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Bowman wins Xfinity race; 8 drivers advance in playoffs
CONCORD, N.C. (AP) — Alex Bowman proved to Dale Earnhardt Jr. he's ready to take his place next year.
In his first race in nearly a year, Bowman drove his No. 42 Chevrolet to his first NASCAR Xfinity Series victory Saturday night at Charlotte Motor Speedway in a rain-delayed playoff elimination race.
Bowman will replace Earnhardt next year in the No. 88 Chevrolet in the Cup series. Earnhardt is retiring after the season.
Bowman is not eligible for the Xfinity playoffs.
Justin Allgaier, William Byron, Daniel Hemric, Cole Custer, Elliott Sadler, Brennan Poole, Matt Tifft and Ryan Reed advanced to the second round of the Xfinity Series playoffs. Brendan Gaughan, Michael Annett, Blake Koch and Jeremy Clements were eliminated.
Bowman hasn't had a ride this year, instead serving as a simulator driver for Hendrick Motorsports.
He had five top-five finishes in the Xfinity series entering the night, and said it was a relief to get a breakthrough win.
"Trust me, I have heard plenty of people tell me I have never won any of the NASCAR races on the top three levels," Bowman said. "It definitely gave me a mental stamp of approval that I can do it. ... Hopefully, it puts some of the people who are talking to rest because we are going into 2018 to win a lot of races in that 88 car."
He said he felt a little rusty in the car not having raced since Homestead. But that went away as the race progressed.
After the race, Earnhardt posted on Twitter : "That @AlexBRacing can wheel. Pure talent. Can't wait to watch him do amazing things next year in the @nationwide88."
Reed nipped Gaughan for the final spot in the playoffs by one point. Gaughan finished in 11th place — one spot ahead of Reed — but it wasn't enough to catch him in the playoffs.
"That's awesome for the sport that it came down to that," Reed said. "That is about as great of a battle as you can ask for a first elimination race."
Reed said his team got a gift when a caution flag came out late and his crew was able to adjust a loose car on a pit stop. He was able to stay close enough to Gaughan's bumper to advance to the Round of 8.
Two of the fastest cars on Saturday night had problems in the second half of the race.
Daniel Suarez, who led a race-high 111 laps, had a tire problem on a pit stop with 37 laps remaining, forcing the No. 18 Toyota to head to the back of the field. He finished eighth.
Erik Jones, who won the first stage of the race, had been running with the leaders before hitting the wall with 79 laps to go.
Allgaier entered the race with the Xfinity Series lead, but his engine blew up with 86 laps left ending his night. He had damaged his car earlier in the night when he ran over debris on the racetrack causing the engine to overheat.
However, he had accumulated enough points early in the race to qualify for the second round.
"The good news is we gave ourselves a cushion just in case we had to use a Mulligan. And we needed to use one," Allgaier said.
The metal display board that flashes the number for the black flag fell off the flag stand bringing out a caution with 58 laps remaining.
The metal box fell onto the track but did not damage any cars.
There was also a scary moment in the second half of the race when Telvin McClurkin, a member of Ryan Reed's team, got his foot caught under the front of the car and went for a brief ride. However, McClurkin was fine and continued to work.
More AP Auto Racing: http://racing.ap.org


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Thank you Emily *Sweetlove* for giving me a good kick start with this drawing. *A dream is a wish your heart makes When you're fast asleep... No matter how your heart is grieving, If you keep on believing, the dream that you wish will come true*
Java Draw Created Dec 29, 2011 640 x 460px Unless noted Copyright 2011 savetheseals.
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please draw on here again i miss your drawings!
I still find this one fantastic!
Exquisite.... 5 big hearts and since she soon will be royalty collect/faves
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thats reaaaally amazing [:
What a BEAUTIFUL picture... Just gorgeous! The details and the shading are superb,, Absolutely impeccable! Collector and fav
thisn is amazing *_* i love her dress and the show with the high light :D the baclground looks so fantastic really great 5/5h anf favorite C:
Spectacular work, especially with the lighting and shadow, and with the reflections at night, and the parts that are misty/fuzzy and the parts that are brighter and more defined. Works well with the fantasy style! Thank you so much for sharing!

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Obama calls for deportations review
President Barack Obama finally bowed to pressure from immigration rights activists and signaled on Thursday that he may change his deportation policy.
The president changed course after months of claiming there was nothing his White House could do to stem the flow of deportations of undocumented immigrants. Obama announced in a meeting readout that he has requested a review of his administration's enforcement policies for immigration laws to see if that enforcement can be done "more humanely within the confines of the law," the White House said Thursday.
Story Continued Below
To immigrant rights activists, however, that is something of a victory. It means Obama is taking steps toward changing the administration's deportation policies — though the groups won't be satisfied until the policies are in force.
( Also on POLITICO: Obama to meet with immigration advocates Friday)
The announcement comes after Obama and the White House for months insisted there was nothing the administration could do to stem the flow of deportations short of Congress passing comprehensive immigration reform, which is unlikely to happen soon. And it came as Hispanic lawmakers were weighing a formal statement demanding Obama act on his own.
The White House made the announcement after Obama met for more than an hour Thursday evening with three leading members of the Congressional Hispanic Caucus amid a furor in the Latino and immigration-rights community over the number of deportations of undocumented immigrants during his administration.
"The president emphasized his deep concern about the pain too many families feel from the separation that comes from our broken immigration system," the White House said in a readout of the meeting.
Obama asked Jeh Johnson, the Department of Homeland Security secretary, to conduct the review, the White House said. Democratic Reps. Xavier Becerra of California, Luis Gutierrez of Illinois and Rubén Hinojosa of Texas attended the Thursday meeting at the White House. The three congressmen did not speak to reporters upon leaving the White House.
( PHOTOS: An immigration naturalization ceremony)
"It is clear that the pleas from the community got through to the President," Gutierrez said in a later statement. "The CHC will work with him to keep families together. The President clearly expressed the heartbreak he feels because of the devastating effect that deportations have on families."
The CHC released a statement late Thursday calling the meeting "productive" and saying members will meet soon with Johnson to discuss "moving forward in a constructive manner."
The White House has scheduled a meeting Friday afternoon with Obama for a half-dozen top immigration activists, many of whom have demanded the president do something on immigration.
The White House meeting came as the Congressional Hispanic Caucus, which has played a key role on setting immigration policy for House Democrats, has been wrestling with a resolution aimed at Obama on deportations that would take a sharp line against the administration.
Key lawmakers and immigration reform advocates, highly skeptical that the GOP-led House will take up legislation this year, have upped pressure on the Obama administration to use executive action to suspend deportations they view as unnecessary.
Obama and his aides had repeatedly said that is not an option. Still, advocates were hopeful that Obama will issue a directive similar to one he announced in spring 2012, which deferred deportations for hundreds of thousands of young undocumented immigrants who came to the United States as children.


