text:
SEPTA (Southeastern Pennsylvania Transportation Authority) |
Background | |||
Locale | Delaware Valley | ||
Transit type | |||
Number of lines | 196 | ||
Number of stations | 290 | ||
Annual ridership | 320,984,300[1] | ||
Chief executive | Joseph M. Casey | ||
Headquarters | 1234 Market Street, Philadelphia | ||
Website | SEPTA | ||
Operation | |||
Began operation | 1965 | ||
Operator(s) | SEPTA (some routes in Chester Co. contracted) |
Reporting marks | SEPA SPAX |
Number of vehicles | 2,295 | ||
Technical | |||
System length | 450 mi (720 km) | ||
Track gauge | 4 ft 8 1⁄2 in (1,435 mm) 5 ft 2 1⁄2 in (1,588 mm) |
The Southeastern Pennsylvania Transportation Authority (SEPTA) is a metropolitan transportation authority[2] that operates various forms of public transit—bus, subway and elevated rail, commuter rail, light rail, and electric trolleybus—that serves 3.9 million people in and around Philadelphia, Pennsylvania, United States. SEPTA also manages construction projects that repair, replace, and expand infrastructure and rolling stock.
SEPTA serves the combined city and county of Philadelphia, Delaware County, Montgomery County, Bucks County, and Chester County. SEPTA also serves New Castle County in Delaware, and Mercer County in New Jersey.
SEPTA has the 6th-largest U.S. rapid transit system by ridership, and the 5th largest overall transit system, with about 306.9 million annual unlinked trips. It controls 290 active stations, over 450 miles (720 km) of track,[citation needed] 2,295 revenue vehicles, and 196 routes. SEPTA also manages Shared-Ride services in Philadelphia and ADA services across the region. These services are operated by third-party contractors.
SEPTA is one of only two U.S. transit authorities that operates all of the five major types of transit vehicles: regional (commuter) rail trains, "heavy" rapid transit (subway/elevated) trains, light rail vehicles (trolleys), electric trolleybuses, and motor buses. The other is Boston's Massachusetts Bay Transportation Authority (which runs ferryboat service as well).[3] SEPTA's headquarters are located at 1234 Market Street in Center City, Philadelphia.
SEPTA was created by the Pennsylvania legislature on August 17, 1963, to coordinate government subsidies to various transit and railroad companies in southeastern Pennsylvania. It commenced on February 18, 1964.[4]
On November 1, 1965, SEPTA absorbed two predecessor agencies:
- The Passenger Service Improvement Corporation (PSIC), which was created on January 20, 1960 to work with the Reading Company and Pennsylvania Railroad to improve commuter rail service and help the railroads maintain otherwise unprofitable passenger rail service.
- The Southeastern Pennsylvania Transportation Compact (SEPACT), created on September 8, 1961, by the City of Philadelphia and the Counties of Montgomery, Bucks, and Chester to coordinate regional transport issues.
By 1966, the Reading Company and Pennsylvania Railroad commuter railroad lines were operated under contract to SEPTA. On February 1, 1968, the Pennsylvania Railroad merged with the New York Central railroad to become Penn Central, only to file for bankruptcy on June 21, 1970. Penn Central continued to operate in bankruptcy until 1976, when Conrail took over its assets along with those of several other bankrupt railroads, including the Reading Company. Conrail operated commuter services under contract to SEPTA until January 1, 1983, when SEPTA took over operations and acquired track, rolling stock, and other assets to form the Railroad Division.
Subsequent expansion[edit]
On September 30, 1968, SEPTA acquired the Philadelphia Transportation Company (PTC), which operated a city-wide system of bus, trolley, and trackless trolley routes, the Market–Frankford Line (subway-elevated rail), the Broad Street Line (subway), and the Delaware River Bridge Line (subway-elevated rail to City Hall, Camden, NJ) which became SEPTA's City Transit Division. The PTC had been created in 1940 with the merger of the Philadelphia Rapid Transit Company (formed in 1902) and a group of smaller, then independent transit companies operating within the city and its environs.
On January 30, 1970, SEPTA acquired the Philadelphia Suburban Transportation Company, also known as the Red Arrow Lines, which included the Philadelphia and Western Railroad (P&W) route now called the Norristown High Speed Line, the Media and Sharon Hill Lines (Routes 101 and 102), and several suburban bus routes in Delaware County. Today, this is the Victory Division, though it is sometimes referred to as the Red Arrow Division.
On March 1, 1976, SEPTA acquired the transit operations of Schuylkill Valley Lines, which is today the Frontier Division.
Future expansion of SEPTA's commuter rail system has been an on-and-off topic for many years, with no considerations at present regarding restoration of passenger rail service between Philadelphia and Reading, Allentown, Bethlehem, and West Chester. Proposals have also been made for increased service on existing lines- including later evenings and Sundays to Wilmington and Newark in Delaware. Maryland's MARC commuter rail system is considering extending its service as far as Newark Rail Station, which would allow passengers to connect directly between SEPTA and MARC. As of 2014, an expansion of the Norristown High Speed Line is under consideration to extend service to the King of Prussia area.[5]
SEPTA is governed by a 15-member board of directors:
- The City of Philadelphia appoints two members: one member is appointed by the Mayor, the other by the City Council President. These two board members can veto any item that is approved by the full SEPTA board because the city represents more than two-thirds of SEPTA's local subsidy, fare revenue, and ridership. However, the veto may be overridden with the vote of at least 75% of the full board within 30 days.
- Bucks County, Chester County, Delaware County, and Montgomery County appoint two members each. These members are appointed by the county commissioners in Bucks, Chester, and Montgomery County and by the county council in Delaware County.
- The majority and minority leaders of the two houses of the Pennsylvania State Legislature (the Senate and the House of Representatives) appoint one member each, for a total of four members.
- The governor appoints one member.
The members of the SEPTA Board as of May 2013[update] are:[6]
- Chairman – Pasquale T. Deon, Sr.
- Vice Chairman – Thomas E. Babcock
- Bucks County – Pasquale T. Deon, Sr., Charles H. Martin
- Chester County – Kevin L. Johnson, P.E. & Cuyler H. Walker, Esq.
- Delaware County – Thomas E. Babcock, Daniel J. Kubik
- Montgomery County – Kenneth Lawrence, Jr. & Leslie S. Richards
- Philadelphia County – Beverly Coleman, Rina Cutler
- Governor Appointee – Thomas Jay Ellis, Esquire
- Senate Majority Leader Appointee – Stewart Greenleaf, Esq.
- Senate Minority Leader Appointee – James C. Schwartzman, Esq.
- House Majority Leader Appointee – Christopher H. Franklin
- House Minority Leader Appointee – John I. Kane
The day-to-day operations of SEPTA are handled by the general manager, who is appointed and hired by the board of directors. The general manager is assisted by nine department heads called assistant general managers.
The present general manager is Joseph M. Casey, who had served as the authority's chief financial officer/treasurer until his appointment as general manager in 2008. Past general managers include Faye L. M. Moore, Joseph T. Mack, John "Jack" Leary, Lou Gambaccini, and David L. Gunn. Past acting general managers include James Kilcur and Bill Stead.
Routes and ridership[edit]
Rapid Transit[edit]
- Norristown High Speed Line (Route 100 until 2009): formerly known as the Philadelphia & Western (P&W) Railroad, this purple color-coded former interurban heavy rail line is powered by third rail and has high level platforms. Daily ridership averaged 8,530 in 2010.[7]
- Market–Frankford Line (Blue Line): subway and elevated line from the Frankford Transportation Center (rebuilt in 2003) in the Frankford section of Philadelphia to 69th Street Transportation Center in Upper Darby, via Center City Philadelphia. Weekday ridership averaged 180,100 in 2010.[7]
- Broad Street Line and Broad–Ridge Spur (Orange Line): subway line along Broad Street in Philadelphia from Fern Rock Transportation Center to AT&T Station/Sports Complex (formerly Pattison Station), via Center City Philadelphia. Weekday ridership averaged 136,670 in 2010.[7]
Trolley and Light Rail[edit]
- Subway–Surface Trolley Lines (Green Line): Five Subway-Surface Trolley Routes—10, 11, 13, 34, and 36 run in a subway in Center City and fan out along on street-level as Surface Trolley Lines in West and Southwest Philadelphia. Daily ridership averaged 79,804 in 2010.[7]
- Routes 101 and 102 (Suburban Trolley Lines): two trolley routes in Delaware County which run mostly on private rights-of-way but also have some street running. Daily ridership averaged 6,546 in 2010.[7]
- Routes 15, 23, and 56: Three surface trolley routes that were suspended in 1992. Routes 23 and 56 are currently operated with buses. Trolley service on Route 15 (the Girard Avenue Line) resumed as of September 2005, operating as a heritage streetcar line. Route 23 has long been SEPTA's most heavily traveled surface route, with daily ridership averaging 21,500 in 2010.[7]
Trackless trolley (trolleybus)[edit]
Trackless trolleys (as they are called by SEPTA) operate on routes 59, 66, and 75. Service resumed in spring 2008 after a nearly five-year suspension.[8] Until June 2002, five SEPTA routes were operated with trackless trolleys, using AM General vehicles built in 1978–79. Routes 29, 59, 66, 75, and 79 used trackless trolleys, but were converted to diesel buses for an indefinite period starting in 2002 (routes 59, 66, 75) and 2003 (routes 29, 79). The aging AM General trackless trolleys were never returned to service, but in February 2006 SEPTA placed an order for 38 new low-floor trackless trolleys from New Flyer Industries—enough for routes 59, 66, and 75 only—and the pilot trackless trolley arrived in June 2007, for testing.[9] The production-series vehicles were delivered between February and August 2008. Trackless trolley service resumed on Routes 66 and 75 on April 14, 2008, and on Route 59 the following day, but was initially limited to just one or two vehicles on each route, as new trolley buses gradually replaced the motorbuses serving the routes over a period of several weeks.[10] The SEPTA board voted in October 2006 not to order additional vehicles for Routes 29 and 79, and those routes permanently became non-electric.[8][11]
SEPTA lists 121 bus routes, not including over 50 school trips, with most routes in the City of Philadelphia proper. SEPTA generally employs lettered, one and two-digit route numbering for its City Division routes, 90-series and 100-series routes for its Victory Division (Chester, Delaware, and Montgomery Counties) and its Frontier Division (Montgomery and Bucks Counties), 200-series routes for its Regional Rail connector routes (Routes 201, 204, 205, and 206 in Montgomery & Chester Counties), 300-series routes for other specialized or third-party contract routes, and 400-series routes for limited service buses to schools within Philadelphia.
Commuter rail[edit]
SEPTA began operating its commuter rail division (as SEPTA Regional Rail) on January 1, 1983. This division operates 13 lines serving more than 150 stations covering most of the five-county southeastern Pennsylvania region. It also runs trains to Wilmington, and Newark, Delaware, Trenton, New Jersey, and West Trenton, New Jersey. Daily ridership averaged over 121,000 in 2010,[7] with 29% of ridership on the Paoli/Thorndale and Lansdale/Doylestown lines.
Most of the cars used on the lines range in vintage from 1963 to 1976.[12] After building delays, the first Silverliner V cars were introduced into service on October 29, 2010. These cars represent the first new electric multiple units purchased for the Regional Rail system since the completion of the Silverliner IV order in 1976, and the first such purchase to be made by SEPTA.[13] As of March 19, 2013, all Silverliner V cars are in service, and make up almost two thirds of the current Regional Rail fleet.[14]
SEPTA has three major operating divisions: City Transit, Suburban, and Regional Rail. These divisions reflect the different transit and railroad operations that SEPTA has assumed.
City Transit Division[edit]
The City Transit Division operates routes mostly within the City of Philadelphia, including buses, subway–surface trolleys, surface Trolley Lines the Market–Frankford Line, and the Broad Street Line. SEPTA City Transit Division surface routes include bus and trackless trolley lines. Some city division routes extend into Delaware, Montgomery, and Bucks counties. This division is the descendant of the Philadelphia Transportation Company. There are eight operating depots in this division: five of these depots only operate buses, one is a mixed bus/trackless trolley depot, one is a mixed bus/streetcar depot, and one is a streetcar-only facility.
Suburban Division[edit]
Victory District[edit]
The Victory District operates suburban bus and trolley (or light rail) routes that are based at 69th Street Transportation Center in Upper Darby in Delaware County. Its light rail routes comprise the Norristown High Speed Line (Route 100) that runs from 69th Street Transportation Center to Norristown Transportation Center and the SEPTA Surface Media and Sharon Hill Trolley Lines (Routes 101 and 102). This district is the descendant of the Philadelphia Suburban Transportation Company, also known as the Red Arrow Lines. Some residents of the Victory District operating area still refer to this district as the "Red Arrow Division."
Frontier District[edit]
The Frontier District operates suburban bus routes that are based at the Norristown Transportation Center in Montgomery County and bus lines that serve eastern Bucks County. This district is the descendant of the Schuylkill Valley Lines in the Norristown area and the Trenton-Philadelphia Coach Lines in eastern Bucks County. SEPTA took over Schuylkill Valley Lines operation on March 1, 1976. SEPTA turned over the Bucks County routes (formerly: Trenton-Philadelphia Coach Line Routes a subsidiary of SEPTA) to Frontier Division in November 1983.
Suburban contract operations[edit]
Krapf's Coaches operate two bus lines under contract to SEPTA in Chester County. These routes are operated from Krapf's own garage, located in West Chester, Pennsylvania. Krapf's has operated three other bus routes for SEPTA in the past. Routes 202 (West Chester to Wilmington), Route 207 (The Whiteland WHIRL), and Route 208 (Strafford Train Station to Chesterbrook) are no longer operating. SEPTA contracted bus operations before in Chester County. SEPTA and Reeder's Inc. joined forces in 1977 to operate three bus routes out of West Chester. These routes were the Route 120 (West Chester to Coatesville), Route 121 (West Chester to Paoli), and Route 122 (West Chester to Oxford). Bus service between West Chester and Coatesville was a replacement for the previous trolley service operated by West Chester Traction. SEPTA did replace two of the routes with their own bus service. Route 122 service was replaced by SEPTA's Route 91 on July 6, 1982 after only one year of service Route 91 was eliminated due to lack of ridership. Route 121 was replaced by SEPTA's Route 92 on October 11, 1982 this service continues to operate today. Since ridership on the Route 120 was strong it continued to operate under the operations of Reeder's Inc. even after SEPTA pulled the funding source. Krapf's purchased the Reeder's operation in 1992 and designated the remaining (West Chester to Coatesville) bus route as Krapf's Transit "Route A".
Railroad Division[edit]
The Railroad Division[15] operates 13 commuter railroad routes that begin in Central Philadelphia and radiate outwards, terminating in intra-city, suburban, and out-of-state locations.
This division is the descendant of the six electrified commuter lines of the Reading Company (RDG), the six electrified commuter lines of the Pennsylvania Railroad (PRR, later Penn Central: PC), and the new Airport line constructed by the City of Philadelphia between 1974 and 1984.
With the construction and opening of the Center City Commuter Connection Tunnel in 1984, lines were paired such that a former Pennsylvania Railroad line was coupled with a former Reading line. Seven such pairings were created and given route designations numbered R1 through R8 (with R4 not used). As a result, the routes were originally designed so that trains would proceed from one outlying terminal to Center City, stopping at 30th Street Station, Suburban Station, and Market East Station, then proceed out to the other outlying terminal assigned to the route. Since ridership patterns have changed since the implementation of this plan, SEPTA removed the R-numbers from the lines in July 2010, and instead refers to the lines by the names of their termini.
The out-of-state terminals offer connections with other transit agencies. The Trenton Line offers connections in Trenton, New Jersey to NJ Transit (NJT) or Amtrak for travel to New York City. Plans exist to restore NJT service to West Trenton, New Jersey, thus offering a future alternate to New York via the West Trenton Line and NJT. Another plan offers a connection for travel to Baltimore and Washington DC via MARC, involving extensions of the SEPTA Wilmington/Newark Line from Newark, Delaware, an extension of MARC's Penn service from Perryville, Maryland, or both. It has also been proposed for the line- which currently does not run late nights, nor on Sundays beyond Marcus Hook- to have additional runs at those times to Wilmington and Newark.
Transit police[edit]
SEPTA established the current Transit Police Department in 1981. It now has about 260 officers operating in seven patrol zones. It maintains a patrol, bicycle and police dog unit, as well as "Special Operations Response Team" trained to deal with hostage situations.[16]
SEPTA equipment[edit]
In 1982, SEPTA ordered buses from Neoplan USA, a purchase that was both the largest for Neoplan at the time and SEPTA's largest to date. These buses were used throughout the SEPTA service area. SEPTA changed its specifications on new bus orders each year. The Neoplan AK's (numbered 8285–8410), which was SEPTA's first Neoplan order, had longitudinal seating: all of the seats face towards the aisle. However, their suburban counterparts (8411–8434) had longitudinal seating only in the rear of the bus. The back door has a wheelchair ramp, which forced SEPTA officials to limit its use and specify wheelchair lifts in their next order. These buses had a nine-liter 6v92 engine and Allison HT-747 transmission.
In 1983, SEPTA, along with other transit operators in Pennsylvania, ordered 1,000 Neoplan buses of various lengths.[17] SEPTA ultimately received 450 buses from this order: 425 were 40-foot (12 m) buses (BD 8435–8584 and CD 8601–8875), which came without wheelchair lifts, and 25 35-foot (11 m) buses (BP 1301–1325).
SEPTA bought more Neoplans on its own in 1986, and these began to arrive in early 1987. The first two groups (3000–3131 and 3132–3251) came without rear wheelchair lifts; the last two groups, one in late 1987 (3252–3371) and another in 1989 (3372–3491), included them. All Neoplans built between 1986 and 1989 were equipped with a ZF 4HP-590 transmission.
