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Original Broadway Cast, 2017 (Atlantic ) (4 / 5) A musical that unapologetically wears its heart on its sleeve, Dear Evan Hansen is the most high profile theater work to date from the songwriting team of Benj Pasek and Justin Paul. Set in a nondescript modern suburb, the show centers around a high school introvert with intense anxiety issues who finds himself involved in a misunderstanding which, partly due to the double-edged sword of social media and its galvanizing impact, snowballs into a giant lie that does both good and harm. Though the character of Evan is a little too broadly painted in his neuroses, and the show's commentary on the effect of social media in modern culture doesn't go quite as deep as it should, Pasek and Paul's score is memorable and compelling, managing to wax poetic without being too on-the-nose in its imagery. Ben Platt, in the title role, does the majority of the vocal heavy lifting here, delivering a fully rounded and thrilling performance. It helps that he's given the best songs in the score: the show's biggest hit, "Waving Through a Window," as well as the crushing "Words Fail" and the lovely if slightly heavy-handed "For Forever." Platt is well supported by Rachel Bay Jones as Evan's endearing, struggling, single mother; and Laura Dreyfuss, refreshingly understated as Zoe, the object of Evan's affections, who may be harmed most by Evan's lie. The cast album includes minimal dialogue, opting instead to present each song as a stand-alone item. While this doesn't harm the flow of the recording, and has helped a few of the songs to break out as popular hits, two songs suffer from such treatment: "Good For You," a cathartic release of Evan's mom's pent-up frustration, here plateaus in its anger, with no release; and the offbeat humor of "Sincerely Me" comes across as somewhat tasteless out of context. That said, the rest of the album works very well. Alex Lacamoire's orchestrations (with additional work by Christopher Jahnke) are appropriately pop-oriented, and Justin Paul's vocal arrangements never go overboard with vocal pyrotechnics. The restraint in their work separates DEH from many other contemporary scores, allowing the emotional weight of the piece to really resonate with the listener. And there are plenty of emotions here to resonate. — Matt Koplik
Category Archives: D-F
Original Off-Broadway Cast, 2013 (Ghostlight) (3 / 5) Many musical scores can stand perfectly well as cast recordings, separate from their staged productions. Others lose something when deprived of the character and plot development revealed in the shows' libretti. For all its virtues, Dogfight — songs by Benj Pasek and Justin Paul, book by Peter Duchan — falls within the latter group. Based on the 1991 film, it's the story of some Marines tearing up San Francisco in late 1963, the night before they ship out to Vietnam. They plan a "dogfight," a contest in which each jarhead contributes fifty bucks to a kitty that will be won by the guy who brings the ugliest date to the party. A nasty game, indeed — and the boys, including lead Eddie Birdlace (Derek Klena), appear as insensitive, hot-blooded louts. Fresh out of boot camp and convinced that they're invincible, their pickup lines in the song "Hey, Good-Lookin'" are lies and braggadocio. Eddie finds a waitress, Rose (the sweet-voiced Lindsay Mendez), and pressures her to "Come to a Party" while privately exulting over his chances of winning the dogfight. Rose, for her part, is thrilled to be going out with a boy; in "Nothing Short of Wonderful," she dithers over what to wear in staccato phrases, sounding like a mashup of Cinderella and the Baker's Wife from Into The Woods. (The opening vamp of the title song also echoes that Sondheim show.) Clearly, this evening will not go well for Rose. But, sometime between the invitation and the party, Eddie has a change of heart that isn't part of the score, although it's described in the recording notes. The libretto shows us how Eddie grows to like Rose as they walk to the party, but none of that is in the score; on the album, he jumps from acting like a complete cad to trying unsuccessfully to take Rose home before the judging, in order to save her the embarrassment. Similarly, the recording doesn't include Eddie's later apology or indicate how the relationship progresses. Still, there's much to appreciate here. Pasek and Paul know how to craft effective theater songs with nuance and layers. A few of the lyrics are a little too facile in telegraphing emotions or a sense of time and place, but most are very well written. The music ranges from early-sixties pop to Rose's folk songs and powerful, revealing character numbers. "Come to a Party" works on multiple levels as variously sung by the callous Marines, the naive Rose, or Marcy, a knowing prostitute (played with sledgehammer bluntness by Annaleigh Ashford). The boys' cockiness is evident as they take the town in "Some Kinda Time" and plan their big homecoming in "Hometown Hero's Ticker Tape Parade." Reality shatters their hopes, and Eddie's devastating "Come Back" portrays what the war has done to him. But Rose is the real star here, and her journey comes through best in the score. She's alternately shy and manic at first, then furious at the "Dogfight," and soul-searching in "Pretty Funny." The show's emotional crux is found in her song "Before It's Over," when she realizes she has somehow benefited from the dreadful experience. As noted above, Eddie's character growth isn't charted as well in the songs, but this is still a solid score that tells a compelling story. — Laura Frankos
Death Takes a Holiday
Original Off-Broadway Cast, 2011 (PS Classics) (2 / 5) On paper, Death Takes a Holiday probably looked like a wonderful idea for a musical. Composer-lyricist Maury Yeston has done some very admirable work, and audiences have long been intrigued with the story told here — based on a play by Alberto Casella that has received several adaptations, most famously as a 1934 film that starred Fredric March. So what went wrong? After the success of Titanic, Yeston and librettist Peter Stone chose to create an intimate musical inspired by Casella's tale of a weekend during which Death puts aside his scythe and falls for a mortal girl. (Thomas Meehan joined the project after Stone's death.) As it turned out, the plot was the first stumbling block for the adapters; the list of successful fantasy musicals is a short one, and the concept here is a whopper to swallow. Still, a strong opening number can get an audience to accept darn near anything — but Yeston disappoints with "In the Middle of Your Life/Nothing Happened." Instead of being made to understand what it is about Grazia (Jill Paice) that causes Death (Kevin Earley) to stay his hand when she's thrown from a car, we're wincing at the bare exposition of the lyrics: "What is that darkness I see ahead?" "We're going into a spin!" Also wince-inducing is the line, "Nothing can go wrong for her." (Did they really sing that? Yup.) Nor do we buy it when Death, impersonating a Russian prince, tells Grazia's father (Michael Siberry) of his desire for a vacation. Earley, who took over the role during preview performances when Julian Ovenden developed vocal problems, has a terrific voice, but its timbre isn't well suited to the the Grim Reaper's darker musical moments. He's more effective in the lighter "Alive!" discovering the joys of breakfast, and in the romantic numbers with Paice, a solid Grazia. Oddly, the score's best songs center on an unseen character: Grazia's dead brother, Roberto. Major Fenton (Matt Cavenaugh) sees something in Prince Sirki's eyes that eerily remind him of "Roberto's Eyes" when his friend was shot down; and Rebecca Luker, as the mother, tells Sirki what death does to a family in the devastating "Losing Roberto." The former conveys terror far better than characters intoning "Death is in the house!" and the latter lets Sirki truly know the pain he inflicts with each fatality, effectively leading to Earley's heartfelt big number, "I Thought That I Could Live." Would that the rest of the score matched the quality of these songs. Yeston's melodies are lovely, with a nice Continental air (aside from a shimmy designed to get the cast dancing), but it's hard to get past the often clunky lyrics. — Laura Frankos
Dirty Rotten Scoundrels
Original Broadway Cast 2005 (Ghostlight) (4 / 5) David Yazbek's Broadway scores are just plain fun, whether it's the frenetic farce of Women On the Verge of a Nervous Breakdown or the blue-collar humor of The Full Monty. For Dirty Rotten Scoundrels (book by Jeffrey Lane, based on the 1988 film), Yazbek wrote a genuine, old-fashioned musical comedy in which the various songs put on as many guises as the con-men characters. There are pop pastiches, a scatological list song presented with Cowardesque elegance, a rueful ballad, a samba, and the most vulgar "I want" song in musical history, along with several numbers that require the performers to use accents outrageous enough to start another Franco-Prussian war. For all these varied styles, the score is well-tailored to the characters, and the excellent cast delivers. The scoundrels are the suave Lawrence Jameson (John Lithgow) and the crass Freddy Benson, the latter a small-time grifter eager for bigger scams. Klutzy heiress Christine Colgate (Sheri Rene Scott) is their mark, with Joanna Gleason and Gregory Jbara as the obligatory comic secondary couple. (I told you it's a traditional musical comedy.) The versatile Lithgow assumes personae ranging from a dignified pseudo-prince to a sadistic Austrian shrink, yet still achieves a believable wistfulness in "Love Sneaks In." Tony-winner Butz salivates over the "Great Big Stuff" he craves ("I wanna be like Trump!"), shrieks as mad Prince Ruprecht, and, with Scott, croons an anatomy lesson in "Love Is My Legs." Scott pairs well with both tricksters and soars in the zippy "Here I Am." (Yazbek is a fan of Ira Gershwin and Cole Porter's skill with internal rhymes; they'd approve his work here.) Gleason and Jbara make the most of their numbers, especially the absurd yet sexy "Like Zis/Like Zat." Harold Wheeler's orchestrations have the right comic-caper tone for the proceedings, and the vocal arrangements by Yazbek and Ted Sperling let the ensemble punctuate the score with jazzy exclamation points. The recording includes two demos by Yazbek, plus Scott in a lovely version of "Nothing Is Too Wonderful To Be True" — a surprisingly pretty song with Butz's comic verses removed. There's also a bit of dialogue from Lithgow, warning listeners just before the tracks that reveal the final twists — the likes of which we haven't encountered since The Mystery of Edwin Drood. The title of the show's opening number is "Give Them What They Want." I want more David Yazbek musicals. — Laura Frankos
Daddy Long Legs
Original Off-Broadway Cast, 2015 (Ghostlight) (3 / 5) In Jean Webster's 1912 novel Daddy-Long-Legs, Jerusha Abbott is an orphan whose intelligence prompts orphanage trustee Jervis Pendleton to pay for her education. He requests monthly reports on her studies through letters from her, though he has made it clear that he will not reply, remaining anonymous. Ultimately, she discovers he is her roommate's highly attractive uncle. The novel's success inspired a play, a 1951 London musical (Love From Judy), and four films. (The Fred Astaire movie Daddy Long Legs is far removed from the original.) The challenge for any adapter is the book's epistolary style; the reader sees Jerusha's experiences through her highly personable missives, and falls for her as Jervis does. How to translate a bunch of letters to the stage? The obvious answer is to open up the story, crowding the stage with multiple sets and lots of classmates and friends who are referred to in the book. But John Caird (book) and Paul Gordon (songs) pared their musical to the bare bones: Jerusha, Jervis, and those letters, which comprise most of Jerusha's songs, performed by Megan McGinnis with a fine sense of developing maturity. The letters are also the indicrect source of the songs written for Jervis (Paul Alexander Nolan), as they represent his reactions to them. The greatest strength of the score is the arc of these letter songs. In "Like Other Girls," Jerusha frets about fitting in, given her humble background, and she bemoans her ignorance of the classics in the delightful "Things I Don't Know." Jervis believably moves from reserved philanthropy ("She Thinks I'm Old") to following Jerusha's syllabus to wondering "What Does She Mean By Love?" Gordon convincingly explains Jervis's reluctance to emotional attachments, a key reason why he keeps his identity secret even after meeting Jerusha in person. There are other gems — the sprightly "My Manhattan," a valentine to New York, and the agonizing "Graduation Day," when Jerusha's heart breaks because she thinks her mysterious benefactor is a no-show. (He's there, of course, and also hurting.) Not everything works. The opening is somewhat mired in exposition, especially Jerusha's impersonation of another orphan. Jervis' realization number, "Charity," lacks the emotional punch it needs, and the finale, "All This Time," is far too understated; we're invested in this pair, and we want a bigger payoff. Gordon's melodies are intimate and sweet, played by piano, cello and guitar. The score is not period, but it fits the property in other respects. A final note: Those who grew up with the novel may wonder why, in the musical, Jerusha doesn't change her hated first name, foisted on her at the orphanage. Paul Gordon has said he wrote a song for that scene, but it didn't work well — and also, unlike the character, he and Caird like the name "Jerusha." — Laura Frankos
The Drowsy Chaperone