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Chilean journal of agricultural research
versión On-line ISSN 0718-5839
Chilean J. Agric. Res. vol.72 no.1 Chillán mar. 2012
Chilean Journal of Agricultural Research 72(1) January - March
Combining Ability Analysis for Achene Yield and Related Traits in Sunflower (Helianthus annuus L.)
Análisis de Habilidad Combinada para Rendimiento de Aquenios y Características Relacionadas en Maravilla (Helianthus annuus L.)
Muhammad Waqas Ahmad1, Muhammad Shahzad Ahmed1*, and Hammad Nadeem Tahir1
1University of Agriculture, Faculty of Agriculture, Department of Plant Breeding & Genetics, Faisalabad, Pakistan. "Corresponding author (firstname.lastname@example.com).
Ten sunflower (Helianthus annuus L.) lines, five testers, and 50 crosses developed in line x tester fashion were evaluated for general combining ability (GCA) and specific combining ability (SCA) effects in a triplicate randomized complete block design, in Faisalabad, during 2009-2010. Genetic variability among genotypes was assessed for days to flowering, days to maturity, plant height, internodal length, leaf area, number of leaves per plant, head diameter, stem girth, percentage of filled achenes, 100 achene weight, achene yield per plant. A-1, A-7, A-27 and A-39 had significant general combining ability effects for days to flowering, days to maturity, internodal length, leaf area, and achene yield per plant. Among testers, A-26 and HBRS-1 were good general combiners for days to flowering, days to maturity, plant height, leaf area, head diameter, stem girth, percentage of filled achenes, 100-achene weight, and achene yield per plant. Crosses A-165 x A-26, A-41 x A-35, A-1 x G-12, and A-41 x HBPS-1 had significant and positive SCA effects for percentage of filled achenes, 100 achene weight, and achene yield per plant. Four best SCA crosses are recommended to be the best hybrids for cultivation. Non-additive type of gene action was found for all of the plant traits, which is desirable for heterosis breeding and may be exploited in hybrid seed production.
Key words: GCA, SCA, line x tester and yield.
Diez líneas de maravilla (Helianthus annuus L.), cinco verificadores, y 50 cruzas desarrolladas en la forma línea x verificador fueron evaluadas para efectos de capacidad de combinación general (GCA) y capacidad de combinación específica (SCA) en un diseno de bloques completos al azar en triplicado, en Faisalabad, durante 2009-2010. La variabilidad genética entre genotipos se evaluó con días a floración, días a madurez, altura de planta, longitud entre nudos, área foliar, número de hojas por planta, diámetro de cabeza, circunferencia del tallo, porcentaje de aquenios llenos, peso de 100 aquenios, producción de aquenios por planta. A-1, A-7, A-27, y A-39 tuvieron efectos significativos de GCA para días a floración, días a madurez, longitud entre nudos, área foliar, y producción de aquenios por planta. Entre los verificadores, A-26 y HBRS-1 fueron buenos combinadores generales para días a floración, días a madurez, altura de planta, área foliar, diámetro de cabeza, circunferencia del tallo, porcentaje de aquenios llenos, peso de 100 aquenios, y producción de aquenios por planta. Las cruzas A-165 x A-26, A-41 x A-35, A-1 x G-12, y A-41 x HBPS-1 tuvieron efectos SCA significativos y positivos para porcentaje de aquenios llenos, peso de 100 aquenios, y producción de aquenios por planta. Cuatro cruzas fueron recomendadas como los mejores híbridos para cultivo. No se encontró acción génica de tipo aditiva para ningún rasgo, lo cual es deseable para heterosis y puede ser explotado en producción de semillas híbridas.
Palabras clave: GCA, SCA, línea x verificador y rendimiento.
Edible oil is major constituent of our diet but Pakistan is chronically deficient in its production, and large quantity of the country's edible oil requirements are met through imports. Oilseed sector, due to ever increasing consumption of edible oil, has attained critical importance in the economy of Pakistan. Total availability of edible oil during 2009-2010 was 1749 million tons, whereas local production stood at 0.680 million tons which accounted for 24% of the total availability while the remaining 1246 million tons was made available through imports (Economic Survey of Pakistan, 2009-2010).
This gap in the consumption and production can be filled by introducing cultivars with high edible oil contents, lodging resistance, high achenes yield, drought tolerance, and early maturity. Domestic production of edible oil can be increased by increasing the area and per acre yield of conventional and non-conventional oilseed crops. The area under oilseed crops cannot be increased as land resources are limited therefore, the only way left is the improvement of genetic potential of existing oilseed crops and introduction of new crops.
Sunflower (Helianthus annuus L.) appears to be the only crop which can play a crucial role in supplementing our local oil production due to its high yield potential, high edible oil contents, drought resistance, salt tolerance and alteration in the present cropping pattern. Being a short duration crop (90-110 d), it can be grown effectively twice a year under irrigation as well as rain fed conditions.
Presence of genetic variability is assessed as a first step for the development of high yielding and better adapted varieties/hybrids. It is essential to identify superior parents for hybridization and crosses to develop the genetic variability for selection of superior genotypes (Gangappa et al., 1997a). The line x tester analysis is one of the efficient methods of evaluating large number of inbred lines as well as providing information on the relative importance of general combining ability and specific combining ability effects for interpreting the genetic basis of important plant traits. The general combining ability (GCA) of a line means the average value of its performance in hybrids when crossed with other lines. The performance of individual hybrids is used to obtain specific combining ability (SCA), and that of the lines crossed to form that hybrid (Fick and Miller, 1997). Based on the combining ability analysis of different characters, higher SCA values refer to dominant gene effects and higher GCA effects indicate a greater role of additive gene effects controlling these characters. If both the GCA and SCA values are not significant, epistatic gene effects share an important role in determining these characters (Fehr, 1993).
In the present research study, parents and hybrids produced from line x tester mating were evaluated. The objective of this study was to estimate GCA and SCA of parents so as to identify superior combiners for high achene yield, early maturity, and lodging resistance.
Fifteen genotypes/lines of sunflower were obtained from Oilseed Research Group, Department of Plant Breeding and Genetics, University of Agriculture Faisalabad (UAF), Pakistan. These were grown in field during spring 2009. Ten successively selfed accessions were used as female parents (lines) and five as male parents (testers) and crosses were attempted following line x tester fashion through controlled pollinations. In this way 50 crosses were developed for further study. The seeds of 50 crosses and their 15 parents were planted in field during September 2009, following a randomized complete block design with three replicates. The seeds were sown in 10 m long rows keeping 30 cm plant to plant and 75 cm row to row distance. All agronomic and cultural practices were performed uniformly from sowing till harvest. Ten plants of each entry in each replicate were taken at random and data were recorded for days to flowering, days to maturity, plant height, internodal length, and leaf area, number of leaves per plant, head diameter, stem girth, percentage of filled achenes, 100 achene weights, and achene yield per plant. The data were subjected to ANOVA according to Steel et al. (1997). Data were further analyzed for general and specific combining abilities, following Line x Tester analysis given by Kempthorne (1957). The significance of GCA and SCA effects was determined at the 0.05 and 0.01 levels using the t-test.
Mean squares of all traits revealed significant differences among sunflower genotypes except 100 achene weight (Table 1). The differences among crosses were highly significant for all traits except internodal length, stem girth and 100 achene weight. Parents also differed significantly for all traits except 100 achene weight and internodal length. Highly significant differences existed for all traits except stem girth among lines and except internodal length among testers. However, line x tester interaction was significant for all characters except 100 achene weight and stem girth. Crosses vs. parents were significant for all characters under study. Significant difference within various components indicated the presence of genetic variability in the breeding material used in the study. This genetic variability may be exploited in the breeding programs for improvement of sunflower achene yield and its related traits. Significant differences among parents vs. crosses indicated the presence of heterosis in crosses that may be manifested for the development of high yielding sunflower hybrids. Significant differences have also been reported by early researchers among sunflower genotypes (Muppidathi et al., 1996; Monotti et al., 2000; Nehru et al., 2000; Gvozdenovic et al., 2005; Habib et al., 2007), males and females parents (Alone et al, 1996; Muppidathi et al, 1996; Gangappa et al, 1997b; Gill et al, 1998; Wang et al, 1997; Adefris et al., 1999; Jayalakshmi et al., 2000; Kannababu and Karivaratharaju, 2000; Monotti et al., 2000; Sharma et al., 2003; Habib et al., 2007), L x T interaction (Laureti and Del Gatto, 2001; Ortis et al., 2005; Binodh et al, 2008), and parents vs. crosses (Alone et al., 1996; Shekar et al, 1998; Ashoke et al, 2000; Habib et al, 2007; Khan et al. , 2008) for achene yield and its components. Non-significant mean squared values for L x T interaction in days to maturity, plant height, head diameter, and seed yield have also been reported by Habib et al. (2007).
The mean sum of squares due to crosses was split into lines, testers and interactions. The lines were revealed to be significant for all the characters except stem girth, while the testers showed significant mean sum of squares for all the characters under studied apart from internodal length. The interaction mean sum of square was found to be significant for days to flowering, days to maturity, plant height, leaf area, number of leaves per plant, head diameter, percent filled achenes, and achenes yield per plant. The variance component due to specific combining ability (SCA) was higher in amount than that of general combining ability (Table 1) for all the characters demonstrating prevalence of non-additive (dominant, overdominance and epistasis) type of gene action, and therefore, heterosis breeding may be rewarded which is in agreement with the findings of Shankar et al. (2007). Dominant gene effects were reported for days to flowering, number of leaves per plant, head diameter by Naik et al. (1999), Skoric et al. (2000) and Marinkovic et al. (2000). Over dominance effects for plant height, leaf area and 100-achene weight were also reported by Naik et al. (1999) and Skoric et al. (2000).
Table 1. Mean squares from ANOVAs of indicated plant traits of 195 sunflower genotypes.
"Significant at 0.05 level. "Significant at 0.01 level.
SOV: Source of variance; DF: Degree of freedom; DTF: Days to flowering; DTM: Days to maturity; PH; Plant height; IL: Internodal length; LA: Leaf area; NLP: Number of leaves per plant; HD: Head diameter; SG: stem girth; %FA: %filled achenes; 100-AW: 100-Achene weight; AYP: Achene yield per plant.
The general combining ability effects (Table 2) indicated that all the lines except A-179, G-5, and G-46 were good combiners for days to flowering and days to maturity. Maximum negatively signiicant GCA showed that these lines can be used for short duration hybrid progeny. These results were in accordance with the findings of Shankar et al. (2007). Apart from lines, A-41, A-165 and A-40, all the lines used under study depicted maximum negatively signiicant GCA effects for plant height and internodal length while highly signiicant value for leaf area and number of leaves per plant. While careful selection criteria should be used for stem girth because did not show maximum signiicance for stem girth. Short stature, less internodal length and large leaf area and maximum numbers of leaves per plant is prerequisite for high yielding lodging resistant hybrid progeny. All the lines revealed exceedingly momentous GCA effects for percent illed grain and achenes yield per plant except A-165 and A-179 while all the lines showed non-signiicant GCA results for 100-achene weight excluding G-5. These results are in contradiction with the inding of Goksoy et al. (2000). So, careful selection criteria should be adopted for 100-achene yield. All the lines revealed signiicant results for head diameter. However, these results do not match with the findings of Kaya and Atakisi (2004). Testers (Table 2) demonstrated highly signiicant GCA effects for all the traits under study with the exception of internodal length and 100-achene weight. These results are in compliance with the indings of Shankar et al. (2007). Testers with non-signiicant traits and low yield performance meet the general criteria for testing the general combining ability performance lines. The parents, which were good general combiners for economic qualities, might be extensively used in hybridization programs.
Table 2. General combining ability effects of sunflower lines and testers for yield and its components.
"Significant at 0.05 level. "Significant at 0.01 level.
With the point of view of objectives of the present study selection criteria for identiication of suitable hybrids with the parameters like; days to flowering, and days to maturity for early maturity, plant height, internodal length, leaf area and number of leaves per plant for lodging resistance and heat diameter, percent illed achenes, 100-achene weight and achene yield per plant for economic yield must be under consideration. Cross combinations (Table 3); A-165 x A-26 and A-41 x A-35 depicted excellent SCA performance for more than 80% characters under study, while A-1 x G-12 and A-41 x HBPS-1 revealed highly significant SCA effects for more than 70% and 60 traits respectively. In the bulk of the crosses high SCA effects were due to low x low, high x low and low x high combining lines x testers which further demonstrate the operation of non-additive gene action for the traits under studied.
Hybrids (Table 3); G-5 x A-26, G-5 x A-35, A-27 x A-35, A-29 x A-37, A-65 x A-26, A-40 x G-12 and A-40 x A-26 illustrated high negatively signiicant SCA effects for days to flowering and days to maturity. These characters might be due to low x low, high x low and low x high combining parents indicating non-additive gene action so, heterosis breeding may be rewarded. These results were in conformity with the earlier findings of Bajaj et al. (1997), Lande et al. (1997), Kumar et al. (1998), Shekar et al. (1998), Goksoy et al. (1999), Gomez et al. (1999), Naik et al. (1999), Nirmala et al. (1999), Radhika et al. (1999), Goksoy and Turan (2005), Gvozdenovic et al. (2005), Ortis et al. (2005), Hladni et al. (2006).
Table 3. Specific combining ability effects of 50 sunflower crosses for yield and related traits.
"Significant at 0.05 level. "Significant at 0.01 level.
DTF: Days to flowering; DTM: Days to maturity; PH: Plant height; IL: Internodal length; LA: leaf area; NLP: number of leaves per plant; HD: head diameter; SG: stem girth; %FA: %filled achenes; 100-AW: 100-Achene weight; AYP: Achene yield per plant.
Hybrid combinations (Table 3); G-5 x G-12, A-27 x HBRS-1, A-41 x A-35, A-39 x A-26, and A-165 x A-26 gained maximum significance SCA effects for all the lodging resistant traits under studied viz; plant height, internodal length, leaf area, number of leaves per plant. None of the hybrid showed considerable performance for stem girth except A-39 x A-57, A-40 x A-35, and A-40 x A-57. So, it can be concluded that all the lines and testers used in this study are not suitable for producing hybrids with robust stem girth apart from progenitors of crosses; A-39 x A-57, A-40 x A-35, and A-40 x A-57.
Hybrid progeny; A-179 x HBRS-1, A-41 x HBRS-1 and A-165 x A-26 demonstrated highly significant SCA effects for all three economic yield related traits viz; % filled achenes, 100-Achene weight, achene yield per plant. These results are in accordance with the findings of Lande et al. (1997); Lokendra et al. (1997); Kumar et al. (1998); Goksoy et al. (1999); Ashoke et al. (2000); Sharma et al. (2003); Gvozdenovic et al. (2005); Ortis et al. (2005); Hladni et al. (2006). They reported additive gene effects for plant height and leaf area.
According to above research study, it is concluded that breeding material evaluated has adequate genetic variability that may be exploited in further breeding programs. SCA and GCA ANOVAs proposed these characters under control of non-additive gene action. Further analysis revealed over-dominant gene action controlling these plant traits. Therefore, heterosis breeding is suggested for improvement in yield and related traits using this sunflower breeding material.
Among the lines, A-1, A-27, and A-39 showed maximum GCA effects and considered to be good general combiner for almost 80% traits under study these lines can be used for further heterosis breeding programs. A-26 and HBRS-1 found to be good general combiner testers. Cross combinations; A-165 x A-26, A-41 x A-35, A-1 x G-12, and A-41 x HBPS-1 depicted excellent SCA performance for more than 80% traits under study.
Finally, it is concluded that non-additive type of gene action was found for all of the plant traits, which is desirable for heterosis breeding and may be exploited in hybrid seed production.
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Monotti, M., M.A. Del Pino, D. Laureti, and S. Pieri. 2000. Trials of sunflower varieties in 1999. Info Agrario 56(11):35-43. [ Links ]
Muppidathi, N., R. Sankarapandian, and S. Rajarathinam. 1996. Stability and selection parameters in sunflower hybrids under rainfed vertisols. Madras Agricultural Journal 83(12):747-750. [ Links ]
Naik, V.R., S.R. Hiremath, and J.K. Girira. 1999. Gene action in sunflower. Karnataka Journal of Agricultural Sciences 12(1-4):43-47. [ Links ]
Nehru, S.D., A. Manjunath, and D. Basavaraja. 2000. Extent of heterosis for seed yield and oil content in sunflower. Karnataka. Journal of Agricultural Science 13(3):718-720. [ Links ]
Nirmala, V., A. Gopalan, and D. Sassikumar. 1999. Correlation and path coefficient analysis in sunflower. Madras Agricultural Journal 86:269-272. [ Links ]
Ortis, L., G. Nestares, E. Frutos, and N. Machado. 2005. Combining ability analysis for agronomic traits in sunflower (Helianthus annuus L.) Helia (28):125-134. [ Links ]
Radhika, P., K. Jagadeshwar, and P.S. Sharma. 1999. Genetic analysis of seed yield and certain physiological parameters in sunflower. Journal of Research ANGRAU 27(1-2):5-17. [ Links ]
Shankar, V., G. Ganesh, M. Ranganatha, A.R.G. Suman, and A.V. Sridhar. 2007. Combining ability studies in diverse CMS sources in sunflower (Helianthus annuus L.) Indian Journal of Agricultural Research 41:171-176. [ Links ]
Sharma, S., R.K. Bajaj, N. Kaur, and S.K. Sehgal. 2003. Combining ability studies in sunflower (Helianthus annuus L.) Crop Improvement 30:69-73. [ Links ]
Shekar, G.C., H. Jayaramaiah, K. Virupakshappa, and B.N. Jagadeesh. 1998. Combining ability of high oleic acid in sunflower. Helia 21(28):7-14. [ Links ]
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Wang, P, J. Ji, Z.L. Chen, J.Y. Zang, Y. Wu, and G. Wang. 1997. Genetic analysis of main agronomic characters in oil sunflower (Helianthus annuus L.) Hereditas (Beijing) 19(6):15-17. [ Links ]
Received: 27 December 2010.
Accepted: 13 December 2011.