By the early 1990s, SEPTA had 1,092 Neoplan AN440 coaches in active service, making it the largest North American transportation authority with a fleet primarily manufactured by Neoplan USA. These buses dominated the streets of Philadelphia through late 1997, when the earlier fleet of AK and BD Neoplans (8285–8581) was replaced by 400 buses built by American Ikarus and – the same company after a 1996 reorganization – North American Bus Industries. The older GMC RTS 35- and 40-foot buses were also replaced in this order, with the sole remaining exception of No. 4462, a 35-foot coach.[18] More replacements occurred when SEPTA received its low-floor fleet, and retired the last An440 buses on June 20, 2008. (The An440s have all been scrapped.)
The Neoplan model has not entirely vanished from Philadelphia's streets; in 1988, SEPTA ordered 155 articulated buses from the company, which delivered them between late 1999 and the summer of 2000. These buses replaced the 1984 Volvo 10BM 60-foot articulated buses..[19]
The 1988 purchase also included 80 29-foot Transmark-29 buses from National-Eldorado (4501–4580), the first of which began to arrive in late 2000. Most of these buses are on suburban routes, but some are in the "LUCY" service in the University City section of West Philadelphia, in a special paint scheme, and others on lighter lines within Philadelphia. SEPTA had decided to buy from Metrotrans Legacy, SEPTA's first choice in small buses, but the company filed for bankruptcy in 1999.
Also, a group of buses called "cutaways" was purchased. These buses were built on Ford van chassis, with bodies similar to those seen on car rental shuttles at various airports. These buses were retired around 2003 and replaced with slightly larger cutaway buses on a Freightliner truck chassis.
The next bus type, which has steered SEPTA into a new era, was the low-floor bus. After evaluating sample buses from New Flyer and NovaBus in 1994–96, SEPTA ordered 100 low-floor buses (5401–5500) from New Flyer. A pilot bus arrived in January 2001, and production models followed in the autumn of 2001. More in 2002 (nos. 5501–5600), 2003 (nos. 5613–5830), 2004 (nos. 5851–5950), and 2005 (nos. 8000–8119, numbers presumably chosen so as not to run into the 6000s, which had been reserved for an order of commuter coaches from Motor Coach Industries that SEPTA did not pursue).
Trackless trolley (trolley bus) service was suspended in 2003, and the 110 AM General vehicles that had provided service on SEPTA's five trackless trolley routes never returned to service.[20] However, in early 2006 SEPTA ordered 38 new low-floor trackless trolleys from New Flyer, which entered service in 2008, restoring trackless service on routes 59, 66, and 75. These buses replaced Septa Neoplan EZs, ending Neoplan's 26-year domination.[10]
SEPTA placed an order with delivery starting in 2008 for 400 New Flyer hybrid buses—with options for up to 80 additional buses to replace the NABI Ikarus buses at the end of their 12-year life.[21] These will not be the first hybrid buses, since SEPTA purchased two small groups of hybrids, 5601H–5612H, which arrived in 2003, and 5831H–5850H in 2004. Before the 2008 purchase, SEPTA borrowed an MTA New York City Transit Orion hybrid to evaluate it in service. While in use for SEPTA, the bus bore the number 3999; after evaluation, it resumed its New York identity. From the 2008 purchase, the first hybrids arrived in late 2008, and by early spring 2009, all were in service. SEPTA was the first to purchase New Flyer DE40LFs equipped with rooftop HVAC units. Recently it had been confirmed by different sources that the next batch of hybrids for SEPTA will be New Flyer DE40LFRs due to New Flyer discontinuing the LF series in 2009.
SEPTA's hefty revenue from advertisements on the backs of its buses leads the authority to order mainly buses equipped with a rooftop HVAC and with their rear route-number sign mounted close to the roof, especially on 2008–2009 New Flyer DE40LFs and future orders.[22]
Vehicle types | |||||||||
Current Bus Fleet Roster[edit]
Order Year | Manufacturer | Model | Powertrain (Engine/Transmission) |
Propulsion | Fleet Series (Qty.) |
Notes |
1997 | NABI | 416.08TA | Diesel | 5301-5400 (99) |
1998-99 | Neoplan USA | AN460 |
Diesel | 7101, 7102-7108 (8) |
Diesel | 7109-7255 (147) |
Diesel | 5401-5500 (100) |
ElDorado National | Transmark RE 29' |
Diesel | 4501-4581 (81) |
Hybrid | 5601H-5612H (12) |
SEPTA's first hybrid buses |
Diesel | 5501-5600 (100) |
Diesel | 5613-5712 (90) |
Diesel | 5713-5830, 5851-5950 (118) |
Freightliner/Champion | FB65/Defender |
Diesel | 2070-2097 (28) |
Hybrid | 5831H-5850H (20) |
Diesel | 8000-8119 (120) |
2007 | Chevy/Champion | C4500/Challenger |
Diesel | 2098-2099 (2) |
Electric | 800, 801-837 (38) |
Hybrid | 8120-8219 (120) |
Hybrid | 8220-8339 (120) |
Hybrid | 8340-8459 (120) |
Hybrid | 8460-8560 (101) |
Future Bus Order | ||||||
2013-2015 | NovaBus | LFS-A and/or LFS-A HEV |
Diesel and/or Hybrid | 7300-7454
(155) |
LFS and/or LFS HEV |
Diesel and/or Hybrid | 8560-8649 (90) |
- Note: SEPTA will be ordering 245 buses overall from NovaBus. In a four-year contract placement; 160 hybrid buses over the first two-years of contract and additional federal money will purchase an optional 85 diesel buses over the last two-years of contract.
The Broad Street Line uses cars built by Kawasaki between 1981 and 1983. These cars, known as B-IV as they are the fourth generation used on the line, are stainless steel and include some cars with operating cabs at both ends, as well as some with only a single cab.
The Market-Frankford Line uses a class of car known as M-4, as they, like the Broad Street B-IV's, represent the line's fourth generation of cars, and were built from 1996 to 1999 by Adtranz. These cars are built to the unusual broad gauge of 5 ft 2 1⁄2 in (1,588 mm), known as "Pennsylvania trolley gauge".
The vehicles used on SEPTA's Subway-Surface trolleys were built by Kawasaki in 1981. Known as "K-cars", they use the Pennsylvania trolley gauge of 5 ft 2 1⁄2 in (1,588 mm).
Uniquely, the Girard Street Line uses "PCC II" trolleys, originally built in 1947 by the St. Louis Car Company, which were rebuilt for the line's reopening in 2003 to include air conditioning. The line, like the Subway-Surface lines, is Pennsylvania trolley gauge.
The suburban trolley lines use Kawasaki-built vehicles similar to, but larger than, the Subway-Surface trolleys. They too are Pennsylvania trolley gauge. Notably, they are double ended, unlike the Subway-Surface trolleys, as the suburban lines lack any loops to turn the vehicles.
The Norristown High Speed Line uses a class of cars known as N-5s. They were delivered in 1993 by ABB after significant production delays. These cars are unique from the SEPTA trolleys in that they are powered by a third rail rather than overhead wires, and are standard gauge.
Regional Rail[edit]
SEPTA uses a mixed fleet of Budd Company, General Electric, and St. Louis Car Company "Silverliner" electric multiple unit self-operated cars. SEPTA also uses push-pull equipment consisting of coaches built by Bombardier and hauled by AEM-7 or ALP-44 electric locomotives, identical to those used by Amtrak and NJT on its electrified rail services, for express and rush-hour service. SEPTA is currently undergoing the process of retiring the Budd and St. Louis Silverliner cars and replacing them with a model built by Hyundai Rotem.
Maintenance-of-way vehicles[edit]
- C-145 snow sweeper (1923)
- Harsco Track Technologies Corporation work car – overhead wire snow and ice removal
- PCC work car 2194 – trolley line
- PCC work car 2187 – trolley line (retired)
- SEPTA Railroad OPS-3161 crane railroad work car
- SEPTA Railroad OPS-6214 Fairmont rail grinder
- RRD 520 MOW Hi-Rail Truck
- R-2 (ex 1922 Brill) Market Street revenue car
- W-56 flat bed and crane work car
- W-61 flat bed work car
- 2 Market–Frankford Line M4 work cars
- D-39 tower car (retired 2003)
Maintenance facilities[edit]
- Transit Divisions
- 69th Street Yard (City Transit Division / Market–Frankford Line, facility is actually located in Delaware County)
- Allegheny Depot (City Transit Division / articulated and standard size buses; formerly housed Nearside, double-ended, and PCC streetcars)
- Berridge Shops (formerly Wyoming Shops, bus maintenance and overhauls)
- Bridge Street Yard (City Transit Division / Market–Frankford Line)
- Callowhill Depot (City Transit Division / bus and streetcar; formerly housed Nearside, Peter Witt, double-ended, and PCC streetcars)
- Comly Depot (City Transit Division / articulated and standard size buses)
- Elmwood Depot (City Transit Division / streetcar, also used as a station. Replaced former Woodland Depot)
- Fern Rock Yard (City Transit Division / Broad Street Line)
- Frankford Depot (City Transit Division / bus and trackless trolley; formerly housed Nearside, double-ended, and PCC streetcars)
- Frontier Depot (Suburban Transit Division / bus)
- Germantown Brakes Maintenance Facility (Germantown Depot, City Transit Division / bus maintenance)
- Midvale Depot (City Transit Division / articulated, standard size, and 30-foot (9.1 m) buses)
- Southern Depot (City Transit Division / buses only: SEPTA board voted to not have trackless trolleys return to South Philly; formerly housed Nearside, double-ended, and Peter Witt streetcars)
- Victory Depot (69th Street, Suburban Transit Division / bus and light rail)[23]
- Woodland Maintenance Facility (streetcar overhaul and repairs. Site of former Woodland Depot, whiche formerly housed Nearside, double-ended, and PCC streetcars)
- Regional Rail
Connecting transit agencies in the Philadelphia region[edit]
Local services[edit]
The PATCO Speedline is a rapid transit line that runs from Center City Philadelphia to Camden, New Jersey and terminates in Lindenwold, New Jersey. At the 8th Street station, one can transfer to the Market–Frankford Line and Broad–Ridge Spur with an additional transfer fare. Paid transfers are also available at PATCO's 12th–13th Street station and 15th–16th Street station with SEPTA's Broad Street Line Walnut–Locust station. The PATCO Speedline crosses over the Delaware River via the Ben Franklin Bridge. It is owned by the Delaware River Port Authority.
In the western Philadelphia suburbs, Krapf's Transit runs regularly scheduled buses between Coatesville, Downingtown, Exton, and West Chester. SEPTA Routes 92 and 104 connect with this service in West Chester, and route 92 also connects with this service at the Exton Square Mall. Krapf's also provide contract services to SEPTA on two routes (204 and 205).
In King of Prussia, the Greater Valley Forge Transportation Management Association runs a community shuttle, the Rambler, which connects with SEPTA at the King of Prussia Mall Transportation Center.
In the northwestern Philadelphia suburbs, Pottstown Area Rapid Transit (PART, formerly known as Pottstown Urban Transit) operates six daytime bus routes and three nighttime bus routes within Pottstown Borough and the neighboring townships of Limerick, Lower Pottsgrove, Upper Pottsgrove, and West Pottsgrove in Montgomery County and North Coventry Township in Chester County. PART and SEPTA have an agreement allowing transfers between PART service and SEPTA Route 93 buses in Pottstown.
Regional services[edit]
NJ Transit runs buses from Philadelphia to New Jersey points. Many NJT buses stop at the Philadelphia Greyhound Terminal, which is immediately north of Market East Station, or at other locations in Center City Philadelphia. NJT also operates the River Line light rail line between Camden and Trenton, the Northeast Corridor Line between Trenton and New York, and the Atlantic City Line between 30th Street Station and Atlantic City. Both the Northeast Corridor Line and River Line connect with SEPTA's Regional Rail Trenton Line at the Trenton train station. Additionally, SEPTA Route 127 connects with NJT bus and rail services at Trenton.
DART First State provides bus service in Delaware. This service connects with SEPTA's Wilmington/Newark Line Regional Rail service in Wilmington and Newark. In 2007, SEPTA bus Route 306 began service, connecting the Great Valley Corporate Center and West Chester with the Brandywine Town Center; service between West Chester and Brandywine Town Center was discontinued in 2010 due to low ridership. In February 2009, SEPTA bus Route 113 commenced connecting bus service with DART at the Tri-State Mall, allowing service between Delaware County and the State of Delaware, and connecting with DART First State's #1 and #61 bus at the Tri-State Mall.
National and international services[edit]
Amtrak provides rail service between Philadelphia (at 30th Street Station) and points beyond SEPTA's range, including Lancaster, Harrisburg, Pittsburgh, and Chicago to the west, Baltimore and Washington, D.C. to the southwest, and New York, Boston, and Montreal to the northeast. Amtrak's service overlaps to some degree with the Wilmington/Newark Line, Paoli/Thorndale Line, and Trenton Line. In addition to 30th Street Station, shared Amtrak/SEPTA Regional Rail stations include Wilmington and Newark on the Wilmington/Newark Line, Ardmore, Paoli, Exton, and Downingtown on the Paoli/Thorndale Line, and North Philadelphia, Cornwells Heights, and Trenton on the Trenton Line. Amtrak is faster than SEPTA, but significantly more expensive, particularly for services along the Northeast Corridor.
Greyhound and a variety of interregional bus operators, most of which are part of the Trailways system, stop at the Philadelphia Greyhound Terminal. In addition to being adjacent to Market East Station, the terminal is one block from the Market–Frankford Line 11th Street station and various SEPTA bus routes. Major destinations served with one seat rides to/from the terminal include Allentown, Atlantic City, Baltimore, Harrisburg, Newark (New Jersey), New York, Pittsburgh, Reading, Scranton, Washington, and Wilmington. In addition, six NJT bus routes (313, 315, 316, 317, 318, and 551) originate and terminate from this terminal.
Philadelphia International Airport is served by many airlines with flights to various national and international points. SEPTA serves the airport with local bus service and with the Airport Line from Center City.
See also[edit]
- Doe v. Southeastern Pennsylvania Transportation Authority
- List of metro systems
- List of United States rapid transit systems by ridership
- Commuter rail in North America
- List of suburban and commuter rail systems
- List of United States commuter rail systems by ridership
- List of light rail transit systems
- List of United States light rail systems by ridership
- List of United States local bus agencies by ridership
- ^ "Septa Operating Facts Fiscal Year 2010" (PDF). Septa. 2010. Retrieved 2010-11-11.
- ^ "SEPTA Enabling Legislation". Pennsylvania Legis website.
- ^ "SEPTA Facts". SEPTA Web site.
- ^ Pawson, John R. (1979). Delaware Valley Rails: The Railroads and Rail Transit Lines of the Philadelphia Area. Willow Grove, Pennsylvania: John R. Pawson. p. 21. ISBN 0-9602080-0-3.
- ^ "King of Prussia Rail". Retrieved 3 February 2014.
- ^ "Board Meetings & Members". Philadelphia: SEPTA.
- ^ a b c d e f g SEPTA 2012 Annual Service Plan
- ^ a b Nussbaum, Paul (May 29, 2009). "SEPTA approves $1.13 billion budget". The Philadelphia Inquirer. section B, p. 03. Archived from the original on 2010-10-12. Retrieved 2010-10-12. "SEPTA returned 38 trackless trolleys last year to routes in Northeast Philadelphia, five years after the board voted to suspend all trackless trolley service for one year."
- ^ Trolleybus Magazine (275) (UK: National Trolleybus Association). September -October 2007. p. 119. ISSN 0266-7452
- ^ a b Trolleybus Magazine (280). July–August 2008. p. 95
- ^ Haseldine, Peter, ed. (January -February 2007). "Trolleynews". Trolleybus Magazine 43 (271) (UK). p. 23. ISSN 0266-7452. Archived from the original on 2010-10-12. Retrieved 2010-10-12. "As a result, the 'indefinite suspension' of trolleybus operation of routes 29 and 79 is now a permanent closure, ..."
- ^ "Philadelphia Transit Vehicles: SEPTA's Commuter Rail Fleet". Philadelphiatransitvehicles.info. Retrieved 2010-05-22.
- ^ "Silverliner V Train Makes Debut". SEPTA.org. Retrieved 2011-06-19.
- ^ "Silverliner V Service Schedule". SEPTA.org. Retrieved 2011-06-19.
- ^ 2008 SEPTA Railroad Division employee timetable Accessed August 16, 2011
- ^ SEPTA web site accessed March 2012, http://www.septa.org/police/
- ^ "Philadelphia Transit Vehicles: History of the Neoplans". Philadelphiatransitvehicles.info. Retrieved 2010-10-12.
- ^ "Philadelphia Transit Vehicles: History of the Neoplans". Philadelphiatransitvehicles.info. Part III. Archived from the original on 2010-10-12. Retrieved 2010-10-12.
- ^ "Philadelphia Transit Vehicles: 1998–2000 Neoplan Order". Philadelphiatransitvehicles.info. Archived from the original on 2010-10-12. Retrieved 2010-10-12.
- ^ Trolleybus Magazine (270). November -December 2006. p. 144
- ^ Cheung, Eric (November 19, 2007). "The Philadelphia Diesel Difference – Working Group Meeting". Clean Air Council. Archived from the original on 2010-10-12. Retrieved 2010-10-12. "SEPTA will have the option of ordering an additional 20 hybrid electric buses for each of the 4 years the 100 contractually obligated buses have been delivered."
- ^ "An Example of Rear advertising used on SEPTA's DE40LF and D40LF buses". Retrieved 2010-05-22.
- ^ "Philadelphia Transit Vehicles: SEPTA's Bus and Light Rail Assignments by Depot (includes Norristown High Speed Line)". Philadelphiatransitvehicles.info. October 12, 2010. Retrieved 2010-10-12.
Further reading[edit]
- Cheape, Charles W. (1980). Moving the masses: urban public transit in New York, Boston, and Philadelphia, 1880–1912. Harvard University Press. ISBN 0-674-58827-4.
- Pawson, John R. (1979). Delaware Valley Rails: The Railroads and Rail Transit Lines of the Philadelphia Area. John R. Pawson. ISBN 0-9602080-0-3.
External links[edit]
Wikimedia Commons has media related to SEPTA. |
Wikinews has related news: US commuter rail accident in Pennsylvania injures over 30 |
- Official website
- General fares
- John F. Tucker Transit History Collection (1895-2002) at Hagley Museum and Library. The collection consists of official documents produced or used by Mr. Tucker during his career as a public transit official, and records of the pre-SEPTA Philadelphia Rapid Transit Company (1907-1939) and the Philadelphia Transportation Company (1940-1968) that he preserved from loss or destruction. The collection traces the evolution of the Philadelphia transit system, its extent, routes and services, and of North American rail rapid transit generally.
- 1965 establishments in Pennsylvania
- Intermodal transportation authorities in Pennsylvania
- Bus transportation in Pennsylvania
- Transit authorities with hybrid buses
- United States regional rail systems
- Light rail in Pennsylvania
- Rapid transit in Pennsylvania
- Passenger rail transportation in Pennsylvania
- Passenger rail transportation in Delaware
- Passenger rail transportation in New Jersey
- Transportation in Philadelphia, Pennsylvania
- Municipal authorities in Pennsylvania
- Tram, urban railway and trolley companies
- Public benefit corporations