Original Broadway Cast, 2006 (Ghostlight) (3 / 5) This might be the first Broadway musical with commentary written into the script. Alone in his apartment, a musical theater devotee anonymously named Man in Chair plays the recording of one of his favorites, the (fictional) 1920s romp The Drowsy Chaperone. He then proceeds to provide footnotes on the stars and writers as we watch the show come to life in his apartment. On stage, it all worked beautifully and hilariously. With its dynamic original cast and inventive staging, The Drowsy Chaperone was unique in that it allowed those of us who adore musicals to see ourselves depicted on stage, while also giving us the benefit of watching a delightfully silly musical. But when taken out of the frame of the production, the score, by Lisa Lambert and Greg Morrison, proves to be merely decent. Though the songs are cute in their reminiscences of the jazzy musicals of the '20s, they don't move beyond hommage. The lyrics can be daffy and quirky ("Show Off"), but they never really channel the wit and sophistication of Lorenz Hart or Ira Gershwin. The music is light but fun, much helped by Larry Blank's peppy, period appropriate orchestrations. The ensemble, clearly having a blast, revels in old school camp and bravado, and elevates the lyrics so that they seem more humorous than they are. Danny Burstein tastefully hams it up in "I Am Aldolpho," Beth Leavel gleefully warbles Garland-style in "As We Stumble Along," and Sutton Foster uses her star power to great effect in "Bride's Lament." But it's co-librettist Bob Martin as the Man in Chair who shines brightest here. Though he has no song of his own, Martin offers anecdotes and opinions on the show within the show and its performers throughout the album. His commentary is hilarious and inventive, delivered with just the right touch of knowledge and enthusiasm. Overall, The Drowsy Chaperone is a highly enjoyable show and a fun album, but to quote the Man in Chair, "just ignore the lyrics." — Matt Koplik
Dearest Enemy
Studio Cast, 2013 (New World Records, 2CDs) (4 / 5) To anyone wondering why it took nearly nine decades to come up with a complete Dearest Enemy, read the excellent notes that accompany this fine recording. As with so many musicals of an earlier age, even some of the big hits, the parts and orchestrations were either lost or in fragmentary shape. Enter Larry Moore, who reconstructed the score from various extant pieces and, when necessary, found entirely valid ways to bridge the remaining gaps. (At one point, a little Tchaikovsky gets tossed into the mix. Well, why not?) With David Brophy conducting the Orchestra of Ireland and a fine cast, we now have as definitive an Enemy as could be imagined. If it perhaps lacks a bit of the conviction of the earlier British recording, everyone performs with spirit and charm. The orchestra and ensemble sound luscious; Annalene Beechey and James Cleverton are dandy lovers; and Kim Criswell, as Mrs. Murray, manages to keep the excesses at bay and stay in character. Everyone else is equally good, some dialogue is included to give a fair sense of the show, and there's even a guest star: Stephen Rea, in the spoken role of George Washington. A major work has been stirringly served here, as have Rodgers and Hart and, really, everyone who wants to know about the delights of 1920s musical theater. — R.B.
Fun Home
Original Broadway Cast, 2015 (PS Classics) (5 / 5) Alison Bechdel's Fun Home may seem like strange fodder for a Broadway musical. A memoir in the form of a graphic novel, it chronicles Bechdel's coming out as a lesbian during her freshman year of college — shortly before her father, whom she discovers is a closeted homosexual, commits suicide. But creators Jeanine Tesori, Broadway's premier female composer, and playwright Lisa Kron, here functioning as both librettist and lyricist, created a dazzling memory musical with a score that is unassuming, yet powerful. The show is narrated by Alison as an adult, played by a grounded Beth Malone; she is struggling to write the memoir as she sorts through her memories, some more vivid than she would like. Flowing in and out of various decades, the songs are variously timely (the faux-'70s-pop "Raincoat of Love") and timeless ("Telephone Wire," Bechdel's recollection of her last moments with her father), all of them beautifully supported by John Clancy's subtle, elegant orchestrations. Fun Home is a powerful piece that's given a full, beautiful treatment on the cast recording, thanks to a generous amount of included dialogue. As the doomed father, Bruce, Tony Award winner Michael Cerveris is terrifying and pitiful. Judy Kuhn, as his long suffering wife, Helen, is beautifully restrained in "Days and Days," a reminiscence of her misused life. Emily Skeggs is adorably awkward as Alison in her college years; but youngster Sydney Lucas, who plays Allison as a child, is the show's secret weapon. Shedding the stereotype that shadows most child actors, Lucas is mature and strong and in complete control of her performance. Her rendition of "Ring of Keys," in which a young Alison observes a masculine delivery woman in a diner and experiences her first moment of self-recognition in another person, is the ultimate highlight of the show. That song, like Fun Home as a whole, is destined to become a classic. — Matt Koplik
Forbidden Hollywood
Los Angeles Cast, 1995 (DRG) (3 / 5) Here, Gerard Alessandrini has as much fun with Hollywood excess as with Broadway idiocy. But this recording differs from the Forbidden Broadway albums in one crucial respect: It's live, and that's a mistake. The audience keeps howling at sight gags listeners can't fathom (like Dietrich's arm falling off in "Falling Apart Again"). The satirical targets are a little strange, too; some numbers aim at movies that were new at the time (Braveheart, Pulp Fiction, Forrest Gump), but nearly half the material clobbers various aspects of decades-old film version of classic Broadway musicals — the color filters in South Pacific, Barbra Streisand's miscasting in Hello, Dolly! That said, much of it is a riot, and Jason Graae's impression of Brando singing is as hilarious the twentieth time as the first. Gerry McIntyre is a flawless Louis Armstrong, a funny Whoopi Goldberg, a catatonic Keanu Reeves, and more. Christine Pedi, an unparalleled Liza in several Forbidden Broadways, gets unusually rich material here ("Mein Film Career"). And Suzanne Blakeslee, as Marni Nixon dubbing Audrey Hepburn, does justice to one of the funniest pieces of material Alessandrini has ever written. — Marc Miller
Forbidden Broadway
Original Off-Off-Broadway Cast, 1982 (DRG) (3 / 5) For four decades, Gerard Alessandrini's Off-and Off-Off-Broadway revues lampooning Broadway hits and personalities have been a reliable source of merriment. "Wicked" is the adjective most often applied to these knowing parodies of show tunes and celebrities, but there's usually affection at their base. More than that, Alessandrini's a talented lyricist in his own right, particularly adept at turning a well-known lyric or show title on its head with a subtle tweak — e.g., "I Wonder What the King Is Drinking Tonight," "Into the Words," "Rant." And his revues have showcased some of New York's brightest talents, young pros with great gifts for mimicry. Of course, there's no way to duplicate the visual components that send audiences into uncontrollable laughter, such as the hilarious costumes (often by the legendary Alvin Colt) and tiny sets spoofing enormous ones. Since the FB cast recordings are essentially comedy albums and repeated listening can diminish the jokes, they may linger on your CD shelves for long intervals, but they're fun to revisit as a reminder of the ridiculous foibles of a given season. This first Forbidden Broadway album is one of the best, though by far the shortest at 40 minutes. Alessandrini usually writes one entirely original title song for each edition of the show, and there's a particularly apt one here, with lyrics such as: "There's a Great White Way / Where the white is gray / And the great is only okay …" He's also in the cast, doing a killer Topol in "Ambition." The invaluable Nora Mae Lyng is a brassy Ann Miller and a brassier Merman, future indie-film star Chloe Webb a pert Andrea McArdle, and Bill Carmichael a funny emcee announcing, "Hats off, here they come, those . . . bankable stars." As always, the one-piano accompaniment (here by musical director Fred Barton) manages to sound like a whole orchestra. Subsequent FB albums are more complete and more nastily funny, but this one has a hottest-new-show-in-town oomph. It also has that great Merrily We Roll Along parody poster art on its cover.– Marc Miller
Compilation Album, 1991 (DRG) (3 / 5) For the best stuff in this compilation of Forbidden Broadway material from 1985 to 1991, check out Toni DiBuono capturing Patti LuPone down to the last self-indulgent nuance ("I Get a Kick Out of Me"); an ingenious My Fair Lady parody ("I Strain in Vain to Train Madonna's Brain") inspired by Madonna's Broadway stint in Speed the Plow; and Kevin Ligon as an amazing Mandy Patinkin ("Somewhat Overindulgent"). There are also winning performances by Michael McGrath and Karen Murphy. Not all of the tracks are for everybody; you have to have seen the original M. Butterfly, for instance, to appreciate the satiric puzzlement over its success. A backhanded salute to The Phantom of the Opera is a bit compromised because Andrew Lloyd Webber wouldn't allow his music to be used without alteration, but the righteous indignation expressed over a relatively fallow era in Broadway musical history makes for a very entertaining hour-plus of listening. — M.M.
Forbidden Broadway, Volume 3 — Off-Off-Broadway Cast, 1993 (DRG) (2 / 5) This third edition's opening number is weak, a CD-only appearance by Carol Channing and a stageful of imitators. But some first-class stuff follows: devastating slaps at Petula Clark and David Cassidy in Blood Brothers, Suzanne Blakeslee's astonishing evocation of Julie Andrews, and Craig Wells' hilarious put-down of Michael Crawford. On the whole, however, that season's shows weren't as ripe for parody as those of other seasons. Dustin Hoffman as Shylock filtered through Rain Man doesn't hold up, and Topol's stodginess in Fiddler was old news even in '93; so was Robert Goulet's Vegas slickness. Still, the intermittent pleasures keep coming, including quick riffs on the scenery chewing of Nathan Lane and Faith Prince in Guys and Dolls, a knockdown punch at Liliane Montevecchi, and an efficient torching of Miss Saigon. — M.M.
Forbidden Broadway Strikes Back! — Off-Broadway Cast, 1996 (DRG) (4 / 5) A luxurious 73 minutes of what might be Gerard Alessandrini's most consistent bouquet of parodies, this edition benefits from top-flight talent. The opening number ("Parody Tonight") serves up Tom Plotkin's expert Nathan Lane, Christine Pedi's gurgling Liza, Donna English's sneering Zoe Caldwell, and Bryan Batt's vapid John Davidson in State Fair beaming through "Oh, What a Beautiful Moron!" It's an auspicious start, and the recording seldom flags from there. There are digs at Harold Prince's enormous Show Boat, the failed promise of Big, and casting prospects for the upcoming Kiss Me, Kate revival (Pedi's Bernadette Peters and Batt's Mandy Patinkin duet in "So Miscast"). English does the best Julie Andrews you've ever heard in an extended pummeling of Victor/Victoria (with the Tony nominating committee warbling, "Victor/Victoria, we will ignore-ee-ya"), and a brilliant parody of Rent encapsulates the frustrations of that show's dissenters. Even the arrangements are funny; listen to the Sondheimisms in the King and I send-up. The album is a hoot, and there's a terrific bonus track: English as Julie again, in a parody of Star! that's truly hilarious. — M.M.
Forbidden Broadway 2001: A Spoof Odyssey — Off-Broadway Cast, 2000 (DRG) (3 / 5) This edition averages out slightly below the series' general level of inspiration. The first few tracks evaporate, and we don't get a direct hit until the disembowelment of The Music Man, featuring a very funny Danny Gurwin. Other choice bits: a number that deals with Disney's downsizing of Beauty and the Beast; Christine Pedi's slaughtering of Liza Minnelli, not to mention her uncanny turns as Patti LuPone and Gwen Verdon; and an extended riff on Aida that will tickle even those unfamiliar with the show. Alessandrini's take on Cheryl Ladd in Annie Get Your Gun ("I've No Business in Show Business") epitomizes his art, and Tony Nation's spoof of James Carpinello in Saturday Night Fever ("Stayin' Away") is a deft shot at an easy target, but the digs at Sondheim and Streisand don't land as smoothly as usual. The album sends customers out on a high note with "76 Hit Shows," but there wasn't much to celebrate on Broadway in 2000, so it seems disingenuous to pretend that there was. — M.M.
20th Anniversary Edition, 2000 (DRG) (4 / 5) If you're not a Forbidden Broadway completist but want to know what all the fuss is about, this compilation, featuring eight previously unreleased tracks, is just the thing. Both the strengths and occasional weaknesses of the format come through ringingly, and the prodigiously talented cast offers more variety than a single-edition album would. Not all the spoofs are top-drawer; that Carol Channing parody really should be retired. What a pleasure, though, to re-encounter Christine Pedi's flawless invocations of Liza and Stritch, Toni DiBuono's uncanny Patti LuPone, and Alessandrini's particular distaste for Broadway Disneyfication. Among the bonus tracks are some of his very best vignettes, such as Terri White's glorious "Screamgirls" and the total demolition of Aspects of Love ("Love Changes Everything" becomes "I Sleep With Everyone"). Note how the various musical directors/accompanists throughout the history of Forbidden Broadway express entire orchestrations with one piano. Note also how they exaggerate cast album affectations — languorous tempi for Les Miz, the heavy bass tread of a Rodgers 4/4 tempo–to great effect. — M.M.
Forbidden Broadway Goes to Rehab – Original Off-Broadway Cast, 2009 (DRG) (3 / 5) This wasn't one of the more thrilling Broadway seasons to spoof, but Alessandrini did a workmanlike job of finding targets, and in some cases, much better than workmanlike. Gina Kreiezmar doesn't sound a great deal like Ashley Brown, but her "Feed the Burbs," mocking Mary Poppins, is Alessandrini's most concise and hilarious skewering of the Disneyfication of Broadway. Christina Bianco's vocally challenged Bernadette Peters, in "See Me on a Monday" (one of several bonus tracks), is mean in a very funny way. Some straight-play parodies, of August: Osage County and Daniel Radcliffe in Equus (with James Donegan as Radcliffe), get the job done. Michael West is a delectably overblown James Barbour in a Tale of Two Cities spoof, and a number in which Kreiezmar as Patti LuPone taunts West as Boyd Gaines with "Small Part, Isn't It?" is deftly done. — M.M.