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The economic news hasn't been so good lately. How are you coping? Have you checked your own family's history?
Most of us have relatives who lived through the years of the Great Depression. Their stories of life in America during that troubling time are often chilling, yet inspirational. They can also be instructive as we navigate the uncharted waters that threaten to swamp our present global economy.
Learning about your own family's Great Depression experiences gives you a unique perspective on how your ancestors dealt with wave after wave of hardships they encountered as they struggled to keep their families afloat. You can learn more about lessons learned from that time in Studs Terkel's Hard Times, a book based on interviews of survivors of the Great Depression first published in 1970 and enjoying a resurgence in popularity today.
For many of us, a return to the basics are in order. The Gatsby-like "American Dream" lifestyle of fancy cars, lavish lifestyle and big houses, fueled by cheap energy and easy credit, is unsustainable and, for most of us, unattainable. Here are a few lessons from the Great Depression that can help us get on track:
• Work hard
• Save what you can
• Educate yourself and your children
• Insist that your representatives in government know where you stand on matters of importance to you
• Live within your means
• Be good to your neighbors
• Support your local businesses
What lessons have you learned from your Great Depression relatives?
Larry Lehmer is a personal historian who helps people preserve their family histories. To learn more, visit his web site or send him an e-mail.
Flickr photo courtesy of Koshyk (traveling).


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Dry Dock Brewing Co. lands location for expansion in Aurora
Aurora's much-decorated Dry Dock Brewing has secured a location for a new production facility that will significantly increase its production and allow the brewery to start canning and eventually distribute out of state, the brewery announced today.
And yes, Aurora will remain the brewery's one and only home.
Here's the full news release:
Dry Dock Brewing Announces Expansion Plans
Aurora, CO
May 14, 2012
Dry Dock Brewing Company, winner of the 2009 Small Brewing Company of the Year award at the Great American Beer Festival, has found a location for its production facility. Owners Michelle and Kevin DeLange are under contract to purchase a 30,000 sq ft building in Aurora, Colorado. This second location will house a 4-vessel, 40 barrel brewhouse that will eventually be capable of producing more than 60,000 barrels of beer per year (one barrel is 31 U.S. gallons).
Located just south of I-70 on Tower Road, the new facility should be producing beer by the end of the year, aiming to brew 12,000 barrels in the first year. Dry Dock plans to start by focusing its distribution in Colorado, and begin to consider out of state markets in 2014.
Currently, Dry Dock distributes in 22oz glass "bomber" bottles which it has been doing since January 2011. It also plans to package in aluminum cans in the new production facility. The canning line will be designed and fabricated by Wild Goose (Boulder, CO), a local can line manufacturer. "We will continue to produce the Double IPA, Bligh's Barleywine and other seasonals in bombers while putting our Apricot Blonde, Hefeweizen, Amber and a hoppy beer in cans," says Michelle DeLange. Dry Dock Brewing Co. also intends to offer champagne style bottles with cork/cage finish for barrel-aged and sour beers that are produced in later years.
The current Dry Dock Brewery location will remain unchanged, continuing its dual roles of a working brewery and flagship tasting room. However, the East Hampden Avenue facility will be largely exempt from the ever-growing production demands. With the exception of some limited draught only releases, all distribution will come from the new production facility so the present brewery can be used more for experimental, barrel-aged, and sour beers. "We will be able to play even more on our current system. Although it is small, it has all the capabilities of step mashing and decoction that our new, larger brewery will have so it will be a perfect pilot system," DeLange said.
Dry Dock has yet to decide who will distribute its brand in Colorado, but has been actively interviewing distributors and is close to making a decision. Kevin DeLange said, "There are a few in Colorado that have been inquiring, as they've seen us grow, and at least 10 out-of-state distributors have reached out to us as well. We're going to spend 2013 getting our feet under ourselves here in Colorado." Since opening in 2005, Dry Dock has never been able to keep up with demand. "We talked to a lot of brewery owners at the Craft Brewers Conference and they all advised us to take it slow. Although this facility has huge potential, we don't want to over extend ourselves too quickly."


