and Rich had the opportunity to chat at length with Derryl DePriest, the Vice President of Global Brand Management and Brian Merten, the Senior Manager of Product Design. Attending the 501st party that evening gave me the chance to let my hair down a little after the day's exertions and I am not ashamed to admit that I took the opportunity to strut my stuff, plus I was fortunate enough to have a brief chat with Jake Lloyd whilst waiting in line for liquid refreshment! I later discovered that while I was waiting to be served, the other members of the team that were there were chin-wagging with Seth Green, someone with whom it would seem I am destined never to cross paths! To be fair, I do have the honour of having been "shushed" by Seth, as he was trying to remain inconspicuous while taking a picture of the Muppet troopers, but that's as close as it got! On our way out of the 501st bash, we ran into Lucasfilm's Chris Spitale, who was hastily making his way up to the now traditional vintage swap meet where many dealers with some of the rarer
Star Wars
collectibles were trading in a hotel corridor, their wares spread over the carpet! While much of it was beyond my modest budget, I couldn't walk away without getting something, and was able to haggle a pretty good deal on an unpainted prototype
Han Solo Power of the Force 2
action figure.
Following a tip-off we had received about a certain someone taking a leisurely stroll around the exhibition hall on Saturday morning, Dave, Chris Holoka, Rich and I had an early start to our day to get into the convention centre and see the Maker himself, albeit from a relatively safe distance, before we were soon back into the swing of things, manning the booth to welcome the hordes of fans eager to participate in the raffle to win one or more of the site patches. Taking a break from the chaos, I had a chance to spend some time with the other Brit on the Rebelscum team, Grahame Wright, while we waited in line for the Super-Secret
Star Wars
Panel with Todd, Seth, and Matt, and it was nice to have the chance to get to know him more. We were soon joined by Chris H. as the three of us waited patiently to go into the Chapin Theatre, where we got to see not only the awesome trailer as well as some amazing footage from
Star Wars: Detours
, but Chris and I also got to see George for a second time! The rest of the day was spent on the booth until it was time to pack up and head on over to the Digital Stage for
Smuggler's Gambit
, with The ForceCast's Jimmy Mac producing and providing live sound effects as well as Chewbacca's dialogue! Saturday night proved to be a quieter affair than previous nights, though there was still the opportunity to catch up with a few friends including Ruark Dreher and J. C. Reifenberg of
Hughes the Force
And so to Sunday, and one of my highlights of the weekend, Celebration of Worship, which was held in the Rosen Plaza, led by "Big Honkin'" Steve Glosson and special guest James Arnold Taylor, and provided an opportunity for fans of a Christian denomination to gather in a church environment for a time of teaching and worship. Heading straight from there to do my final stint handing out tickets for the raffle, taking a couple of minutes to have a quick chat with Christopher Malcolm (Zev Senesca - the Snowspeeder Pilot, Dave!), after which I was able to spend some time soaking up the vibes at the ForceCast's
final Live Show
before heading off with Chris, Grahame and Eric Geller for the closing ceremony. It was straight back to the booth to participate in some modeling for the
Star Wars Celebration VI
Store merchandise photo gallery for Rebelscum, though I've since been told that I got bumped for Daniel Logan who also wore one of the t-shirts I did. I can live with that! The day wrapped up with the tear-down/up, depending on your point of view, and a final opportunity to hang out with the team before we all went our separate ways, though Dave and I would be travelling back to Vancouver together. Waiting around in the Official Pix area also meant that a number of the celebrity guests were milling around before heading out, providing an opportunity to speak briefly to the likes of Kenny Baker and Warwick Davis and receive the merest of smiles from Ian McDiarmid, the Emperor himself, as he passed through the back of the Rebelscum booth.
In all honesty, most of the weekend just blew past me (largely due to burning the candle at both ends working on the site and a steady flow of caffeine that put me in a zombie-like stupor), and while it was disappointing not to get to more panels and I was sad to also miss catching up with many people that I had wanted to see during the course of the four days, the biggest upset was failing to make it to a single panel from the collecting track. I'm still dumbfounded as to how that happened! At the end of the day though, when I'm representing Rebelscum, it's not about me, it's about ensuring that no fan gets left behind, and though there was a lot of programming that we weren't able to cover, due to a combination of the sheer number of panels and also spending hours waiting in line along with everyone else, the team made every attempt to cover as much as they possibly could.
