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If you are reading a political blog like this, the odds are you are a political junkie. Conversely, if you are reading this, you are probably not a casual voter. The discussion at political blogs is geared to the intensely interested, while campaigns ultimately want to win the casual voter.
Accordingly, political junkies might do well to look at what the casual voter knows or wants to know about the candidates. One easy way of looking at this is as close as your nearest auto-completing search engine. Here is what happens if you search for current GOP frontrunner Mitt Romney:
Those results may not surprise you, but note that Bain Capital is not among them, suggesting it is not yet part of the zeitgeist. However, the fact that Mitt Romney's net worth is already a common topic suggests the Bain issue could enter these charts with a bullet.
Searches for Newt Gingrich, Romney's nearest rival nationally and in the South Carolina primary, suggest that what people know or want to know about him beyond his positions is his personal baggage. If Newt were to beat the current odds and secure the GOP nomination, the casual voter may well conclude, for better or worse, that the Democrats are running the "family values" candidate for 2012. Also note that all of the chatter in political fora about the attacks from Gingrich and the Super PAC supporting him against Romney over the Bain issue are not common knowledge yet.
Next up is Rick Santorum, paired with Rick Perry for Rick Symmetry:
The results for this pair are not particularly surprising, although the gay factor is different for each when you call up the search results. Rick Santorum's gay search results concern the socially conservative positions which are his trademark. Rick Perry's gay search results reflect not only the socially conservative ads he ran in Iowa, but also the baseless rumors pursued by the left at the outset of his campaign. First impressions matter, though Perry's inarticulate image is also a big factor here. On Santorum's side of the ledger, it's also notable how far down the list "fetus" ranks, given the politically-engaged's chatter about liberal mockery of the way the Santorum family dealt with their deceased child. These charts also suggest that these candidate' comments on gay and racial issues are currently more significant among casual voters (to the extent they are significant) than abortion, which features in the charts for Romney (a likely product of his frontrunner status).
Rounding out the top challengers is Ron Paul, paired with Herman Cain:
As with Romney, the interesting thing about Paul's chart is what is not on it. The blogosphere may have discussed Ron Paul's bigoted newsletters and conspiracy crankery, but the only coverage of them in the establishment media occurred near Christmas, when the casual voter is not paying attention. Paulians may want to theorize that the absence of these issues from the chart means people have do not care about Paul's baggage, which is why his chart is paired with Herman Cain's search results. If Paul's baggage was part of the zeitgeist, it would still appear in his search results, the way Cain's scandal still appears in his. The results reflect that many voters do not know basic facts about the Republican candidates running for president or the early primary calendar.
Finally, we come to the incumbent. The pundit class talks a lot about Barack Obama's efforts to make 2012 a choice between him and someone to be demonized later. At this juncture, his chart suggests a referendum on how he is doing his job, particularly on the jobs issue. The chart also suggests Obamacare is still a big part of the conversation about the president, although the GOP will likely throw this away if Mitt Romney is the nominee.
This post was promoted from GreenRoom to HotAir.com.
To see the comments on the original post, look here.


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INTERNATIONAL CES, LAS VEGAS, Nev. – 6 January, 2014 – Imagination Technologies (IMG.L) announces a compelling line-up of demonstrations highlighting its broad portfolio of semiconductor design IP during this week's International CES in Las Vegas.
Who: Imagination Technologies, a global leader in multimedia, processor, communication and cloud technologies
What: Innovative demonstrations showcasing Imagination's broad range of industry-leading IP solutions, including:
- PowerVR 'Raptor' Image Signal Processing (ISP) architecture: a ground-breaking new solution for a broad range of imaging and vision applications
- PowerVR multi-standard video encode and decode solutions: showcasing support for HEVC, VP9, 4K Ultra-HD, 10-bit and more
- PowerVR Series6 Rogue graphics: highlighting the architecture's high performance and low power consumption for OpenGL ES 3.0 graphics
- PowerVR GPU compute: several demonstrations of OpenCL showing power and performance benefits for image processing and live camera processing
- PowerVR ray tracing: demonstrating the future of real-time, interactive photorealistic graphics for mobile and consumer applications
- MIPS processors: showcasing MIPS processors in a range of connected devices including wearables, and support for the latest Android 4.4 'KitKat'
- Ensigma processors: highly configurable IP for on-chip connectivity and broadcast showcasing Wi-Fi, Bluetooth and more; plus a worldwide TV platform that can be reprogrammed to support all broadcast standards
- FlowCloud IP: highlighting the future of the Internet of Things (IoT) with this innovative technology enabling cloud applications and connected devices across key areas including healthcare, energy, security, music streaming, video/voice over IP services and more
- FlowTalk V.VoIP: Demonstrating quality of service in this powerful client software that enables voice and video communications across all key platforms
- Imagination's Caskeid, the world's most accurately synchronized wireless multiroom connected audio streaming technology
- Full, integrated solutions for the future consumer experience: bringing all of Imagination's technologies together for connected home, mobile and beyond
- Partner solutions that show the performance and power benefits of Imagination's IP, including wearables, advanced TV user interfaces, wireless speakers, network routers, set-top boxes, the latest smartphones and tablets and more
When: Tuesday, 7th January – Friday, 10th January
Where: Imagination's meeting rooms numbers S215 and S216 at the Las Vegas Convention Center; to arrange a visit to see the demonstrations, please contact firstname.lastname@example.com.
About Imagination Technologies
Imagination Technologies – a global leader in multimedia, processor, communication and cloud technologies – creates and licenses market-leading processor solutions including graphics, video, vision, CPU and embedded processing, multi-standard communications, cross-platform V.VoIP and VoLTE and cloud connectivity. These silicon and software intellectual property (IP) solutions for systems-on-chip (SoC) are complemented by an extensive portfolio of software, tools and ecosystems. Target markets include mobile phone, connected home consumer, mobile and tablet computing, in-car electronics, networking, telecoms, health, smart energy and connected sensors. Imagination's licensees include many of the world's leading semiconductor manufacturers, network operators and OEM/ODMs. Corporate headquarters are located in the United Kingdom, with sales and R&D offices worldwide. See: www.imgtec.com.
Follow Imagination on Twitter, YouTube, LinkedIn, RSS, Facebook and Blog.
Imagination Technologies' Press Contacts:
UK: David Harold email@example.com +44 (0)1923 260 511
USA: Jen Bernier-Santarini firstname.lastname@example.com +1 408-530-5178

subset: commoncrawl


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Amsterdam Airport Schiphol is situated 15km (9 miles) southwest of Amsterdam.
Evert van de Beekstraat 202
1118 CP Schiphol
Dialling code: +31
Tel: +31 20 794 0800
Lufthansa at the airport
Lufthansa Lounges
You can relax, take forty winks or get down to some work before your next flight in the Lufthansa and Star Alliance partner lounges at all major international airports.
To the loungefinder
How to get there
Driving Directions
Amsterdam Airport Schiphol is situated off the A4 motorway, which links Amsterdam to The Hague. From Amsterdam, take the A10 ring road and merge onto the A4 in the direction of The Hague. The exit to the airport is clearly signposted from this route.
There is a railway station in the terminal's central hall, under Schiphol Plaza; direct trains run to Amsterdam Centraal Station (journey time: 15 minutes; fare: €3.90).
Night trains serve Utrecht, Amsterdam Centraal Station, Leiden, The Hague, Delft and Rotterdam, while the reservation-only, high-speed Thalys train serves major European cities. Other international services run to Berlin, Hannover and Leipzig.
Ticket machines and desks are located in Schiphol Plaza. Further rail information is available from Nederlandse Spoorwegen (tel: 0900 202 1163; www.ns.nl/en).
Public buses (tel: 0900 9292) run regularly to Amsterdam and other cities. Buses 197 and 370 (interliner express service) run to Amsterdam city centre and Amsterdam Zuid. Buses depart from platform A7 in front of arrival hall 2. Full details of routes can be found on the airport website.
Many hotels offer a free airport shuttle service to guests. The Connexxion Schiphol Hotel Service (tel: (038) 339 4771; www.airporthotelshuttle.nl) is a daily hotel shuttle service running from Amsterdam Airport Schiphol to more than 55 hotels in and around Amsterdam; purchase tickets at the Connexxion desk in arrival hall 2.
Schiphol Travel Taxis are available from outside Schiphol Plaza. The journey to central Amsterdam is approximately 15 minutes. Taxis can be booked in advance on the airport's website.
Car Parking
Two short-term car parks (P1 and P2) are connected to the terminal and Schiphol Plaza by covered walkways. Long-term parking is available in an open-air car park (P3), which is situated 4km (2.5 miles) from the terminal; a free 24-hour shuttle bus links this car park to the terminal. A VIP valet service is also available (reservations are required: tel: (020) 406 7890).


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Liebherr Pactronic hybrid drive
With recyclable and maintenance-free pressure accumulator
Liebherr LHM 550 mobile harbour crane
With Pactronic hybrid drive handling bulk goods in Marin (Spain).
Liebherr LHM 550 mobile harbour crane
Bulk goods handling with Pactronic in Caldera (Costa Rica).
Greater handling volume thanks to Pactronic
The Pactronic hybrid drive is available for the Liebherr mobile harbour crane models LHM 280, LHM 420, LHM 550, LHM 600 and LHM 800. A mobile harbour crane equipped with Pactronic is capable of significantly enhancing efficiency, particularly when handling containers and bulk goods.