text:
Nurse Ratched speaks!
Intimidate...bully...lie....just like her Daddy
Growing pains, ri i i ight. I´m sure they have a pill for that.
When you´re the owner of 1.5 billion bullets, I guess you can say you´re getting stronger.Than the other guys that is!
Gov´t grip on healthcare is getting stronger.Like a python.
Nurse Ratchet Sebelius is deluded, or she is a great liar just like her cronies in this administration.
KarenJI, This is Obamaland where up is down and wrong is right. Nothing coming out of 1600 Pennsylvania Ave makes sense.
Government run healthcare with the efficiency of the DMV and the cost effectiveness of the Post Office.
Are we to believe that this wizened shrew cares about the health care needs of Americans?
When I receive the same healthcare package as Kathleen, I will like Zippycare better.
Patient-centered care? Is there some other kind?
Healthcare is not getting stronger or better, there is more paperwork and less and less patient care.
The only thing getting stronger must be the drugs she is taking.
Healthcare is getting better, unless you need treatment by a doctor. Then, not so much. and of course, if you need a job to pay for the treatment, Then, not so much. and of course, if you can afford the insurance premiums. Then not so much. and so on.
"Whatever doesn´t kill ya makes ya stronger."Sorry. I couldn´t get that song out of my head while reading the article. I hate that song, not because it´s not a fairly good song, but because during the past six + yrs there´ve been many times when the treatment seems worse than the disease.Do not trust what ANY of these bureaucrats/appointees tell you. Now, any health care for me seems like a pipe dream.I´m done with them all.btnboerne
Sebelius ... a Madame LaFarge if there ever was one in the good old USA. No, maybe Valerie Jarrett is the ´Madame´ and Sebelius her chief healthcare bag holder
The only people who make out on obamacare are the insurance companies, who will contribute generously to the democrats from their profits. The dims need somebody to replace the dying labor unions as cash machines. Patients and doctors are the losers, not to mention the taxpayers who will be robbed to finance it all.
You mean the regulations are ´getting stronger´ to take away our rights...get it straight witch!
Yeah, healthcare is getting stronger. I can smell it from my front porch.

