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Here's a set of original accessory counter balance weights for smoothing out the engine.
For the record, "smoothing out the engine" is not what they do.
What they do is reduce crankshaft and main bearing stress by counteracting some of the reciprocating mass of the pistons. This has the benefit of reducing wear on the center (second) main bearing.
But, the Dunns are an inferior way to add counterbalance since they are bolted between 1&2 and 3&4 and require far greater mass to do the same job as the "correct" way to counterbalance such as the Suremike crankshaft where the counterweights are outboard of 1&2 and 3&4 - next to the main bearings.
A balanced stock T engine with correct bearing clearances will be just as smooth as one with Dunn counterbalance weights fitted.
A bitch to do a good job of installing.
All that theory might be fine but a engine with them in sure runs smoother.
Hi All
Dunn was issued two patents for
"Engine-Shaft or "Crank Shaft" Counterbalance
that did not refer specifically to Ford engines,
but used "numerous types of engines" or
"internal combustion engines" in his descriptions.
Both patents are listed below.
William G. Dunn
Patent number: 1248832
Filing date: Jun 21, 1917
Issue date: Dec 4, 1917
William G. Dunn
Patent number: 1259086
Filing date: Dec 17, 1917
Issue date: Mar 12, 1918
I agree with Paul. I have had them on my '27 for about 30 years.
I bet I spent more than a day hand fitting them. Then I had the whole mess spin balanced. Balanced the flywheel independently.
I wonder if the originals were easier to put on?
Certainly Seth is right about the location of the weights.
I wish to regale a tale of woe! More years ago than I care to admit, a good friend had a set of these on a 'T' speedster he had bought. He, I and a fair number of others active with 'T' speedsters had just run the "Calistoga Classic" dirt track race re-enactment. He was home, cleaning up the car, making minor repairs and tuning it up real nice. Standing beside the car, he gunned the engine to a resounding crash with objects flying all about. one side of the pan was laid out near flat, while about half the lower block on the other side was scattered across the driveway. The most frightening thing was the sizable dent in his chain-link fence, 30 feet away.
TO BE FAIR! After he checked things out, he reported that whomever had installed the Dunn weights used standard soft bolts one size too small. Proper bolts would probably never do that and I would not hesitate to use a set if I had them. But I will never forget the sight of that busted up engine, and it still ran well.
Seth and I fiddled with one peace counterweights that would take less bolts to hold and less pressing on a weak crank web distorting it but the best way is with weight on each side opposite the rod journal.
Testing cranks I have found out that the T crank is weaker in all the tests with the with the throws vertical and strongest with the throws horizontal, I don't know if this is because of the constant change of direction of the cast iron slugs weakening the crank over time or if it was made that way, but counter balance would help the weak stock crank. The interesting thing is if a crank is bent its always bent with the throws vertical.
If anyone needs a set of these counter weights I have a set, minus a couple of the bolts, new never installed 70.00 plus UPS email@example.com
I installed a set of these at full weight, modified for a 26-27 crank, bedded in devcon, then spin balance, smoothest stock crank Ive ever run. I now regret that I removed them to do some experimenting with lighter weights.
They will go back in next time I have the engine out.
Drove to the top of Mt Evans with 10 tooth pinion. Only got out of high 2 times. Never used the Ruckstell. I believe that had I been trying, I could have pulled it in high.
These counterweights are designed for the early crank and require the devcon bedding to keep crank straight. I have no experience with using them on the early crank.
Car has 12 V battery on running board and is charged with a Seth Harbuck regulated magneto charger.
One beautiful T Fred! The similar 16 I am fiddling with will be "Old Ugly" left stock.
Interesting that the heavy weights work better.
There is a lot of difference in the original weights and the later reproductions. The originals were designed for the diamond shaped cranks and actually bolt on quite well. They had special bolts and were apparently quite well liked by a lot of people in the day, as Dunn sold about a zillion sets of them.
I loaned my mint original set to Fred several years ago for him to copy and do some testing with.
Does anyone know where I can get a new set of correct bolts for these originals?
AFAIK those are the correct bolts. I'll try to remember to take a picture of mine and post it. The originals have those little pins in them to keep them from turning when you tighten the nuts.
We don't use the original bolts. We use grade 8 bolts and lock nuts torqued to about 50 lbs. We keep a dial indicator on the crank to make sure the crank does not bend.


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Peggy Waide Message Board
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A Rogue's Promise
Leisure, Jun 2002, 5.99, 352 pp. ISBN 0843950226 Though she kept the debt collectors away for quite a long time, by 1816 Joanna Fenton is desperate as creditors hover closer and closer to ruining her family. Her brother has vanished and the Chinese sacred two-headed dragon statuette is stolen. She needs help so she boldly goes where no woman has gone before. She enters a dive of a pub seeking to gain the assistance of nearly retired smuggler M...


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Weekend reading on the intelligent design controversy: Columns and articles of note
Major scientist dissed over sympathy for intelligent design
The Wall Street Journal points the finger at profs who encourage students to think about intelligent design, revealing along the way that world-class quantum chemist Fritz Schaefer was dissed by local bonzos on account of his interest in ID:
Some well-respected scientists have fostered the spread of intelligent design. Henry F. Schaefer, director of the Center for Computational Quantum Chemistry at the University of Georgia, has written or co-authored 1,082 scientific papers and is one of the world's most widely cited chemists by other researchers.
Mr. Schaefer teaches a freshman seminar at Georgia entitled: "Science and Christianity: Conflict or Coherence?" He has spoken on religion and science at many American universities, and gave the "John M. Templeton Lecture" -- funded by the foundation -- at Case Western Reserve in 1992, Montana State in 1999, and Princeton and Carnegie Mellon in 2004. "Those who favor the standard evolutionary model are in a state of panic," he says. "Intelligent design truly terrorizes them."
This past April, the school of science at Duquesne University, a Catholic university in Pittsburgh, abruptly canceled its sponsorship of a lecture by Mr. Schaefer in its distinguished scientist series. According to David Seybert, dean of the Bayer School of Natural and Environmental Sciences, Mr. Schaefer was invited at the suggestion of a faculty member belonging to a Christian fellowship group on campus. The invitation was withdrawn after several biology professors complained that Mr. Schaefer planned to speak in favor of intelligent design. The school wanted to avoid "legitimizing intelligent design from a scientific perspective," Mr. Seybert said. Faculty members were also concerned that top students might not apply to Duquesne if they thought it endorsed intelligent design. Mr. Schaefer gave his lecture -- entitled "The Big Bang, Stephen Hawking, and God" -- to a packed hall at Duquesne under the auspices of a Christian group instead.
I love it! "Faculty members were also concerned that top students might not apply to Duquesne if they thought it endorsed intelligent design." So top students are supposed to be the kind of people who need protection from scientists like Schaefer, who challenge them, and exposed only to those who don't? No wonder Darwinism is on the way out.
Couldn't be there last April? Here's a lay-friendly lecture by Schaefer on "The Big Bang and God." I'll have more to say about the fallout from this WSJ story later,a s it raised some other interesting issues.
If you like this blog, check out my award-winning book on the intelligent design controversy, By Design or by Chance?. You can read excerpts as well.
What really happened in Kansas
According to Dennis Overbye's recent article in the New York Times, Kansas redefines science in its recent decision to go with the new standards, according to which evidence, not materialistic philosophy is the basis for science. Actually, says the Discovery Institute; the shoe is on the other foot. The new standards, though controversial with science boffins, are consistent with other states. It is the standards that the boffins support that are unusual:
... unlike any other in the U.S. By defining science first and foremost as "seeking natural explanations," the current standards subtly shift the emphasis in science education from the investigative process to the end result. This shift is out of step with modern science education, which gives priority to the activity of formulating and testing hypotheses. ...
The only other state in the U.S. that explicitly limits science to naturalistic explanations is Massachusetts. In the Massachusetts science standards, however, this limitation comes at the end of a detailed description of the scientific enterprise that begins by defining science more generally as "attempts to give good accounts of the patterns in nature." Only Kansas currently defines science primarily as "seeking natural explanations."
"Natural" explanations are, in the context, a code phrase for naturalistic (materialist) philosophy. And that is the true reason why there was so much controversy in Kansas. Read the Kansas State board of education chair Steve Abrams' defense of Kansas's decision. From his conclusion:
I have repeatedly stated this is not about Biblical creation or Intelligent Design. This is about what constitutes good science standards for the students of the state of Kansas. I would encourage those who believe we are promoting a back door to creation or Intelligent Design to actually do your homework. READ and investigate the Science Curriculum Standards and base your comments on them and not on the misinformation with which critics have been plastering the print media and clogging the airways...
Abrams gives the links to those documents, but I sense - as he does - that that's useless. The boffins and hacks will not read them and will continue to assert that the Kansas standards insert intelligent design (or the supernatural!), even though they don't and can't.
But, in fairness, the boffins and hacks have a good reason for refusing to read and for blindly reasserting incorrect statements: Dumping naturalism as a philosophy creates a context in which evidence rather than naturalism (materialism) rules. In that case, naturalism cannot rule simply by default. And ruling by default everywhere is the only way that the naturalist can ensure that the issues that created the intelligent design controversy cannot be considered by anyone, ever.
Why is this important? You will frequently hear naturalists (materialists) insist that there is absolutely no evidence for intelligent design. After a while you will realize, as I did, that their philosophy defines such evidence out of existence. If it's evidence, it can't be evidence for design. If it's evidence for design, it can't be evidence. All evidence for design must be wrong and can't be published. Guys like Richard Sternberg aren't really being persecuted for allowing a design-friendly article to slip past the net because anyone who ever considered evidence of design, or enabled others to do so, deserves to be punished. Well, that clears that up, right? No? It doesn't? Well, now we understand why there is an intelligent design controversy.
(Note: One reader wanted to know why I have had little to say about the Dover mess. Well, group blogs on the ID controversy, pro and anti, are on the scene. So why would I try covering it from Toronto? Given limited time, I focus on what I know and care about, and I had read and commented privately on the Kansas standards some time ago.)
If you like this blog, check out my award-winning book on the intelligent design controversy, By Design or by Chance?. You can read excerpts as well.
Are you looking for one of the following stories?
The Pope using the term "intelligent design" to describe the Catholic view of origins, go here.
Dilbert cartoonist Scott Adams attacked by Darwinist, hits back. Will he now cartoon on the subject?
"Academic Freedom Watch : Here's the real, ugly story behind the claim that 'intelligent design isn't science'?".
Roseville, California, lawyer Larry Caldwell is suing over the use of tax money by Darwin lobby groups to promote religious views that accept Darwinian evolution (as opposed to ones that don't). I'm pegging this one as the next big story. See also the ruling on tax funds. Note the line that the "free speech" people take.
How to freak out your bio prof? What happened when a student bypassed the usual route of getting frogs drunk and dropping them down the chancellor's robes, and tried questioning Darwinism instead.
Christoph, Cardinal Schonbon is not backing down from his contention that Darwinism is incompatible with Catholic faith, and Pope Benedict XVI probably thinks that's just fine. Major US media have been trying to reach rewrite for months, with no success.
Museum tour guides to be trained to "respond" to those who question Darwinism. Read this item for an example of what at least one museum hopes to have them say.
Blog policy note:Comments are permitted on this blog, but they are moderated before they appear.