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Thursday, March 5, 2009
IT, I have an ET
7 comments:
- AnonymousMarch 5, 2009 at 6:04 PM
ET, phone home - do not email Dr. No.ReplyDelete
shituation!!! I'm totes stealing that from you.
maybe we overlap universes? - I got 78 emails in 3 days (NO JOKE), cc'd to 15 people, back and forth, over oh-so-important shit. Dr. Listserver is now Dr. Spam. enuff.
- AnonymousMarch 5, 2009 at 7:41 PM
If you get this hooked up, I will be so green with envy as I slog through my future meeting-schedule-related email jubilee.ReplyDelete
- AnonymousMarch 6, 2009 at 7:12 AM
I loved that!!! I'm going to try that with IT!!ReplyDelete
- AnonymousMarch 6, 2009 at 1:41 PM
Dr. No! Hating on the graduate student who lost the one saved copy of his dissertation? A few years ago I saw flyers by a graduate student up around our building asking people if they had found five pages of proteomics data with a $200 reward being offered. What kind of dumbass keeps *one paper copy* of critical data???ReplyDelete
Sorry--I hope that comment wasn't too off topic.
What kind of grad student has a cool $200 to offer as a reward? That dude must have been hitting the plasma banks pretty heavily.ReplyDelete
WTF? $200? Buy a fucking computer or at least a fucking flash drive...ReplyDelete
- AnonymousMarch 7, 2009 at 10:49 AM
"What kind of grad student has a cool $200 to offer..."ReplyDelete
A desperate one. A dumbass desperate one. Just like the poster I saw in men's locker room at the hospital gym offering a $200 reward for anyone who had found a wedding ring. Dumbass and desperate.


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Book flights from Portugal to Ukraine with Star Alliance
There are no flight results that match your filtered criteria based on previous user searches. Please adjust your inbound/outbound dates or check additional schedules from our member carriers
*Prices have been offered for round trips within the last 48 hours and might not be currently available. Not all Star Alliance Member Airlines or all fares/options are shown. Additional baggage fees, payment fees and fees for other optional services may apply. When booking, please check for restrictions on refunds, rebooking and baggage allowance that may apply. Prices may vary depending on the route and flights selected. Routings may include stopovers. Terms and conditions apply.


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Homebuyers fear for the future
There is a growing angst among would-be homebuyers over their job security, a new survey has found.
Home loan provider Mortgage Choice's annual survey of first-time homebuyers found that about one in five (18 per cent) of people looking to buy a home in the next two years put retaining employment as their biggest concern, compared with 11 per cent a year earlier.
Such worries come as the jobless rate stands at its highest level in two-and-a-half years at 5.4 per cent.
However, fewer buyers are concerned about rising house prices - 22 per cent this year compared with 31 per cent in 2011 - while just 8 per cent are worried about interest rates impacting on their ability to buy a home compared with 14 per cent 12 months earlier.
"While many of the economic indicators such as rate cuts, lower house prices and improved affordability might suggest now is a good time to buy, people are still nervous about their ability to sustain employment," Mortgage Choice spokesperson Belinda Williamson said releasing the survey results on Wednesday.
More than half (57 per cent) of the 1000 respondents surveyed saw getting a foot in the property market as setting themselves up financially for the future, while 49 per cent also wanted a home where they can raise a family.
The third-largest motivation for owning a property (42 per cent) was to avoid rising rents.
The survey also found people are leaving it later in life to buy their first home with those aged 30 or more increasing to 61 per cent from 54 per cent in 2011.
First-time homebuyers intend to save longer for a home, at an average of two years compared with 1.8 years 12 months earlier.
"It is interesting to see more first homebuyers are saving for longer and purchasing later in life, perhaps when they are in a better financial position, have researched their ideal location well and are keen to settle into a property they will call home for many years to come," Ms Williamson said.
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Let $n \in \mathbb{N}, n \geq 2$. By minimal Goldbach basis $G_{2n}$(if it is nonempty) of $2n$ , I mean the minimal set of primes such that every even number less than or equal to $2n$ can be written as a sum of two primes of that set. Minimal refers to the number of elements of the set. For instance,
$G_{4}= \left \{ 2 \right \}, G_{6}= \left \{ 2,3 \right \} , G_{8}= \left \{ 2,3,5 \right \}, G_{10}= \left \{ 2,3,5 \right \}$
However, $ \left \{ 2,3,5,7 \right \}$ also works for $ 2n = 10$ but it is not minimal.
The minimal set is unique since among many possibilities(if any) we are choosing one that has (1) the smallest number of elements(this is the primary criterion) and (2)say, if we have $\left \{ 2,3,5,11,13\right\}$ and $\left \{ 2,3,5,7,13\right\}$, we would choose the second. That means when ordering the elements in increasing order, the one chosen will have elements that are smaller under pairwise comparison with the other choices.
Question 1:(not yet answered) Obviously, $\left | G_{2p} \right |\leq \pi(p) $, for primes p. Proving that $\left | G_{2n} \right |= 0$ for at least one $n$ is harder than the old Goldbach. Still harder would be to show that $\left | G_{2n}\left | \leq \right |G_{2n+2} \right |$ Also, some experiment shows that $\left | G_{2n} \right |= \pi(n) + 1$ when $n \geq6$ till the numbers I checked (excluding $n = 7$ and $13$). How good is this formula at least for some $n$?
Question 2:(has been answered below) Does $G_{2n}$ always contain the primes in linear order, without jumping any primes? (I asked this because none of the $G_{2n}$'s I computed have missing primes.)
N.B.: I have been making many revisions. So, some comments may not make sense. In that case, you may look up the edit history.


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The Science of Right and Wrong
Can Data Determine Moral Values?
Ever since the rise of modern science, an almost impregnable wall separating it from religion, morality and human values has been raised to the heights. The "naturalistic fallacy," sometimes rendered as the "is-ought problem"—the way something "is" does not mean that is the way it "ought" to be—has for centuries been piously parroted from its leading proponents, philosophers David Hume and G. E. Moore, as if pronouncing it closes the door to further scientific inquiry. (continue reading…)


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LeBron James, who is leading the league in PER, plays in a league of two with Kevin Durant when it comes to estimated wins added, and is shooting 56% from the floor, took some time out from walloping the Clippers last night (without Ray Allen or Chris Bosh) to play catch with a fan.
If LeBron said he'd pass the ball back because the fan was considering keeping it, as it seems he did, he's a pretty clever manipulator of confused, possibly drunk fans. Fan interaction: Just another facet of the game in which LeBron is dominating.
Reached for comment by ESPN later in the game, the fan said, "This is the most exciting thing I ever lived in my life."
h/t Ben Chew


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For new releases go to
As we transition to our new site, you'll still find some Stats NZ information here on this archive site.
The page you requested may have been moved or removed from the Statistics NZ website.
Try using the search engine at the top right of the website to find the page you are looking for.
Please contact us if you know you have the correct web address but are encountering an error.


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Share your photos with us in the Pennsylvania People and Places Slideshow. Every now and then we will choose a few of them to air in the Pennsylvania People and Places segment on the show. Be sure to include your name and home town and keep your submission under 320 characters, as well as enough information about the photo for us to write a good story.
*Please Keep submissions to under 320 characters!! Longer entries will be cut off on the slideshow.
*Photo's submitted without a name and home town may not be used on air.
*Be sure to make sure that your tag is clearly visible in the ear of your deer before submitting.
*Not all photo's will make air and photo's will not immediately appear on the slideshow, they will once they are approved by an administrator. Please do not submit duplicate photo's. By submitting a photo you verify that all information is correct and allow WNEP to air your photo.
*Please do not submit pet photo's to this slideshow, upload those to the pet slideshow gallery at wnep.com


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Health Care, Arts Ed, Visa, & NEA News - (August 20, 2009)
Arts and the Health Care Reform Debate
Washington, D.C. - As Congress, the Administration, and the general public grapple with complicated and competing health care reform proposals, the League is working to understand the impact on orchestras. While we continue to examine this complex arena, the League has endorsed two specific policy recommendations:
- The League has signed on to recommendations to strengthen support for the arts in health and therapeutic settings.
- We are endorsing the effort by the broader charitable community to ensure that nonprofit employers providing health care coverage will receive relief and incentives comparable to their for-profit counterparts.
While the League supports improving our nation's health care system, we have not taken a position on other specific health care proposals. We will keep orchestras informed as this important policy discussion moves ahead.
Act to Avoid Visa Delays
If your orchestra engages international artists, please be aware of the following visa trends and act to avoid delays! The League, together with our colleagues in the Performing Arts Alliance, American Federation of Musicians, and NAPAMA, recently met with senior officials at U.S. Citizenship and Immigration Service (USCIS) headquarters and are calling for improved visa policies.
File Early!
Recent developments at USCIS, the federal agency that processes artist visa petitions, are causing delays. USCIS is responding to many well-assembled visa petitions with unusual and time consuming requests for additional evidence. Also, contradicting current regulations and previously-approved practice, USCIS has recently rejected some "multiple venue" petitions, in which a single orchestra applies for a visa on behalf of multiple orchestras engaging the same the artist.
Filing your petition as soon as an artist is confirmed can provide the necessary cushion to help absorb unexpected USCIS delays. USCIS will accept visa petitions filed up to one year in advance of a performance. Find more details on the Artists from Abroad web site.
Help Us Help You
If your orchestra receives an unusual request for evidence, or is denied the opportunity to file a multiple venue petition, please let us know. Your specific case examples are essential to improving artist visa policies
Secretary Duncan Voices Support for Arts Education
This is the moment to make the case for arts education in your community! Your orchestra and arts advocates nationwide have some fresh talking points to leverage, courtesy of U.S. Secretary of Education Arne Duncan. Three sources provide valuable quotes endorsing the legitimacy of the arts as a core academic subject of learning:
- An August letter from Secretary Duncan to school leaders emphasizes that the arts are a core subject of learning and that states and localities can use federal funds to support the arts.
- Remarks by Duncan in an August 18 teleconference sponsored by NAMM and Supportmusic.com confirm that arts education can help meet national education goals of closing the achievement gap and raising the bar on student and school performance.
- On the occasion of the June release of the Nation's Arts Report Card, Secretary Duncan said, "We can and should do better for America's students."
As students in your community head back to school, gear up to advocate for music education. Check out our Music Education Advocacy Tools, read our tips for launching your advocacy effort, and make sure your orchestra has endorsed the League Statement of Common Cause in support of in-school music education!
Landesman Confirmed as NEA Chair
Rocco Landesman has begun his role as Chairman of the National Endowment for the Arts with a call for robust support for arts education and a commitment to the role of the arts in civic renewal. Elizabeth "Deba" Leach has been named as a senior advisor for arts education, and Joan Shigekawa, formerly of the Rockefeller Foundation, will serve as Senior Deputy Chair.
Congress has yet to set next year's NEA funding levels. So far, the House has approved a $15 million increase, while the Senate appropriations committee and President Obama have recommended a $6.3 million increase. Before the bill can advance to the White House to be signed, the two chambers will need to reach consensus on a final appropriations amount. Communities across the country benefits from NEA grants to orchestras. It's not too late to contact your Senators to urge support for increased NEA funding.
The League is a member of the Performing Arts Alliance, a coalition of national performing arts service organizations dedicated to advocating for national policies that recognize, enhance, and foster the contributions the performing arts make to America.