subset: commoncrawl


text:
Trips and Outings
This catalog has no sub-catalogs. |
Attendance Patch
This is a fun sew-on patch for all ages.For a girl who has been in attendance of troop meetings or events.
Product DetailsPrice: $1.60 $1.60
You May Also Like... |
Girl Scouts of Greater Chicago and Northwest Indiana © 2010. All rights reserved. | Terms and Conditions | Sitemap | PRIVACY POLICY
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For Sale Two Cooper 225-75-15 tires, like new – $75 for the pair 319-548-2801
Filed under: ClassifiedsKeywords: For Sale, tires
A new California law requires that eggs sold in that state be from chickens raised in cages where birds can spread their wings. Is this a good law?
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Published October 11, 2012, 11:30 PM
Hot Topics: 'Pink slip stigma' stronger the longer you don't have a job
Call it "pink slip stigma." When you don't have a job, it's harder to convince a new employer to give you one. And we all know the longer you're out of the game, the harder it gets. What we didn't know was exactly how hard. Now, thanks to some sneaky economists, using 12,000 fake resumes, there's some solid data.By: Ben Popken, TODAY contributor , INFORUM


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13,314 views
It's so easy to go to church, but so difficult to be the church. This mini-movie challenges Christians to serve "the least of these", without tying you down to just one application or interpretation. Video done by Floodgate Productions: http://budurl.com/BuyTheLeast
Please add a name and description in order to save your playlist to your user profile.