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Why the U.S. dollar was in a bear market from 1985 to 1990
The U.S. dollar was in a bear market from February 1985 to the end of 1990. Here's the USD Index (all values multiplied by 100x to eliminate decimals).
This bull market had 3 stages:
- The major decline lasted from February 1985 to the end of 1987.
- The U.S. Dollar Index had a big bounce from the beginning of 1988 to mid-1989.
- The second decline lasted from mid-1989 to the end of 1990.
Money Flow ultimately determines the U.S. dollar's bull and bear markets.
- When money isn't decisively flowing in one country's direction, the USD Index swings sideways in a massive range.
- When money is decisively flowing towards the U.S., the USD is in a big bull market.
- When money is decisively flowing out of the U.S. to a major foreign economic power, the USD is in a bear market.
Money Flow is impacted by many factors:
- Interest rate differentials
- Differences in economic conditions
- Differences in economic opportunities
- Differences in political safety.
- Inflation (click here to see how inflation impacts the U.S. Dollar).
Various stages of this USD bear market were driven by different money flow factors.
Money Flow to Japan: 1985-1987
Money Flow went decisively to Japan in the second half of the 1980s. This is why the U.S. Dollar was in a massive downtrend.
This Money Flow was purely driven by a multi-year asset bubble in Japan (Japanese stocks, real estate, etc). Profit opportunities in Japan were shrinking by the second half of the 1980s.
*From 1988-1990, Japan was purely in an asset bubble. Japanese economic growth peaked in 1986.
The fiercest leg of the Japanese bull market in equities was from 1985 to October 1987. Although the Japanese stock market continued to climb higher from 1988-1990, the magnitude of its ascent slowed down.
Here's the Nikkei 225, log scale.
This Money Flow matches with USDJPY, which made a big medium term bottom in February 1988.
During this period, the go-go years of Reagan's first term was over. U.S. economic growth peaked and slowly deteriorated from 1986-1990. (Recession in 1990.)
Government action failed
The G5's selling of U.S. dollars caused the USD to top in early-1985. The G7 (excluding Italy) signed the Louvre Accord on February 22, 1987 to stop the USD's decline.
This is because when the G5 signed the September 1985 Plaza Accord, they "wanted" to see the U.S. Dollar fall 40%. By February 1987, the USD Index was indeed 40% below its 1985 high of 162.
HOWEVER, this accord failed to stop the USD's decline because it was completely different from the action taken in 1985.
- In 1985, global central banks sold U.S. dollars in unison. They directly intervened in the forex markets.
- In the Louvre Accord, the G7 tried to indirectly influence the forex markets via adjusting their economies.
Here's an excerpt from the Louvre Accord
France agreed to reduce its budget deficits by 1% of GDP and cut taxes by the same amount for corporations and individuals. Japan would reduce its trade surplus and cut interest rates. Britain would agree to reduce public expenditures and reduce taxes. Germany, the real object of this agreement because of its leading economic position in Europe, would agree to reduce public spending, cut taxes for individuals and corporations, and keep interest rates low. The United States would agree to reduce its fiscal 1988 deficit to 2.3% of GDP from an estimated 3.9% in 1987, reduce government spending by 1% in 1988 and keep interest rates low.
As you can see, only direct action in the forex markets can influence the USD. Indirect actions failed.
Meanwhile, U.S. inflation soared in 1987 thanks to Reagan's massive tax overhaul/cut. Historically, a surge in inflation = a flat USD or a falling USD. The USD fell in 1987.
Why the U.S. Dollar rallied from April 1988 to June 1989
Once again, interest rate differentials caused Money Flow to go to the U.S.. Keep in mind that this was not a very big rally, so it might have just been a technical bounce from extremely oversold levels. The bounce only brought the USD up to its 23.6% fibonacci retracement.
By 1987, U.S. and German interest rates were approximately the same: 6%.
- From April 1988 to May 1989, the Federal Reserve hiked rates aggressively.
- During this period, German interest rates did not go up at all.
Hence, there was a significant difference in interest rates: almost 3%. Interest rate differentials impact Money Flow only when the differentials are high. Differentials of e.g. 1, 2% are meaningless.
Here's the Fed Funds Target rate
Here's the German 10 year government bond yield during that period.
June 1989 to the end of 1990
The U.S. dollar sank again. This was the 2nd and final leg of the USD's bear market. 3 Money Flow themes caused the USD's downtrend.
- The Japanese asset bubble continued to rise. This attracted Money Flow from the U.S. and other countries. Domestic Japanese money poured into Japanese real estate, and international money poured into Japanese stocks.
- The economic slowdown in the late-1980s was primarily U.S.-driven. When the U.S. economy leads the global economy's slowdown (e.g. 2007), the USD falls as Money Flow chases better business opportunities in other countries.
- Interest rate differentials. As the U.S. economy slowed down significantly in 1989 (recession in 1990), the Federal Reserve cut interest rates. Meanwhile, Germany was hiking interest rates as they grappled with high inflation.
Here's the Fed Funds rate.
Here's the German 10 year government bond yield.
Here's German inflation.