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"We intend to vigorously defend ourselves against the CFPB's allegations," says PHH spokesman Dico Akseraylian.
According to the bureau, PHH Corp. referred borrowers to mortgage insurers it partnered with and these MI companies purchased reinsurance from a PHH insurance subsidiary.
A CFPB investigation found that "PHH took the reinsurance fees as kickbacks, in violation of the Real Estate Settlement Procedures Act," according to the notice of charges. Over a 15-year period, PHH collected "hundreds of millions of dollars in kickbacks," the CFPB says.
The Mount Laurel, N.J.-based mortgage company denied the allegations. "We are deeply disappointed that the CFPB has filed a notice of charges related to our mortgage reinsurance subsidiary, Atrium Insurance Corp. Atrium assumed significant risks, paid substantial claims, and we believe complied with applicable statutory and regulatory requirements in existence during the period Atrium was engaged in the mortgage reinsurance business," the company said.
In most of the CFPB referral cases, the lender, title company or builder agreed to a settlement and paid a fine. It appears the PHH case will be the first that will go to trial before an administrative law judge.


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The first American public building, Colton Hall, is completed in Monterey.
On September 1, the California Constitutional Convention begins in Colton Hall.
Year: 1849
Need to know about Spain's first headquarters in Alta California, settled before the Declaration of Independence was signed? Want to learn about abalone, salmon and sardine fisheries, or Cannery Row? Love to explore historic buildings in the town where California was born?
Historic Monterey is a partnership of the City of Monterey, Monterey History and Art Association, and Monterey State Historic Park. The Historic Monterey website includes nine themed sections covering the key aspects of our historic destination, detailed information on our 18th- and 19th-century buildings, and links to Historic Monterey members and partners for more information about Monterey history, culture, attractions, and events.
There aren't too many places with the number of historic sites that are found in Monterey. The early California adobes downtown and the historic cannery buildings on the oceanfront of Cannery Row combine with the vibrant and colorful stories of immigrants, artists, writers and political figures to create a rich Californian tapestry.
There are several walking tours that pass by historic districts in Monterey. This video shows a preview of some of the important structures you can see and tour.


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After miscue, Harper urged to exhibit more control
CINCINNATI -- Nationals outfielder Bryce Harper continues to show that he is not perfect in the outfield. During Saturday's 7-6 victory over the Reds, Devin Mesoraco reached base on an error by Ian Desmond, scoring Jay Bruce. The ball went to Harper, who overthrew the cutoff man while trying to throw Bruce out at the plate. It allowed the Reds runners to advance to second and third, but Cincinnati did not score any more runs in the inning.
Manager Davey Johnson said Harper must find a way to control his emotions on the field.
"[Harper] can't control his emotions; he is going to have to learn," Johnson said. "He understands it, but he can't control his emotions. He is a smart player, but he gets wound up at any moment. If he keeps the ball down, then he throws him out."
Harper acknowledged that he made a mistake but said, "If I throw him out, I'm perfect. If I don't, everybody will look at me and say I'm terrible. Nothing I can do."
Teammate Jayson Werth said Harper is a special player but has a lot to learn about the game of baseball.
"He's young. He is going to play a long time. He is a work in progress," Werth said.