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In defense of wood heat
Why not burn trees where they'll do some good -- in your woodstove?
On these sunny but not hot October days, it's almost a pleasure to toil in the woodpile in my back yard. My firewood is delivered to me bucked (cut to 16-inch stove length), but I still need to split it and stack it.
Even in moderation, this work can lead to an aching back and sore muscles. But it holds out the pleasant prospect of winter evenings next to the cast-iron airtight Vermont Castings Resolute stove in the living room. The wind can howl, the snow can drift, the thermometer can plunge, the electric power even go out -- and I can still be drowsily sprawled near the stove, as comfortable as the two house cats that doze nearby.
Surely that future comfort is worth some soreness now. But it's not the only reason I feel good about the process. My wood comes from a local building contractor who has a small sawmill, so I'm generally burning scraps that would otherwise go to waste. He cuts it in nearby forests, so I'm not relying on some immense global transportation network.
Nor is my household warmth coming from the natural gas drilling that trashes rural landscapes and injects fracking chemicals into aquifers. (Up to a point, anyway; we do have a gas furnace, kitchen stove, and water heater, though we try to minimize their use.)
As for the carbon that people worry about so much these days, this wood is a product of the current carbon cycle. Burning a fossil fuel, like coal or natural gas, puts carbon (in the form of carbon dioxide) into the atmosphere that had been sequestered. Burning wood just moves around the carbon that was already in circulation –– metabolized by trees 30 or 40 years ago, released on combustion to be metabolized again by other trees.
So why not feel virtuous about the stacks of split ponderosa, aspen and lodgepole? (My wood guy, alas, keeps the good stuff — the piñon pine and scrub oak –– for his own use.) I'm keeping money at home, I'm not supporting some greedy multinational energy complex, and I'm using a sustainable resource, not a diminishing fossil fuel.
But it's more complicated than that. My wood supplier uses gasoline to power his wood-hauling trucks and his wood-slicing chainsaws. His sawmill, and my little wood-splitter, runs on electricity that may come from burning coal.
In fact, unless you're using horses and hand tools on your own back-forty woodlot, there's a certain amount of fossil fuel consumption built into every cord of firewood.
Then there's the annoying fact that wood is a dirty fuel, especially compared to natural gas. The latter is a mixture of two hydrocarbons, ethane and methane. When combined with oxygen, they produce some light and heat; if combustion is thorough, the emissions consist only of carbon dioxide and water vapor.
And with natural gas, as with other fluid fuels like gasoline and kerosene, it's easier to get complete combustion because you can control both the fuel supply (by adjusting the feed valve) and the oxygen supply.
With a traditional wood stove, you can't really meter the flow of wood into the firebox. You've got a bunch of it in there, in varying degrees of combustion. All you can control with any precision is the air supply with the intake on your airtight stove.
Wood is much more complicated than those simple fluid hydrocarbons. The solid part is mostly cellulose and lignin, complex organic compounds, along with some incombustible mineral matter (the stuff that turns into the ash you remove when cleaning the stove). There are also liquids like the water which must be boiled off before the wood can burn, and of course the sap, which varies by plant species but can contain turpentine, resin, gum, and tannic acid.
These materials burn at different intensities and temperatures. If the fire isn't hot enough, the sap liquids evaporate but do not burn. They start up the chimney, then condense against the cooler walls near the top -- forming the "creosote" that can someday fuel a devastating chimney fire if you don't get it cleaned by a chimney sweep. If the vapors escape from the chimney, they can form a haze, along with small particulate matter that can cause respiratory problems.
In general, the hotter the fire, the more completely wood burns and the less pollution it produces. But generally, once we have the fire going, we damp it down to a comfortable level, and thus pollute more. The newer EPA-approved stoves, with their catalytic converters, reduce pollution by encouraging the combustion of the sap compounds.
Even at that, there are mountain towns that have banned wood-burning stoves on air-quality grounds. I can understand that, even if I wouldn't like living in a place where I couldn't have a fire in the winter.
Besides, I think I could develop another argument in wood's favor. Sooner or later, all forests burn; wildfires are part of the natural cycle of things. And forest fires do not practice clean combustion -- they throw plenty of soot, ash and sundry volatile organic compounds into the air.
So if the wood is likely to burn anyway, causing air pollution, why not burn it where and when it will do at least some folks some good? We're going to get the pollution no matter what. It's just a question of whether it comes from our chimneys in the winter or from a ridge west of town on a dry and windy summer afternoon.
Note: the opinions expressed in this column are those of the writer and do not necessarily reflect those of High Country News, its board or staff. If you'd like to share an opinion piece of your own, please write Betsy Marston at [email protected].