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West of Memphis documentary details the case of the "West Memphis 3"
Nickie Phillips
"West of Memphis" examines the case of Damian Echols, Jason Baldwin, and Jessie Misskelley, also known as the "West Memphis 3." Freed in August of 2011 on a Alford plea, the men served 18 years in prison for the murder of three second grade boys. The three men have long maintained their innocence and were convicted despite the lack of physical evidence linking them to the crime. The New York Times describes the plea as a
legally awkward deal that had them declaring their innocence but pleading guilty to the murders while the State of Arkansas essentially admitted the evidence against them was weak but possibly viable.
Read more about the documentary from NPR here.
West Of Memphis, in its final 25 minutes or so, gives a more thorough accounting of how the deal that freed the three was ultimately done, and in particular, lingers on the difficulties that Baldwin faced in deciding whether to plead guilty to something he has always insisted he didn't do in order to get himself out of jail — and in order to ensure Echols wouldn't be executed. After spending 20 years in prison, the idea of refusing an offer that would get you out is more than many of us can wrap our heads around, but as it's explained here, his hesitation seems quite logical.
Roger Ebert suggests,
If you only see one [documentary on the case], this is the one to choose, because it has the benefit of hindsight.
Kate Erbland's review is here.
For more on the soundtrack with performances by social activists Eddie Vedder, Natalie Maines, and more, go here.
Echols discusses his book "Life After Death" on C-SPAN2 BTV:
"West of Memphis" is available on DVD on August 6th.