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I just wanted to say THANK YOU!!!
I had fledged a few times before but allowed "life" to get in the way. Unfortunately, my children are grown, so they aren't reaping the benefits of my newfound habits and routines that are actually sticking this time.
In the home our children grew up in, we had knee deep clutter EVERYWHERE!! Both DH and I were working 14 hour days and it was awfully exhausting between Work, children, etc. I simply couldn't keep up.
In our last house, things got better but we're not perfect. We still had messy spots all over. It was certainly depressing to come home to. But was a lot better than we were previously living. We were in that house six years.
Fast forward to this past spring. DH got a job promotion and we moved six hours away. My habits changed greatly during the house sale. He moved to our new home in February and I followed in June. With only myself and our three dogs, I was finally able to implement and truly create new habits. Now, in our new home, his staff can drop in (he's a supervisor and his office is in our lower living area) or the neighbors come over any time at all, and I am completely comfortable with it. Which is a great thing because in our new town, people will simply open your door, yell, "HELLO!!" and walk in. I have zero reservations about it and for the first time in our 30 years of marriage I'm completely at ease.
I even created an email solely for my Flylady information so I can easily access what I need and want without spending time sorting and searching my (now) 20 year old email account to find the information.
And the best news of all is that our daughter has the Flylady daily and weekly list printed, in a page protector and on her fridge. She's using your principles and a dry erase pen to begin fledging in her first home.
Thank you!!!!
~ Jo
Our habit for July is Swish and Swipe!
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Carrie White is a misfit. At school, she's an outcast who's bullied by the popular crowd, and virtually invisible to everyone else. At home, she's at the mercy of her loving but cruelly over-protective mother. But Carrie's just discovered she's got a special power, and if pushed too far, she's not afraid to use it…
Based on Stephen King's bestselling novel, the musical of Carrie hasn't been seen since its legendary 1988 Broadway production. Now, the show's original authors have joined with director Stafford Arima (Altar Boyz) and MCC Theater for a newly reworked and fully re-imagined vision of this gripping tale. Set today, in the small town of Chamberlain, Maine, Carrie features a book by Lawrence D. Cohen (screenwriter of the classic film), music by Academy Award winner Michael Gore (Fame, Terms of Endearment), and lyrics by Academy Award winner Dean Pitchford (Fame, Footloose).
Run Time: Approximately 2 hours and 8 minutes.
Cast Size: Medium (5-21). Vocal Demands: Moderate. Dance Requirements: Some Dancing Required. Good For: High School • College/University • Amateur/Community • Professional Theatre.
To request the rights to make merchandise for this show email [email protected].
Fan Info:
Cast Recording Now Available On Ghostlight Records
The newly re-mastered Original Broadway Cast Recording of "CARRIE the musical" features the bonus track "Still Rockin'," sung by original cast member Hunter Foster. The handsome souvenir booklet includes a synopsis, color photos and complete lyrics, as well as two blank 'yearbook' pages for collecting autographs and recording memories of your own special production!
Wholesale rates available for bulk orders, please contact [email protected] for details. www.sh-k-boom.com
CARRIE the musical Songbook available from Hal Leondard
The CARRIE the musical song folio is now available from Hal Leonard Corporation. www.halleonard.com
(Please note: The purchase of this folio does not carry with it a license to present the stage musical.)
What Were They Thinking? Carrie, from Book to Movie to Musical
What Were They Thinking: Carrie, from Book to Movie to Musical is an intensely personal chronicle, tracking Lawrence Cohen's almost four-decade history with Stephen King's classic fable, from reading the manuscript in 1973 while a reader for producer David Susskind, to writing the screenplay for the classic 1976 Brian de Palma film, from deciding to turn it into a musical (1984) to the controversial Royal Shakespeare Company and legendary Broadway production that crashed and burned (1988), to collaborating on its rebirth and acclaimed resurrection Off-Broadway for MCC Theater in 2012.
The CW's high school drama RIVERDALE will be staging a production of CARRIE THE MUSICAL this spring! read more
"Welcome to the prom, Carrie. They're not going to laugh at you now! Powerfully acted and intensely well sung, this infamous rock musical about a telekinetic teen has the strange power to move you. The new and improved Carrie is gripping."— Adam Feldman, Time Out New York
"A downtown hit! This former joke of a musical now feels like a bonanza. The emotional core comes from the bond between Carrie and the religious fanatic of a mother who needs to keep her close."— Linda Winer, Newsday
Written By: Misha Davenport , June 03, 2014
Forget for a moment that "Carrie: The Musical" is based on Stephen King's terrifying debut novel and the subsequent iconic 1976 Brian De Palma film. And I know it will be exceptionally hard, but also forget that the show is a much-revised version of the cult-classic, infamous 1988 Broadway flop (thankfully, the book has exorcised most -if not all-of the demons that initially made the show a campy, miserable failure).
"Carrie: The Musical," enjoying its Chicago premiere at Bailiwick Chicago at Victory Gardens through July 12, soars like a phoenix on the strength of the performances of its leading ladies and a terrific ensemble cast. If you're looking for camp, look elsewhere. This is a serious and somber tragedy that electrifies. As seen in the Bailiwick production, "Carrie" deserves to be rescued from the pile of shows whose Broadway dreams did not pan out.
Aside from merely being entertaining, any revival (even revivals of failed musicals) needs to have some cultural, political or social relevance to the era in which it is being produced. "Carrie" is no different and she comes bearing quite a message.
If 1955's "Rebel Without a Cause," had teens rebelling against society, this "Carrie" (book by Lawrence D. Cohen who also wrote the film script; lyrics and music by Academy Award winners Dean Pitchford and Michael Gore, respectively) shows teens have become society and now battle each other with tragic results.
As the sounds of police cars, fire trucks and ambulances are heard, the lone witness and survivor to the carnage from teleknetic rage, Sue (Rochelle Therrien in a delicate, but emotionally powerful performance) sets the tone with the first line of dialogue: "You have to understand: we were just kids."
Sadly, school massacres have almost become commonplace in America.
Yes, crosses, books and other things get thrown in fits of telekinetic rage in this show, but nowadays, it's more likely to be a gun than supernatural powers that leads to a high school tragedy. It's hard not to sit through "Carrie" and not bring that baggage with you. Kids, just being kids, and, as Sue notes astutly at the end, "once you see, you can't unsee ".
Carrie White, it would seem, is not the only one who views themselves as an outsider. In the energetic opening number "In," a group of high schoolers lament "Life just doesn't begin/until you fit in."
It's hardly earth-shattering news, but, yes, teenagers, in their effort for peer acceptance, will often turn on anyone and everyone who is different quicker than you can grab your copy of Lord of the Flies.
As the tortured Cinderella of the piece, Callie Johnson initially sings of bringing her fellow classmates down to their knees in the title song, and yet Johnson manages to illicit our sympathies. The song (and Johnson's performance of it) shows us the seed of rage that will be the source of her powers later on. For the most part, she just wants to fit in like everyone else and dreams of dancing, laughing more than she does.
As Carrie's mother (and chief antagonist) Margaret, Katherine L. Condit still physically, mentally and spiritually abuses her daughter, but the results here are less over-the-top villainy and more the signs of an over-protective parent. Condit sings such hymns such as "Open Your Heart" and "When There's No One" with such sweet conviction.
If there is one cartoonish portrayal, it is that of Carrie's chief tormentor, Chris (Samantha Dubina). Though, to be perfectly fair, it's not Dubina's fault. She has to deliver the line"There's a runt in every litter and our runt is Carrie White." and in the song "The World According to Chris" sings "better to strike then get strucketter to screw than get screwed."
Michael Driscoll's direction keeps things moving along with an energy that pulses from the first number to the last. Brigitte Ditmars' choreography has the required youthful vitality, particularly in the group numbers.
Stephen H. Carmody's sterile and industrial set, with suspended metal lockers and chain link fencing evokes a sense of imprisonment more than it does high learning. To some teens, that's the point, though.
The second act opens with an ensemble song about the prom that is both hopeful and energetic; it includes the lyrics "You ain't seen nothin' yetit's gonna be a night we'll never forget." Given what we know is in store for these kids, it's the musical foreshadowing of the horror film standard of "don't go in there."
If you've read the book or seen the movie, you know how things must end. To Johnson's credit, you heart still breaks for Carrie as those events play out, though. I found myself wishing Carrie could have her happy ending this time.
"Carrie: The Musical" runs through July 12 at the Victory Gardens Richard Christiansen Theater, 2433 N. Lincoln. Tickets, $40. Call 773.871.3000. www.bailiwickchicago.com.
Written By: Monica Drake , April 29, 2014
Despite controversy regarding North Farmington High School's spring musical choice, the show will go on.
The school gained national attention earlier in the year after deciding to perform "Carrie: The Musical." Several parents were upset about the choice, calling it inappropriate for students because the subject is a teenager committing mass murder at a high school.
The production team of Dean and Susan Cobb, Lucy Koviak, Sheri Jaffurs and Matt Nix stand by their decision, saying that the story, based on Stephen King's novel, teaches an important lesson � to "be kinder than necessary, for everyone you meet is fighting some kind of battle."
North Farmington senior Natalie Porretta will be portraying the title character "Carrie."
Jordan Sheatzley will be playing the character Miss Gardner, the gym teacher who tries to help Carrie when she's teased. Kristine Overman will play Carrie's mother, and Nicole Tini will play Sue, the character who feels remorseful after making fun of Carrie. Cat Dickow will play Chris, who asks the character Billy, played by Alec Shapiro, to get revenge on Carrie by asking her to the school prom.
Porretta said, "(Carrie's) reaction to the event at the school prom, to me, serves as a metaphor for the intense isolation that a bullied victim might feel. ... As a cast, we plan to tie in the bullying element and take the opportunity to address that difficult subject." To spread this message of anti-bullying, red wrist bands will be sold in the main office of the high school with the words "What does it cost to be kind? Carrie 2014" on them. The proceeds raised from the sale of these bracelets will go towards local nonprofit Common Ground, a crisis intervention agency that has a 24/7 bullying hotline, 855-876-6253.
Susan Cobb, assistant director of the play, said in a press release, "Please wear your wristband with pride and know that the bullying issue for those bullied, as well as those bullying, needs our attention."
Porretta said she is "excited to play this role" of Carrie. "(I'm) very grateful to the Cobbs, our directors, for having such faith in me," she said. "What I enjoy most about the part is its complexity. Carrie experiences humiliation, hope, a glimpse of acceptance, fear and betrayal. This appeals to me as an actress because I enjoy the challenge, and this will be a great learning experience for me."
She said she thinks the actors in the school play are mature enough to handle performing the musical adaptation of "Carrie" and said, as far as vulgarity, the directors edited the play "in an effective but appropriate manner." "The parents who approached the school board were concerned about the influence of this play. I feel that all of our parents have given us a foundation of strong moral values and decency" said Porretta.
Written By: Lawrence D. Cohen
I think I'm having a heart attack. It's the afternoon of January 31, 2012, and I'm downtown at off-Broadway's Lucille Lortel Theater on Christopher Street in the West Village. Surrounded by banks of sound and lighting equipment, I'm standing with my collaborators, composer Michael Gore and lyricist Dean Pitchford, in the darkened, shadowy house, looking up at the bare stage. It's just hours before our newly reimagined musical based on Stephen King's Carrie -- a legendary show that notoriously crashed-and-burned on Broadway in 1988 -- will play its first public preview here. It's an event that more than a few naysayers adamantly swore would never ever happen, especially in the hyper fishbowl glare of New York. So this isn't just any first preview -- this is Carrie's resurrection night and, if there is huge pride and joy in having this second chance to see a new incarnation of our show up on its feet, I suddenly realize that I'm short of breath and have broken into a sweat. My heart is thumping so loudly it's about to burst out of my chest (presuming my head doesn't explode first), and I honest to God can't remember my name. Breathe, I tell myself -- breathe.
As the cast take their places for one last run-through, I turn to find Michael, Dean, and our director, Stafford Arima, with similarly dazed, out-of-body and deer-in-the-headlights looks on their faces. The kids begin to sing "In," the newly revamped opening number with emphatically contemporary orchestrations by Doug Besterman, infectious vocal harmonies by AnnMarie Milazzo, gorgeous arrangements and music direction by Mary-Mitchell Campbell, and arresting choreography by Matt Williams. Bernie Telsey, co-founder of MCC, the theater company that's producing the show, bounds down the aisle and bursts into a huge grin. "Whoa," he whispers excitedly to his partners and us, "I just got the chills."
It's no secret that our first time at bat with Carrie didn't work out the way we'd hoped. The Royal Shakespeare Company production and its turbulent gestation -- first at Stratford-Upon-Avon in England and then on Broadway -- was an insanely bruising, roller-coaster-like experience. Aside from stunning, larger-than-life performances by Linzi Hately in the title role and Betty Buckley as her mother, the show bore precious little resemblance to what we'd envisioned with its wildly tone-deaf excesses and inadvertent camp. When it closed after 16 previews and 5 performances, it became the stuff of theatrical legend and notoriety and prompted many to wonder: "What were they thinking?"
Decades before Spider-Man: Turn Off the Dark became a bigger story offstage than on, there was Carrie -- the first time a Broadway musical went from being a piece of theater to hard news with the backstage tale of its failure splashed across the front pages of every paper in the country. Time Magazine crowned it "the biggest all-time flop ever," and that, for a long time, is how most of the world thought of it. In truth, if the production onstage had been what was in our hearts and minds as authors, we would probably have just walked away and called it a day -- end of story.
In the years that followed, we were barraged with requests to perform the show around the world, but we had zero desire to see the version that closed on Broadway ever again. We turned down offers from colleges and high schools; from organizations that wanted to do it as benefit concerts; from companies hoping to stage it as Rocky Horror Show camp, or gender-bender drag. We became the subject of a book (Not Since Carrie) and, over time, a series of grainy, black-and-white bootleg videos shot from the theater's balcony during its original run received so many hits on YouTube that we found ourselves accorded cult status. As a show, though, Carrie remained unseen and without a cast album for almost 25 years.
As I stand here now watching our company onstage, a roar of memories come rushing back, and intense feelings, at once familiar and new, flood in. Flashcards of recollections fill my mind -- the night Michael and I went to see Alban Berg's Lulu at the Metropolitan Opera, after which Michael had the "ah-ha!" idea to turn Carrie (which I'd adapted to film in 1976) into a musical that would incorporate both pop and opera-like elements; phoning Steve King up in Maine to ask if he'd let us have the stage rights ("I'd be thrilled out of my undershorts" he replied); inviting Dean, who expressed immediate and unequivocal enthusiasm, to join us as lyricist; and, after we'd completed a draft of Act I, an informal workshop we put on at director/choreographer Michael Bennett's 890 Studios headed by Annie Golden as Carrie and Maureen McGovern as Margaret. That reading, in turn, led to a flurry of interest in a production and a series of unforgettable meetings with possible directors including Bob Fosse, Mike Nichols, Jerome Robbins, James Lapine, Des McAnuff and Ken Russell. In the winds of memory, I remember Terry Hands, the RSC's Artistic Director, first proposing that his company do the show as their follow-up to Les Miserables -- only to see it become a political hot potato in the British press. They were outraged at the idea of a show based on -- gasp! -- an American "potboiler" by Stephen King. My mind zeroes back to our horrified realization -- too late -- that when we used the musical Grease as a reference point to Terry, he thought we meant Greece and, much to our dismay, costumed the high school girls' gym class in toga-like whites and the boys in gladiator-like studded leather. I remember a heart-stopping moment in Stratford during which the legendary Barbara Cook -- star of Broadway's Golden Age who was making her eagerly anticipated return to the stage as Carrie's mother -- was nearly decapitated when the set bringing her on malfunctioned.