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- This event has passed.
Drills and Circuits SE16
September 9, 2017 @ 10:30 am - 11:30 am
This session is a Bootcamp Drills and circuits class, without the military touch! A mixture of strength and cardio set in a fun environment of working in teams or partners, this session will have you running around without even realizing that you're training!


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NEA calls on states and school districts to step up anti-bullying efforts
Nationwide survey sheds light on school bullying
WASHINGTON - October 12, 2011 -
Bullying is the most common form of violence in our society with one third of students being bullied each month. It takes place every seven minutes and in every kind of school—rural, suburban and urban schools. A first-ever, nationwide National Education Association (NEA) survey of teachers and education support professionals about bullying found that school employees see bullying as a serious problem and believe it is their responsibility to stop the bullying, but lack the know-how and training to do so.
"NEA has a long history of working to prevent bullying in schools," said NEA President Dennis Van Roekel. "However, we cannot alone put an end to bullying. States and school districts need to step up their bullying prevention trainings for all school employees and all individuals who come in contact with students each day."
According to NEA research, 98 percent of school employees believe it is their job to intervene when they see bullying happening in their school. More than half of those surveyed (62%) indicate they have witnessed bullying two or more times in the last month. Further, 93 percent of school employees report their district has implemented a bullying prevention policy, but just over half (54%) said they have received training related to the policy.
"It's important to dispel the myth that bullying is just part of growing up," said Van Roekel. "School employees require the proper training in research-proven bullying prevention measures so students come to school ready and eager to learn."
As part of National Bullying Prevention Month in October, NEA is planning a series of activities to raise awareness of anti-bullying efforts:
- Asking educators to take "NEA's Bully Free: It Starts With Me" pledge.
- Encouraging bloggers nationwide to take part in NEA's "BullyFree: It Starts With Me" Blog-a-Thon.
- Bullying prevention ideas and stories will be featured on NEA's www.nea.org/bullyfree and www.edvoices.com websites throughout the month.
- Profiling exceptional educators who have taken effective actions to prevent bullying on www.nea.org/neabullyfree and www.classroomsuperheroes.com
- Announcing the results of a comprehensive survey on the impact and role school bus drivers have on bullying. Bus Drivers and Bullying Prevention is based on NEA's Nationwide Study of Bullying, which surveyed 470 bus drivers among the 2,900 education support professionals (ESPs) in the study. The brief can be found at www.nea.org/neabullyfree.
Earlier this year, NEA launched "Bully Free: It Starts With Me," a national anti-bullying campaign designed to engage adults in helping bullied students. The campaign provides a variety of tools and resources for educators to provide solace and support to bullied students and to take the appropriate actions to stop bullying. NEA also offers training programs to help teachers and education support professionals deal with student-on-student bullying and sexual harassment.
The National Education Association Health Information Network (NEA HIN) is also active in preventing and responding to school violence as it results from bullying, both in person and online. NEA HIN, in partnership with Sprint, offers bNetS@vvy (www.bnetsavvy.org), a resource for families and educators who want to help kids connect smartly and safely on the Internet. In addition, the NEA School Crisis Guide (www.neahin.org/crisisguide) offers tools and resources to help schools prepare for, react to, and respond to a school crisis.
Highlights of NEA's survey on bullying in schools:
Bullying in Schools
- Verbal bullying (58%) is the most common form of bullying in schools, followed by social/relational (50%), physical (39%), and cyber bullying (17%).
- Teachers and support professionals report that bullying based on a student's weight (23%), gender (20%), perceived sexual orientation (18%) or disability (12%) were of concern in their school.
- Bullying is perceived to be a moderate or major problem at their school by 43 percent of school employees. More than half of school employees (62%) indicate they witness bullying two or more times a month; 41 percent indicate witnessing bullying once a week or more.
Role of School Employees in Bullying Prevention
- Ninety-eight (98%) percent of school employees believe it is their job to intervene when they see bullying happening in their school.
- Ninety-three (93%) percent report that their school district has a bullying prevention policy, yet 54 percent say they have received training on the policy.
- Sixty-one (61%) percent of educators surveyed said they would benefit from additional training to help them better understand when and how to intervene in bullying situations related to perceived sexual orientation or gender nonconformity issues.
- Seventy-four (74%) percent say they could benefit from training on when and how to intervene in cyber bullying incidents.
- Educators who felt more connected to their school were more likely to report feeling comfortable intervening in all forms of bullying. They were also more likely to report being comfortable intervening in several different types of bullying situations.
Bullying on the Bus
- Half of all bus drivers witness bullying several times a month, but 44 percent have not received training on how to intervene and prevent bullying.
- Bus drivers are 36 percent more likely to hear reports of bullying from students and parents than other education support professionals.
- Bus drivers should be more involved in bullying prevention. Only 23 percent of bus drivers are involved in bullying prevention efforts at their school.
Follow us on twitter at www.twitter.com/NEAMedia
# # #
The National Education Association is the nation's largest professional employee organization, representing 3.2 million elementary and secondary teachers, higher education faculty, education support professionals, school administrators, retired educators and students preparing to become teachers.
CONTACT: Christiana Campos (202) 822-7823, email@example.com