With an early flight on Monday morning, our team-mate Rich picked Dave and myself up from the hotel, but due to some issues with the airline (and that's putting it mildly!), we managed to miss our flight to Dallas and were subsequently re-directed to L.A., where we would get a later flight to Seattle. I joked to Dave that we would end up on the same flight as James Arnold Taylor, so you can imagine our surprise when who should be sitting across from me, but JAT! Being as tired as I was was probably a good thing, as I didn't have the energy to harass James throughout the flight, though we did have an opportunity to talk briefly just prior to touchdown in California. Another uneventful flight a few hours later, and we arrived in Seattle, though no sooner had we hit rush-hour traffic as we approached downtown, than Dave's truck broke-down! And so it was that we ended up spending another night away from our respective families, finally making it home the following day.
So what am I able to take away from my experiences of being a part of Rebelscum at Celebration VI? I've said it already, but I am immensely proud to be a part of this team, knowing how hard they work to provide the latest news and updates from the world of Star Wars licensing, and when it comes down to it, they're a great bunch of guys that are especially fun to hang out with. It goes without saying that having the privilege of rubbing shoulders with the celebrity guests that frequent the area behind the Rebelscum booth gives you a real buzz, but the truth is that I still have to respect their privacy and so it doesn't entitle me to interrupt them when they may just be seeking some respite from the hours of signing autographs. Still pretty cool though!
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Rebelscum Breast Cancer Awareness Charity Patch
Posted By
Thanks to everybody that ordered patches. I sent a check for $1,600.00 to the National Breast Cancer Foundation on Monday. While it's not as much as I hoped for, it's still very much appreciated. They will remain for sale in the store for anybody that still wishes to purchase them. Details after the jump.
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text:
In the Matter of
Scott K. Barton, CPA
PURSUANT TO RULE 102(e) OF THE
The Securities and Exchange Commission ("Commission") deems it appropriate to institute public administrative proceedings pursuant to Rule 102(e)1 of the Commission's Rules of Practice against Scott K. Barton, CPA ("Respondent" or "Barton").
In anticipation of the institution of these administrative proceedings, Respondent has submitted an Offer of Settlement ("Offer"), which the Commission has determined to accept. Solely for the purpose of these proceedings, and any other proceeding brought by or on behalf of the Commission, or in which the Commission is a party, and without admitting or denying the findings set forth below, except that he admits the Commission's finding that a Final Judgment of Permanent Injunction and Other Relief has been entered against him as set forth in Paragraph III.C below and admits the Commission's jurisdiction over him and over the subject matter of these proceedings, Respondent consents to the entry of this Order Instituting Proceedings Pursuant to Rule 102(e) of the Commission's Rules of Practice, Making Findings, and Imposing Remedial Sanctions ("Order").
The Commission makes the following findings:2
A. Barton, 47, of Spring, Texas, became the controller of Paracelsus Healthcare Corporation ("Paraclesus") in 1981, a position he held through August 1996. Barton has been a licensed Certified Public Accountant with the State of California since 1981.
B. Paracelsus is a California corporation which registered a bond offering and began filing periodic reports with the Commission pursuant to Section 15(d) of the Securities Exchange Act of 1934 ("Exchange Act") in 1993. In August 1996, Paracelsus registered offerings of common stock and notes and an exchange offer for the outstanding common stock of Champion Healthcare Corporation ("Champion"). Paracelsus raised $365 million in the offerings, merged with Champion, and became a publicly held, Section 12(b) reporting company, listed on the New York Stock Exchange.
C. On June 18, 2001, the Commission filed a complaint against Barton and others in the United States District Court for the Southern District of Texas, Houston Division, SEC v. Ron Messenger, et al, CIV. NO. H-01-2022 (S.D. TX, Houston Div.). Solely for the purpose of settling these proceedings, Barton consented to the entry of a Final Judgment of Permanent Injunction and Other Relief ("Final Judgment") against him, without admitting or denying the allegations of the complaint, except as to subject matter jurisdiction, which he admitted. On June 20, 2001, the United States District Court for the Southern District of Texas, Houston Division, entered the Final Judgment, which (1) permanently enjoins Barton from (i) violating Section 17(a) of the Securities Act of 1933 ("Securities Act") and Sections 10(b) and 13(b)(5) of the Exchange Act and Rules 10b-5, 13b2-1 and 13b2-2 thereunder, and from aiding and abetting violations of Sections 13(a) and 13(b)(2) of the Exchange Act and Rules 12b-20, 13a-1 and 13a-13; and (ii) orders Barton to pay a civil penalty of $25,000.