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It seemed like a good way for the newspaper to save a little money: Drop sudoku from the Daily Pilot and refer readers to the similar puzzle in the Los Angeles Times.
It wasn't.
I've never received so many complaints on a single issue since becoming editor. The only thing that came close was in my last job, when we dropped a few comic strips (there were no chuckles that day).
So I am reversing the decision. Sudoku will return as quickly as I can get it back in print.
There are a few steps to take, namely renewing our contract with the company that syndicates the puzzles and working with The Times folks who plan and print the Daily Pilot. They work days in advance and need to carve out space in back pages for the daily puzzle.
I don't have an exact date, but the folks helping me on this say that sudoku should be back in print by the weekend.
So why did I mess with the puzzle? My logic was this: Our readers get The Times. The Times has sudoku. Why would readers need redundant puzzles in The Times and in the Pilot?
One reader said he liked doing the version in the Pilot and his wife did the one in The Times. They needed two in their household to maintain marital bliss.
Another caller said that without two puzzles for him and his wife, he had to copy the puzzle by hand so they each had one.
Others said they liked having the answers published the same day — a feature found in the Pilot version but not in The Times — just in case they needed a little "help."
Others said the puzzle in The Times was too hard — or too easy.
Some readers just said they wanted it in the Pilot because that's the newspaper they start their day with and removing the puzzle messed up their morning routine. That was good enough for me.
A couple of opinions on the issue appear in Tuesday's Mailbag. Those are just a small sampling of the overall sentiment.
But as usual, the readers are right. So here's the answer to the Pilot sudoku puzzle: It's coming back.
JOHN CANALIS is editor of the Daily Pilot, Laguna Beach Coastline Pilot and the Huntington Beach Independent. He can be reached at (714) 966-4607 and email@example.com.


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July 2005
Friday, July 29, 2005
Coming Soon!
Yes, on Monday I'll launch my first head-to-head review. I'll take on the original gummi bears, Trolli and Haribo. I'll tell you what flavor each color actually is and give you my assessment of which bear is best.
POSTED BY Cybele AT 2:44 pm Head to Head • News •
Pop Rocks Dips
Name: Pop Rocks Dips
I'm old enough to remember Pop Rocks when they were first introduced (then made by General Foods which later dropped them). And I liked them then. I also liked to experiment with them. You know, what happens if you put them in soda? In milk? Will the dog eat them? What if you dry your tongue out by holding it in front of a fan for twenty minutes and then put the pop rocks on it? The variety as a child was endless. (I guess my mother never stressed that whole, "don't play with your food thing.")
This new iteration of Pop Rocks solves one of the issues of dispensing Pop Rocks for consumption. Before you'd either have to pour it into your mouth or out onto you hand and it'd invariably get sticky there. This packet of Pop Rocks includes a little rocket shaped lollipop (of the same flavor) for wetting in your mouth and dipping into the foil pack. The lolly itself is pretty good, not terribly sour or flavorful, but a good delivery device.
Pop Rocks themselves are interesting, probably a candy to be enjoyed in a group. Tart and crunchy with a good fizz. When I was a kid, I think the only flavors they came in were orange and grape. I liked the orange best. The rocks themselves are more like flakes (I'm not sure, but I thought they looked like little crisped rice kernels when I was a kid, but who knows).
If I have one tip for the packaging is to put the lolly in a separate package and make the Pop Rocks envelope a little smaller. It's damn hard to get the little lolly into that big bag where the Pop Rocks only cover the bottom of it. Also, it's been damn humid here lately, so if you open the package and don't eat it right away, be sure to close it tightly, mine ended up being one big pop rock.
Good fun. Additional Info - How Do Pop Rocks Work?, Mikey from the Life Cereal Commercials and Pop Rocks, Super 70s Website and the unofficial Pop Rocks website.
Rating - 6 out of 10 (I might buy it again if they made orange)
POSTED BY Cybele AT 9:18 am Candy • Review • Pop Rocks • Carbonated • Hard Candy & Lollipops • 6-Tempting • Spain •
Thursday, July 28, 2005
Junior Caramels
Name: Junior Caramels
What took the Junior line so long to expand? Apparently they've been around for a while, but not everywhere (I guess they're sold in Canada?).
Junior is currently owned by Tootsie Roll. Junior Mints have long been a favorite of mine. For the record, I like them equally as well as peppermint patties - their fillings are rather different with the only similarities being they're both white and mint flavored.
Junior Caramels are just soft caramel balls about the size of a garbanzo bean in chocolate. What's good about them is that the caramel is actually soft and chewy, unlike Milk Duds, which I think must be subsidized by the dental care industry because they're probably designed for pulling out fillings. (Don't get me wrong, I love Milk Duds ... especially since they started using real milk chocolate on them, but Milk Duds don't love me.)
You can pop more than one in your mouth at a time. But they're kind of fun to bite in half, too.
The caramel in the Junior Caramel doesn't have that good burnt sugar/toffee taste that Milk Duds do, but they're still a good chew. They're sweet and need a little something to counter that. I've been eating this huge box with some raw almonds and pretzels, I've found it's a good combo. I haven't tried them yet at the movies, but I'd think that they're the perfect movie candy because each one takes a while to chew and actually goes well with popcorn.
Rating - 6 out of 10
Other resources - find a rerun of this episode of Unwrapped to see them made!
POSTED BY Cybele AT 10:48 am Candy • Review • Tootsie • Caramel • Chocolate • 6-Tempting • United States • 99 Cent Only Store •
Wednesday, July 27, 2005
Japanese Black Sugar Candy Finds
One of the best things about this blog is finding out about completely new varieties of candies I'd never heard of. One of these is Japanese Black Sugar Candy. Known as kuro sato, black sugar is basically brown sugar/molasses.
True brown sugar is basically sugar made from the whole boiled cane instead of just the cane juice that keeps the molasses. Molasses and black sugar is high in potassium as well as traces of iron, calcium and even a little salt. The taste of black sugar is similar to muscovado and has a salty, smokey taste to it. In the States, most brown sugar that you buy in the grocery store is just white sugar that has a bit of molasses added back into it.
Some Japanese just eat nuggets of black sugar as a treat (similar to maple sugar candies or Mexican panela). In fact, I used to eat brown sugar right out of the box as a kid. I loved the flavor of it. Many doctors and pharmacists have for years used muscovado-type sugars for medicinal use, either as a base for cough remedies or added to make medicinal syrups.
The Japanese use the bold taste of kuro sato to full effect in a lot of candies. Most are hard candies which are either for eating or for use as cough drops (often with the addition of honey or menthol).
Here are a few I found:
Name: Kuro Ame
from JBox - "A wonderful traditional Japanese hard candy, this is "Kuro-Ame" (Black Candy), a famous Japanese treat loved by everyone since the 1860's. With a long history and a unique brown-sugar taste, this is a classical Japanese treat. One bag includes 22+ individual wrapped candies."
Name: Pocket Black Sugar Throat Treatment Candy
In the tradition of a cough drop (similar to Ludens), this black sugar candy is packaged to carry easily in your pocket. Each piece is individually wrapped and has the distinctive taste of black sugar mellowed with a tinge of honey and menthol.
Name: Kasugai Honey & Black Sugar Candy
Shaped like little gems, these black sugar hard candies are individually sealed and packed with a little silica gel pack to keep them dry. They have a very smooth, sweet taste because of the honey. Not as smokey tasting as the Kuro Ame made by the same company, these are probably a great one to carry as a little pick me up and throat soother. Of the three products I bought, this is the one that is already gone.
Ratings - Kuro Ame - 6 out of 10
For more reading: Black food power, Sugar Cane - Okinawa's Way of Life, Kokutoo - Black Sugar
Also - see previous review of Asahi Drops (I didn't know what Japanese black sugar was when I reviewed them)
POSTED BY Cybele AT 9:32 am Candy • Review • Kasugai • Hard Candy & Lollipops • 6-Tempting • 7-Worth It • 8-Tasty • Japan •
Tuesday, July 26, 2005
Starburst Sours
Name: Starburst Sours
I love sour stuff, though I must admit that as I get older, I'm not really into the tortuous super-sours that I pursued as a kid. So, basically what I look for in a sour is something that gets my salivary glands to tingle, but also delivers flavor and hopefully doesn't trash my tongue too bad.
The issue I run into with many of the more modern sours is that they've gone off and created rather chemical tasting candies. I'm kind of a fan of citrus sours, but the new sour flavors like green apple just taste like something I'd clean my windows with. The Starburst Sours are green apple, blue raspberry, cherry and watermelon. Now, I don't think I've ever had a sour watermelon in my life, so that one was especially puzzling. But perhaps I should drop logic and reality from this review.
First flavor was watermelon. It's got a nice sour bit to it without overwhelming the watermelon flavor. Green apple is chemical through and through. Very sour and creates (sorry to be gross) some pretty unpleasant burps for me. Blue Raspberry reminded me of blue highlighter pens (and a bit like those scented markers we also had as kids) - the flavor is just like what I'd expect for a red raspberry, but I think that'd be too many pink things in the package, so they made it blue. I think the most successful flavor in the package is the cherry one - though I'm not a big fan on the flavor cherry (mostly because I associate it with poison because the red dye #2 thing back in the 70s) but this has a lot of flavors within it. It's got a good sour bite to it that goes on through the whole chew, a nice woodsy cherry flavor and then a sweet maraschino topnote.
On the whole, I think Starbursts are great. They were a great addition to the market when they first came out because they filled that hole - they're chewy like taffy but not likely to pull out your fillings (or as a kid it seemed like I was always losing a tooth or a new one was growing in so taffy was pretty hard to eat). Starbursts have that great chew but are forgiving and not so rubbery as to pull on anything. Don't get me wrong, they can get plenty stuck in your teeth, they're just not taking your teeth out.
These are not a flavor pack that I'm likely to buy again (I really love the originals though and will continue to buy them or Skittles) but I appreciate the addition to the line for those that like artificial sours.
Rating - 7 out of 10
Related Candies
POSTED BY Cybele AT 10:01 am Candy • Review • Mars • Chews • Sour • Starburst • 7-Worth It • United States • 99 Cent Only Store •
Meticulously photographed and documented reviews of candy from around the world. And the occasional other sweet adventures. Open your mouth, expand your mind.