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- Description:
- The world's fastest racquet.
- Item Code:
- Flex:
- Stiff
- Frame:
- H.M. Graphite, SONIC METAL, EX-HMG
- Shaft:
- H.M. Graphite, NANOMETRIC, X-FULLERENE
- Weight / Grip Size:
- 3U (85-89.9g) G4,5
2U (90-94.9g) G4,5 - Colour:
- High Orange
- Made in:
- Japan
Share this product
Product Reviews
i used few days earlier...as per dimension its head is little smaller than others but it dose not matters...you cant fell any prob during play for a small head. smashes are going unexpected speed...you can convert a normal shot into smash without any prob.for double's and singles in both i got a better result.in case of defense and drop shots also it is better than voltric z . i will give 5 stars for its speed and control.
I have used this racket for a few weeks now. I play doubles and I have found that this racket is best for a front player, but I also enjoy having it as a back player. It has so much power that is easy to control. Drive shots and jump smashes from the back cross the court so fast! This is by far the best racket I have used to date!
suitable tension for nanoray z speed rackets
Hasan Shumon on 05:37 03 December 2013
I m a hardhitter player and i choose BG 80 Power string and 28 lbs (tension). Does that much tension has a bad effect on my racket? 28lbs is harmful for my rackets??
I heard that they are selling below Rm700 at Bangi.
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how much string tension should i use for this racket and which string should i choose?
and it has to be a yonex brand string of course. -
Surely the fastesst and speediest racket ever .WHen I smash it givves a swoooooooooooooooooooooooooooooooooooooooooooooooszh which iz awesom
Untill today stil dont have any stock sell in SABAH? dissapointed~!
Yonex Nanoray Z-SPEED is a SMASH techniques answer.
RENDY WIJAYA on 10:04 19 September 2013
I want to share a little bit experience after using this Nanoray Z-SPEED. I'm an 25 years old amateur player from Indonesia. hope this review can be useful. enjoy it...
first blow using this racquet is impressive, it feels like i can crush the shuttlecock when i do smashing techniques. It's a little bit heavy racquet so i should give more power to generate more SPEED when i do DRIVE techniques.
it's a FANTASTIC feeling.
If you're the type of attacking badminton player by using the SMASH technique and has a great WRIST strength, you SHOULD TRY NANORAY Z-SPEED.
YONEX once again presents Nanoray Z-SPEED as an SMASH techniques answer.Thank You YONEX.
Thank you Everyone...1 of 1 members found this review helpful.
how much price in indonesia...


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Seon Ghi Bahk: Fiction and the Fabricated Image
The Korean artist's explosive charcoal installation at Miami's Zadok Gallery
by James Thorne in Culture on 07 March 2014
Art Exhibits, Miami, Sculpture, Seon Ghi Bahk, Zadok Gallery, Installation Art
Nylon threads and neatly erupted charcoal bits take over Miami's Zadok Gallery in "Fiction and the Fabricated Image"—an exhibition that opens this weekend by the South Korean artist Seon Ghi Bahk. The show explores the interplay of nature and civilized culture. In stringing up palm-sized pieces of charcoal, Bahk is able to formulate familiar architectural shapes at various levels of completion. A thrilling tension is uncovered when trying to understand these disintegrating installations, in light of the ploddingly delicate manner with which they have been assembled.
So what does a lump of coal have to do with a doric column? The artist's work doesn't invite this sort of literal parallel—rather, questions regarding our historic debt to nature are thrown up for the viewer to mull over like so many suspended particles. In the end, Bahk leaves viewers with work that perfectly dances the line between the representational and the aspirational.
Zadok Gallery has been a reliably impressive member of Miami's local art scene in recent years, and this show is a must-see. The exhibition kicks off with a reception tomorrow, Saturday 8 March 2014, from 6PM and will run through April.
Images courtesy of Zadok Gallery
FvF Apartment, Berlin
The online lifestyle magazine launches a physical showcase with Vitra
by David Graver in Design on 07 March 2014
Berlin, Freunde Von Freunden, Furniture, FvF, Germany, Mitte, Publications, Vitra
International interview-based magazine Freunde Von Freunden (FvF), which chronicles creatives across all fields in their home and work environments, has made a leap from the digital world to the tactile. Only, this isn't a new print edition—it's a physical space in Mitte, Berlin designed with sustainable urban living in mind. The FvF Apartment, put together in collaboration with Swiss design and manufacturing brand Vitra, bears all the attributes expected from a publication that excels at creative exploration and a brand known for innovative interiors. It's beautiful, inviting and inspirational.
Co-founders Tim Seifert explains, "We started the online magazine in 2009 with the idea of featuring international local creative communities." He notes that whenever FvF brought their friends together with those they feature on their site, creative collaboration blossoms. With that in mind, Seifert and the team thought tackling a physical location would be a logical step to take down the line: "We thought, if we find a good partner, we could create a new extension of our work, existing in the real world and including the community we built for the magazine."
"The idea was to create synergies," Seifert continues. "A lot of the people we show in the magazine are involved with interior design, product design and photography—all of this will take place within the space." It is a real life extension of their online magazine, and the greater creative community in Berlin. But Seifert acknowledges this is just a start and as the publication is borderless, they hope to launch similar spaces in other cities.
The partnership with Vitra was fundamental. They approached FvF with an understanding that the publication does not do classic advertising and a desire for new ways to access the Berlin creative scene. Vitra had an immediate understanding of FvF's goals and saw the space as more than a location to display products. "There's a natural connection," Seifert explains. "This was about creating an authentic surrounding. There's a vision. It isn't a superficial showroom." The space is designed to be used. In fact, friends of the site, both local and international, have been invited to stay over and spend the night. Guests are welcomed, and dinners and workshops will be held there. Having documented the way creativity works in locations, it makes perfect sense that FvF not only have a space, but share it with the world.
Images courtesy of FvF
Queen of the Night
Glitz, glamour and dance at the relaunch of NYC's historic Diamond Horseshoe Club
by David Graver in Culture on 07 March 2014
Cabaret, Dance, Diamond Horseshoe Club, Lorin Latarro, NYC, Paramount Hotel, Queen of the Night, Theater
75 years after its initial opening, the Paramount Hotel's former vaudeville theater, the Diamond Horseshoe Club, opened its doors once more on 31 December 2013. There—with magic, majesty, surprise and splendor—"Queen of The Night," an immersive theatrical experience, takes dinner-theater to staggering new heights. The production has been dreamed up by the team behind Sleep No More and, although they feel somewhat akin, "Queen of the Night" aligns more with story-driven dance and cirque—while adding dinner to the mix. Every detail, from Thom Browne's costumes to Jennifer Rubell's food experience and the meticulously ornate staging, lend to wonder and an escape from the ordinary. It's one-of-a-kind and with a scheduled limited run, it's worth exploring now.
Ambiance reigns supreme at Diamond Horseshoe, where a steampunk past melds relics of old with fantastical invention. A winding stairwell descends into the venue, in which awe and a little bit of fear unite as attendees are "selected" to enter. Smart costuming and eccentric set design contribute to an eerie, other-world reality—clearly luxuriant but open to the unexpected. Actors hide, tubes bubble over with spirits, the lights are dim; stowing away secrets. At the center of it all stands a queen—the driving force behind the narrative of not just the stage production, but the entire evening. All the while, an open bar provides signature craft cocktails for dousing trepidation on the shifting energy.
Before the show begins, performers walk through the crowds gathered at the bar. They'll poke and prod, some delivering words and secret notes. Some lucky audience members might just get lassoed and brought to a secret room where a machete-wielding woman makes them discuss love. Soon, the central performance begins and a story unfolds of a Queen and her young daughter, cast at odds by love and dedication. The scale of the cabaret-style show balances the epic and intimate. While two stages play action against each other, the floor is filled with dance and interaction. Circus performers give way to modern dancers and members of the crowd become players in the game, even when the exquisite dinner is served up.
In awe of the breadth and kinetic energy of the dancers, we spoke with the choreographer of "Queen of the Night," Lorin Latarro—a veteran of stage and screen, with current accolades including Broadway's "Waiting For Godot," with Sir Patrick Stuart and Sir Ian McKellen and "American Idiot." "Christine Jones was asked to direct 'Queen' last spring and she and I were working together on Broadway's 'Hands on a Hard Body,'" Latarro explains regarding her initial involvement. "We also collaborated on 'Rigoletto' at The Met and 'American Idiot.' She asked if I would be interested in choreographing this idea for a new immersive show." At this point, the performance didn't even have a name.
"The story is about a ritual. An ancient ritual. One we all go through on some level," Latarro says. From this understanding, she began blending awareness with execution: "I studied movement from Ghurdieff meditation to Buddhist monks to Hebrew dance to Osho dance meditation to incorporate a rhythmic trance-like state at moments. Then added sensuality, eye contact and tender laying of hands." All of this united and enhanced "an underling sexuality to the entire story." Latarro invoked this throughout by having attendees part of the show: "The goal was for all guests to leave feeling now a part of an initiated club. A level deeper emotionally than they arrived. Awakened."
The space itself also proved to be an inspiration for Latarro. "I loved choreographing in the space. Using the architecture was thrilling! There is no fourth wall and no front. It started to really take shape in the space and the butlers became more and more fearless leaping off railings, tables and stairs," she says. She also worked hand-in-hand with the show's Circus Director, Shana Carroll. "It was a very close collaboration between Shana and I. At times, she took the lead and at others, I did. It took some time for us to find our rhythm but once we did, we became close friends and great collaborators; pushing each other out of our respective comfort zones"—somewhere audience members might also be nudged.
Tickets for "Queen of the Night" are available online with prices starting at $145 per ticket.
Performance images courtesy of Matteo Prandoni / Billy Farrell Agency, and interior shots courtesy of the Paramount Hotel