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The Shasta-style puppy camper started out as a labor of love and a personal challenge. I've been a woodworker for many years and I earn a living making musical instruments (well… banjos...). A few years ago, just for fun, I started making birdhouses inspired by the old Shasta and Teardrop camper trailers of the '40s and '50s. At a friend's urging I opened an Etsy shop, and now I can barely keep them in stock. Almost since the very beginning of the birdhouse project, my wife has been encouraging me to try to scale one up for a dog playhouse. Finally, for her birthday this year, I came up with a design and built one.
I designed the Puppy Camper for indoor use only, and for a dog of up to 30 pounds—three of our five rescued dogs fit that size. It took a while for our dogs to explore the camper, despite mining it with treats at first—they're suspicious by nature. It took so long it almost hurt my feelings. But now Cocoa Rae Bean eats all her meals in there. At meal times she sprints from the kitchen and runs into her personal "diner," wagging and dancing in anticipation of another great dinner "on the road." On nice days, we sometimes pull it outside so they can play in it on the patio, but it wasn't built to withstand weather. Plus, we believe dogs should be sleeping under the covers with their humans, not outside in doghouses.
It's gratifying to see the dogs enjoy their playhouse, and it attracts a lot of attention from our friends. So much so that I've made a couple more and plan to sell these in my Etsy store in the future, too. Etsy.com/shop/jumahl
Shasta-Style Puppy Camper - Instructions
The camper is constructed of ½" Baltic Birch plywood, sometimes called cabinet plywood, because it is very high quality, has multiple plys for stability and has no voids. It comes in 5' by 5' sheets rather than the more normal 4' by 8' plywood. My design is of such dimension that both sides and the bottom will come from a single sheet of Baltic Birch. Another size factor is that I wanted to add a layer of aluminum flashing to the top, for that metallic look, and the widest I could find at a builders supply is 20 inches, so that determined the maximum width of the top.
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The top is curved by bending a special plywood called, oddly enough, bending plywood, available on special order from a hardwood supplier (who should also have or be able to order the Baltic Birch). This comes in 4' by 8' sheets, ⅛" thick. The grain runs in one direction only, which is why it can bend - this also makes it just a bit fragile. It can be ordered with the grain running either direction - lengthwise or across grain, so it's important to specify that the grain run crossways, since the bend will be along the length. The top is comprised of two layers of bending plywood, laminated with yellow glue for strength. The Puppy Camper is for a dog of up to 30 pounds, and has a 2" thick memory foam bed (20" x 28") that fits the bottom snugly. This size is available online.
Tools and Materials:
|Materials List:
|Tools Required:
Making the side template:
See the drawing for the shape, which measures 34¼"L x 23½"H. The bottom measures 19⅞" W by 36"L, including the integrated tongue. It is important in bending the plywood top that the sides are matched exactly or the top will tend to run off one side or the other and be frustrating and cause much cursing. To avoid this, make a pattern from a lesser grade of ½ inch plywood, which should be carefully shaped. I drew the shape freehand, then adjusted with straight edges and a French curve until it was "eye sweet", as boat builders say, then I used the band saw to carefully cut out the shape, trying to split the pencil line, and then filed and sanded it fair. It is important for the finished edge to be perpendicular to the face because this will be the guide for the bearing on the pattern router bit when making the two sides. This is also a good time to figure in the door. From the bottom of the side, measure up 3¼" to the bottom of the door. The door measures 10"W by 14½"H. Draw the dimensions on a piece of ¼" plywood (for a cutting pattern) then use a compass to arch the top and round the lower corners. Drill a hole to start the jig saw, cut out the door shape, then sand and file carefully to the line to make a smooth-edged pattern. Lay this on the side pattern (see drawing for location), scribe with a pencil (I prefer a 7mm mechanical pencil because it's always the same diameter and doesn't need frequent sharpening), remove the ¼" pattern and rough out the door in the side pattern with the drill and jig saw. Clamp or tack the ¼" ply door pattern onto the side pattern and, using a router with a top bearing pattern bit, rout the door opening. Now you're set to make two sides, one with a door and one without.
Laying out and cutting the sides:
Use the pattern to lay out the sides on the sheet of Baltic Birch, keeping in mind the bottom needs to also come from this sheet. Lay out one side and the bottom parallel to the grain and one side perpendicular to the grain to fit it all in. Scribe the sides against the pattern with a pencil and rough out with the jig saw. Use the side pattern to locate the door on the "front" side panel, scribe, then rough out with the jig saw. Clamp the side pattern in place, using at least three clamps so there are always two holding it in place while moving the third out of the way of the router. Rout all the edges, including the door opening. Remove the pattern and make another side, but without cutting the door opening. Place these sides together to check that they match exactly. Using a router and ⅛" round-over bit, rout all inside edges of both sides and the door. Then use a ¼" round-over bit to rout all outside edges. The reason for two different sizes of router bits is that the plywood is only ½" thick and if the ¼" round-over bit has routed a side there is little bearing guide surface left for the other side and a center ridge will be left which must be hand sanded smooth. For the inside, ⅛" is enough edge relief, but the outside needs a smoother, more rounded look.
Making the kerfing pattern:
Now to make a pattern for gluing the kerfing (which we will make soon) to the side panels. Start with another cut out and routed panel like the left side panel without the door, cut from ½" plywood of a lesser grade. From this pattern we'll mark and remove a strip around the edge where the top goes, allowing for a reveal of ⅝", ¼" for two layers of the top, and ½" for the width of the kerfing (for a total of 1⅜"). With a compass set to 1⅜", scribe a line around the edge - this represents the inside edge of the kerfing and the outside edge of our pattern to be. Locate and mark the two lower 1⅛" by 1" braces. The rear brace begins at the point the curve of the top begins to straighten out and become parallel to the bottom edge. Draw a line perpendicular to the bottom edge in line with the front of the rear bottom brace - this marks the end of the kerfing in the rear. Measure up from the bottom edge 1" and mark and mark again at 1½". Draw two lines parallel to the bottom edge across to the curved front edge - the space between these lines represents the floor of the puppy camper. In the lower front quadrant, scribe a line ⅝" from the edge (this represents the outside of the top) to find the point where it intersects the top line of the floor. Add &frac116;" above the floor to allow for paint so the floor will slide in without binding. This point, &frac116;" above the top of the floor and on the scribed line representing the outside edge of the top, determines the location of the front lower brace. This point is the bottom left corner of the brace. Draw a line from the edge through this point. Since the edge here is curved it will not be perpendicular to this edge, but will bisect the angle formed by the curve.
Carefully cut the scribed strip on the bandsaw, starting with the two short terminal cuts then around the perimeter. File and sand to the line. Since this is merely the form for bending the kerfing it need not be as perfect as the edge of the templates for routing, but it should be close. When you clamp this pattern to the inside of a side there should remain a space that is even and follows the shape of the side closely. The drawings are made from the actual patterns I used, both the side pattern and the kerf pattern, with details filled in, and reduced in size to fit a normal page.
Making the kerfing and gluing blocks:
Now to make some kerfing. Kerfing is used to provide a gluing surface - such as in guitar construction, where the sides meet the top. The material is so thin that there is very little surface area to hold glue to make a joint between sides and top/bottom. Kerfing is a piece of material with many closely spaced cuts that don't quite go all the way through so that the piece can be bent in a smooth curve without breaking. The closer the cuts, the smoother the curve. You will make this on the band saw. I made two pieces of kerfing from two 8-foot lengths of ordinary pine trim, ½" quarter round. The setup includes a piece of wood with a partial saw cut through the edge. Then this is placed on the back side of the bandsaw blade, with the blade in the slot and clamped in place with just enough of the blade exposed so that a piece of ½" quarter round will be almost, but not quite, completely cut through. The curved part of the quarter round is cut almost through to the back, flat side - it's good to leave about &frac116;". Too much, and it will be hard to bend in a tight curve, too little and it could break. Try a short sample piece first. Put a pencil mark to the left of the blade at ¼" - this is your guide for the cuts. Push the quarter round into the blade to the wood stop, pull back, move to the left until the cut lines up with the pencil mark and cut again... repeat many, many, many times. Don't space out during this repetitive task and add your fingers to the off cuts. Once you've cut a bit you'll find the cut portion of the quarter round will bump into the support arm of the band saw, so you will need to clamp a piece of wood to the table to gently guide it just past this point. Moving the left side of the kerfing so it will miss the support arm will require some counteracting pressure to push the quarter round into the blade, so minimize this by having the clamped guide steer the quarter round just barely past the arm - your sore, aching, fingers will thank you. When the quarter round is uncut it's fairly stiff and easy to hold and guide into the blade for each successive cut of the many, many cuts. As you accumulate cut quarter round on the left, however, it will become more flimsy and bendy and you will need to jerry rig a long board (I used a piece of aluminum angle I had handy) to the left to support the cut side for the full 8 feet.
Finish one piece of kerfing. Take a break, count your fingers. Massage any remaining fingers - they may be cramping. When you're ready, take a deep breath and make another piece of kerfing. Now you know why luthiers' suppliers sell short sections of kerfing for such a high price.
Now you will need to make gluing blocks, many of them, about 9-10 per foot. The idea is to cut strips of ¾" plywood (again from lessor grade plywood) about 1" wide, then cut a shoulder ⅛" wide and just under ½" high along the ¾" edge - this is to hold down the ½" kerfing when it's glued up - which is why it's just barely under ½" - so it will apply some pressure when clamped down. (see drawing for a detail). Now cut another shoulder, ⅛" high and ⅛" from the edge of the shoulder you just cut - this is to give some space for glue squeeze out, so you won't be gluing the blocks down hard at the same time as the kerfing. Some of the blocks may stick, even stubbornly so, but this relief cut will allow you to tap them and they'll come off. Now cut this strip with the two shoulders into pieces about ¾" - ⅞" wide – you will need a bucket full, and clamps to go with each one. A woodworker once said - you can NEVER have too many clamps - and this is one of those nevers. If you don't have enough clamps to go the whole way round at once, you'll need to glue a section at a time. It will need to dry overnight for full strength, but yellow glue will set up enough in an hour or so to allow gluing the next section.
Gluing the kerfing:
Do a dry run. Clamp the kerf pattern to a side pattern (INSIDE of the side, please!) using the blocks, start at the rear end (where the curve is tighter - easier to bend it now when it's long) Place the kerfing against the form, cuts to the inside and flat bottom against the side surface, firmly secure the bitter end by placing a block and clamp, press the glue block tightly while clamping - you want pressure downward and also tightly against the form. Bend the kerfing around partway, support it so it will stay on the side and not fall off (and possibly break) but not bound tightly yet. Go around and place glue blocks, leaving a small space between them. You want points of pressure against the form close, especially here at the tight curved end. Work your way around until you get near the front end and can overlap the kerfing on the form itself, mark and cut the kerfing to length so it's a decent fit but not too tight at the end. The ends will be trimmed later, to allow for the cross braces, so it's not critical to get the length perfect now. It's easier to bend a tight curve past the point and trim back later than to try to get the length exact now and glue it precisely in place.
When you think you have the hang of it, Remove everything and place the blocks and clamps where you can get to them quickly. I like Titebond II glue. It's an inexpensive yellow glue, tacks quickly, spreads easily and holds very well, plus it's waterproof when dry. When gluing the kerfing, it's important to get glue mostly on the outer edge of the kerfing, where it's not quite cut through, and some on the bottom, but you don't want to slather it on over everything. You will have to carefully pry the bending form out after the glue has set and too much glue will cause much cursing and frustration. To this end it's a good idea to apply a good coat of wax, a hard finishing wax, to the edge of the form to help keep the kerfing from sticking, before gluing up. When you think you're ready, spread a bead of glue along the outside edge of where the kerfing will go (use the scribed line on the side as a guide) and start clamping the blocks in place, working your way around. You won't be able to bend the kerfing all the way around at once, you'll have to work it along a foot or so at a time, so support the kerfing above the side with long thin sticks across the form, under the kerfing, to avoid smearing glue where you don't want it. This will also allow you to apply glue a foot or so at a time as you go. The first part is the hardest because it's the tightest curve. Clamp along, being sure to press it tightly against the form as you go and make sure the blocks press it down to the side. Move the kerf support along as you go. You'll be able to bend longer stretches as you go over the gentler curve along the top, but still be careful to press each block tightly to the form. The very end may need some coaxing with a piece of wood to get it tight to the form around the last curve. You can go back and make some minor adjustments, but the glue will begin to set up rather quickly so work fast! Let this set up overnight.
Next day remove all clamps and blocks (again, some may need some persuasion with a small hammer and stick of wood). Hopefully, none of the blocks have so much glue under them that they bring part of the side veneer with them (which would require filling and sanding). Now use a putty knife to pry the kerf pattern up from the side itself, starting at the middle of the bottom, where marks won't show - if there should be any. Usually once the putty knife has (gently!) started movement the form will pry right out. Clean up the joint surface where the flat kerfing edge meets the side. Since the inside will be painted and all these small kerf cuts will act like the nib of a pen to hold paint and produce runs and drips and much cursing and frustration, run a bead of cheap acrylic chalk along the cuts and wipe it with a finger to make a smooth surface. Let the caulk dry completely. Clean any chalk that runs over onto the inside edge. Repeat for the other side. Place one side on top of the other to check that the kerfing edges match.
Making cross braces and assembling carcass:
Place one of the sides on the worktable, inside up. Remember the mark on the side for the end of the kerfing? Now we'll mark and cut it to allow for the cross braces. The four main cross braces are milled to 1⅛" x 1". Measure accurately the actual width of the flashing and add &frac116;" - 3/32" for the length of the braces. There is paint thickness to consider and you don't want to face trying to trim a sliver from the edge of a 6-foot length of flashing, so give a little leeway. A snug fit, rather than tight is what we're shooting for for the top. Cut the four braces at the same time with a block clamped to the cross cut guide on the table saw to ensure they are exactly the same length, with perfectly square ends. The square ends are important because they will help you to get the carcass together accurately so the bending ply and aluminum will go around with a minimum of fuss.
Measure back along the kerfing from the starting points for the ends, both front and rear, to allow for the braces width and cut the kerfing completely through (but only the kerfing) carefully with a dovetail or small back saw. Use a small hammer and block of wood to pop the short piece of kerf off and clean the surface with a chisel. Choose two points on the top of the side, roughly spaced across from the bottom braces. You basically want four supports spread somewhat evenly. The placement of these two top braces is somewhat arbitrary. The four braces are to support the two sides parallel to each other, with the sides lined up. The bottom braces spread the sides exactly and also provide an attachment for the ends of the bending plywood (which will be under some pressure) and the locations of which are critical, while the top two braces merely spread the sides exactly. It may be easier to locate these top two by first choosing spots on one side, marking the width of the braces and cutting the kerf and removing those sections, then place the sides together and line everything up, and mark the uncut kerf using the cut kerf on the other side as a location guide. The outer edge of the braces line up with the edge of the kerfing so there is a continuous gluing surface all around when the braces are in place.
Set up the table saw to cut the bending plywood. Set it up slightly under the width you cut the braces, again to allow some leeway, say &frac116;". Cut two strips of bending plywood. Lay a side on the work table, overhanging enough to reach to the bottom braces, inside facing up. Place a brace in position and nail in place. I use a brad air nailer. I suppose it's possible to hold the brace in place with one hand while using a hammer in the other and a nail in the third hand to do this, but an air nailer will be most accurate and easy to single hand. Think of it as an excuse to run out and buy one if you haven't already...oh, AND a compressor too, you'll probably find the nailer works much better with a compressor. I am used to working alone on complex projects and figuring out ways to replace a helper with inanimate objects clamped together, so my approach is as a lone woodworker in the wilderness. If you have assistance, more power to you.
Attach the rest of the braces in the slots you've cut in the kerfing, one at a time, lining up the edges carefully. Place the other side on top of the braces and locate and attach each one carefully - now you have the skeleton of a carcass.
Fitting and assembling the top:
With the carcass on its side still, place a piece of bending plywood, again starting at the rear where the curve is tighter. Allow a bit of overhang that will be trimmed later, and clamp the end of the ply to the rear brace. It's good to use C clamps here - the ply will be under some pressure and the end needs to be very secure when glued. You can use a backing strip of wood to help. Spring clamps are appropriate for the rest of the perimeter. Carefully bend the ply around the form as tightly as you can and mark the other end, again allowing some extra which will be trimmed later. Remove and cut the end you marked. Now for a dry run. Again clamp the rear end to the brace, bend the ply around tightly and clamp it to the front brace. Use just a few clamps of the spring variety in front because we are going to snug the ply more tightly with strap clamps and so the clamps now are just to hold the ply in rough position and will be loosened to allow movement as the straps are tightened.
Place three strap clamps (cargo ratchet tie downs) around the ply starting at the top. Hook the ends together to make a loop, with the hooks and ratchet in the space where the bottom will go and snug it down - just snug, don't crank, yet. Place the top strap and snug, then one in the middle. Check inside to see that the ply is pulled up tight to the form all around as you tighten the clamps. You'll have to place the clamps that hold the end to the braces leaving space for the straps. Crank the straps and recheck the fit inside. When you're satisfied, remove everything, place within easy reach, run a bead of glue around the kerfing, both sides. Too much and it will start to drip all over everything. You want enough for a good joint but not an excess. You can't do this gradually, a foot at a time like the kerfing because you're doing both sides at once. Be quick! Get the kerfing glue applied, then run glue along the rear brace - be more liberal here, as it will be under more pressure. Slap the ply on, clamp the end with a few to three clamps and get to bending around while that glue is displaying its obedience to the law of gravity. Glue up the other brace, throw on a clamp or two to hold it temporarily, get those straps in place! Don't get right next to the edge of the ply or you'll glue the straps in place too - allow ½ inch or so from the inside edge. Snug the straps - you'll have to release the clamps on the front once the straps start holding the ply to allow it to move as you crank the ratchets down (don't test the breaking strength of everything, but crank it down and check inside to see that the ply is seated to the kerfing all the way around, especially along the flatter top section). Now go back and add C clamps to those ends, at the outermost edge of the braces, where the pressure will be greatest. Check to see that the ply is seated completely at both ends. Now relax, breathe, the excitement is over - until the next layer of ply. Let this set up overnight.
In the morning, remove the straps and clamps, clean the joint between the side and top with a scraper. You can trim the ply overhanging at the braces with a mat knife, making repeated light to medium cuts against the brace as a guide until you cut through. You may want to support the edge as you do this so you don't pull the ply loose at the edge as you cut with the mat knife, just don't support it with a slashable body part like a finger. Clean the face of the braces with the scraper. Test fit the second layer of ply to see that it'll go around without binding. If it does bind, check for glue on the inside of the side you may have missed. As a last resort, sand the edge of the ply where it's sticking. Clamp the rear end in place, bend around to the front and mark the length, allowing some extra to trim later. It will be a bit longer than the first, because of geometry involving circles and pies. Remove and trim the front end to the newly marked line.
Apply liberal amounts of glue all over the first layer of ply. I used a small medium nap paint roller and pan of glue to apply a lot quickly, then went over it with a serrated putty knife to be sure it was spread evenly. You have to be quick! Do this later in the morning, after you've had your coffee. As soon as the glue is spread, apply the second layer of bending ply, again starting at the rear, lots of clamps to hold in place, allowing space for the straps top, middle and bottom, straps slightly away from the edge (deja vu yet?) Snug the straps lightly, massage the ply, back to front, to make sure it's seating all around, especially the flatter sections, as the straps can't apply as much pressure there - the straps can actually apply lots of pressure where the bends are tightest in rear and front and prevent the flatter section on top from sliding around forward to seat fully if you just crank the straps tight. Crank the straps down, check the outside edge to see if there's an equal reveal all around indicating the ply is seated. Wipe the glue joint on each side with your finger or a small putty knife to clean up some now and have less scraping later. Breathe, relax. Let everything set up overnight. In the morning, remove all clamps and straps. Clean up the joint between top and sides with the scraper. Now is the time to prime the interior – almost.
Making and installing floor supports:
First we must make the two strips that support the bottom. They measure ⅞" x ¾" x 24", and are attached to the inside bottom edges of the sides, just above the tangent point of the ⅛" routed edge (on the flat part, not to put too fine a point on it). They are cut long and held in place, tight against the rear brace, and scribed to the curve of the front edge. Cut this curve on the band saw, sand smooth, rout the inside top and bottom edges with the ⅛" round-over bit, glue in place and clamp till dry.
Set the carcass upright and, having figured your paint scheme already mark it with a pencil line, which is extended across the front and back of the now two-layered top. Many trim variations are possible, but the simplest is a straight line dividing the top and bottom colors. I made a rough measurement and cut a piece of flashing a bit long, placed the cut piece on the top and taped it to the line in front, marked the rear line on the flashing and removed it and cut it to length. Note: you can use a backing board and a straightedge to sandwich the flashing, then cut with a mat knife (it'll take five or six strokes to get through it), then file the edge smooth.
Making the fenders:
Now at last it's time to prime - almost. First we have to drill for the axle, test fit the wheels and make some fenders. We'll start with the fenders. Clamp the axle in a vice (gently, strongly enough to hold upright but not to warp it out of round), and slide both wheels on. I used 7" lawn mower wheels, I found some online that even had a small hub cap for a cool, finished look. The axle is a three foot piece of ½" hollow round stock from a builder's supply (Lowe's, Home Depot, etc). Cut four strips of the leftover bending ply, wide enough to reach from one edge of a wheel to the other. Wrap a ply around the wheels and mark a length shy of overlap and cut all four to length. Wrap two of the plys tightly around the wheels and secure with masking tape wrapped around several times. This will be the form for bending the fenders. The reason for these two spacer plys is to have a small ¼" gap between the fender and wheel when mounted on the side. Apply glue liberally to the third sheet of ply, add the next, last layer and wrap these tightly around the wheels and first two spacer plys and tape tightly in place. It is important to have the edges lined up closely because this will be the edge held against the table saw fence when cutting out the fenders. Let this set up overnight. In the morning remove the cylinder with a gap you've made and very carefully cut two 2" strips from this curved piece. It's not a bad idea to cut the first strip a bit wide, so as to create a uniform edge, in case the edges weren't lined up perfectly when glued. Then cut another strip and reset the fence to cut the two fenders. Use the first cut edge against the fence when re-cutting. This is a dangerous operation, cutting a relatively narrow strip from a curved piece of stock, so be sure to hold it securely against the fence all the way through and go slowly and carefully, with the blade raised just enough to cut through plus some tooth clearance.
Now lay the carcass on its side, locate the axle hole, 3" from the rear brace and centered in the 7/8" piece that supports the bottom. Drill a ½" hole in each side and test fit the axle - You may need to work on the holes with a rat tail file to get the axle to slide in. It's a snug fit and it will be hard to line both holes up exactly, so some file fudging may be required. When the axle slides in with a minimum of force, pop a wheel on the top. If the axle is a loose fit now due to overzealous filing, clamp a vice grip gently on it inside, next to the bottom to keep it from sliding through as you work on the fender. Slide the axle into position, pop on a wheel then move the fender strip around until you like the even reveal around the tire and mark its location with a pencil around the outside edge. Also, mark the ends of the fender, right where it meets the tangent point of the routed bottom edge.
Remove the tire and axle, cut the fender ends to length, and use the ⅛" round-over bit and some sandpaper to shape the exterior edges of the fender, leaving the inside flat for gluing. Run a bead of glue along the inside edge, place the fender on the side up to the line you marked. Press down to squeeze out the glue and clamp lightly with a couple of deep reach clamps until dry. Adding a board across the fender will assist in getting the clamps to hold the whole fender down, as the ⅞" strip inside can interfere with the positioning of the clamps. When dry, run a bead of caulk around the seam, inside and out, and wipe into a fillet with a finger to make painting easier. Repeat on the other side. You can let the bottom side overhang the table, keeping the fender clear, or prop the whole thing up on a pair of sufficiently thick blocks to keep the newly glued fender out of harm's way.
Priming and painting:
Now finally, it's time to prime. Remove the wheels and axle. I prefer Zinsser cover stain oil based interior-exterior primer for priming because it dries very quickly and covers well, though it does have a bit of an odor. Because of the odor and the enclosed space (your head will be inside the carcass unless you can paint well by Braille) it's not a bad idea to have a fan going for ventilation. Woodworkers in general have few enough brain cells, let alone any to spare to paint fumes – something even more apparent now that I'm older and no longer enjoy the invincibility of youth.
Lay the carcass on its back side so the door allows some extra light to enter from above. (I propped the whole thing up on blocks) I use a disposable chip brush for priming. Sometimes cheap chip brushes drop bristles but it's easy enough to pick them out now, and it is just a prime coat. Prime the back side and top as far as you can comfortably see/reach, then flip it over to prime the opposite side. A work light may prove useful since the door no longer lets in light. Once this is dry enough to sand, usually a few hours, I sand it lightly to remove any ridges and flatten any drips I missed, then paint the interior with a good grade of enamel paint. Rustoleum gloss white oil based enamel was my choice. This will have to dry overnight.
Now it's time to prime the exterior. For the top, you won't have to prime under the aluminum flashing, just the vertical inside edges of the sides with a bit of overlap onto the top along the edge, but you do need to prime the bottom below the flashing. It's not a bad idea to run a thin bead of calk along this joint and wipe it down with a putty knife to fill any unsightly gaps before priming. You don't want to wipe this into a fillet with your finger or you may run into trouble when the aluminum has to fit (the last thing, to keep it safer from scratches and dings).
Take care around the fenders to get a nice even layer of primer. After this prime coat is dry, touch up with light sandpaper. Layout the paint scheme and mask off, then paint the bottom (again taking even more care with the fenders, especially if it's a dark color) When you get to the door, paint around to the inside edge, where the ⅛" round-over ends, you should be able to do this neatly without masking it off. Remember when running masking tape around the side edges to the top to keep them lined up with the original line and don't let the tape lie flat and wander off around the curve of the edge. This is an important detail to remember (to have remembered) back when you were marking the line for the flashing along the top. It's rather like marking a waterline on a boat - it stays the same height all the way across the sides, around the edges, and across the front and back. Remove the tape as soon as you are satisfied with the finish coat (another boat-oriented reminder is to always work with a wet edge when painting a large area for a smooth coat). If you leave the tape on while the paint dries it will leave an edge and may even pull some paint with it when removed later. By removing it now, when the paint is starting to set but not yet dry, you will allow it to settle and taper to that edge. Let this dry overnight.
Next day, mask and paint the top, remembering the portion under the flashing won't need this coat either. Remove the tape when satisfied and let dry overnight. Install the axle and wheels, remembering to get an accurate length for the axle which includes enough for the end caps. Don't make it too tight a fit. Fashion the bottom by cutting it to width so it will slide, remembering to allow for several coats of primer/paint, and be sure to leave enough for the tongue. Slide into position, mark across where the top lines up, also measure the distance from surface to tongue when the bottom is level and make a note of this measurement for the little front support that will be added later. Remove the bottom, lay out the tongue (again, I made a pattern first out of ¼" ply to mark the tongue on the bottom and then to be a guide for the router). Make a note of the measurement from the back edge of the bottom to the pencil line, prime the bottom all over. You can prime one side at a time and let dry between, or hang it and prime both sides at once.
Lightly sand the primer, mark, mask off, and paint the interior portion gloss white, both sides. Make a piece to act as a jack stand for the front of the tongue. You can use some closet rod or make something of your own (I made a piece that followed the shape of the tongue itself) and cut to length according to the measurement you made and noted. Attach to the tongue with that brand new air brad nailer. Mask off the white painted section and paint the tongue and jack stand gloss black. Each of these gloss finish coats will have to dry overnight, being oil-based enamel. When dry, insert into the body, lay that on its side, drill and countersink six screws, three on each side, through the ⅞" support piece and into the bottom, and secure with screws. Turn the whole thing back upright and take a step back and admire - you're almost done!
Installing the aluminum top:
Now it's time to install the aluminum top (flashing). The laminated bending plywood top is not perfectly smooth, even when clamped and massaged into place when glued up. This would cause wrinkling in the aluminum flashing and I didn't want to go to the length of fairing the top completely smooth and even, so I don't glue the aluminum flashing down – I only secure the ends. If the front end is secure and the flashing is stretched tight for the rear end to be secured, the flashing will find its own level and lie flat, bridging over any unevenness or slight undulations in the top. It's not like the puppy camper is going to be hauled down the road behind a small doggy car or have to be wind and waterproof like a real camper.
Glue the front edge of the flashing with a bead of silicone and tape it in place with a wide piece of masking tape across the joint and also with three or four long strips vertically, so you can pull against it to stretch the material tight without worry that it would let go. Then stretch it as tightly as you can, using tape strips for handles, massaging from front to back, and secure the other end in the same manner with silicone and wide tape. Use enough silicone to glue securely but not so much that you have a lot of squeeze out to clean up. Let this set up overnight.Making the trim:
The paint line between top and bottom colors is the center-line for the trim. Measure the various lengths of the side trim, subtract ¾" from each end, and cut each piece of trim to length (one for the left side, two for the right side). Taper or round each tip of the half round to suit your taste. A stationery belt sander will make quick work of this, but a hand belt sander clamped to the table will do, or just shape it by hand with rasp, file, and sandpaper. The two pieces for the front and rear are cut to be a snug fit between the sides and the ends stay square. Paint the trim aluminum, a can of metallic spray is easiest. Locate the paint lines (trim center-line) on the inside by drilling small holes on the line from the outside (being careful to move in from the edge to clear the kerfing inside), counter sink from the inside. Install the trim with small wood screws from the inside.
Making and installing winglets:
Make and install the two "winglets". These are a signature feature of the old 50's Shasta campers (Google vintage Shasta camp trailers to find some photos). The winglets are purely for show, which is why I like them. There is a pattern for them on the drawing. I routed the edges of both sides of these with the ⅛" round-over bit. Position each winglet and mount them from the inside with small finish screws like the trim.
All that is left is to install the memory foam pad you ordered in time for the grand finale and coax your lucky doggy inside with treats.