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PR2s Headed to Korea, France, Seattle and Washington, DC.
When we first made the PR2 commercially available in September we knew that the day would come when we would be able to proudly announce our first sale. What we didn't realize was that our first announcement would involve multiple customers – four of them, in fact.
CNRS Laboratory of Analysis and Architecture of Systems (LAAS-CNRS) in Toulouse, France; George Washington University in Washington, DC; Samsung Electronics in Suwon, Korea; and University of Washington in Seattle, WA are now the owners of their very own PR2 robots. At 5 ft and 450 pounds, more or less, PR2 isn't something that fits well under a Christmas tree. Nevertheless, there are four research institutions that are eagerly opening up their newest present.
The official press release is here, but we just couldn't wait to share it with the PR2 community.
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You may require this permit if you are an owner, builder, developer or appointed agent and you intend to enter, disrupt or interfere with council-owned or maintained assets and property.
You may be required by the Council to erect a fence, undertake protection or other maintenance works, and ensure any damages to municipal assets are repaired.
Some other activities you may undertake that may require this permit include water or sewer connection or stormwater connection, or changes to existing street access design, parking or standing areas.
You may also be required to pay a security bond.
A licence defines the need to obtain recognition / certification and registration to undertake a certain business activity.
Please consult the responsible council for more information regarding eligibility requirements.
Duration does not exceed twelve months.
Fees Details for this service in table format.
Please consult the responsible council for specific information on fees to be submitted with your application.
Local Government Act 1989 VIC
Neighbourhood Amenity Local Law 2014
Please submit your application and any associated documentation directly to the Council.
City of Greater Geelong
Contact Email, Phone and Address Details for this service in simple two column table format, header then data.
City of Greater Geelong
Asset Protection Permit
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- Inside Athletics
- Tickets
- Fan Zone
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- Social
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JOHNSON CITY, Tenn. (July 22, 2008) - ETSU soccer season tickets are now available for pre-order trough the ETSU Ticket Office.
Fans who are interested in purchasing season tickets for either the inaugural season of ETSU men's soccer or the 2008 ETSU women's soccer season, can now do so by calling the ETSU Ticket Office at (423) 439-3878. Online ordering with the Bucs' new web-based, interactive ticketing system will tentatively open on August 1st. Single-game ticket sales will also begin August 1st.
Individual season ticket packets for either men's or women's soccer seasons are sold separately for $25.00 per seat for adults, and $15.00 for youths, seniors, and ETSU faculty. A combination season ticket pack is also available for only $40.00, and $30.00 for youths, seniors, and ETSU faculty.
All season ticket holders will have their choice of reserved, chair-back seating at midfield; which will only be offered on a season ticket basis. Pre-ordered tickets will be mailed the week of August 4th. Season tickets ordered after August 4th will be available for pick-up at the Summers-Taylor Stadium will-call window on game day.
As with all ETSU sports, membership in the Buccaneer Athletic Scholarship Association (BASA) is required to purchase season tickets, and for more information on BASA, please call (423) 439-8398.
For additional information, or to order your tickets, please call the ETSU Ticket Office at (423) 439-3878.


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Steelers offensive tackle Mike Adams has been hospitalized in Pittsburgh after he was stabbed early this morning.
According to a statement released by the team, Adams was the victim of an apparent robbery attempt on Pittsburgh's South Side.
"We are aware of the situation regarding Mike Adams being stabbed earlier this morning," Steelers General Manager Kevin Colbert said. "We are in direct communication with both Mike and his family. Mike is expected to make a full recovery."
No other details about the stabbing have been released. Adams wrote on Twitter that he feels fortunate to have made it out of the incident alive.
"I had an angel lookin out for me! Ill be ok just gotta fight to get back harder then ever," Adams wrote.
The 23-year-old Adams was the Steelers' second-round draft pick last year and started six games as a rookie.


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One of the most difficult tasks an Alzheimer's caregiver faces is the development of a new set of communications skills. Sooner or later the caregiver needs to come to an understanding that the way they have communicated in the past, before Alzheimer's, won't work in a world filled with Alzheimer's disease.
By Bob DeMarco
Alzheimer's Reading Room
Change is difficult under any circumstance. It is even harder when you need to change something that you have been doing all day long throughout your life.
Every Alzheimer's caregiver I ever met has talked about their need to vent. Venting is a good thing. You get the monkey off your back. However, at some point you need to make a decision to put that monkey in the closet and get off the hamster wheel.
If you have gone years complaining about the same behavior over and over you must ask yourself, how do I change this dynamic?
Jump to the Alzheimer's Reading Room to continue reading


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A former manager at Lowe's Home Improvement store on Route 9 East allegedly stole thousands of dollars by pocketing cash refunds she made out to fictitious customers.
Lauren M. Arsenault, 26, of 3 Wayne Road, Milford, was arraigned in Westboro District Court Thursday. She is charged with 13 counts of larceny under $250 and seven counts of larceny over $250. Her case was continued to May 16.
According to the police report, Ms. Arsenault would take the money out of the cash register, place it in a white envelope and then go to her office, where she would pocket the cash.
The thefts allegedly occurred over a three-month span.


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Let X be a smooth, projective curve over the algebraic closure of ℚ. Let f:X->ℙ1 be a meromorphic function. Assume that the zeros and the poles are defined over some number field, K. Then does this imply that cf is defined over K, for some c?
If so, do we have to assume that the zeros and poles are individually defined over K, or would this work if they are collectively defined over K as well?
By being collectively defined I mean that there's some K-model of X, XK, and a closed subscheme YK of XK, such that after base change YK becomes the ramification locus of f.
Let D:=(f). Obviously, H0(O(D),X) is 1 dimensional. DK:=(fK) will also be degree 0, so all that's left to show is that H0(O(DK),XK) is also nonzero. This smacks of some invariance of cohomology theorem. I couldn't quite find the right one to use.
If this line of argument works, this seems to imply that the ramification locus may be defined merely collectively.


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5 Business Trends To Commit To In 2018
What an exciting time to be in business. Companies big and small are finally shifting their focus away from millennial stereotypes and turning to cust
What an exciting time to be in business. Companies big and small are finally shifting their focus away from millennial stereotypes and turning to cust
Here are some essential steps that you should not overlook when preparing to launch a new business from your home.
Even the smallest of businesses need to find some way of developing good security protocols that fit into their budget and needs.
What do you do when business is slow? Keep going by following these 6 steps!
This article covers some important tips that all startup founders should follow to give them the best chance at success.
Muchos son los elementos que componen el contrato de franquicia, pero el que le da la nota diferenciadora ante otros contratos es el "Know How".
This article outlines the issues new business startups face and sets out to provide some solutions that will help overcome these issues.
This article will educate people on how to start a business or develop and expand an existing business properly.
Business entrepreneurs can succeed by embracing these mistakes, learning from them and using the lessons to propel their work to the next level.
Do you self-edit your written content? You probably have your own approach - but is it the right one? Take a look at our guide to proper self-editing.
Are you stuck with building your digital business, or interesting in building a career in it? This post will give you the basics of applying this tool
Here are eight fears that are probably holding you back, and you don't even know it.
In this article, you'll learn five important business skills that will help you establish a prosperous IT consultancy company.
This article looks at the steps involved in coming up with an effective Incident Response Plan.
Find out what the top 25 most searched job types are.
Опубликуйте статью о Сообществе Freelancer и обретите известность