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The veteran ad exec-turned-filmmaker explains the story behind her award-winning documentary, Versailles '73: American Runway Revolution.
Filmmaker Deborah Riley Draper
Tavis: Deborah Riley Draper is an award-winning advertising exec whose first turn as a filmmaker has produced the now-acclaimed documentary; it's called "Versailles '73." The project tells the story of a pivotal moment in the world of fashion as French and American designers faced off in a high-stakes competition 40 years ago this year.
The film, being released this week through Video on Demand. Here now, some scenes from "Versailles '73."
Tavis: So first of all, good to have you on the program.
Deborah Riley Draper: Thank you.
Tavis: Second of all, congratulations. This is a story that I've heard about a number of times over the years, and again, congrats to you for finally getting this story out.
As we all know, for those of us who follow this kind of stuff, fashion week is under way as we speak in New York, so I suspect that it's no coincidence that this documentary is being released right about now.
But I'm glad you got it done. I'm glad we can talk about it tonight, so let me just jump right in. For those who've never heard about "Versailles '73," topline for me what happened.
Draper: November 28th, 1973, five American designers and five French designers were actually called together to create a fundraiser to help restore the Chateau de Versailles, which was falling apart.
But the fundraiser actually turned into a big of a fashion smackdown, because all of the egos got on stage. The French designers had $30,000 each for budgets; the American designers didn't have as much money. It actually turned into the birth of American runway.
What really happened was they had African American models who really changed the game. They used music, they used dance, they used effervescence and really created something the French hadn't seen before, and that was the birthplace of American ready-to-wear fashion, on that day.
Tavis: Wow. So tell me, first of all, about what they were trying to restore, and why they thought fashion was the answer to that particular prayer to get this project restored?
Draper: Well, the chateau needed about $60 million. Leaky roofs, termites, the thing was a mess. A publicist by the name of Eleanor Lambert, who was an American, reached out to the curator in France and said, "I have an idea. Why don't we do a fundraiser and let's do fashion."
She actually represented all of the Americans who were on the stage in Paris, so she took -
Tavis: No agenda here, just a good idea.
Draper: Nope, just a great idea. (Laughter) Just like, "I happen to have five clients who can actually put on a runway fashion show on the stage in Paris."
Tavis: Right.
Draper: So she did that, and it actually was very smart, and it was an agenda, because part of her job was to promote American fashion. She was actually hired by the Department of Commerce during the course of her years as a publicist to do just that.
So she used that opportunity to showcase five American designers, one of whom was Stephen Burrows, and he was the only African American designer of the five selected – of the 10 in total.
Tavis: So how did what started out as a philanthropic gesture become – I love your phrase – a "fashion smackdown?" What was the genesis of the competition, as it were?
Draper: Well, the fundraiser started very easily – buy a ticket, come to the palace, see a show. Then the French got wind of the fact that Halston was involved, Oscar de la Renta was involved, this young upstart named Stephen Burrows.
They were like, "My gosh, we certainly aren't going to be upstaged on our own territory by these five young, spunky upstarts." So they started pouring things into their show.
They added Josephine Baker, they added Rudolph Nureyev, they added song, they added dance. So they had a program that was two and a half hours long, and the Americans, actually, their program ended up being 35 minutes long but was clean.
It was precise, it was modern. It had new textiles, it had new designs. It had the wrap dress that Stephen Burrows did. They actually played something that had never been heard before in the chateau – they played Al Green and Barry White. (Laughter)
That was the music that they actually put on the runway, so of course that moved the models tremendously, and the African American models just kind of led the procession in a way these people had never seen.
They were so taken they threw their programs up in the air and yelled "Bravo," and that was the night America was crowned as a fashion leader in ready-to-wear.
Tavis: Yeah. Let me go back now to these African American models we've referenced a couple of times, because for me, part of the beauty of the story is that they got a chance to be exposed in this way and appreciated at the level that they were appreciated.
Where do these Black folk come from? I know the Burrows connection, but I'm just trying to figure out how they found their way onto the stage and in the creation of this moment that led to this accolade.
Draper: The American budget wasn't very high. They had a lot of -
Tavis: That answers the question. Thank you very much. (Laughter) We ain't got no money. Bring in the Negros.
Draper: They had a lot of auditions, and as they began to audition the best people for the job, the people who fit the clothes the best and the people who they could actually afford to take to Paris, it happened that of the 36 models, 12 of them were African American, and that's how they were able to get there.
So they did the fundamental go-sees and the auditions and everything, but it ended up happening because of budget, because of timing, because of a lot of people who were not available, that these 12 women got on the plane with the American designers and represented our country.
Tavis: How did the best of our soul music – because you got gorgeous Black women doing their thing, and you got some soul music behind them. Anything is liable to be set off. (Laughter) So I can see why the French got so turned out by this fashion show from the American side, but how did the best of our music at that time get on stage?
Draper: Stephen Burrows.
Stephen Burrows and Halston actually, they had a lot of the Studio 54 connection going on, so they actually recommended this music. They had a different plan initially, and a lot of comedy of errors took place, so they kind of were left with the actual music that they brought in their suitcases, and that's how that music found its way on the stage.
Tavis: It's amazing how these things happen that aren't even planned. They just -
Draper: It just happened that way, and it was one thing after another. They didn't have any electricity for their rehearsals, they didn't have toilet paper in the bathrooms, they didn't have food. There were all kinds of problems.
They felt like the French were sabotaging them, so that night, when it was time to go on stage, Bethann Hardison says they took everything that was in them and they put it out there on the stage, and they were able to do it in a way that was beautiful and defiant all in the same breath.
Tavis: When providence meets preparation, something is going to happen.
Draper: Absolutely, and that's what happened. These women are credited with changing the runway. They're credited with revolutionizing it. But the story kind of was buried for 40 years, and when I discovered it I was inspired, because these women, as well as all of the models and all of the designers, really changed the business.
They changed politics, they changed economics, and they made a statement about race.
Tavis: Right. Where had these models come from and what were they doing back here in the States that made them the expert fashion models that they were?
Draper: Well, Norma Jean Darden, who's an entrepreneur and restaurateur, at that moment she had just graduated top of her class from Sarah Lawrence, and she had a theater degree.
She went to a go-see, because she wanted to do a little theater, a little modeling. They all came from song, dance. Norma Jean was at University of Massachusetts, so they had various backgrounds, various perspectives.
They were smart, talented, beautiful; a lot of them spoke French, Italian, and German already. So they were very powerful in their presence and very powerful as they hit the stage and in their interviews.
Tavis: Tell me more about Mr. Burrows.
Draper: Ah, Stephen.
Tavis: Yeah.
Draper: One of the early African Americans at FIT. He created the lettuce stitch, he created the wrap dress, which popular culture actually attributes to other designers, but it was Stephen who brought that to bear, and he brought it that night in 1973.
Tavis: Now I'm no fashion person, but isn't that what Diane von Furstenberg dug all the time, that kind of wrap thing?
Draper: Absolutely. Stephen's grandmother, Southern grandmother, taught him the stitch and that wrap, and he brought that with him to FIT, actually, and that was his initial claim to fame. Then it became mass-produced by everyone else.
Tavis: How was he regarded after the show?
Draper: Well, Yves St. Laurent regarded him as the best African American designer. They say that in the film. That is what the man himself said. Because Stephen was different. He was innovative, he used different fabrics, different techniques, different stitching, so he really stood out.
Plus he was incredibly young and he was Black, so they had actually never seen that come from an African American, from a design standpoint, to have such leadership and such creativity, and he became very famous. He's the first African American man to receive international acclaim in the design business.
Tavis: So you said that when the show goes down, the French were hating on the Americans, they end up putting on a two and a half hour show. The American show is 35 minutes, but it's clean and everybody gets it and they love it and they throw their programs up in the air in celebration. How was this story covered, or not, in the French media? Because obviously, this is a huge deal.
Draper: Right.
Tavis: But how did the French cover this in the media?
Draper: The French covered it. They were very honest. They actually said the Americans came to Paris and stole the show.
Tavis: Symptoms.
Draper: In American media, you didn't see the story very much. When you saw the story you actually saw who the guests were inside the palace, so you saw pictures of Andy Warhol, you saw pictures of Princess Grace and the ambassadors and the presidents.
But in the French media they actually talked about the beautiful Black models who turned like dancers and stomped like soldiers across the stage. So they actually reference them. In fact, Givenchy, for years after this show, adopted an all-Black (unintelligible).
So when you would go to his house, you'd see all Black models, for 10 straight years. That's how the show impacted him.
Tavis: Why this story – and I'm not naïve in the asking of this question, particularly given the answer you've just offered now – but how could a story like this in the fashion world, which puts everything in our face. By definition that's what they do – they put stuff in our face and convince us of X, Y, and Z and why we should have A, B, and C. How did this story stay buried for so long?
Draper: I'm not sure, but the minute I discovered this story I wanted to tell it, because I thought it was very important.
Tavis: Right.
Draper: Because the impact that these women and these designers have on what you wear today, what I wear, what we see in stores, is incredible. They left an indelible print, not just on American fashion but global fashion as well.
I think this story rises to the top in certain parts, but it never comes entirely full circle, with the models playing the big role that they played in it.
Tavis: What does this – and I don't want to make you overtly political, but let me just put you on the spot anyway, since you did the film. What does this story, "Versailles '73," say to us, how does it indict us? You tell me what the message here is for the fashion industry today.
I started this conversation by noting that fashion week is going on in New York even as we speak. Again, this is not my area of expertise, but I watch and read a little bit of everything and I still don't see the number of African American models on the cover of magazines.
I still don't see them to the extent they ought to be in advertising campaigns. But you know the story better than I do. What's the unfinished business? It's a long way of asking a simple question. What's the unfinished business in this industry, given what we now know from "Versailles '73″ 40 years ago?
Draper: I think the unfinished business, I think the business that these women and designers started is to show people that all races can be beautiful. All people wear clothes. So when you're selling your wares, you need to actually use the people who can make your clothes look the best, regardless of color.
That there shouldn't be a specific footprint for what a model should look like, that you can achieve success by using a variety of people, having a diverse perspective, and having a diverse POV in the models, the designers, the clothes, the textiles, the music, the whole show.
Tavis: Yeah. So even if I want to be as open-minded as I can be and properly situate this story in the time that it takes place, '73, this is 2013. So this is now the most multicultural, multiracial, multiethnic America ever.
Draper: Right.
Tavis: As I said, this is still, this documentary now, still an indictment of some sorts on the industry today. How do you think this is going to be received, this documentary, by the industry?
Draper: I think the industry will love it. They have loved it, they've watched it. I think it awakens something inside of everyone when they watch it, because what we really realize is as Americans, there's not a triumph or a success in this country that hasn't happened because of African Americans.
Whatever the turning point, the paradigm shift, the flashpoint, we were a part of that, and I think this story will help remind people that we can't continue to tell stories that don't include African Americans, because whatever the story is, we're a part of it.
Hopefully, the fashion industry will realize that as they're casting, as they are putting together shows, and be reminded of the great success that happened 40 years ago, and not forget about it and not say, "We're multicultural, so we don't need to think about it."
Because sometimes when people say "multicultural," they figure that's good enough.
Tavis: Yeah. Her name is Deborah Riley Draper. The project is called "Versailles '73." It is a seminal moment in fashion history 40 years ago. I think you'll want to check this out. It's Video on Demand. Deborah, good to have you on, and congratulations for bringing this story to the fore.
Draper: Thank you so much for having me. I appreciate it.
Tavis: Glad to have you here. That's our show for tonight. I'll see you back here next time on PBS. Until then, good night from L.A., thanks for watching, and as always, keep the faith.
"Announcer:" For more information on today's show, visit Tavis Smiley at PBS.org.
"Wade Hunt:" There's a saying that Dr. King had, and he said, "There's always a right time to do the right thing." I just try to live my life every day by doing the right thing. We know that we're only about halfway to completely eliminate hunger, and we have a lot of work to do. And Walmart committed $2 billion to fighting hunger in the U.S. As we work together, we can stamp hunger out.
"Announcer:" And by contributions to your PBS station from viewers like you. Thank you.
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LOVED this interview!!! I learned something exciting and inspiring! Thank you, Tavis! I'm a new fan of Deborah Riley Draper!
i loved the interview, it is always great to hear and learn about the importance that our race has in a lot of history. i am looking forward to getting this video, and will definitely share the episode with others. Thank you Deborah, that is the best news since the Ebony Fashion fair.
Thank you Deborah for this wonderful film. I was a professional model along with Iman and Beverly Johnson. I never let the fact that I was black stop me from trying to model. No matter what America has done in the past and might do in the future we as a people will always over come any obstacle's put in our path. Keep up the good work.
Very proud of you Deborah!
Deborah, As one of your former teachers of English (tenth grade, WFHS, Savannah, Georgia)I can not begin to tell you how proud I am of you! Today, I learned from you. Congratulations!
From the moment I saw this film screened in Cannes last May 2012 I was blown away. I am old enough to remember this event in 1973 and was impacted by what happened in France that November evening. After the screening I approached Deborah and told her how much the telling of this story meant to me. Since then I have attended 5 screenings of this film in various cities and just this past weekend was present when Deborah received her Best Documentary Award from the African American Film Critics Association. Congratulations again Deborah.
Deborah, I can truly say that Savannah, Georgia should be extremely proud of you and what you have accomplished. God bless and keep you as you continue to skyrocket to "infinity and beyond."
I don't think it is about the color of the model for clothing companies. I think it is more about the demographic that they are going after or the demographic that buys their clothes. If 90% of the people who buy my clothes are Asian, why would I go and get a Middle Eastern model to advertise my product?
Congratulations Deborah! So your'e an expert in front of the camera as well as behind one. You looked great and eloquently explained your film! We knew the WFHS Class of 84 would produce greatness.