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Britons' digital albatross, DAB radio, might be antique and sound terrible, the culture minister said this week, admitting the 2015 switchover date looked "ambitious". It's the first time a politician of ministerial level has acknowledged issues with DAB. But there's no changing course, he said.
"They often suggest that DAB is an out-of-date technology, that coverage and sound quality are inferior to analogue and listeners are already happy with what they've got so why change?" noted Ed Vaizey. "There are of course elements of truth in all these statements," he agreed, before stressing the positives.
Citing industry-sponsored research, Vaizey noted: "What really jumped out to me was that the majority of those who responded stated that they would not buy a car in the future without DAB radio. To me that highlights what consumers want, and what you as manufacturers and broadcasters are already beginning to provide."
In a conference speech, Vaizey also said the 2015 target "looks ambitious", and then invited the audience to consider several impossible things: "No one could predict 10 years ago the success of Apple, the domination of Google, profitability in social networking, particles travelling faster than the speed of light [sic]" – before calling for renewed faith in digital radio.
The BBC this week affirmed that it would pick up the tab for expanding DAB coverage – although nobody can say how much this will be.
Speaking at the same event, BBC's radio chief Tim Davie (who is a rarity in the corporation, coming from a solid commercial background) said it would fund the further expansion of DAB coverage. The digital radio lobby claims that coverage is 86 per cent for national commercial digital channels, 90 per cent for national BBC channels, and lower (much lower, actually) for local digital stations. Davie vowed to take this from 90 to 97 per cent coverage.
It's a measure of how far DAB has to go that Davie said the first priority was achieving "solid" coverage in the top 25 UK cities. But private estimates are much higher.
Only Arqiva has done any research. But Arqiva has some serious skin in this game, as the owner of the commercial multiplex Digital One (acquired from Global two years ago) and smaller regional muxes. The BBC opened 43 new transmitters in 2010 and 2011 with Arqiva as a subcontractor. Arqiva has guesstimated that expanding DAB coverage to reach the 97 per cent target would cost £100m. Private estimates are as high as 10 times that figure. ®