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While we luxuriate here in Southern California under bright and balmy skies, Alaska is on course for its snowiest winter ever. Vic and I expect Alaska to be snowy in the winter, but the amount of snow that they're getting up there is truly mind-boggling.
As of two weeks ago, Valdez, Alaska, already had received 318 inches of snow this season. If you do the math, that comes out to 26.5 feet of snow, enough to bury most houses in Huntington Beach over the roof ridge. They've had to call out the National Guard to unbury houses up there.
Normally, Valdez gets 305 to 326 inches of snow during the entire winter, making it the snowiest city in Alaska. An amount of 318 inches of snow by early January is astounding. They still have many, many weeks of winter ahead of them, with February and March often being the snowiest months.
According to meteorologists, two years of La Niña conditions have conspired with the Arctic Oscillation to starve the lower 48 states of snow this winter, dumping it on Alaska instead. That will not bode well for our summer water supply, as we get a lot of it from winter snowpack in the Sierra and Rocky mountains. If snow is scarce, the reservoirs come up short.
It is amazing how interconnected things are in the natural world. Severe snowstorms in Alaska may translate to water shortages for Huntington Beach come next summer.
Those storms tend to move south.
Last week, Seattle had snow that was so intense the airport closed. We know, because we were up there visiting relatives in Portland, and our flights first were connecting in Seattle.
We flew out in the nick of time mere hours before they closed the airport. Luckily, we escaped the worst of the storm but the bumpiness of the flight reminded me of the big Russian jet taking off over Las Vegas in the movie "2012."
One effect of severe weather is to push bird life ahead of it. In fact, there were several unusual birds in the Portland area while we were up there.
I checked eBird on my iPad and discovered that some snow buntings had been reported in Portland. Snow buntings are beautiful little birds that are mostly white. This helps them blend in with their Arctic tundra habitat. They normally winter in Canada and the upper Midwest, but a flock had strayed to Portland.
Vic and I looked for them, but didn't find them.
However, we were able to spot an even more rare bird. A brambling, which is a member of the finch family, had been reported at a feeder at someone's house an hour south of Portland. This bird of the north normally ranges from Iceland to Norway, Sweden and Finland. It frequently strays over to Alaska, but rarely comes down to the lower 48 states.
We had directions that took us right to the house where it had been seen. After a half-hour wait on a frigid, damp morning, we spotted the brambling in a small backyard tree. The bird was larger than a house finch, with a honking big bill and striking russet-orange plumage on its shoulders and flanks. That was probably the most rare bird that we've ever seen.
After our Portland trip, Vic and I returned home to reports of a gyrfalcon at the San Jacinto Wildlife Area east of Riverside. This is another Arctic species that has wandered extraordinarily far south.
The gyrfalcon is the largest of all falcons, breeding on the tundra and wintering in the boreal forests of Canada. They come in three different color versions called morphs: white, black and gray-brown.
We headed out to the San Jacinto Wildlife Area this weekend, hoping to spot the gyrfalcon. We had some specific directions as to which row of power poles it liked to perch on, but were told by other birders when we got there that we had just missed it. That seems to be the story of my birding life.
Vic and I began scanning the skies for a glimpse of the falcon. If the Riverside bird had been a white morph, we might have had better luck finding it. But it is the gray-brown morph, and it blends in with the local hawks and harriers.
We saw more Northern harriers and red-tailed hawks than we've ever seen in one place, but no gyrfalcon. We racked up 57 different species of birds on our outing, which isn't bad. But we got skunked on the gyrfalcon. We plan to try again another day, as the bird is likely to hang out there for a while.
Even the ocean is experiencing unusual phenomena this winter. Last week, people on whale watching boats spotted between 30 and 40 killer whales off the coast between Dana Point and Long Beach. They often are referred to as killer whales because they can and do kill for food.
Orcas are much more likely to be seen in Seattle than Southern California, as they prefer cold coastal waters. They range from the polar region to the equator, and single individuals are sometimes spotted off the coast of Orange County.
However, to see so many at one time off our local coast is highly unusual. No one knows why there are so many here at this time.
Orcas are highly efficient predators that hunt in family groups called pods. They eat fish, sharks, squid, seals, and occasionally whales. These highly intelligent animals hunt cooperatively in packs, similar to wolves on land.
The wild world is always changing and there always seems to be something new on the horizon. Global climate change, or global weirding as I like to call it, shakes things up even more and throws a whole different layer of unpredictability into the mix. For good or ill, we certainly live in interesting times.
VIC LEIPZIG and LOU MURRAY are Huntington Beach residents and environmentalists. They can be reached at firstname.lastname@example.com.