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The second annual Santa Ynez Valley Condor Classic Youth Track Meet will be held on Saturday, April 13th at the Santa Ynez High School starting at 8:30 am. This youth track meet is open to the first 500 registrants from Kindergarten through 8th grade. The fee is $15.00 per athlete and pre-registration is required.
The deadline to register is 10:00 pm on Wednesday, April 11th. We will not accept any registrations day of the meet. Track Clubs, Schools and Unattached Youth Athletes are invited.
Current SBTC Youth Athletes will be registered with Coach Tom.


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The Monitoring Team "will provide a copy" of its Draft First Semiannual Report "to the Parties . . . to allow the Parties to comment on the reports." (¶ 472).
Back to All Events
Earlier Event: June 5Monthly Meeting with the Court
Later Event: June 7Parties Complete Approved Final Data Requirements Matrix


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For full access, Log in or Subscribe Now and get 4 weeks free!
It's official: Inflation is on the rise. The Labor Department reported this morning that the producer price index leaped higher by a full 1% last month.
The PPI report measures the rate of inflation at the wholesale level. It fell 0.3% in December after having climbing by 2.6% in November. January's core PPI, which excludes food and energy prices, rose 0.4%, driven by higher drug and car prices. Year over year, the PPI is up 7.4% -- the fastest pace since 1981. Also on an annualized basis, the core PPI is up 2.3%. See full story.
None of this comes as any real shock. After all, we've all felt our wallets shrink a little more each week as gas and food prices take a bigger and bigger bite of our incomes. Many "experts" say that these high prices can't last -- I disagree.
Paying more and getting less
- Actionable trading strategies
- Easy-to-follow guidance
- Weekly market navigational tool


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Jay S. Handlin, Partner
Litigation & Dispute Resolution Group
Jay S. Handlin joined the firm as a partner in 2016. Jay has more than 25 years of experience in complex commercial and intellectual property litigation in state and federal courts and regulatory proceedings. He has broad experience in class action litigation as well as securities, corporate governance, bankruptcy, insurance, and employment litigation. He has previously served as in-house litigation counsel for The Walt Disney Company and been a litigation partner with leading national and regional law firms in Los Angeles, California and Honolulu, Hawaii. He began his career as a judicial clerk to the Hon. Jon O. Newman of the United States Court of Appeals for the Second Circuit.
Jay has been listed by "Super Lawyers" and named an "IP Star" by Managing IP, and is a Chambers USA "Recognized Practitioner."
Jay received his J.D. degree, cum laude, from the Harvard Law School, where he was an editor of the Harvard Law Review. He earned his B.A. degree, magna cum laude, in English (highest honors) and History (honors) from Brandeis University.
Illustrative Professional Experience
- Represented iconic rock and roll band Aerosmith in class action lawsuit stemming from canceled concert, and resolved case with unique non-monetary settlement focused on makeup concert;
- Successfully arbitrated multimillion dollar contract dispute on behalf of client against industry-leading international shipping company;
- Represented life insurance company in class action lawsuit relating to annuity products for seniors and resolved case favorably after moving for judgment on the pleadings;
- Represented Fortune 100 company in major Delaware shareholder derivative litigation involving executive compensation and corporate governance;
- Represented State of Hawai'i and U.S. airline in successful defense of lawsuits asserting tort claims based on alleged workplace contamination at reservation call center;
- Represented real estate investment and development company in lawsuit brought by greenmailer, resulting in summary judgment in favor of client and subsequent disqualification of opposing counsel on appeal;
- Represented satellite communications service provider in antitrust and breach of contract lawsuit brought by supplier of satellite modems;
- Represented utility in $30 million negligence and breach of contract lawsuit brought by oil refinery, with all claims resolved in client's favor at trial;
- Obtained dismissal on the pleadings of putative class actions alleging securities law violations against major financial firm and legendary American motorcycle company;
- Favorably settled whistleblower lawsuit brought by timeshare salesman against major resort company;
- Represented major research university in contested regulatory proceedings and appeals for permitting of $1.5 billion astronomical observatory;
- Represented entertainment companies in defense of copyright and idea theft litigation involving numerous motion pictures, including The Waterboy (dismissed on the pleadings, affirmed by the Ninth Circuit) and Sister Act (defense verdict at trial, affirmed by the Ninth Circuit).