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Oh, Royce Gracie (14-2-3 MMA, 11-1-1 UFC), what have you started?
With the 44-year-old original UFC champion publicly campaigning for a slot at this August's planned "UFC: Rio" event, a handful of other MMA pioneers are ready to answer his call.
The infamously one-gloved boxer Art Jimmerson (0-1 MMA, 0-1 UFC) was first to call out than man who beat him at UFC 1, and now UFC Hall of Famer Dan Severn (98-16-7 MMA, 9-3 UFC) wants a rematch, as well.
Jimmerson was the first to stake his claim. The former professional boxer will be 48 years old by the time the UFC hits Rio de Janeiro's HSBC Arena on Aug. 27, but that isn't stopping the UFC Gym employee from laying down the challenge.
"I will definitely be more aggressive," Jimmerson recently told U.K.-based outlet Full Mount MMA. "I will throw more punches and fight my fight.
"Royce will not dictate this one. I will not allow him to take me to the ground."
Jimmerson was taken to the mat early in his UFC 1 meeting with Gracie, and he tapped after simply being mounted by the Brazilian. However, after finishing his pro boxing career in 2002 at 33-18, Jimmerson has since taken to learning Brazilian jiu-jitsu.
Meanwhile, "The Beast" is also looking for redemption against the man that beat him in the finals of UFC 4's eight-man tournament. Just three fights into his MMA career that night (all three of which took place in the tourney), Severn has remained incredibly active since.
Now 52 years old, Severn has fought a minimum of three times each year since that 1994 meeting and has an astounding 121 documented fights on his professional record. While it's been some time since Severn has faced the world's best fighters, he does currently carry a nine-fight win streak.
Severn currently has two additional fights lined up and could enter "UFC: Rio" with 100 wins to his credit. A fight with Gracie, his camp says, could be a fitting farewell to a legendary career.
Of course, things have changed slightly since 1994, and Severn's heavyweight frame might find a catchweight fight with the 175-pound Gracie difficult to reach. It's not stopping the Michigan native from laying down the challenge.
"Since the hint of a UFC event in Brazil hit the online rumor mill, Dan Severn has been passionate about his intentions to take part in this event as his finale match to his fans and the MMA community," a statement from Severn's camp read. "Dan has said on numerous occasions that if he had the opportunity to have such a match in Brazil, he would want it to be with Royce Gracie.
"In light of Royce publicly announcing his intent to take part in a UFC event in Brazil, Dan Severn is, officially, throwing out the challenge to Royce Gracie. Wanting to take it to the cage, one last time, in an all-out ground war – two legends of the octagon can thrill and amaze the UFC audience of yesterday and today, one last time."
For the latest on the UFC 134 card, stay tuned to the UFC Rumors section of MMAjunkie.com.
(Pictured: Dan Severn)