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Robert Wilson, Transmutation of Archetypes:
Robert Wilson is celebrated as the brilliant creator of a radically avant-garde
version of total theatre; a theatre which transcends plot and language
to become a complex work of visual art. His remarkable drawings are studies
for these productions.
Until 1981, Wilson's scenarios were based on original conceptions devised in collaboration with his actors, notably a deaf-mute child, Raymond Andrews, and an autistic boy, Christopher Knowles, whose condition caused him to use words in an unusually poetic and evocative manner. Over the past five years, however, Wilson has turned from his earlier dreamlike, hermetic scenarios to some of the grandest mythic themes of Western literature. His version of Medea, with a score by the British composer Gavin Bryars, was first performed in an open rehearsal at the Kennedy Center in Washington D. C. in 1981, and premiered in Lyons, France, presented on alternate evenings with Wilson's staging of the 18th century opera Medée by Marc-Antoine Charpentier. The Wagner family approached Wilson to design the centennial production of Parsifal for the Bayreuth Festival of 1982. But the project was opposed by James Levine, the production's conductor, and never materialized; it has yet to be staged. Wilson's production of Euripides' Alcestis opened at the American Repertory Theatre in Cambridge, Massachusetts, in March 1986, and will be presented in alternation with the Gluck opera in Stuttgart during the 1986-87 season. His staging of a contemporary version of Hamlet by Heiner Müller is in preparation, with a studio production scheduled for New York in May 1986. King Lear is projected for September 1987 in Hamburg. The drawings for Medea and Parsifal, which are the subject of this exhibition, thus constitute the beginning of this new phase in Wilson's theatre.
Wilson was trained as an artist. His stage work is in the tradition of artists' theatre; the visual theatre of the Constructivists and the Dadaists, the Happenings of the '60s and contemporary performance art. Yet Wilson has always used the proscenium stage, and elaborate sets, lighting, and stage machinery in ways more characteristic of grand opera than of alternative theatre. While music remains the core of the opera, it is the visual elements that carry the emotional charge and the deepest significance of such Wilson works as Deafman Glance, Einstein on the Beach, Edison, or the CIVIL warS. For Wilson, dramatic structure is neither narrative nor episodic. It consists, rather, of the slow unfolding of a sequence of stage effects: apparently unrelated images that seem almost hallucinatory in their vivid strangeness. These images are endlessly astonishing. Lucid, rich, and sensual, they possess a dreamlike density and proceed in an orderly elaboration. They are connected by a mysteriously convincing inner logic: not one of causality, but of aesthetic coherence. Action and speech or song are subordinated to this visual scenario. Fragmented, dislocated woven into recurrent patterns of sound, dialogue seldom conveys literal meaning. Drained of the power to communicate, describe, or analyze directly, words are used primarily for their sonic and associative content. In the absence of normal discourse, the action seems at once incomprehensible and intensely, almost painfully significant. What is memorable is not what happens or what is said, but what is seen.
Dissociated from language, time becomes strangely dis tended. Wilson uses time in the same way as he uses light. Extraordinarily subtle, almost imperceptible modulations of action and lighting bring scenes and events into being. Time is a continuum within which certain moments congeal into visions of dazzling clarity. One of the most resonant of these images occurs in Deafman Glance of 1973, in a sequence which Wilson used again three years later in The Life and Times of Joseph Stalin. The "Byrd Woman, " played by the black actress Sheryl Sutton, dressed in a black Victorian gown, slowly draws on long black gloves, pours milk for each of her two children, and slowly stabs them each in turn. Here private imagery meets universal myth, for the "Byrd Woman" is clearly a variant of Medea. She is the woman of another race, the exile, the victim, the unknowable. In Medea, Wilson deals for the first time with a known story, a powerful myth which has provided the inspiration for dozens of other artists, writers, and composers over the past 2,500 years. The libretto for the opera is based on Euripides. Although Wilson takes some liberties with the text, he does so in ways that renew the original for the contemporary audience.
Euripides' verse is recited alternately in French, ancient Greek, and modern Greek translation, preserving the structure of the original play while pursuing Wilson's con cern with discontinuities of language. A prologue has been added, recounting how Medea, princess of Colchis, helped the Greek hero Jason to steal the Golden Fleece and how she murdered her brother Apsyrtus and cast his limbs into the sea from the Greek ship Argo to foil her father's pursuit.
The slow pace and hieratic, processional disposition of figures on the stage set a ritual tone and establish a distance between actors and audience. To some extent this is the distance of antiquity, a world remote and yet familiar, one that is evoked as well by the costumes of Franca Squar ciapino which recall Pompeiian painting, Attic vases, and Hellenistic sculpture. Moreover, this Medea takes place both in Corinth and in a conceptual place of Wilson's devis ing. Jason, the expedient and political man, prepared to sacrifice loyalty to achieve success, is dressed in a business suit. At the end of Act II, when Jason attempts to justify his decision to abandon Medea and marry (Creusa, daughter of the king of Corinth, and Medea resolves to kill their two children, a chorus of living statues depicting wise menóMoses, Confucius, Marx, Einstein, Gandhiówitness the confrontation and seem to absolve her.
The last scene of Act IV ruptures the action. Nineteen actors in modern
dress, seated around a table, address the audience, discussing in several
languages Medea's murder of her children as well as recent cases of child
abuse, neglect, or infanticide, emphasizing her kinship with other unfortunate,
exploited, and desperate women. Placed in this context, Medea's act, classified
and explained sociologically, seems even more painful, even more diffficult
to comprehend or accept. Wilson's Medea, like Euripides', declares the
implacable logic of Fate and the arbitrariness of the gods which surpass
human understanding.
Wilson rings the final act of Medea with fire. In a brief prologue, projected images show Creusa, consumed by the poisoned golden cloak Medea has sent her as a wedding gift, casting herself from a cliff. Medea refuses to allow Jason to bury his children, ascends to the temple of Hera in a magic chariot drawn by serpents, and Jason walks naked into the flames as Corinth burns.
The settings for Medea are relatively simple: four columns and the entrance into a dwelling. The scenes proceed as though viewed from a long-shot to a close-up: all four columns are visible at first, then two, and then one, as the yawning void of the entrance grows larger until the climactic scene of the children's murder shifts back to the initial distance. Wilson, who draws constantly, produced numerous preparatory drawings which, he says, describe the placement and the tone of the light, and consequently the atmosphere and meaning of the scenes. A few of these drawings are story boards that describe an action, or, more often, the progression of a stage effect. Most repeat almost obsessively the image of the empty stage, in sequences that show the successive transformations of stage space by stage lighting. As Bernice Rose has written, the drawings "deal with the transparent volume of the space of the stage, relating chiaroscuro drawing to the light and shadow of the stage space."1 The drawings are minimal, austere, scribbled in graphite line, laid down with casual authority. The expressive, almost automatic touch, the sobriety of images, the extraordinary evocation of light are masterful. Many seem completely abstract. These are also conceptual drawings. They are a way of thinking, a pool of ideas which will be transformed into three-dimensional stage images; meditations on the underlying themes addressed by the theatrical works.Parsifal, the most mystical and hermetic of Wagner's operas, has obvious affinities with Wilson's early work. The tale of Parsifal, the "guileless fool" who heals Amfortas, the incurably wounded guardian of the Holy Grail, proceeds in a series of powerfully symbolic episodes. Parsifal's arrival at the temple of Montsalvat where the Grail is guarded by a brotherhood of dedicated knights, is announced by the death of a swan. Despite the fact that Parsifal has killed the sacred bird, the orphan who has lived in ignorance in the forest is protected by the gatekeeper Gurnemanz, and enters the service of the knights. He seems scarcely to understand their religious ceremonies, yet it is he who will ultimately destroy the magician Klingsor who has stolen the spear that pierced Christ's side and used it to wound Amfortas.
In the second act, Parsifal becomes a formidable knight. Klingsor summons Kundryóa woman who had laughed at Christ as he suffered on the cross and is condemned to wander until her sin is expiatedóand demands that she seduce Parsifal as she had once seduced Amfortas, thereby delivering the knight, too, into the magician's power. Klingsor's castle disappears, and in its place an enchanted garden appears, where flower maidens sing seductively to Parsifal. Kundry, in the guise of a beautiful maiden, tells
Parsifal that he is the son of a king who was slain in battle, and that
his mother raised him as a peasant to prevent him from becoming a warrior.
She claims to bring him his dying mother's message, and a kiss. But Parsifal
rejects the kiss; Klingsor hurls the magic spear at him, the youth siezes
it in mid-air and strikes Klingsor dead. The garden vanishes and Kundry
is revealed as a pitiful old woman, crouching on the ground in guilt and
Years later, Parsifal returns to Montsalvat, heals Amfortas, and becomes the keeper of the Grail. As he holds it aloft, the temple is flooded with light and the Holy Spirit descends in the form of a dove.
One can scarcely overestimate the role of the drawings in the creation of Wilson's theatre. At this stage, his Parsifal exists only in drawings and yet it is already possible to see the entire shape of the finished production. In an interview with Laurence Shyer, originally published in Theater, Wilson describes how the action unfolds:
There is no house curtain. Instead there's a curtain of light. Then a wall of water with the beams of light coming vertically across.
Eventually a lake appears at the back and that's the prelude.
The whole piece is in blue. Gurnemanz appears here at the downstage edge of the lake.
Just before Parsifal enters I have this enormous white swan, the swan that he's just shot, falling very slowly into the lake.
For the transformation sceneó"Time becomes space here"óI have a great disk of light that moves on stage from the side and an iceberg floating upstage.
Eventually the disk of light settles in the center of the lake. Parsifal stands downstage watching with his back to the audience the way the audience watches it.
I don's have the knights or any of that. Amfortas is carried out in his litter and he goes into the iceberg and takes out an Egyptian box. Inside is a clear glass chalice which is shaped like an X.
He holds it up and then he disappears. At the end, Gurnemanz comes into the ring of light and asks Parsifal, "What have you seen?"And there's just the light, the whiteness. The idea is to make this mysterious temple of light. IYs as if one were to see this big ring of light floating out here in the middle of the Hudson. IYs all about light. And that's the first act. The second act starts the same way with the vertical beams of light crossing the water. We're still at the lake but now it's night and a metal tower rises out of the water.IYs like a fairy tale....
Klingsor appears in a window in the tower and he's a bad guy almost the way Ivan the Terrible is in the movie. Kundry is next to himóand I want to do it with Jessye Normanóand her hair falls out of the tower. After their scene, the doors close and the tower sinks beneath the waves. Then we go underwater for the flower garden scene.There are ferns and painted flowers that open. They're all flat with lights inside them, only the rocks are dimensional. The flower garden is all in color. It's like Chinese flowers that open in the water. At the end of the act Klingsor throws his spear at Parsifal. Here it's a rod of light. The scene is all black painted and at the moment Parsifal picks up the glowing rod, we turn on all the lights from behind and everything appears in cold black and white like a skeleton. Parsifal takes the rod of light and draws the outline of the chalice in light, and that's the end of the second act. The third act begins the same way as the first except I've put the singers on the other side of the stage. For springtime (the Good Friday Scene), I've created an enormous tulip that's lowered into the lake, like the big swan you saw in the first act.
I also bring all the chorus onstage for one brief moment when they're trying to convinceAmfortas to perform the "rail ceremony. We have him Iying in his litter and they rush on and form a huge wall of bodies downstage.
The ring of light comes back on. IYs now a black disk, which slowly falls into the lake, turning white when Parsifal stands on it. He takes the chalice from the Egyptian box in the iceberg and holds it up. The iceberg disappears.
At the end he leaves the stage. No one is on stage. Fire comes out of the ring of light and stars appear in the sky. 2
Wagner's timing, his sense of mystery and the symbolism of light m the myth of the Grail are clearly very close in spirit to Wilson's own creations for the theatre. Through the drawings, we can imagine how his profound visual intelligence will illuminate Wagner's vision of Parsifal.Nina Castelli Sundell
1 Bernice Rose, New Work on Paper 3, The Museum of Modern Art, New York, 1985, p.l5.
2 "Robert Wilson: Current Projects" in Robert Wilson: The Theatre of Images, The Contemporary Arts Center, Cincinnati, The Byrd Hoffman Foundation New York. Harper & Row, New York, 1984, pp. 113-114.
The drawings in this exhibition are on loan courtesy of Paula Cooper Gallery. I would especially like to thank Steve Wolfe of the gallery staff for his generous assistance, and of course Robert Wilson, without whom the exhibition would not have been possible.
Medea, (Act 1), 1984.
Medea (Act II, Scene C), 1984.
Parisfal (Act I), 1985.
Parsifal (Act II), 1985.
Works in the Exhibition