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28 February 2012
Matthew Gilleard - ITR
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The Confederation of British Industry (CBI) has thrown its weight behind the UK's planned general anti-avoidance rule (GAAR), arguing that corporate tax avoidance schemes are harming the reputation of British industry.
The news that the Treasury yesterday moved to close down tax loopholes by passing legislation to retroactively shut down two aggressive tax avoidance schemes used by Barclays bank will also bring the the Graham Aaronson GAAR closer to introduction.
Barclays used one scheme which enabled it to repurchase some of its own debt without paying corporate taxes on the profit made from this process. The bank said it complies with the letter and spirit of its obligations under the HMRC Code of Practice.
"This situation arose when Barclays voluntarily disclosed to HMRC in a spirit of full transparency that it had repurchased some of its debt in a tax efficient manner," said a company statement. "This was based on guidance from professional advisers that the treatment was both legal and compliant with the tax code, and given others had used a similar treatment."
The Treasury's retroactive changes will date back to the start of December.
"Barclays respects the decision of HMRC and the government to adjust the tax laws and will, of course, comply with the modified law once it is in place," said Barclays.
CBI U-turn
The CBI had previously opposed uncontrolled general anti-avoidance rules, on the grounds that such a rule could create uncertainty for businesses over what constitutes abusive tax planning.
"We don't think business is done any favours by these highly abusive schemes which essentially tar all of us," said Will Morris, chairman of the CBI tax committee.
"Therefore if we can come up with a GAAR which walls those things off and makes it clear that, whatever the words of the legislation are, HMRC can prevent them from happening, then we're all going to be better off. If that's the case, then yes, we're for it," added Morris.
The reason for such a u-turn from the CBI could be a realisation that some form of GAAR is unavoidable.
"I think it is inevitable, in the current economic climate, that some sort of GAAR will be introduced soon," said Robert Gaut, partner at Fried, Frank, Harris, Shriver & Jacobson. "The Graham Aaronson proposal is aimed at "abusive", "egregious" and "abnormal" tax planning. Most people I'm sure would agree that a scheme fitting those adjectives should be stopped."
While one might find universal agreement with that statement, there are difficulties associated with the introduction of any GAAR, as Gaut identifies. Chief among these is the fact that it could breed uncertainty and therefore cloud businesses' decision-making.
"The difficulty I see, of course, is that there is no bright line test that can be objectively applied. All tax avoidance is legal; otherwise it becomes tax evasion. The position of the GAAR is that there is a type of extreme, highly artificial tax avoidance that must be stopped," said Gaut. "However, the uncertainty that the GAAR will lead to, in the absence of a clearance process, may be bad for business. The advisory panel proposed may be somewhat helpful, but that is unlikely to be available to taxpayers in time to allow specific planned transactions to complete in required timeframes."
Gaut believes the GAAR could successfully stamp out abusive tax avoidance schemes, though he points out where the lines may potentially be blurred.
"Yes, but the difficulty is knowing what "abusive" means. Maybe, as the CBI suggest, it is those sorts of "black box" schemes where, essentially, there is no underlying commercial rationale for the transaction," said Gaut. "However, there are parts of Aaronson's report which suggest that commercial transactions can be combined with abusive tax results (which would still be the subject of the GAAR), so the line is obviously not that clear."
The CBI's director general John Cridland said that while traditionally there have been two categories – legitimate tax management which HMRC accepts is legal, and tax evasion – there is a middle ground too. The CBI is saying those sort of arrangements may technically be legal, but that they do not support black box type arrangements which are strictly non-commercial.
"It's the first time we've said it directly. It's quite a statement by the CBI," said Cridland.
Implementation inevitable
Some observers, including the Tax Justice Network's Richard Murphy, are suggesting that the CBI is now supporting Aaronson's proposal purely because they do not believe it will work as effectively as intended, instead providing mere window-dressing.
However, Gaut proposed that in the face of inevitable implementation of a GAAR in some form, the CBI might be backing the Aaronson report to avoid the uncertainty that could come from a separate GAAR proposal.
"I think the CBI recognises that we are going to have a GAAR of some sort imposed by the government, and cases like HMRC v Mayes (the SHIPS2 scheme) make that ever more likely – this is the case Aaronson refers to in his report, and where courts were unable to undo its complex tax structuring, said Gaut. "That being the case, the Aaronson GAAR is, on its face, very narrowly focused, so it may be perceived as better to campaign in favour of this for fear that the alternative may be something more broadly focused and still more uncertain."
Chancellor George Osborne will give his verdict on Aaronson's GAAR when he delivers the budget on March 21. Government has been pressured to do something about tax avoidance, and recent news headlines referring to deals with big companies have exacerbated this. But the Public Accounts Committee (PAC) has moved quickly to censure the handling of certain tax settlements.
"The PAC has expressed considerable concern about the way in which tax settlements have been made with large corporates," said Dave Jennings, tax investigations at Grant Thornton. "Complex legislation means that negotiated settlements are often inevitable, but the move to appoint another commissioner so cases over £100 million are approved by all three commissioners is a sensible move to ensure that proper controls are in place to protect the public purse."
Regardless, the latest controversies surrounding Barclays could well force Osborne's hand and certainly make the prospects of a UK GAAR being contained in the March budget even more likely.
What is your biggest FATCA concern?


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LET'S PRAY MINISTRIES is devoted to inspiring, teaching, and equipping Christians to pray for Christ's Kingdom. Here's two ways we do just that... Kathie's award winning book, "Praying in the Word of God" Kathie's daily radio show ARCHIVES, "Let's Pray" Be sure to check both of them out! We're praying for you! Paul and Kathie Grant
Read Book Review
Let's Pray! These formally nationally syndicated daily radio show broadcast archives will inspire and challenge listeners to pray for Christ's Kingdom.
Using inspirational stories to highlight the power of prayer & Scripture to lay its foundation, host Kathie Grant exhorts us to pray God's will and claim His promises in prayer for ourselves and for the world.
May God make your prayers panoramic, effective, and eternally fruitful.


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Sheraton Commander Hotel RATE: $229 (single/double) 16 Garden Street Cambridge, MA 02138 (Harvard Square) +1.617.234.1351, or 888.627.7121 www.sheraton.com/commander Located approximately 3 miles from campus, 'T' accessible Reunion rate in effect until 19 April 2011
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Homewood Suites by Hilton Cambridge-Arlington RATE: $189 (single/double) 1 Massachusetts Avenue Arlington, MA 02474 +1.781.643.7258 www.bostonhomewood.com (Enter group code FSH when making online reservations) Located approximately 1 mile from campus, free parking Reunion rate in effect until 20 April 2011
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Tufts University Dormitories RATE: $45 (single), $58 (double) Reservations can be made on the Reunion Registration webpage beginning in January 2011. Single and double rooms are available. Please note that these on-campus accommodations are in traditional dormitory rooms. Bed linens and medium-sized towels are provided, but guests are strongly encouraged to bring their own to supplement these. All bathrooms are shared and located in common hallways.
Contact Sarah Bunnell, Reunion Coordinator, at +1.617.627.3086 or firstname.lastname@example.com.