After Barbara withdrew and was replaced by Betty Buckley for the move to New York, I vividly recall a second night preview in which the coup de theatre finale -- the entire gym roof descending and turning into an epic white staircase -- stuck and hovered halfway down for minutes. Most of all, though, whatever our own misgivings, I can still hear audiences greeting the production with wild cheering and standing-Os like a rock concert -- as well as booing, as if they were at the premiere of a new opera at La Scala, or a legendary boxing match in Madison Square Garden. Even crazier, some performances experienced both responses at the same time -- leaving us standing in jaw-dropping, open-mouthed shock.
Finally, as if it were yesterday, my mind locks on the 1988 opening night that led to a number of theater myths that have prevailed to this day. The first was that the show received unanimously negative reviews when, in truth, Frank Rich's pan in the Times was matched by Clive Barnes' rave in the Post, and Variety's trouncing notice was countered by the Hollywood Reporter's love letter. The second myth -- an inaccuracy that was repeated endlessly until it became fact -- was that the show closed because of bad reviews. In truth, our German producer -- after rallying the team at the Saturday matinee with his plans to make a go of it -- got cold feet and proceeded to shut his offices and bank accounts and flee the country in the middle of the night without telling any of us. Trust me, you couldn't make this stuff up…
In the intervening years, my collaborators and I never gave up on the piece or the initial impulses that had inspired us to musicalize King's remarkably prescient little fable in the first place. Something primal about it -- about life as an outsider in high school -- continued to speak to us in some deep part of our souls…the persistent sense that we are all Carrie. In addition, the passage of time, along with the increasing epidemic of bullying in the world, only made its narrative more resonant, as did the vocal presence of religious fundamentalists in our culture. The truth was that when asked repeatedly if we ever thought we'd see a production of the show again, our answer was when -- not if.
Before that occurred, though, we felt that we needed to do a top-to-bottom MRI of every element of the script and score to see if we could swing the pendulum back from the first production's tonal lapses in favor of a new and hopefully more cohesive musical tragedy -- a better Carrie. Presuming the circumstances were ever right, we still harbored the desire to send this little misfit child of ours into the world -- not as a statistic or a legend, but as a living piece of theater to be seen and discussed and argued over and felt -- not hidden away in a drawer.
A few years ago, the three of us decided that we at last were ready to go back to work to create a version of the show that we liked -- one that might be able to take its place in the musical theater repertoire and be licensed as a viable stage property. Armed with our respective wish lists, we met to discuss creating something closer to our original intentions, but with absolutely no notion of New York on our agenda. At the same time, we were contacted by director Stafford Arima (Altar Boyz), who'd seen the original production as a teenager while visiting New York from Toronto, and now wanted to know if we'd be willing to meet to hear his dream of making a new Carrie a reality.
After a 29-hour workshop in November 2009 with a cast headed by the fierce and fearless Molly Ranson and Marin Mazzie as Carrie and Margaret, Bernie Telsey asked us if we'd consider a more scaled-down and intimate chamber version as part of MCC's season. We thanked him profusely, but immediately rejected the prospect of appearing again in New York with no safety net and our butts flapping in the wind. To their credit, Bernie and his gang persisted, and their ardent passion finally succeeded in wearing down our considerable reservations. Still not quite believing we were doing this, we took a collective deep breath and, with Stafford at the calm and nurturing helm, tried to put our fears aside in favor of the work itself. Rolling up our sleeves, we determined to do our best and embrace whatever possibilities the experience might bring as if Carrie was a brand-new show, conjuring all the inspiration, craft and stamina that we could summon. A talented new family of actors (14 vs. the original 27), musicians (7 vs. 24), designers, choreographer, and a ferociously talented music department jumped on board with us -- all eager to add their inspired ideas and new layers to the material. Each invested not only their risk-taking courage to rebirth this new Carrie set in the present, but also their uncommon kindness and grace as well.
Two labs and a month of rehearsals later, here we are with our considerably revised Carrie, ready to play its first preview tonight to a packed house. Soon enough, theater social media bloggers -- extreme fans and haters alike -- will weigh in with their uncensored, no-holds-barred opinions. Professional reviewers will follow suit March 1, and Carrie being Carrie, controversy will rage once again.
Before any of that happens, though, my collaborators and I pause to exchange a look at each other across the darkness. Taking a moment, we silently acknowledge just how rare an event this actually is -- an opportunity most writers are lucky to ever have once, much less twice. This is it -- a second chance to see our show come alive onstage in a version that more closely mirrors our dreams. As we stand together, the divide of 24 years falls away, and past and present merge in a dizzying shuffle that makes us feel like characters in our own ghost story. Without being overly dramatic about it -- okay, well, maybe just a little -- I think I'm crying and, sure enough, tears are rolling down my face.
It's been a long journey back.
Lawrence D. Cohen, Carrie's librettist, adapted Stephen King's debut novel for the 1976 Brian de Palma film. His upcoming book, WHAT WERE THEY THINKING? THE CARRIE CHRONICLES, will be published in 2013.
Off-Broadway Alliance2012 — Best Musical Revival
Vocal Range of Characters:
// Photos
Written By: Lawrence D. Cohen; Michael Gore & Dean Pitchford
"On Broadway these days, being facetious is easy (Rock of Ages, Book of Mormon). Being serious is the real daredevil challenge. The few musicals that succeed at it (Miss Saigon, Spring Awakening) usually protect themselves from ridicule by setting their stories in distant times and places. Carrie tries to turn ordinary, all-too-familiar high school angst into the stuff of tragedy. The show has guts."Richard Zoglin, TIME MAGAZINE
TONE: From the moment we began writing Carrie, our intent as authors was to tell a dramatic fable about a girl whose very name has become synonymous with high school bullying. As a poster-child for cruel victimization that's unfortunately grown to epidemic proportions, Carrie and the stage musical that bears her name deserve to be treated with respect and dignity -- her story staged and acted with emotional conviction. We were never interested in seeing our show done in a campy or kitschy style; we've been offered that opportunity, and have never chosen to go down that road. Treating the material seriously, however, doesn't mean that it should be performed without humor, excitement, or fun; on the contrary, it absolutely needs these elements. Between us, we always considered Sweeney Todd -- Stephen Sondheim's gripping, often wickedly funny musical tragedy –- one of our inspiring models.
STAGING: Stephen King's 1974 debut novel and Brian de Palma's 1976 film both used the vocabulary of their distinct media -– the page and the screen -- to tell this tale. Our Carrie is a piece for the stage, and we strongly encourage you to imagine it –- as we have -- in theatrical terms. Unpack every bit of stagecraft at your disposal to bring it to life.
With that in mind, let us share a few thoughts:
THE SET, as described in the libretto, is deliberately non-naturalistic; whatever their differences, our show's first two productions shared this perspective. The original 1988 Broadway version was set within the confines of a classic black box –- a theatrical term referring to a simple and unadorned performance space, which our designer gave a spin by painting white. The stripped-down 2012 off-Broadway production, written to frame and tell the story in Sue Snell's mind, featured an eerie, ever-present backdrop of a burnt-out gymnasium with doors -- a versatile landscape on which a shifting mosaic of time, place and memory could be enacted.
Neither production was bound by naturalism; there were no sets lumbering on and off with literal furniture. We would encourage a similarly creative and abstract approach.
One additional note: from the show's earliest days, we considered the possibility of staging the piece in a site-specific space instead of a theater –- a high school gymnasium with bleachers, for example, or perhaps an empty warehouse or old factory -- and we offer up that kind of out-of-the-box thinking for your consideration as well.
SUE'S INTERROGATORS: Our approach to dramatizing Carrie, inspired by an idea in the King novel, was to tell the story from the perspective of Sue Snell, the lone survivor of the tragedy that claimed the lives of her classmates and teachers. So we've always imagined that the voices she hears are in her head. In this libretto, the source of the voices questioning her is deliberately unspecified. Whether they're pre-recorded and handled as sound cues -- or coming from the shadows onstage or off –- or even from somewhere else -- that's up to you. Combining these disembodied voices with the harsh cone of light which glares down on her (as noted in the script) will convey the unrelenting loop of haunting memories that Sue is forced to re-live.
CARRIE'S POWERS: King's story is about a girl with the gift of telekinesis (TK) –- the ability to move objects with her mind. Carrie's power is first glimpsed following the traumatic onset of her period and her cruel hazing by the other girls -–- events that are capped by a light bulb exploding overhead in the girls' locker room. The power surfaces a second time when Carrie, upon being taunted by Billy Nolan, unwittingly causes him to go sprawling off his skateboard.
These beats build to the critical moment when Carrie, locked alone in her prayer closet, experiences a rush of emotion that causes a figurine of Jesus to levitate. It is only, however, after researching the subject of telekinesis in the library that Carrie starts to truly harness and hone her 'gift'.
All of these occurrences build to a climactic confrontation with Margaret at the end of Act I. At the height of a raging thunderstorm, Carrie consciously uses her mind to slam the windows in the house and demonstrate her newfound powers in this life-and-death battle of wills with her mother.
With the help of our sound designer, we created a distinctive sound –- an eerie, hollow WHOOSH! –- which accompanied each occurrence of TK, so that Carrie's power had an aural as well as a visual component. We recommend you do a similar exploration for your production. When these audio/visual moments are delivered in striking, memorable ways, Carrie's horrific display of power in the Destruction will feel emotionally earned, rather than simply a gratuitous display of special effects.
THE BLOOD: Perhaps the show's most controversial element is the bucket of blood that Chris and Billy dump on Carrie as a vengeful prank at the Prom. It's essential that this organic story point be executed onstage in a way that the audience accepts it and finds it satisfying.
As for stage blood, there's no getting around it –- like any liquid, it's wet and comes with all sorts of potential challenges. It can stain a dress and clog a body mic. It can make the stage difficult to navigate. If, however, you can figure out a smart and effective way to work with liquid, by all means go for it. But don't overlook other possible elegant, stylized solutions to convey the dropping of the blood. Lights? Fabric? Shadows? Projections? You get the idea….
Always remember that this is theater, where imagination is your greatest asset. Then challenge yourself to find a workable, imaginative, and ultimately thrilling solution.
Finally, a word about CAST SIZE: On Broadway, Carrie featured a cast of 27 and an orchestra of 23. The off-Broadway production was re-scaled for a cast of 14 and a band of 7, and that number –- which is reflected in this libretto and score and on the CD* -- seems to us the minimum number for the show to work. Don't feel obliged to use more than 14, but it's worth noting that enlarging the ensemble offers the opportunity to make the school and the classrooms and the Prom feel more populated. It also gives Billy and Tommy, and Chris and Sue the chance to each have more of a 'posse.'
As authors, the writing –- and rewriting -- of Carrie has been a remarkable journey, and we're thrilled about having this version to send out into the world. We hope you have a great time exploring this timely and timeless story, and we can't wait to see what you do with it!
*Cast Recording Available at www.sh-k-boom.com
This unique resource is designed specifically to meet the needs of productions that want convenient, cost-effective access to these hard to find keyboard sounds. We have carefully assembled all sounds required for a given show. Everything is laid out in correct sequential order, so you can easily progress through each song in each keyboard book with professional, authentic, show-specific sounds. All you have to do is connect any standard keyboard (or multiple keyboards) to your laptop and you'll be ready to perform. And we'll help you every step of the way.
Demo KeyboardEase for Mac or PC.
Contact Realtime Music Solutions for more information: www.keyboardease.com, via email: [email protected], or via phone: 212-620-0774
MAKE YOUR OWN PLAYBILL! Playbill VIP allows you to create your very own Playbill Program. We have provided Playbill with all of the credits, song listings, musical numbers and more so that most of the work is already done for you. Just add your productions details, photos of the cast and share it with all of your friends. Learn more: www.playbillvip.com
- CARRIE THE MUSICAL - Rehearsal Set (22 Books)
- 20 – Libretto-Vocal Book
- 2 – Piano-Vocal
- 1 – Digital Logo
- CARRIE THE MUSICAL - Orchestration Package (7 Books/7 Books)
- 1 – Keyboard 1/Conductor
- 1 – Keyboard II
- 1 – Guitar I
- 1 – Guitar II
- 1 – Cello
- 1 – Bass
- 1 – Drums
- CARRIE THE MUSICAL- Pre-Production Pack
- 1 – Libretto-Vocal Book
- 1 – Piano-Vocal
2 Women
3 Women
2 Men
Margaret White
Carrie White
Sue Snell
Lynn Gardner
Chris Hargensen
Tommy Ross
Billy Nolan
Mr. Stephens
CARRIE takes place in a small town of Chamberlain, Maine
Materials Notes
Featured Videos
Featured News
The CW's high school drama RIVERDALE will be staging a production of CARRIE THE MUSICAL this spring!Read More
Media Rights
1. The Promotional Video shall be recorded and shown for the sole purposes of advertising your licensed production of the Play. For such a video, R&H allows theatres to film up to 10 minutes of total footage taken at either a performance or rehearsal (i.e.: 10 minutes of scripted moments.)
2. The Promotional Video may not include more than (i) 1 minute from any song or (ii) 3 minutes, in the aggregate, of footage of copyrighted material from the Play.
3. The Promotional Video may not include any sponsorship or underwriting without the prior consent of all R&H.
4. The Promotional Video must be submitted to R&H by sending the source video and video link to [email protected]
5. The Promotional Video must include the following: "Rights courtesy of Rodgers & Hammerstein, www.rnh.com"
6. Upon approval by R&H of the Promotional Video, you agree not to make any alterations in the approved copyrighted material used therein and you agree to obtain the prior written approval of R&H for any other use of the Promotional Video not specifically granted herein.
7. Upon termination of the Term, you shall cease to have any rights to use the Promotional Video including, without limitation, in connection with a future production of the Play, and shall immediately remove its content from any and all websites on the Internet.
8. You may not use a commercially available recording.
9. Any additional promotional rights must be approved by R&H by contacting[email protected].
- Vector Title
Display customized, eye-catching banner ads to promote your production.
Don't worry about reshaping banners to fit different websites: This package already includes 4 standard banner sizes - vertical, horizontal, and rectangular.
Don't worry about optimizing the color format, size and resolution. These files are already optimized for online viewing.
Don't worry about needing a designer to convert static banners into rotating, animated ads. We've taken care of this for you! Text and video instructions are provided to help you animate your ads with ease – using free programs and apps.
Don't worry about needing fancy design programs – these flat .JPG files are ready to use with any free paint or photo editing program. Demos show you how to customize graphics with your theater's text.
- 160x600 - Wide Skyscraper
- 300x250 - Medium Rectangle
- 468x60 - Full Banner
- 728x90 – Leaderboard