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text: Use of Tekla BIM software affects landscapes around the world. We would like to express our appreciation towards your work and share your success stories worldwide. Participating in a Tekla BIM Awards is a great way to gain publicity for your company, especially if you win! The competition gains more media exposure and becomes more popular each year. The winner will be automatically entered into the Tekla Global BIM Awards competition. The global winners will be decided by a jury consisting of leading BIM experts inside and outside Tekla.


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Pop Culturing: 'Queer Eye' Returns for an Unremarkable but Comforting Season 3
There's no doubt that fans are eagerly awaiting to return of "Queer Eye," which won an Emmy for Outstanding Structured Reality Program last year. The third season, which hits Netflix in full Friday, of the popular rebooted makeover series, sticks to the formula it's found success with over its first two runs — for better and for worse.
In Season 3, the Fab Five — Antoni Porowski (food and wine guy), Tan France (fashion guru), Karamo Brown (culture and lifestyle expert), Bobby Berk (home design extraordinaire) and Jonathan Van Ness (grooming guide) — continue traveling the heartland of America in order to improve the lives of good-natured, hardworking and deserving folk. For the first two seasons "Queer Eye" shattered the boundaries that the original series from the early 00s, formally called "Queer Eye for the Straight Guy," were locked into. This new Fab Five aren't only helping out heterosexual men but they also lend their talents to all walks of life, including gay men, women and trans people. The trailer for Season 3 teased the Fab Five will be making over a lesbian woman this season (surprisingly a first!) but that episode was not provided by Netflix for review. The four episodes shared were, for the most part, unremarkable albeit a comforting experience. They would fit fine in any of the first two seasons and don't push "Queer Eye" any further in what kind of show it can be.
From left to right: Karamo Brown, Bobby Berk, Tan France, Antoni Porowski and Jonathan Van Ness in "Queer Eye." Photo credit: Christopher Smith/Netflix
But comfort viewing is reality TV at its best. Over the years, the pillars of reality TV haven't changed so much. "Survivor," which just began its 38th season (!), has probably evolved the most since debuting back in 2000 but its foundation and motto ("Outwit, Outplay, Outlast") are still what drives the show. "The Real Housewives" franchise continues to thrive with a number of its original stars still leading their respective series. "Big Brother" also retains a popular fanbase without varying much as it gears up for its 21st season this summer. Though many latch on to those shows to turn their brain off and watch people be the worst versions of themselves. But "Queer Eye" is remarkable in doing the complete opposite, branding itself on change, love, acceptance, and positivity. It's obviously not a competition show and the conflict comes from the subjects who are often dealing with overcoming insecurities and sorting through past trauma or a major change. "Queer Eye" is never nasty and the Fab Five is focused on making America great again, one person at a time.
Setting "Queer Eye" in Middle America gives the show a certain charm. The Fab Five are metropolitan guys who come from large cities and watching them interact with families in landlocked states gives the series a fun fish-out-of-water vibe. On Season 3, they come across Jody, a correctional security guard and hunter, Joey, a program director for a summer camp, Robert, a self-deprecating psych-ward nurse about to tie-the-knot, and sisters Deborah "Little" Jones and Mary "Shorty" Jones. While the first three episodes are fine, the episode about the Jones sisters is far and away the best of the bunch. Little and Shorty are purely authentic and make for great TV. The episode has everything a fan could want out of an hour of "Queer Eye" — dynamic characters, the Fab Five at the top of their game and inspirational subjects who carry an American story.
From left to right: Bobby Berk, Jonathan Van Ness, Tony Blanco, Antoni Porowski, Karamo Brown and Tan France in "Queer Eye." Photo credit: Christopher Smith/Netflix
Netflix's reboot of "Queer Eye" is a great improvement on the original series but it still would be rad to see the show push itself even further. In today's lexicon, "queer" doesn't mean what it meant 20 years ago. The Fab Five is made up of cis males and while each member is primed to be on TV, it would be great to see the core group changed up a bit and get lifestyle advice and tips from different queer people.
That could conceivably happen because "Queer Eye" is likely here to stay and going anywhere anytime soon. Not only is it extremely popular but Netflix seems to be leaning into putting out more lifestyle content. Food and cooking shows have been a popular staple for the streaming giant for a while now (think "Chef's Table," "Salt Fat Acid Heat," "Nailed it!," "The Final Table") and the company found major success with "Tidying Up with Marie Kondo." There must be an appetite for these types of shows and more are on the way as Netflix and Gwyneth Paltrow's lifestyle website goop are working together for a slew of new programs.
For now, "Queer Eye" Season 3 is a perfectly enjoyable way to spend a lazy weekend. For fans, it'll bring the same joy and heartfelt moments the first two installments did. Let's just hope as the show continues it also progresses in interesting ways.
Also in Style
How Stoli is Breathing Life Into our LGBTQ LegacyRead More »
Pop Culturing
This story is part of our special report titled Pop Culturing. Want to read more? Here's the full list.


text: Ecoassets © Eric Call What are ecosystem goods and services? The waterfowl habitats that Ducks Unlimited works to conserve provide many benefits: improved flood control, clean water, recreational opportunities, preserved aesthetic viewsheds and climate regulation. These are often referred to as "ecosystem goods and services." The ecosystem goods and services created by thriving habitats are economically linked to individuals, landowners, businesses and large corporations. Recognizing this value, market-based systems and banking structures have emerged where environmental "credits" can be generated and sold. These include carbon markets, water quality trading, river augmentation credits and wetland-mitigation banking. DU has engaged in nearly all of these environmental markets and remains committed to the provision of ecosystem goods and services. DU hopes to meet a diverse set of needs and provide opportunities to benefit both waterfowl and people. Carbon Offset Program Greenhouse gas (GHG) levels in the atmosphere continue to rise at accelerated rates, influencing climatic conditions and weather patterns at multiple scales. Such influences can heavily affect ecosystems vital to waterfowl populations and the effectiveness of Ducks Unlimited's work on the ground. Managing GHG emissions is a global challenge that will take a wide range of innovative solutions. Prairie grasslands and bottomland forests important to DU's mission can act as GHG reserves by sequestering and storing significant amounts carbon. Conversely, plowing up grasslands and removing mature forests can result in the emission of established carbon reserves and add to concerning GHG concentration levels in the atmosphere. Avoiding and/or removing GHG emissions can translate into marketable carbon offsets. DU's Carbon Program can help supply these offsets, and landowners and DU's conservation work can benefit from these new revenue opportunities. Water Resource Program Wetlands are dynamic ecosystems providing multiple societal services for managing and cleaning water. Historically, water has been our limitless resource and although water covers more than 70% of the earth, only a fraction of a fraction of fresh water is actually available for human consumption. Available water resources are increasingly stretched beyond available limits to meet demands of growing populations, which are expected to double in many states over the next few decades. As populations grow, demands to supply more food competes with demands for clean and plentiful water at home and in many industrial processes. Ducks Unlimited provides valuable on-the-ground solutions that maximize water resource values through the dynamic natural functions of wetlands. Wetlands naturally store and slow water with capability to recharge rivers and aquifers, improve water quality through biological and physical processes, and provide waterfowl habitat. Through beautiful wetland habitats, we can help address future water needs of waterfowl, wildlife, and people. Wetland Mitigation Wetland mitigation can offset adverse impacts to wetlands, streams and other water bodies brought on by development. Under the Clean Water Act, construction projects that affect a wetland are required to mitigate the damage by creating a wetland of equal or greater functioning capacity. Agencies or developers can mitigate their own impacts or they can purchase mitigation credits from a wetland mitigation bank or program. Ducks Unlimited's mitigation program can help developers meet their mitigation requirements.