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Plague Albert Camus Essay Sample
The purpose of this paper is to introduce, discuss, and analyze the short story "The Stranger," by Albert Camus. Specifically, it will contain a summary of the short story.
The protagonist in Camus' "The Stranger is Meursault, a 30-year-old shipping clerk who lives in the city of Algiers during the 1930s. He is not particularly appealing because of his interests, which are swimming, his work, and watching the people of Algiers from his balcony, but he is extremely interesting because of the way Camus portrays him. Many readers see him as simply cold and unfeeling, …
… portrays him. Many readers see him as simply cold and unfeeling, while others see him as a symbol; he stands for truth, because he will not cover up his feelings in order to conform to what society wants or thinks. Unlike most of us, he has no guilt, and Camus shows this throughout the story to make him "strange" and unappealing.
The story opens with Meursault in Algiers, where he learns his mother has died. When he goes home to attend her funeral, he affronts the warden and doorkeeper of the nursing home where she died because he is so …


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Copyright © 2007 by The McGraw-Hill Companies, Inc. Click here for terms of use.
You and your partner should consult with your doctor several months before conceiving. Discuss any habits or lifestyle issues that may adversely affect your fertility. Also, if you have any type of medical condition, assure that is properly treated and that you are on pregnancy-safe medications.
Another consideration is prepregnancy vaccinations. Women who are not immune to chicken pox or rubella should receive vaccination for these ailments prior to becoming pregnant. By following these important steps several months prior to becoming pregnant, you'll rest assured that you have done the most to boost your natural fertility and increase your chances for a normal, healthy pregnancy.


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How Can Smart, Ethical Individuals Form Dumb, Amoral Government Agencies?
Yesterday I set forth some reflections on our giant national security establishment, and how we should think about it. I argued that one very useful way of conceptualizing it is not as a result of politics or personality, but as an institution, which to the first approximation is best thought of as a mindless, amoral, and self-perpetuating primitive life form.
And by saying that, I do not mean to disparage any of the individuals who make up those bureaucracies. I live in Washington and am friends with many government workers who are excellent, thoughtful human beings.
But when you gather many human beings into an institution, that institution tends to take on a life of its own. Most of the individuals who make up the gigantic national security state are reasonably intelligent, and many of them no doubt are exceptionally so. But when you aggregate thousands of intelligent human minds together in a bureaucratic organization, the ironic result is that the collective is sometimes dumber than its individual parts. By the same token, there is no particular reason to think that bureaucracies attract a disproportionate number of amoral or immoral individuals—they surely form the same bell curve as any other group of humans when it comes to characteristics such as empathy, sensitivity, and conscience. But the collective set of such humans can exhibit a marked quality of amorality, as exhibited for example by the willingness of security bureaucracies to do horrifying things such as continue to detain people at Guantanamo who are known to pose no threat to the United States.
Complexity theorists have a concept called emergence, which refers to the fact that when large numbers of individuals interact, behaviors can emerge from the collectivity that do not appear to be the predictable result of any characteristics evident in the individuals in isolation. A classic example is the V-shaped flocking formation of birds. A computer programmer trying to create that behavior in a flock of virtual birds could tie herself in knots, but it turns out that if each "bird" is programmed with just a few simple rules ("don't crowd your neighbors, but steer toward their average heading and position") a flock of simulated birds will behave in extremely complex ways strikingly similar to the movements of real birds. That complex flocking behavior emerges out of simple rules in ways that are not apparent on the surface.
Perhaps when individually complex and intelligent human beings are placed together into bureaucratic organizations, they exhibit "emergent dumbness" and "emergent amorality."
Why would it be the case that thousands of individuals acting together in a bureaucracy are dumber and more evil together than most or all of them probably are individually? No doubt legions of sociologists and political scientists have written tomes on this subject, but without having plumbed that literature I suspect the explanations include such things as:
- The ideology of the bureaucracy. Max Weber observed that a bureaucrat is ultimately "responsible only for the impartial execution of assigned tasks and must sacrifice his personal judgment if it runs counter to his official duties." Insofar as the vision of a bureaucracy as a machine is embraced by its participants, they will suppress their wide-ranging human intelligences and limit their judgment and discretion accordingly. Indeed as Weber points out, they are expected to do so.
- Groupthink. The well-documented human tendencies toward conformism and "groupthink," which can cause people to give up their critical faculties when faced with a group consensus.
- Diffusion of responsibility. This is the tendency of people not to tackle a problem when they are surrounded by other people, each of whom assumes somebody else in the crowd will surely address it so they don't have to.
- Pournelle's Iron Law of Bureaucracy. This brilliant "law" has two parts. First, "in any bureaucratic organization there will be two kinds of people: those who work to further the actual goals of the organization, and those who work for the organization itself." Second, in every organization, it's the people in the second category who always end up running things, while "those dedicated to the goals the bureaucracy is supposed to accomplish have less and less influence, and sometimes are eliminated entirely."
- Abstraction. When we say that most people are "ethical," what we mean is that they are socialized to behave well to those who surround them—to the concrete human beings they encounter in the flesh. But we humans are generally not good at abstract thought, and it may be that it is the nature of bureaucracies to separate rulers from their victims, so that cruelty and bad policies become remote and abstract, breaking down the ethical training that has been carefully socialized in most modern human beings.
Whatever the reason or combination of reasons, it seems clear to me that government (and corporate) bureaucracies are capable of cruelty and stupidity—and that is not to impugn anybody's motives. When I point out for example that the cybersecurity issue is being exaggerated by the security establishment to advance its powers and budgets, I'm honestly not impugning anyone's sincerity; I'm just pointing out that the behavior is predicted by this theory. Thinking of what is happening in terms of this or that leader's personality in the end will largely distract us from the kinds of systematic remedies that are needed to rein in the out-of-control, Sorcerer's Apprentice nature of the national security agencies.
(Second in a series)
The third post in this series is here.
Thinking they're ABOVE the law?
Mr.Transparency has done more evil than even my nemesis, G.W....and GOD help me...I never thought I'd say that! But, it's true...and if he get's away with going to war with Syria? We're DONE! As in..ALL dead...so HOW they think THEY are going to survive is beyond MY logic...and if they DID? WHY would one want to?????? I sure as hell wouldn't!
- September 8, 2013
Didn't we all had the right to vote on any war? Is that Democracy? We are in the other end of King Henry V111? Exactly!
- September 9, 2013
Don't overlook the obvious; people aren't coming forward when questionable decisions are made because it's a "career buster". I don't care if you are in government or industry, if you "make waves" it is frowned on. Yet time and time again, the whistle blowers are the ones who truly have changed society for the better. There are no real Upton Sinclairs in today's digital, and those that do become like him go through hell trying to remain employable. And how do we reward whistle blowers? By making it harder for them to blow the whistle. By calling them criminals and threatening them with jail time. So while people will gasp at revelations such as Edward Snowden has revealed, I'm willing to bet 99.9% would not want to be seen with him. And you know damn well anybody that knew him at work or personally was thoroughly interrogated to try to see if there were some "warning signs" that they should have been aware of. That's how this country treats its citizens. I think the last of the free days probably were the 60s and 70s. People generally expected a certain level of privacy then and they got it. But you stage protests and other acts of civil dissent as they did then and you'll be labeled a terrorist today. There are no rights in today's America. You only have the right to be quiet and hope they don't come after you. That's really what it boils down to. The government and industry both are corrupt. They can preach transparency all they want, but behind our backs they are doing whatever they can to deny us our rights as human beings and set forth their own personal agenda. How about we start dealing with our own problems instead of waging more extended and damaging wars? How about we address homelessness and joblessness in America instead of telling others countries how they should behave? Punish the Wall Street cronies that caused the bailouts but leave the rest of us alone. Our government has some nerve talking about corrupt governments when they themselves are among the most corrupt. Rigging of elections, extreme incarcerations for even the most minor of offenses, spying on its own citizens, taxing those with the least the most. Yeah, that's how USA governs! Take our guns away but give weapons to freedom fighters? What a joke. Allow genetically modified food to exist which will ultimately kill our own citizens? This is the America we live in. An America you're only free in when you keep your mouth shut and play along.
- September 14, 2013