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Linux System Administration Handbook
Authors: Mark F. Komarinski and Cary Collett
Publisher: Prentice Hall Computer Books
E-mail: email@example.com
URL: http://www.prenhall.com/
Price: $39.95 US
Reviewer: David Bandel
The Linux System Administration Handbook was written by Mark F. Komarinski and Cary Collett. The authors claim to have nearly two decades of experience between them in system administration, most in Linux, though some in other UNIX systems. Reading the cover, I attempted to gain some insight into what lay in the pages ahead. The cover did promise much in the line of system administration tasks, security, hardware configuration, and much more. The book also included the gratuitous CD-ROM. (What Linux book doesn't these days?) The cover, however, gave no indication of the kind of audience it was aimed at, so I began reading, not exactly sure what to expect. The primary task I took on myself, then, for this review was to determine what audience the authors were aiming for.
The first few chapters cover boot-up and shut-down and a review of System V start-up, then dive into user administration and user shells. These chapters do not discuss Linux installation per se, but I am very familiar with Caldera's OpenLinux Lite, the distribution included with the book, and it really doesn't require much in the way of installation instructions, at least not for anyone vaguely familiar with Linux installation. Besides, all of Caldera's pertinent documentation is included in the Appendices.
As I continued reading I was impressed with some of the jewels of wisdom and little-known (or not well-documented) facts about Linux that only seasoned administrators would know. Unfortunately, this was often offset by short, terse explanations, short chapters and one- or two-sentence summaries for those basic chapters toward the front of the book.
Going a little further and getting into the coverage of nitty-gritty network administration, the chapters grow longer. Like an administrator who's finally been given his favorite project to work on, the chapters suddenly take on more detail and more life. The authors go into great detail explaining some of the lesser-understood and lesser-used of the well-known services, the kinds of problems you can expect, and how to configure, troubleshoot and maintain them. In fact, most of the chapters where they went into this kind of detail are quite well-done. Much of the information presented showed the authors do indeed know a good deal about those programs and services to which they have had personal exposure.
Continuing on, they discuss some of the important issues for decision makers wanting to know about applications for Linux. Here, they took on the daunting task of trying to do justice to all the applications beginning to show up for Linux, from open-source software to commercial native Linux applications to those which can be adapted to Linux. They did a creditable job and warned the reader they would discuss only those programs with which they had some familiarity. However, I was still surprised they didn't do a bit more homework for the reader, including a few more applications which they don't use, but are available.
For example, in the section on databases, they mention that Oracle, while not supported on Linux, can use the SCO binaries with iBCS. While they don't mention it, the same is also true of Informix. Native Linux applications such as Adabas and YARD (both from Germany) were not mentioned. I find this even more curious since Adabas is sold by Caldera, and YARD rivals Informix in its ability to do nested outer joins and other complex SQL queries. YARD is also ANSI SQL 92 and SQL3 compliant, something most open-source Linux databases can't begin to boast about. The authors talk about distributions later on and mention WGS, which positions the Flagship database as its premier Linux product, but this isn't mentioned in the database section.
While I was hoping that this would be a good book to help beginners discover Linux, mostly due to the exceptionally easy-to-install OpenLinux distribution, it is hardly that. Some omissions and skimpy coverage of basics would lead me to conclude that this is not a good book for a novice administrator. For example, in the rather short chapter on "Common Features", where the authors discuss setting environment variables under the bash shell, they don't mention the export command, its usage or implications. This kind of oversight could have novices wondering why subshells or programs invoked by the shell haven't inherited a particular environment variable.
On the other hand, I also can't recommend this book to experienced system administrators on the strengths of its detail in the lesser of the well-known services, even though these sections are well done. While the book would make an excellent addition to a library lacking the details of network news (NNTP) or other services, it isn't justified because of the light or non-existent treatment given to other areas.
I can, however, recommend it to managers who may have noticed their system administrators have begun to use Linux on their network or are contemplating allowing this to occur. The book does a good job of introducing Linux in a way that would give managers a good feeling about this oft-called "Renegade OS" being put to work in their companies.
On a scale of one to five, I would have to rate this book a solid three. Its apparent lack of focus, its terse coverage of some important areas, and redundant coverage of some network issues among the Networking and the Internet Connectivity chapters make me conclude this first edition doesn't deserve a higher rating.
For those who think I may be a little harsh, my initial impression was much lower. While I may be tolerant of a few clichés or awkwardly worded phrases, the authors trounced solidly on a pet peeve of mine throughout the first few chapters by misusing the phrase "try and" when they really wanted you to "try to" do something.
However, I hope the authors will soon begin work on the second edition, because I can see the framework for a good Linux system administration handbook. Some other things I hope the authors will consider is either changing the distribution to Red Hat, which is what they talk about in many examples, or changing their examples and discussions in the book to reflect the distribution. For those who don't know, Caldera OpenLinux, while using the RPM system, is not a Red Hat distribution, but is based on the German LST distribution. I would also like to see more discussion of the File Hierarchy System (FHS), partitioning schemes and disk recovery with emphasis on fsck, and other pertinent commands. Hopefully, they'll also close some of the really gaping holes, like forgetting to even mention one of the major Linux distributions, Debian, not to mention all the foreign distributions, such as S.u.S.E.
Overall recommendation for this book: look twice before you buy. Managers who don't actually administer systems, but make decisions regarding whether Linux is "appropriate", or intermediate users who can use the better-fleshed-out chapters to complement other manuals they have, could find the book a good value. Otherwise, I'd hold out to see if the next edition is a more solid investment.
David Bandel is a Computer Network Consultant specializing in Linux, but he begrudgingly works with Windows and those "real" UNIX boxes like DEC 5000s and Suns. When he's not working, he can be found hacking his own system or enjoying the view of Seattle from 2,500 feet up in an airplane. He welcomes your comments, criticisms, witticisms and will be happy to further obfuscate the issue. He can be reached via e-mail at firstname.lastname@example.com.
Linux has become a key foundation for supporting today's rapidly growing IT environments. Linux is being used to deploy business applications and databases, trading on its reputation as a low-cost operating environment. For many IT organizations, Linux is a mainstay for deploying Web servers and has evolved from handling basic file, print, and utility workloads to running mission-critical applications and databases, physically, virtually, and in the cloud. As Linux grows in importance in terms of value to the business, managing Linux environments to high standards of service quality — availability, security, and performance — becomes an essential requirement for business success.
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text: Publications Search Results Your query returned 1 citations. Results 1 - 1 Results per page: 25 50 100 Sort by: Pub Date (newest) Title Recent Additions Author [1] Clear All Pub. Year Citation 1992 Ezzati, Trena M., Massay, James T., Wakesberg, Joseph, Chu, Adam, Maurer, Kurt R. Sample Design: Third National Health and Nutrition Examination Survey. Vital and Health Statistics, Series 2: Data Evaluation and Methods Research. 113, Hyattsville, MD: National Center for Health Statistics. Full Text Options: PDF Export Options: RIS/EndNote Results 1 - 1 of 1 [1]


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Topics :: fashion
Bonobos: Your Wardrobe Staples Never Looked So Good
Thursday Nov 28, 2013
Staples - the milk, bread and eggs of any man's wardrobe. Suits and jackets for work and evening; sweaters and chinos for weekends. When it comes to wardrobe staples, few brands do it better than Bonobos.
Girls Will Be Boys: Lifestyle Apparel for the Modern Tomboy
By Winnie McCroy | Monday Nov 18, 2013
Don't get your panties in a bunch! Brooklyn's Girls Will Be Boys now makes comfy boxer briefs, tank tops and activewear for the modern tomboy.
Carrera Campaigns to be Victoria Secret's First Transgender Model
By EDGE | Friday Nov 15, 2013
As Victoria's Secret geared up for its 2013 Fashion Show, more than 37,000 people signed the petition started by Marco Regalado, a Carmen Carrera fan from Merced, CA, hoping to see Carrera join the VS Angels on the runway.
Taylor Swift Shares Catwalk with Victoria's Secret Angels
By Samantha Critchell | Thursday Nov 14, 2013
The Victoria's Secret Angels worked their magic on the catwalk Wednesday, weaving between chart-toppers Taylor Swift and Fall Out Boy, and some fancy sets and stage tricks, yet somehow keeping the spotlight mostly on themselves.
Brazilian Designer Alexandre Herchcovitch Reveals "Beauty Denim"
By Jenny Barchfield | Wednesday Nov 13, 2013
Rio de Janeiro's four-day fashion extravaganza featured an array of materials, including cellulite-combating "beauty denim."
Pucci Opens Boutiques in Global Fashion Capitals
By Thomas Adamson | Saturday Nov 9, 2013
The storied Florentine house of Emilio Pucci, which made colorful, kaleidoscopic prints world-famous and once counted Marilyn Monroe as a top client, is embarking on a new chapter, opening boutiques across the world's fashion capitals.
Project Nunway's Fashion Feast
By Jim Provenzano | Saturday Nov 2, 2013
One of the most wildly vibrant live shows at YBCA celebrates its fifth incarnation as The Sisters of Perpetual Indulgence present Project Nunway, the amazingly creative couture fashion show, Saturday, November 2.
The Look: Miami's Nightlife Style
By Steve Weinstein | Friday Nov 1, 2013
Does your club wardrobe need a makeover? Look no further than Miami, where nightlife reigns supreme. Less may be more, which means that every fashion choice should be made with intention - whatever that may be.
Indigenous Fashion Show in Bolivia
Wednesday Oct 23, 2013
In dazzling embroidered shawls, wide skirts and black bowler hats, Aymara models strutted their stuff on the catwalk in Bolivia's capital in a fashion show designed to promote Andean style and beauty.
Kai-aakmann Gently Gender Bends a New Style
By Matthew Wexler | Monday Oct 14, 2013
For the stylish man or woman looking for a fresh, urban look, set your gaze no further than the latest creations of Soonjin Park for the Korean brand Kai-aakmann.


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Grid is 1 inch square
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text: I too think we need to revive the great themers for those that have updated to ICS like I did and now I dont want to go back if I dont have to. im missing some of my black&bold look for the most part I have things the same as for the layout but few things like google + and talk are no longer themed. just to name two


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Bentley Book Wins Award
Bentl y - The Book has just won the "Best Book on Car Design" award by Motor Presse Club e.V., a German organization. The book is a history of the company and its cars, written by British motoring journalist Andrew Frankel. It was first published in 2003. Bentley beat out four other books for the title. The winner of the category was selected by a panel that included well-known car designers and journalists. Autoblog has the full press release.
Now in its second, revised printing, the book is available online for $69.50.


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This beautiful Fluval decorative plant adds a realistic look to your aquarium. Featuring natural-looking colors that will not fade, this supple yet durable plant provides an elegant decorative touch and requires minimal maintenance compared to real plants.
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