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MELBOURNE, Australia (AP) Four-time champion Roger Federer advanced to the fourth round at the Australian Open with a 6-4, 7-6 (5), 6-1 win Saturday over Bernard Tomic, the last Aussie in the draw.
Federer broke the 20-year-old Tomic's in the first game of the match, ending a run of 76 consecutive service games held by Tomic, who won his first ATP tournament last week at the Sydney International.
The No. 2-ranked Federer, who has won a record 17 major titles, also beat Tomic in the fourth round of last year's tournament.


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Justin Timberlake Surprised the Super Bowl Selfie Kid (VIDEO)
Justin Timberlake did a phenomenal job performing during this year's Super Bowl Halftime Show. And one of the best moments to come out of his performance was Super Bowl Selfie Kid ... real name Ryan McKenna.
After Ryan made his debut on national TV with one of the biggest pop stars in the world, he went absolutely viral in memes and all over social media after scoring a selfie with JT. But this week, Ellen DeGeneres re-introduced Ryan to Justin during her talk show, and it will give you all the feels.
Let's refresh your memory. At the very end of Justin's Super Bowl Halftime performance, Justin sang his hit song "CAN'T STOP THE FEELING!" and went up into the crowd to sing amongst his fans. He paused right next to Ryan, put his arm around him and danced while the 13-year-old got to take several selfies with him.
Exhibit A:
Ryan appeared on The Ellen Show this week, where he got to give his side of the story. And to clarify those memes floating around, yes he does know who Justin Timberlake is, and no he wasn't on social media or Google for that matter. His phone shut off and was trying to turn it back on to get some selfies with Justin. He said:
"Yeah, so all the memes, I've seen those. I had a video that I had that I was ... because my dad told me that he was coming up, so I pushed up there. But I had the video of when I was going to Justin, and then, I have the iPhone 6 and so that thing's slow, so it just shut off, and that's why all the memes formed. Like 'Who is Justin Timberlake?' and 'What are the words to CAN'T STOP THE FEELING!?' But I had to get the camera back out to get the selfie with Justin."
Then, Ellen had a surprise for Ryan. She said "There's someone on the phone that wants to say hi to you right now," and Justin said "Ryan?" Justin went on to talk about the viral moment, and said that he wanted to meet Ryan properly at his tour stop in Boston, and offered four tickets to the show.
Afterwards, Ryan posted another selfie to Instagram ... this time of himself with Ellen, writing, "Thank you so much @theellenshow for having me on...I will never forget this moment for the rest of my life."