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If you needed further evidence that the ubiquitous Korean pop single "Gangnam Style" is the product of a nefarious Weapon X psychological warfare experiment — why do you think they call him Psy anyway? — here is your proof.
This photo came from Psy's Twitter account. (And if any of you young people need me to wistfully recall what an archaeopteryx tasted like, I'll be on this side of the internet, listening to some truly dignified novelty pop.)


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I've been thinking about this ever since. Though I totally agree, I'm thinking we don't know yet how the true skeptic will react because there are no "verifiable facts." And even then, a true skeptic may remain unconvinced because s/he will find another point to argue. True?
All you need are verifiable facts to convince true skeptic.
To wit: Global warming. The scientific community is deadlocked over the cause, the effect, and what (if anything) can be done about it.


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Jimmie Kingry Waldorff, age 101, passed away at her home in Blountstown, Florida Saturday, December 22, 2012. She was a lifelong resident of Calhoun County and was a member of First Baptist Church in Altha, Florida.
Ms. Jimmie lived a long and colorful life. She was one of seven sisters who left an unforgettable mark on many local families. She was part of the Altha girls basketball team that won the state championship in 1928. She worked for 13 years as a nurse at the Calhoun-Liberty Hospital and loved every minute of it. She was married for 75 years to George Waldorff, helped run the Waldorff Hardware store for many years, and had two gardens every year (for as long as her sons could hold out). She loved to fish and was a member of Cox's Immonia Lake Fishing Club for more than seventy years.
Preceding her in death were her husband, George Martin Waldorff, Sr.; her parents, John and Mary (Brown) Kingry; a son, George Waldorff, Jr.; six sisters, Ninver Peacock, Sydney Peacock, Bohn Eubanks, Johnnie McCall, Eddie Newman, Annie Edling; a grandson, David Waldorff, and great-grandson, David Waldorff Jr.
Survivors include two sons, Maxie Waldorff and his wife, Betty, of Altha, Florida and Larry Waldorff and his wife, Kathy, of Blountstown; one daughter-in-law, Marsha Waldorff, of Altha; eight grandchildren, Jim Waldorff and his wife, Sara Kay, Pam Wilson and her husband, Bob, Scott Waldorff and his wife, Jennifer, Mike Waldorff and his wife, Connie, Paula Bonomo and her husband, Jeff, Donna Tew, Jaycee Moore and her husband, John, and Lisa Taylor and her husband, Steve; fifteen- great grandchildren and five great-great-grandchildren.
Visitation will be held at 1:00 PM on Wednesday, December 26, 2012 at the Altha First Baptist Church. Funeral services will follow at 2:00 PM with Reverend Jim McIntosh officiating. Interment will follow in Mt. Olive Cemetery near Altha.
Please visit adamsfh.com to share words of comfort with the family and view the book of memories.
In lieu of flowers, the family requests contributions be made to Altha First Baptist Church New Sanctuary Building Fund, P. O. Box 205, 25503 North Main Street, Altha, Florida 32421.
OBITUARY - Waldorff
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Beyond Mile Zero
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Three articles explore the controversy surrounding the Arctic National Wildlife Refuge in Alaska. North Slope oil reserves; Policy of the Reagan Administration; Differing views of Alaskans in the village of Kaktoville; Oil and jobs versus preservation of nature.
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Discusses attitudes of Alaskans toward outsiders and the upcoming battle to be waged over the fate of the Arctic National Wildlife Refuge (ANWR), which geologists believe contains the country's last great untapped reservoir of crude oil.
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I like it. It certainly appears to be the same size as the EU air speeders that were released and the mini rigs of the true vintage line. So while some may say it is small for a star wars fighter, it fits in nicely with the overall
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NM high school has problems with heat
At a time when temperatures are dipping down to 25 below zero at night, one Northern New Mexico school is having problems with its heat.
As a temporary fix, space heaters have helped make classrooms comfortable at Escalante Middle High School in Rio Arriba County.
A couple classrooms, a computer room and the Commons area tested at about 60 degrees, while ideal temperatures are 68-72 degrees. The entrances into the school were in the 30s.
While the temperatures aren't ideal, school officials say by no means are they dangerous.
"Our kids deserve to have a safe place, a comfortable place, a place conducive to learning. They deserve that," says Chama Valley Superintendent Anthony Casados. "It hasn't gotten to a point where either people have gotten sick or to an extreme where we couldn't stand to be in those particular classrooms."
Space heaters are helping the school get through the day. Contractors are fixing the heating system temporarily to get the school through the winter.
When it warms up outside, engineers will implement a new heating design to carry the school for the long haul. The state's Public School Facilities Authority is helping organize and pay for the improvements.


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Threepenny Opera: The Music
Weill talks about his music
Surprised by success? Well…
"Now that I've finished work on the Beggar's Opera, I think I've written a good piece and that several numbers in it, at least musically, have the best prospects for becoming popular very quickly." (letter to his publisher 10 days before the premiere)
Why would anyone sing onstage?
"With every musical work for the stage the question arises: how is music, particularly song, at all possible in the theatre? Here the question was resolved in the most primitive way possible. I had a realistic plot, so I had to set the music against it, since I do not consider music capable of realistic effects. Hence the action was either interrupted, in order to introduce music, or it was deliberately driven to a point where there was no alternative but to sing." (letter to the journal "Anbruch", January 1929)
Don't mess with my "Klangbild"…
"I hear from Frankfurt that they already want to start making all kinds of orchestra reductions in the Dreigroschenoper. I consider that very dangerous and ask that you forbid the director from making any changes in the music or instrumentation without my permission." (letter to his publisher on October 11, 1928)
"In the twenty years of its existence, the Dreigroschenoper has become a classic, and thousands of performances have rendered proof of its artistic strength as well as of its power over an audience. In music schools, the work's full score is being taught as an example of great orchestration achieved by modest means, and up to now, no one has ever gotten the idea that this full score should be improved on. … In no case would I allow my music to be changed arbitrarily." (letter to a theater in Switzerland, January 31, 1949)
Take a closer look at the composer's handwriting: here's the first page of full score for "Seeräuberjenny" / "Pirate Jenny."
Click image to enlarge.
Tschaikowsky? Stravinsky!
"Stravinsky is really enthusiastic about Dreigroschenoper. … It's seen as a play that could have originated only on German soil, but just the same an entirely new mixture of Shakespeare and Dickens. The music, he said, is perfect. I'm supposed to send him all recordings and music immediately, because he wants the piece to be with him always." (letter to Lenya on January 27, 1930)
The Orchestra
The music sounds so easy but when you look at it … how did the 7 original band members manage 23 instruments?
The Orchestra: The Lewis Ruth Band (photo) led by Theo Mackeben at the piano. They were placed on stage in a prop of a fairground organ. Most of today's bands need 11 to 13 players to cover all the parts. [Special thanks to Archiv Dr. Jürgen Schebera, Berlin, for the photo.]
"If Jenny ever becomes a major role, then there's something goddam wrong with the whole production."
-Lotte Lenya (1962)
The CastCountless actors have mesmerized audiences with their skills but when it came to singing they stopped the show for all the wrong reasons. Likewise, many a trained singer has beautifully hit all the right notes but could audition successfully only for Madame Tussaud's. So casting is key. Threepenny can't be done with pure singers, and it can't be done with pure actors. Each role calls for specific qualities, and no one should be fooled — Polly and Macheath are vocally demanding parts. Here's a portrait of the original cast:
Macheath: The role was written for the dapper Harald Paulsen, a seasoned operetta tenor with excellent acting skills.
Polly: The substantial soprano part was conceived for Berlin's shooting star, 27-year-old Carola Neher. Because of her husband's sudden death she had to be replaced at the premiere, but she joined the cast some months later and also played the part in the 1931 film version. Roma Bahn played Polly on opening night in Berlin.
Mr. Peachum: Erich Ponto, a noted stage actor and later a film star ("The Third Man"), had no trouble with this straightforward bass-baritone part.
Mrs. Peachum: Rosa Valetti was a political cabaret performer, handling the part of Mackie's true antagonist with a fine mezzo voice and accomplished acting skills.
Jenny: Lotte Lenya's name was accidentally omitted from the opening night program, but in this mezzo part she made a memorable impression on Berlin's feared theater critic, Alfred Kerr: "Who was she? She was good!"
Lucy: Kate Kühl had wanted to become an opera singer but ultimately chose the career of a chanteuse and actress. The number "Lucy's Aria" had to be cut at the premiere because it requires the skills of a coloratura.
Tiger Brown: A trouble-free baritone part, it was performed by Berlin's famous and beloved Kurt Gerron, who starred in countless plays, revues, and films (e.g., "The Blue Angel").
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