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Director expects charged response to 'Starving Class'
Still edgy after 35 years, Sam Shepard's "Curse of the Starving Class" will probably manage to offend the sensibilities of some of the folks who see the production running at Long Wharf Theatre in New Haven through Sunday, March 10.
Unlike his contemporary, David Mamet, Shepard has never had a big Broadway success -- almost all of his plays are produced by nonprofit companies or off-Broadway because the sexual and violent content is known to divide audiences.
In an interview last week, Long Wharf artistic director Gordon Edelstein said he was proud to be staging the first Shepard play ever presented at the venerable New Haven theater, but expected the tale of a wildly dysfunctional California desert family to upset some of his audience members.
"I think our production is funny and has a brilliant performance by Judith Ivey, but it's a tough play," he said of explicit situations that are no less shocking now than they were in 1978, when Olympia Dukakis starred in the first New York staging.
Edelstein said "Starving Class" has been on his list of possible Long Wharf productions for some time because "it's a masterpiece" and is his personal favorite Shepard script.
"Judy's willingness to do it was key," he said of putting it on the 2012-13 season slate when he knew his ideal lead actress was in place (Edelstein and Ivey worked on a sensational LWT production of "The Glass Menagerie" a few seasons back that moved on to a very successful New York City run).
"She brings a lot of elements to the play," Edelstein said of Ivey's take on the Shepard matriarch, especially her humor and timing. "We've worked very hard on getting it in the right pitch."
The director said Ivey and the other actors in the ensemble have been able to avoid the trap of a too-realistic approach to the family story that robs it of humor and Shepard's flair for Samuel Beckett-style surrealism.
One of the reasons Shepard scares away Broadway producers and many star actors, Edelstein said, is that "he doesn't
really write to please an audience. Even (Tennessee) Williams and (Arthur) Miller wrote to please. Shepard is completely his own guy."
The director has a sentimental attachment to the playwright because his first credit in New York City was a 1979 staging of "Cowboy Mouth" in a rock 'n' roll bar.
The one-act play was co-authored by Patti Smith -- with whom Shepard was having affair -- and it only had one production before the couple split.
Edelstein found the play during the era when there was a real renaissance in the New York music scene, spearheaded by the punk movement.
"That was very much the music I was listening to and the play fit into that," the director said of a piece that drew on Shepard's background as a drummer for a rock band.
"Cowboy Mouth" played six months, made some money, and gave the young director a foothold in the New York theater scene.
Edelstein knows that some Long Wharf audience members will "get it" and others will be put off by "Starving Class," but "as an artistic director that's one of the things you have to deal with."
Visit www.longwharf.org.CHEKHOV READING
The Theater Artists Workshop in Norwalk is presenting a Classic Night reading of Anton Chekhov's "The Seagull" on Sunday, Feb. 24, at 3 p.m.
The event is part of the 30th anniversary celebration of the workshop, which was set up as a space for professional theater artists to be able to explore projects privately and without commercial considerations.
The group has been compared to New York City's Actors Studio, which was also designed as a private place for performing artists to work on their craft.
Started by Keir Dullea and his late wife Susie Fuller, the group now numbers more than 125 members and counts Classic Nights among its wide array of public performances, including the annual Playwright's Festival.
The reading has been directed by three members -- Jo Anne Parady of Fairfield, Katie Sparer of Stratford and Florence Phillips of Greenwich. The three directors also are appearing in the reading.
The Sunday performance follows the first two public readings of the play on Friday, Feb. 22, at 8 p.m. and Saturday, Feb. 23, at 3 p.m.
"What could be more heartbreaking? To love someone and have that love rejected or to give love to one who barely notices you're alive? Chekhov, the master of relationships, explores with humor, pathos and understanding our very human tendency to seek love in all the wrong places ... a perfect play for the month of love," said TAW spokesman Joseph Rinaldi.
TAW's Classic Night Readings do not charge admission, but donations are encouraged. Reservations are not taken, so early arrival is recommended to ensure a seat. The workshop is at 5 Gregory Blvd. in Norwalk.
firstname.lastname@example.com; 203-330-6332; http://twitter.com/joesview or http://blog.ctnews.com/meyers


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Jagr scores 2 goals, has hand in all 4 in Dallas debut as Stars beat Coyotes 4-3 in openerNHL.com @NHLdotcom
DALLAS - Jaromir Jagr scored two goals and assisted on the game-winner in his Dallas debut, and the Stars opened the shortened season with a 4-3 victory against the Phoenix Coyotes on Saturday night.
Jagr, the NHL's active leader in goals, assists and points, had a hand in all four goals for Dallas. Ray Whitney, Phoenix's leading scorer last season, scored a goal in the first game against his former team.
Loui Eriksson broke a 3-all tie when he took a pass from Jagr in the slot and beat Mike Smith. The sequence started with a turnover by Phoenix's Martin Hanzal, and Jagr grabbed the rebound in the corner after a hard shot by Derek Roy.
Radim Vrbata scored twice for the Coyotes, who went to the Western Conference finals last year after the franchise had never won more than one playoff series in a history dating to 1979 in Winnipeg.
Whitney gave Dallas a 3-2 lead early in the third period with a power-play goal on a feed from Jagr. The Coyotes answered quickly with Vrbata's second goal on a breakaway after Jordie Benn gave away the puck at centre ice.
The Stars spent 10 of the first 15 minutes of the second period killing penalties and it cost them a 1-0 lead.
Dallas killed a four-minute power play after a high stick by Philip Larsen drew blood from David Moss and led to a brief delay for a cleanup on the ice. The Stars couldn't get through a regular two-minute penalty a short time later. Matthew Lombardi's pass across the ice to Vrbata drew Kari Lehtonen's attention, and Vrbata flipped the puck to Lauri Korpikoski for an easy shot into an open net.
The Coyotes went ahead 2-1 after Brenden Morrow was called for high sticking. Vrbata drove a shot with Hanzal shielding Lehtonen, and the puck bounced over the goalie and into the net. Hanzal originally got credit for the goal before a scoring change.
Jagr tied it at 2 late in the second with his second goal and the 667th of his career when a shot by Stephane Robidas was blocked, but Jagr found the puck first in the slot and shot it past Smith.
Jagr scored the first Dallas goal of the season late in the first period after a pass from Eriksson left him alone with the puck in front of Smith. The goal was one of the few smooth plays in an otherwise rough opening period that showed signs of the long layoff and short training camp.
Stars newcomer Derek Roy badly misplayed a puck at one blue line and fell down at the other, a sequence that eventually led to Vrbata having a clean shot that Lehtonen stuffed from close range.
Jagr had another good scoring chance from the same spot before his first-period goal, but didn't get enough of the puck. That was the only good opportunity on the first power play of the season for Dallas, which was the worst team in the league with the extra man last season.
Derek Morris had the best scoring chance for Phoenix in the first period when his shot slipped past Lehtonen and hit the post before Brenden Dillon swept it away.
NOTES: Coyotes winger Raffi Torres missed the opener as the first of eight games remaining from a suspension imposed during last season's playoffs. Torres originally was suspended 25 games for a hit on Chicago's Marian Hossa in the first round. The suspension was later reduced to 21 games. ... Texas Rangers left-hander Derek Holland, a self-professed hockey nut and vocal fan of all Dallas-Fort Worth pro teams, attended the opener in a Jagr No. 68 Dallas jersey.