D. The Commission's complaint alleges that while Barton was Paracelsus' controller, he participated in misconduct by which Paracelsus inflated its quarterly and annual earnings in filings with the Commission from at least 1993 through August 1996. Specifically, the complaint alleges that Barton and others created and used "cookie jar" reserves which were inappropriate under Generally Accepted Accounting Principles, because no probable and reasonably estimable exposures justified their creation, and because their later decrease artificially boosted Paracelsus' earnings and concealed a decline in earnings. Additionally, the complaint alleges that Barton and others failed to disclose all material facts regarding the misconduct to Paracelsus' auditors.
In view of the foregoing, the Commission deems it appropriate to accept Barton's Offer and to impose the sanctions agreed to therein.
Accordingly, IT IS HEREBY ORDERED, effective immediately, that:
A. Barton is denied the privilege of appearing or practicing before the Commission as an accountant.
B. After three years from the date of this Order, Barton may request that the Commission consider his reinstatement by submitting an application (attention: Office of the Chief Accountant) to resume appearing or practicing before the Commission as:
1. a preparer or reviewer, or a person responsible for the preparation or review, of any public company's financial statements that are filed with the Commission. Such an application must satisfy the Commission that Barton's work in his practice before the Commission will be reviewed either by the independent audit committee of the public company for which he works or in some other acceptable manner, as long as he practices before the Commission in this capacity; and/or
2. an independent accountant. Such an application must satisfy the Commission that: (a) Barton, or the firm with which he is associated, is a member of the SEC Practice Section of the American Institute of Certified Public Accountants Division for CPA Firms ("SEC Practice Section"); (b) Barton, or the firm, has received an unqualified report relating to his, or the firm's, most recent peer review conducted in accordance with the guidelines adopted by the SEC Practice Section; and (c) as long as Barton appears or practices before the Commission as an independent accountant he will remain either a member of the SEC Practice Section or associated with a member firm of the SEC Practice Section, and will comply with all applicable SEC Practice Section requirements, including all requirements for periodic peer reviews, concurring partner reviews, and continuing professional education.
C. The Commission's review of an application by Barton to resume appearing
or practicing before the Commission may include consideration of, in addition to the matters referenced above, any other matters relating to Barton's character, integrity, professional conduct, or qualifications to appear or practice before the Commission.
By the Commission.
Jonathan G. Katz
|Rule 102(e)(3)(i), in relevant part, provides that the Commission may suspend from appearing or practicing before it any accountant who by name has been permanently enjoined, by a court of competent jurisdiction in an action brought by the Commission, from violating any provision of the federal securities laws or the rules and regulations thereunder [17 C.F.R. 201.102(e)(3)(i)].
|The findings herein are made pursuant to Barton's Offer of Settlement and are not binding on any other person or entity in this or any other proceeding.
|Home | Previous Page
Modified: 07/02/2001


text:
Wholl stop the rain Creedence Clearwater Revival
[G] [D] [Em] [D] [G] [D] [Em] [D] [G]Long as I remember, the r[C]ains been coming d[G]own.
[G]Clouds of mystery pourin', conf[C]usion on the gr[G]ound.
[C]Good men through the [G]ages, t[C]rying to find the s[G]un,
[C]And I wonder, st[D]ill I wonder, wh[Em]o'll stop the r[G]ain. [D] [Em] [D] [G] [D] [Em] [D]
Heard the singers playing, how we cheered for more.
The crowd had rushed together, tryin' to keep warm.
Still the rain kept pourin', falling on my ears.
And I wonder, still I wonder, who'll stop the rain.
I went down Virginia, seeking shelter from the storm.
Cought up in the fable, I watched the tower grow.
Five year plans and new deals, wrapped in golden chains,
And I wonder, still I wonder, who'll stop the rain.
Ludwig Alberter (email@example.com)
Just giving back a little of what I take from the net !!
Questions, Comments or tab suggestions please forward to
Vincent M. Veltri firstname.lastname@example.com
G D Em D G D Em D
[G]Long as I remember the [C]rains been comin' [G]down
[G]Clouds of myst'ry pourin' [C]confusion on the [G]ground
[C]Good men through the a[G]ges, [C]tryin' to find the [G]sun
[C]and I wonder, [D]still I wonder, [Em]who'll stop the [G]rain [D] [Em] [D] [G] [D] [Em] [D]
[G]I went down Virginia seekin' [C]shelter from the [G]storm
[G]Caught up in the fable I [C]watched the tower [G]grow
[C]Five year plans and [G]new deals, [C]wrapped in golden [G]chains
[C]and I wonder, [D]still I wonder, [Em]who'll stop the [G]rain [D] [Em] [D] [G] [D] [Em] [D]
[G]Heard the singers playin', [C]how we cheered for [G]more
[G]The crowd has rushed together [C]tryin' to keep [G]warm
[C]Still the rain kept [G]pourin', [C]fallin' on my [G]ears
[C]And I wonder [D]still I wonder [Em]who'll stop the[G] rain. [D] [Em] [D] [G] [D] [Em] [D
Repeat and Fade
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munchkin (report)
After the first verse there is a Bm added. It should be--G-C-Bm-C-G
pablodc (report)
creo que suena mejor si agregamos un mi menor justo cuando se canta "pouring" de la frase "clouds of mistery pouring"


text:
Kenny Cooper loves to play the Chicago Fire as a member of FC Dallas. There can be no doubting that.