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Estate Planning & Administration Forms
Our estate planning & administration forms are meant to aid in your Estate Planning and Estate Administration needs.
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The UAE's Federal Tax Authority has announced to levy 100 per cent tax on energy drinks and tobacco, 50 percent on carbonated beverages is going from the fourth quarter of this year. The main aim of implementing VAT and excise duties on consumer goods in UAE is to expand the government revenue. After the implementation of VAT in UAE, it plays an important role in accomplishing social objectives of the country and it goes beyond the perceived fiscal compulsions resulting from lower oil prices.
World Health Organisation (WHO) and the Tobacco Free Initiative has reported that 10 percent increase in the price of a cigarette could reduce the demand by 4 percent in high-income countries. In-low-and-middle-income countries, this price increases around 5 percent. The WHO report on the Global Tobacco Epidemic 2015 stated that, approximately six million people die every year due to tobacco-related diseases. It is also stated that around 25 to 30 percent adult population in UAE vaporise some kind of tobacco, which is hazardous to their health.
A Who report 'Fiscal Policies for Diet and prevention of Non- Communicable diseases, it is assumed that high taxes on energy and sugary drinks might reduce the consumption, type 2 diabetes, obesity and tooth decay problems, it also reduces the burden of UAE's health care system.
Indirect taxes and excise taxes are the important taxes in VAT. Excise taxes or duties on goods which are injurious to the health; policy measure should be taken by the government across the world to control consumption.


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@@@@SPAN> 20 January 2007 @@@@/SPAN>
@@@@SPAN>Munster summon one final roar@@@@/SPAN>
@@@@SPAN>By Charlie Mulqueen@@@@/SPAN>
coach Pat Howard is one of the few players to visit Thomond Park and
depart on the winning side. It happened in 1996 when the Australian
touring side hammered Munster by the unheard margin of 55-19.
@@@@/SPAN><ahref="http: //adserver.adtech.de/adlink3.025710671350170adtech;loc="300;key=ke y1+key2+key3+key4;grp=1097"target="_blan k"" target="_blank" target="_blank"></ahref="http: target="_blank">@@@@SPAN>
it was a great day for Australian rugby, it's one that Munster people
look back upon with discernible red faces and a deal of embarrassment.
Howard had an armchair ride at out-half as he helped set-up a couple of
tries for the great David Campese, and others to prosper at the end of
his fluent service were stars of the game like Jason Little, Stephen
Larkham and Ben Tune, not to mention Leinster's Owen Finegan, all of
whom crossed the Munster line. <div align="center"><no><no>
<!- End of Tag ->
Now Howard is keeping his fingers crossed that Ian
Humphreys, his out-half in this evening's Heineken Cup tie, will bring
a similar influence to bear on this all-important Pool Four clash. He
acknowledges the Ulster man is seriously short of experience at this
level and is also troubled by a hamstring strain. Humphreys has a big
left foot but the other is mainly for standing on, and he will be
targeted from first whistle by the Munster back-row and anyone else in
red who can get within reach. Howard, however, has been talking up his
number 10 and also the prospects for his side reversing the outcome of
the pre-Christmas meeting of the sides.
"We've been thinking
about this one every day since Ronan [O'Gara] beat us with an
injury-time penalty goal in the rain from 51 metres," he observed more
than a little ruefully. "We know all about Munster's record at Thomond
Park and know just how tough it is going to be to become the first team
to win there in the Heineken Cup but believe me — we are ready. There
will be no lack of motivation."
It is probably an indication
of how deep the Tigers squad goes that only six of today's selected XV
started in the first meeting of the sides. New Zealander Daryl Gibson
(another facing a late fitness test) is the only survivor in the back
division while hooker George Chuter, Martin Castlegiovanni, Leo Cullen,
Lewis Moody and skipper Martin Corry have retained Howard's faith. But
there's no place for England's Ben Kay; he's on the bench alongside the
highly-rated Argentine prop Martin Ayerza, the versatile Sam Vesty and
former Munster number nine Frank Murphy.
By and large, the
Munster team is on the same lines as at Welford Road, with the glaring
exception of Trevor Halstead, whose strength, experience and
off-loading at first centre were missed in Geneva last Sunday. That is
very likely to be the case again today, no matter how well Lifeimi Mafi
has taken his try-scoring chances in each of his last two matches.
always in these huge European confrontations, there are countless
imponderables, and chief among them is how the Tigers cope with the
special and awesome atmosphere at Thomond Park on big-match day. Many
have come thinking they knew what lay in wait and left wondering just
what had hit them. Gloucester and Sale are just two who will testify to
There is a difference, however slight, on this occasion
given that it is the visitors who have to win, with Munster in pole
position. Pat Howard speaks of the motivation driving his men on but
Munster won't be short in this regard either, with skipper Paul
O'Connell stressing: "None of us want to be on the side that lost a
European Cup match at Thomond