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If you're sitting at Five Corners, needing to turn left onto Central Street, you're doomed.
Well, maybe not technically "doomed." But you are probably going to sit there for a long, long time. Long enough to ponder complicated questions like "Am I technically 'doomed'?" Or, "What are the mathematical odds of my getting out there onto Central Street without causing an accident?" In fact, you'll have enough time to figure those odds with a pencil and paper. Using long division. Or using an abacus, if you happen to have an abacus in your cup holder.
In any event, you're going to be there awhile.
However, there is hope. You do have allies in this situation. They're called "pedestrians."
People on foot have enormous power in the Commonwealth of Massachusetts. They can stop Mack trucks in their tracks. Since pedestrians have the right of way — and something like super-powered right of way in designated crosswalks — they can stop traffic without a gesture, without a badge, without even a lawyer.
So your most realistic hope for pulling out into the intersection at Five Corners may be a pedestrian who happens be crossing the street. If you're sitting on Market Street hoping against hope to turn left onto Central, your best friend is the woozy housewife stumbling out of the Pub after a few midday beers and crossing South Main to get a massage at Slight of Hand. The moment she sets foot on asphalt, traffic moving toward Five Corners from all six possible directions comes to a nervous halt. This is how 18.7% of all drivers in Ipswich get across Five Corners.
Which means, what we need, to alleviate traffic congestion at Five Corners, is street-crossers. (Not street-walkers. Not cross-dressers. Please read carefully.) Here's how the program works. When you subscribe, you get a little transponder to affix to your windshield, just behind your rear-view mirror, next to your E-ZPass box. As you approach one of the accursed stop signs at Five Corners, your transponder sends a signal to one of the street-crossers I have hired for your convenience. They'll be stationed at the ten corners we so fondly refer to as Five Corners. Each of them will have a little unit that lights up and vibrates, like the thingy you get from the hostess at a tacky chain restaurant when you have to wait for a table. The moment the street-crosser gets the signal, he or she will start crossing the street. Traffic will grind to a halt. You'll be able to ease your vehicle forward, and by the time my street-crosser has street-crossed, you'll be too far out into the intersection to be denied a place in the stream of traffic.
Proceed, with snickering.
If the subscription program is successful, we'll add kiosks at certain points leading toward Five Corners, where non-subscribers can get in on the fun. For example, as you drive toward Ipswich Center on Central Street, when you come to Mineral, there will be station where you can pull to the curb, pay $5 (cash, please), then immediately proceed to Five Corners. There, a street-crosser will ensure your smooth passage by walking right in front of that Congregationalist SUV trying to sneak across from North Main Street after a chili cook-off at First Church.
As a public service, I intend to hire young people, hard-hit in the current economy, as street-crossers. Young people are also the bravest demographic group, and this is, after all, a stepping-out-into-traffic sort of job. After the business is well established — and assuming no young people have been mowed down by inattentive Hummer-drivers, leading to colossal lawsuits and legal fees — we will begin hiring senior citizens. I'm thinking a senior citizen with a particularly problematic hip could be a hero in this scenario. You not only get through Five Corners yourself, but you make all the other cars wait a really, really long time. This could be the basis of a Premium Club membership option.
Please join.
P.S. Special note to Liberty Street residents: Before you ask, the answer is yes. We do hope to bring our service to Lord's Square.


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Second in a series
IF EVER there was a consumer-oriented business that could stay open all night without disturbing anybody, it was the Boston Sports Club on Boylston Street in the Back Bay. The gym is located in the basement of an office building, well out of earshot of the genteel brownstones of Commonwealth Avenue. So when the gym's owners sought permission in 2006 to operate around the clock, most people saw the proposal as an amenity for late-night workers at the John Hancock Tower and other nearby buildings, not as something that would attract rowdies or turn Back Bay into a red-light district.
The proposal had the support of the Boston Redevelopment Authority and the business-oriented Back Bay Association, and even a letter of non-objection from the Neighborhood Association of the Back Bay. Yet the proposal fell short before the city's Zoning Board of Appeals. Robert Shortsleeve, the chairman of the board, couldn't recall the circumstances, but noted that some proposals fail when board members can't see the need.
Yet just because a need doesn't register with the board of appeals — a seven-member group appointed by the mayor — or with the city's elected leadership doesn't mean it doesn't exist. When stores and restaurants shut down at night, life gets difficult for people who work long hours, or odd hours. Among the pillars of Boston's economy are institutions where 9-to-5 hours are rare — hospitals with overnight shifts; financial firms whose employees make deals in faraway time zones; and law firms whose billable-hour requirements keep attorneys at their desks deep into the night. Boston's recent play for more tech firms, which abound with entrepreneurs who work late, only adds to the need for spots to shop, exercise, and get a bite to eat after 11 p.m.
It's time for the city to rethink its broad resistance to late-night commerce. A compelling public-safety case can be made for amending state law to stagger bar closings so that all the crowds don't spill out onto the streets at 2 a.m., the current closing time. But even without that change, the mayor and other Boston officials should be open to allowing more late-night hours for other businesses.
Neighborhood activists are understandably wary of late-night noise and activity. Exacerbating the problem, the gaps in the city's transportation network become all too apparent after midnight. Yet there are ways to keep Boston open later without first reinventing the MBTA — and without hurting anyone's quality of life. The city needs to pursue them. In a 24-hour economy, a dismissive civic attitude toward late-night commerce looks less like a quality-of-life choice than an economic hindrance.
Other communities see the value in round-the-clock gyms, which exist not just in New York and Los Angeles, but in Austin, Seattle, Charlotte, and Raleigh — mid-sized cities with which Boston is often thought to compete. There are even 24-hour gyms in a variety of suburban communities in Massachusetts. Boston's economy won't rise and fall on whether type-A lawyers can blast their abs at 3 a.m. But the Boylston Street case raised a vital question: Is Boston flexible enough to accommodate residents with out-of-the-ordinary needs?
"Nothing good happens after midnight," goes an old refrain — variants of which pop up time and again at community meetings. This attitude is a vestige of when only muggers and prostitutes would brave city streets in the wee hours. But for longtime residents, it's easy to underestimate how thoroughly parts of Boston have been transformed in recent years. Between 2000 and 2010, Boston's tiny urban core — an area of less than 4 square miles stretching from the Fenway to the North End — added more than 13,000 residents. As once-decrepit properties fill with people and life, as the former Combat Zone gives way to luxury apartment towers, the automatic equation of late-night hours with seedy activity is less applicable than ever.
As a practical matter, few shop owners and restaurateurs in the city's quieter, less dense neighborhoods are clamoring to stay open past 11 p.m. In some areas, though, Boston should be working actively to promote late-night commerce. City Hall could designate a few areas — the obvious candidates include Boylston Street, Downtown Crossing, the Theatre District, and the Innovation District — as target sites for late-night stores, diners, and other businesses.
With such clusters, weeknight workhorses would know where to go for 2 a.m. Cobb salads, and weekend revelers would know where to sober up over pizza after the bars let out. Police could focus their patrols on these areas, too. And if the MBTA were ever to resurrect its Night Owl service — as Governor Patrick contemplates doing, at least on weekends — the existence of specific late-night business zones simplifies the job of creating viable bus routes.
The lack of late-night transit complicates the ability of businesses to hire workers, many of whom have no way to get home beyond walking or, until recently, riding their own bikes home. A cab ride back to Brighton or Jamaica Plain can eat up much of what a downtown restaurant server earns on a slow night. Meanwhile, the limit on the number of taxi medallions means that, at least on weekends, even people who can afford cabs can't always find them.
In the past, these problems seemed unsolvable. The T's Night Owl experiment from 2001 to 2005 was underused, in part because the buses arrived too infrequently. But in just eight years, public transportation has become far more predictable; in the smartphone era, a bus that comes only every half-hour is still convenient because T customers know when to expect it.
Smartphone technologies can also take pressure off the taxi system — as long as local regulators leave car-hailing services like Uber to their own devices. Cab companies bristle at the competition; taxi regulators complain about fares based on GPS instead of traditional cab meters and about prices that spike when cars are scarce. Yet everyone who pays so-called "surge prices" for a car during late hours is freeing up a cab for someone else.
Other advances hold promise as well. Except in the winter, the Hubway bike-sharing system is available round the clock. Local universities may be persuaded to use their van fleets in innovative ways. Such advances make Boston's late-night transportation problem look less complicated — and take away the excuse that Boston logistically can't operate as a 24-hour city.
City Councilor Mike Ross frames the issue in an intriguing way: In a densely packed city without much easily developable space, extending the city's operating hours is a way for more people to share its amenities. Software engineers eating burgers at 2 a.m. probably weren't occupying a restaurant table four hours earlier. Emergency-room nurses running treadmill sprints at 4 a.m. aren't taking up machines at 8:30. And who's to say their preferences are wrong? A city that's open later is more accommodating in every sense of the term.