Cooper scored two more goals against Chicago on Saturday night to up his career tally against the Fire to eight goals in eight matches, making him the all-time FCD leading scorer against their Brimstone Cup rivals.
For his effort, Cooper was named to the MLSSoccer.com week 33 Team of the Week.
Said MLSsoccer.com about Cooper: FW: Kenny Cooper (FC Dallas) – Unfortunate to be on the losing end after a commendable two-goal effort against Chicago to make it three goals in two games for the big striker. His resurgence may have come too late to save Dallas this season, but it should bode well for his and the team's chances in 2014.
In addition, both Cooper and Fabian Castillo were named to this week's Castrol Index Top 20


text:
Student or Learner
TOPIC: Should everyone under the age 17 have 9:OO PM curfew
The age from 13-18 is very precious time for everyone. Because in that time people learn many things. Besides it is an important time because it is an important time to choose a path of life. In the following paragraphs I am going to prove teens should not be allowed to go outside after 9:00 PM.
Firstly, Everyone know time is money. if teen spend their time in studies they can bright their future.Going Outside after 9:00PM seems not good for teenagers. Because this can spoil them. Day by day their interest would involve in hanging out with friends and thus it would be difficult for them to give their time to Positive things.
Secondly, Everyone know that world is full of bad people when they would see a teen moving around late night they might kidnap him or may force him to take drugs. Because teenagers are usually very emotional People may take benefits of their sentimental.
Lastly, their concern towards studies would be improper. Its not like that they should stay home all the time but they should go out for sports, for a picnic,meet with their friends, but on a daylight and the best time is at evening.
So, if they would follow these guidelines then they can safe themselves from many incidents and giving their more time to studies would enable them to become a successful man in the coming days of his life.
NOTE: I am non-native. Please rate my essay. Would love your suggestions. thank you


text:
Asus Laptop LCD Screen Repairs & Replacement
Laptop Screen Repairs and LCD Replacement Services for Asus laptops and notebooks from Solid Rock IT UK. Our laptop screen replacement services delivers value for money for Asus screens. With professional computer repair engineers available to get your laptop, notebook or Apple Macintosh LCD Screen up and running as new you can have peace of mind.
Possible Asus Laptop LCD Screen Faults
We replace broken Asus laptop LCD's and repair notebook screen problems. We also diagnose screen faults linked to the following symptoms:
- Dead Screens on Asus Laptops and Notebooks
- Laptop and Notebook Dark or Dim Display Screens
- Low Contrast Display LCD Screens
- Dark Screens on Asus Notebooks and Laptops
- Colour Faded LCD Display Screens
- Wrong Colours Display on Laptop and Notebook Screens
- Missing Individual Lines on Notebooks and Laptops
- Cracked LCD Display Screens on Notebooks and Laptops
With so many Asus LCD screen problems possible on laptops and notebooks, it is easy to justify the need for professional technical support to diagnose specific faults unique to your notebook or laptop. Solid Rock IT UK offers LCD repairs for non detrimental screen faults and LCD Replacements where the fault is beyond repair remedies.
Laptop / Notebook LCD Screen Repairs by Brands
We repair and replace a variety of LCD Screens for numerous laptops and notebook models as well as the popular Apple Mac brand. Here are some LCD Screen brands we serviced to date.
Acer LCD Screen Repairs, Dell LCD Screen Repairs, Toshiba LCD Screen, Lenovo LCD Screen Services, Alienware LCD Screen Replacement, Sony VAIO LCD Screen, Panasonic Display Screen Replacement, Gateway Display Screen Repairs, Patriot Laptop Screen Repairs, Compaq Presario Display Screen Repairs, Fujitsu Siemens LLCD Screen, eMachines Laptop Screen, Asus, Packard Bell, HP Pavilion, NEC Laptop Screen Repairs, Advent Laptop Screens, Ei Systems LCD Screens Repairs.