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Economics Departments, Institutes and Research Centers in the World
Eli Broad Graduate School of Management
Michigan State University
Location: East Lansing, Michigan (United States)
Homepage: http://www.bus.msu.edu/
Handle: RePEc:edi:bsmsuus
Homepage: http://www.bus.msu.edu/
Handle: RePEc:edi:bsmsuus
Subentities listed with EDIRC:
People who have registered with RePEc and have claimed to be affiliated with this institution:
Their publications
Find all publications of all authors listed below conveniently compiled on IDEAS.
Their author profiles
Authors with publications are listed below with . We have lost contact with authors marked with ?, and they do not count towards the ranking of this institution. We would appreciate a note of their new email address or status.
Registered alumni from this institution
Their publications
Find all publications of all alumni listed below conveniently compiled on IDEAS.
Their author profiles
People who have registered with RePEc and have received their terminal degree from this institution according to the RePEc genealogy. Alumni with publications are listed below with .
- Gerken, William C. (2009)
CorrectionsCorrections about details of this institutions should be sent to Christian Zimmermann. Corrections about the member listing should be made by the members themselves by adjusting their affiliations at the RePEc Author Service. Adding or correcting alumni is done at the RePEc Genealogy by anyone with a RePEc author account. Serials from this institution can be added with the Publisher-Institution: RePEc:edi:bsmsuus line in the series template of their RePEc archive. If there is no local RePEc archive, follow these instructions to create one to have the local publications listed on RePEc services.
EDIRC is a RePEc service hosted by the Research Division of the Federal Reserve Bank of St. Louis
Copyright 1995-2018 Christian Zimmermann All rights reserved


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On our very first trip to Haiti, we met a little boy. His name was Donalson.
We came home from that first trip having met many, many people. A few of them we just couldn't forget. Donalson was one of them. We knew him, and he knew us.
In fact, when Jared and I went back to Haiti a few months later, Donalson was one of the first people to greet us upon our arrival. To say we loved him would be an understatement. There was just something special about him.
And so a friendship began. With each trip to Haiti, we looked forward to seeing Donalson and spending time with him. He frequently came to visit. He was bright, inquisitive, ready to learn. He never once said, "Hey, YOU. YOU!" and he never asked for anything. We knew his name, he knew ours, and what we shared was shared out of love.
He gave us beautiful drawings, and we often gave him the paper and pencils with which to draw.
When Haiti Awake was founded in October of 2014, Donalson began to come by our house to visit. He then started coming to the neighborhood Bible schools, but it was obvious he was uncomfortable. He wanted to be with us, but he is not a child anymore.
Soon Donalson was helping us at Bible schools - distributing crafts and snacks, helping with crowd control . . . even doing some interpreting.
And at some point . . . he became part of the Haiti Awake family. He's an essential part of our team.
And so, today we are very proud to announce that Donalson Antoine is officially part of our staff at Haiti Awake.
God is good.


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Chinese Vice Premier visits UK synchrotron science facility
Chinese Vice Premier visits UK synchrotron science facility
Diamond was honoured to welcome China's Vice Premier Yangdong Liu, along with senior colleagues from the Chinese government and embassy, for a tour of the synchrotron on Saturday 19th September.
Prof Andrew Harrison, Diamond's CEO, and his fellow directors led the tour, which enabled Madam Liu and her colleagues to gain an appreciation for the scale of the synchrotron and the precision engineering that is required to facilitate experiments at the molecular and atomic level. Jo Johnson, Minister of State for Universities and Science, also attended on behalf of the UK government. Madame Liu was shown Diamond's I24 beamline for microfocus protein crystallography. Here Prof Dave Stuart, Diamond's Director of Life Sciences and Head of the Division of Structural Biology at the Department of Clinical Medicine (Oxford), along with Ling Zhu and Xlangxi Wang, post docs at the Department of Structural Biologyworking on a collaboration between Diamond, Oxford and Beijing, explained the research that they have been doing to design a new empty shell vaccine for foot and mouth disease. The beamline, one of 25 currently operational, conducts research into a host of other human and animal related diseases including cancer, diabetes, HIV and polio.
Commenting on the visit, Prof Harrison said, "It was a huge privilege to meet Madame Liu and to have the opportunity to highlight the work that we do here at Diamond, which spans across all fields of scientific research. 21st century science is an international endeavour and we welcome many Chinese scientists to Diamond as part of academic and industrial collaborations. We are sure the visit will help to spark new ideas for collaborations and partnerships in the future."
"This was an extremely important event for us. The delegation had over 70 representatives and many other senior Chinese individuals, including several ministers. Over 20 Diamond staff helped to organise and manage the visit and I'm extremely grateful to them all for making the day such a success. Fajin Yuan, Chiu Tang and Hongchang Wang deserve a special mention, as well as Shu Yan Zhang from ISIS, as their translation services were outstanding and invaluable."
The vice-premier and her colleagues were visiting the Harwell campus as part of a wider event organised by the Science & Technology Facilities Council (STFC), which included a symposium chaired by Andrew Taylor, Head of National Laboratories, STFC-BIS. The event highlighted the strong science and technology links that exist between the UK and China, along with future plans to extend these links and develop new projects between researchers from both academia and industry.


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Chris Pine Looks Ridiculously Like Gary From Team America
If they ever remake Team America and stick real people in it I know who's goddamn playing Gary. I'm watching the Oscars (sue me) and actually can't believe Chris Pine went undrafted in the first two rounds of the bro draft. Guy's a Pavel Datsyuk sleeper. Gonna be a steal if we ever do a third round.
PS – Team America is actually fantastic. Seriously underrated when I think of all time funniest comedies. The first scene where that little French fucker is singing "Frère Jacques" is murder. But the best scene by a mile is the derka derka scene with my boy Gary.


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ZippyPaws - Croissant NomNomz Dog Toy
ZippyPaws' mission is to create beautifully-designed, high-quality toys for the modern dog and dog owner. NomNomz are your favorite foods, now in plush form for your pups! Each toy includes 2 large round squeakers to entice play.
- Inside are 2 round squeaker
- Great for small and medium-sized dogs
- Stuffed
6.5 x 6 x 3 inches
We Also Recommend


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Yachting is a growing recreational sport in Asia especially in countries with calm coastal waters like Hong Kong, Taiwan, Japan, Malaysia, and Singapore. If you are planning to get involved in the sport, you are going to need a good and reliable yacht. You have two options on how to go about it. You can rent the yacht or buy it altogether. It's highly recommended that you consider buying your own boat because you will have more freedom on how and where you are going to sail it.
There are a lot of places where you can buy top-of-the-line yachts in Asia. These would include the following:
- Hong Kong
It's not that difficult to find good yachts for sale in Hong Kong because the city is home to several yacht clubs. The city is surrounded by the sea, so there are a lot of establishments that offer yacht sales and rentals. Some of the more well-known yacht sellers in the area include Boats and Yachts Ltd., Hong Kong Yachting, and the Royal Hong Kong Yacht Club.
- Singapore and Malaysia
Again, these are nations that are quite surrounded by coastal waters which means the are perfect for yachting activities. Whether you are planning to buy a boat or rent it for some time, the companies you contact should be any of the following: SG Boating Ltd., Republic of Singapore Yacht Club, Yachting Singapore Ltd., Marine Bookings Ltd., and Prometheus Marine.
- Japan
There are several good places in Japan where you can purchase new and used yachts. It's advisable that you check out Marine Trader because this company offers a wide array of boats and yachts. The boats they sell come from well-known manufacturers such as Yamaha, Nissan, Sea Ray, Bayliner, and Yanmar. In short, you have a lot of yachts and boats to choose from.
In a nutshell, if you are looking for a durable and efficient yacht in any of the Asian countries mentioned above, you should take note of the yacht companies and clubs we've discussed. You can expect excellent services and high-quality yachts from them.