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NORTH DARTMOUTH, Mass. – After a three week hiatus from competition the men's and women's cross country teams returned to action as they took part in the UMass Dartmouth Corsair Invitational Saturday afternoon.
For the men's team, the Beacons finished in 23rd place, while the women's team recorded their second straight team score finishing in 24th place overall.
Once again at the front of the pack for the Beacons was senior runner Jake Kerin (Quincy, Mass.) who recorded a time of 27:52 to finish in 61st place overall. For the women's squad it was Angelica Pizzi (Milton, Mass.) leading the Beacons with her 62nd place finish and a time of 20:29.
Back on the men's team Tad Delaney (Halifax, Mass.) was the next Beacon to cross the finish line with a time of 28:18 (75th). Joe Miller (Hull, Mass.) earned the third fastest time for UMB as he finished in 186th place with a time of 33:33. Ronald Esquivel (Guatemala) was right behind Miller and finished with a time of 34:00 to earn 188th place. Chhenlee Ly (Leominster, Mass.) and Alvarez Missick (Boston, Mass.) closed out the day for the men's team with their times of 34:54 and 39:35 respectively.
After Pizzi, it was senior Ari Leao (New Bedford, Mass.) who recorded the second fastest time for the women's squad as she crossed the finish line with a time of 23:20 to earn 162nd place overall. Ashley Glendye (Middleboro, Mass.) notched a 176th place finish after recording a final time of 25:25. Danielle Valeri (Leominster, Mass.) was on the heals of her teammate for most of the race and went on to finish with a time of 25:48.
Sprinter turned distance runner in the fall, senior Renee O'Brien (Stoneham, Mass.) recorded a time of 25:53 to earn a 184th place finish for UMB. Closing out the day for the women's team was Ashley Cahill (Spencer, Mass.) with her time of 33:31.
Cross Country returns to action on Saturday when they compete at the 45th/33rd Annual Codfish Bowl Cross Country Invitational at Franklin Park in Boston. Start time for the two meets is scheduled for 11 a.m.


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Aggregatore di Portlet
Aggregatore di Portlet
School Governance
Kristin School is owned by a charitable trust which is managed by six Trustees, none of whom can be current parents or staff. The Trustees are then joined by four others (three current parents and one past student) to form the Kristin School Board of Governors.
The Board employs long-term succession planning to ensure an appropriate mix of skills and talents are available to assist the Senior Management Team. The Board meets once a month during term time, where it is joined by the Executive Principal and the Director of Business Services in order to set and review policy, plan and authorise the capital works program, direct the school's financial position, oversee risk and compliance issues and deal with any other governance issues which may arise.


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Hi, I writing an Essay and I don't know how to write the title and the correct meaning. The Essay is about the goods/products in one place which I call Empire. Here the possible titles: which one is correct. Please help
Empire Products
Products Empire
Empire Goods
Goods Empire
The Goods Empire


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Advance Your Research in Beautiful Santa Barbara!
Nanotech is located in the Engineering Science Building at the University of California, Santa Barbara—a world leader in materials science, optoelectronic and electronic device research, and nanofabrication.
How to Get Here
Driving Directions
The UCSB Nanofabrication Facility is located at the University of California, Santa Barbara—90 miles north of Los Angeles. Driving from the north or the south on the 101 Freeway just follow the UCSB/Airport Exit signs to the entrance of campus. We are in the Engineering Science Building, 1st floor.
Parking Information
Visitors to UC Santa Barbara must have a valid parking permit and must observe Parking Regulations while on campus. Contact Parking Services at (805) 893-5388 for additional information.
For Jet-Setters
UCSB may be easily accessed from many major US cities by flying into the Santa Barbara Airport (SBA), located about 0.5 miles from the campus entrance. There is a taxi stand at the airport, or you can contact the SuperRide Shuttle.
The Santa Barbara Air Bus also provides roundtrip service from the Los Angeles Airport to its Goleta terminal, located within 1 mile of the UCSB campus.
Airlines Who Fly to Santa Barbara Airport
- Alaska (non-stop service to Seattle)
- American Eagle (non-stop service to Los Angeles)
- Frontier (non-stop service to Denver)
- U.S. Airways (non-stop service to Phoenix)
- United (non-stop service to Denver, Los Angeles, San Francisco)
- Denver
- Los Angeles
- Phoenix
- Portland
- Seattle
- San Francisco
Hotels and Accomodations
Some hotels in the Goleta/Santa Barbara area honor special UCSB rates.
Best Western South Coast Inn
5620 Calle Real, Goleta, CA 93117
(805) 967-3200
Extended Stay America
4870 Calle Real, Santa Barbara, CA 93111
(805) 692-1882
No Special Rates
Holiday Inn Goleta
5650 Calle Real, Goleta, CA 93117
(805) 964-6241
(866) 270-5110 (toll-free)
Motel 6
5897 Calle Real, Goleta, CA 93117
(805) 964-3596
No Special Rates
Pacifica Suites
5490 Hollister Avenue, Santa Barbara, CA 93111
(805) 683-6722
Ramada Limited
4770 Calle Real, Santa Barbara, CA 93110
(805) 964-3511
(800) 654-1965 (toll-free)
No Special Rates for individual reservation
Super 8 Motel - Santa Barbara
US Highway 101 Exit Fairview Avenue, Goleta, CA 93117
(805) 967-5591
10% off
For more tourist information, including hotels, please click here.
Department of Electrical and Computer Engineering
University of California, Santa Barbara
Santa Barbara, CA 93106-9560


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e5 Business 15" Solar Bag + Kalhuohfummi E-16C BatteryFor more information please visit the e5 Business product page under:www.e5solar.com/products/e5businessor just click here:
Dimensions: 38cm x 32cm x 11cm- Suited for Laptops up to 15.4"Weight: 1'200g (with battery)Solar PanelInput: SunlightOutput: 3.5 Watt, 22V DC / 160mAConnection: DC Car JackBatteryInput: 5V...30V DC, 1.0A max. Output: 5V DC, 1.2A max.Capacity: 4'400mAh, 16.5Wh max.Connection: In: DC 5.5/2.1mm Out: USBBENCHMARKS*
- Charging time until Battery full: 5-6h
- Gathering Sunlight and Charging Device Simultaneously: OK
iPhone up to 2xiPad (4Gen) + 3hiPad Mini + 60%Galaxy S Series: 1.5x
- Ratio:
1 Min. Sunlight = 2.5 Min. talk time on iPhone1 Min. Sunlight = 2 Min. talk time on Galaxy S Phones1 Min. Sunlight = 1 Min. surf time on iPad(* All charging times are approximations tested by e5 in real-life conditions.Your experience may vary due to sun's intensity and surrounding temperature.)


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Squaw Valley to present LUNAFest Film, Food and Wine
TAHOE/TRUCKEE, Calif. – Squaw Valley will present LUNAFest Film, Food, and Wine on Saturday, March 9, as part of the North Lake Tahoe SnowFest! Enjoy the award-winning film festival, sample cuisine from local chefs and tastings from California wineries while supporting local and national charities benefiting girls and women. LUNAFest is the signature fundraiser for Girls on the Run – Sierras – a local youth development program that inspires girls to be joyful, healthy, and confident – and the Tahoe Luna Chix women's cycling team who fundraise for the Breast Cancer Fund.
Featured wineries and cuisine
The fourth annual Squaw Valley LUNAFest event will feature wine from PlumpJack Winery, Clif Family Winery, Domaine Chandon, Domain Saint Michelle, Vincent Arroyo, and Truckee River Winery. Participating restaurants include Gar Woods, Mamasake, Rocker, Season'd Catering, Fireside Pizza, Soupa, and Squaw Valley Catering. Live music will be provided by the Angele and Wildwood Band. Attendees will have a chance to bid on silent auction items including Disneyland tickets, Snowcat skiing with Pacific Crest Snowcats, Squaw Valley and Alpine Meadows Gold season pass, restaurant certificates, and spa packages.
About the films
LUNAFest was established in 2000 by LUNA, makers of the whole nutrition bar for women, to simultaneously promote women filmmakers, raise awareness for women's issues and support worthy women's nonprofit organizations. The short films will compel discussion, make you laugh, tug at your heartstrings and motivate you to make a difference in your community. Award-winning films include "Flawed," an animated short that won the NYC Short Film Festival Audience Choice Award and "Self-Portrait with Cows Going Home and Other Works," winner of the Seattle International Film Festival Best Short Documentary. Athletes will enjoy "Chalk," a young gymnast's coming-of-age story, and "Georgena Terry," about a woman who revolutionized the women's biking industry.
Event and ticket information
Event proceeds benefit Girls on the Run – Sierras and the Breast Cancer Fund. Tickets are $30 in advance at http://www.girlsontherunsierras.org/events or $40 at the door. Tickets include film screening, local cuisine, wine tastings, live music, and auction. The event will be held at the Squaw Valley Conference Center, formerly Olympic Village Lodge, located at 1901 Chamonix Place in Olympic Valley. Doors open at 6 p.m. and films start at 8 p.m. Special thanks to presenting sponsor Squaw Valley and local event sponsors Corporate Visions and Sierra Sotheby's Realty.
About Girls on the Run – Sierras
Girls on the Run is a youth development program that instills self esteem in girls through health education, life skills development, mentoring relationships, and physical training. The afterschool program meets twice a week for 10 weeks and culminates in a celebratory, non-competitive 5K fun run. Since the first season in 2007, Girls on the Run- Sierras (GOTR-S) has educated and empowered 729 girls. GOTR-S is kicking off its 11th season in the Lake Tahoe region in March. To volunteer or learn more about the program, visit http://www.girlsontherunsierras.org or call 530-567-2144.


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Gardeners love to travel and invariably stumble across seeds of unique varieties when visiting other countries. Until recently you've needed a phytosanitary certificate to import seeds into the United States. However, the rules have now changed.
The USDA has instituted new procedures for importing "small lots" of seeds. Small lots are defined as less than 50 seeds each of up to 50 varieties. There's no charge for importing these seeds. All you need to do is fill out the online permit that is valid for three years. The seed needs to be professionally collected with the appropriate information on the packet, such as the collector/shipper's name, the country of origin, and the scientific name (at least the genus).
For more information on how to import small quantities of seed into the U.S., go to: Animal and Plant Health Inspection Service.