Quick and Easy Asus Laptop LCD Screen Repairs
So, what are some of the obvious LCD Screen repairs issues you may encounter and require technical support for your Asus laptop?
- Physically Damages Screen
- Accidentally Cracked Screens
These are common and are cause when the delicate laptop or notebook LCD screen gets exposed to undue pressure of penetrated by a sharp point of contact force, whether accidentally or deliberately.
Asus Laptop LCD Screen Replacement Services
Where your LCD Screen is beyond repair then Solid Rock IT UK will work with you to make sure the correct replacement screen is sourced and compatible with your notebook or laptop.
We offer LCD/screen repair and service on virtually all laptop and notebook makes and models including Acer, Ei Systems, Panasonic, Asus and Apple Mac brands.
If you have a defective Asus LCD screen requiring repairs or replacement, Get a LCD Services Quote for your laptop or notebook model today, or call us on 07051 878 703 to discuss your specific technical LCD support needs.


text:
Well, I think it is, and I've read them all, beginning with A Is for Alibi (1982), which begins with these memorable first lines:
My name is Kinsey Millhone. I'm a private investigator, licensed by the state of California. I'm thirty-two years old, twice divorced, no kids. The day before yesterday I killed someone and the fact weighs heavily on my mind.I've loved all 22 (so far) of Millhone's adventures for being witty and smart, but not deep or noir; for having a kick-ass female investigator who seems like a real person, not an action figure; for including the same lovable minor characters from book to book (Rosie the Hungarian restaurant owner, Henry the fatherly landlord) without ever repeating plots or becoming predictable; and for appearing year after year after year.
But since I grab them as soon as I can get hold of the library copy, and since last time I read one - U Is for Undertow - was 20 months ago - I can't be absolutely sure that V Is for Vengeance is the unquestionable pick of the litter. I can only tell you that as I was enjoying Grafton's deft handling of multiple plot lines and points of view, I kept thinking of Michael Connelly's Harry Bosch series, and that is high praise indeed.
Both Connelly and Grafton, inspired by mid-20th-century greats Raymond Chandler and Ross Macdonald, have taken hardboiled detective fiction and humanized it. Their detectives not only age but also change and grow. Their supporting characters are decent but flawed - or deeply flawed but, usually, still showing traces of grace. Their settings - Los Angeles for Harry, Santa Teresa (a pseudonym for Santa Barbara) for Kinsey - feel real: both authors know, for example, that Californians use the definite article when referring to their freeways ("the 10"). Their books take us well beyond the borders of genre fiction. These are not just page-turners; they are fully-fledged novels.
In V Is for Vengeance, Kinsey's part in apprehending a shoplifter plunges her into a labyrinth of organized crime. Who is Dante, and how does he make so much money? Is Nora's husband stepping out on her? Why does Marvin keep changing his mind? Is it wise for Kinsey to keep hanging up on the persistent reporter? Why is Pinky so nervous? What's going on with Dante's little brother and the vice cop?
And will the risk-inclined Kinsey finally make a fatal error?
I confess that the last question didn't worry me as much as it might have: I know that four more books are on the way, and I am grateful. If you're already a fan of Kinsey Millhone, I guarantee you'll love this one. If you have yet to make her acquaintance, you don't have to read the other 21 novels to appreciate V Is for Vengeance. Read it now. You can - and probably will - fill in the backstory later.


text:
Re: Command line limitations
I have been using viEmu for a week now and I really like it, but I have found some big limitations in the way in which the Command line is working. First, it has a limited width, and if that width is reached then the command line doesn't scroll, so you cannot continue typing. Second limitation I have found so far is that it's impossible to paste anything in it. I have tried the <Ctrl-R>" recomendation found in the documentation and it doesn't work, and <Ctrl-v> pastes content in the buffer, not in the command line. Any other way to paste something in the command line?
Something else I have seen, related to previous issue, is that <Ctrl-R>x, where x is a buffer name, is not working as expected, either in command line mode or in insert mode.
I'm using version 2.0.37.


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This is a lower-quality positive print of PET0981_R-3_LA, or another take similar to PET0981_R-4_LA.
00:00 Process plate, night, moving right to left, from automobile or train, 3/4 reverse angle, shot from railroad tracks in industrial area (northwest of downtown Los Angeles, probably along San Fernando Road). Lighted foreground. Train passes through Burbank, possibly Glendale and northwest LA.
03:28 Similar shot, moving left to right.
06:24 Process plate, night, moving, from train, reverse angle looking out at receding railroad tracks. Foreground illuminated.
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Uploaded by Jeff Kaplan on