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Get Your Garage Sale On
Last year saw the inauguration of Garage Sale Trail, an internationally recognised sustainability program. It's back in 2012, and this year The City of Melbourne have jumped on board activating our fair city's streets with it.
Taking place on Saturday 5 May, Garage Sale Trail welcomes households, makers and creators, cultural institutions, charities, schools, libraries, local businesses and community groups to host a sale as part of the biggest real-world, community-based market-place in Australia. It's a means to de-clutter, make some pocket money or fundraise, meet your neighbours, do something positive for the community and have a little fun too.
Melbourne's iconic Hosier Lane will be hosting a monster garage sale selling over 1000 pairs of funky shoes to raise funds for Youth Projects, a leading charity supporting homeless youth in Melbourne.
Last year Garage Sale Trail attracted over 80,000 shoppers nationally and 3000 households and community groups all sold their wares. With City Of Melbourne involved these numbers are set to be blown out of the water.
Melbourne's creative arts and cultural market community will also be brought to life in Hosier lane on May 5th as Just Another Agency, one of Australia's leading creative agencies, present the Bend and Snap markets as another dimension of the official City of Melbourne activity.
Garage Sale Trail is a community-based market place that happens all over Australia on one day, May 5th, 2012. With roots in sustainability, Garage Sale Trail is all about discovery, creativity, community and micro-enterprise.


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Makes 4 sandwiches
Ingredientsadd to shopping list
- 2 12-inch baguettes
- 2 ripe pears, sliced thinly
- 1/2 cup walnuts
- 12 ounces gorgonzola
Cut each baguette in half lengthwise and then in half widthwise (you will now have 4 top and 4 bottom slices). Distribute pear slices evenly over the 4 bottom slices of bread. Crumble walnut pieces evenly over the pears. Crumble gorgonzola evenly over the pear-walnut combination. Place top half of bread on each of the bottom halves. Wrap in foil and place in 350°F. oven for 3-5 minutes or until cheese melts.
my notes
Nutrition Informationper serving (4 servings) POWERED BY Edamam
- Calories881
- Carbohydrates102 g (34%)
- Fat37 g (57%)
- Protein38 g (77%)
- Saturated Fat18 g (88%)
- Sodium1,957 mg (82%)
- Polyunsaturated Fat9 g
- Fiber7 g (29%)
- Monounsaturated Fat8 g
- Cholesterol64 mg (21%)
recipe at a glance
type: Sandwich
main ingredients: Cheese, Nut, Pear, Walnut, Fruit, Blue Cheese
cuisine: American
holiday/celebration: Back to School, Fall

subset: commoncrawl


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Get early bird discount for enrollment up to June 6!
We are inviting you to find out more about our leading education method at our open house!
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In an active learning setting, where children actively pursue their personal goals, they explore, ask and answer questions, solve problems, and interact with peers and teachers. When they are doing so, they actually engage in "key experiences", experiences that children need in order to develop their skills and abilities. There are 58 key experiences in child development for the early childhood years and they are grouped into 10 categories:
The above key experiences lead to:
These key experiences are the curriculum for our early childhood educational program. High/Scope teachers are guided by these key experiences when planning activities, selecting materials, or preparing events for children.


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ARDMORE, OK -- Police arrested two people they say made and passed fake bills at several Ardmore stores and restaurants recently.
But police say there could still be some funny money out there.
Like many other local business owners Sarah Casey says she keeps a close eye on the money she gets from customers at Casey's Catfish Corral. Especially when something seems fishy.
"We know a lot of our customers but if we get people acting real shady about their money or they're looking for one in particular to give away that sends up a red flag," said Casey.
Police say workers have seen red flags at several Ardmore businesses recently, after someone passed a series of fake $20 bills.
"A subject was going in to a local business and was exchanging counterfeit money for real money," said Sergeant Ryan Hunnicutt.
Ardmore police arrested two people they say have been passing counterfeit money at convenience stores and restaurants over the past few weeks.
They made the arrest Wednesday afternoon at a home in the 1000 block of A Street NW.
"A subject answered the door, presumably his roommate and that was the subject we had seen on surveillance video passing counterfeit money here in Ardmore," said Hunnicutt.
31-year old Michael Williams and 27-year old Andrew Long were arrested.
During a search of the home, investigators say they found equipment they believe was used to make the fake money.
But police believe there may still be more bogus bucks out there.
"We do believe there will be more bills that will come in as they're circulated around town so we've got a lot of work left to do to tie up all the loose ends," said Hunnicutt.
Despite the arrests, managers at stores and restaurants are urged to be cautious.
Security experts recommend clerks use special pens, and search for watermarks and other security features before accepting any bill.
"Everyday we just deal with so many bills, so many bills," said Vandana Sharda, a co-owner of several convenience stores in Ardmore. "But if it's busy even, we pay more attention, especially to the 20 dollar bills."
Williams and Young face charges of counterfeiting and uttering a forged instrument.
Bond for each is set at $50,000.


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Have everything ready to go when you arrive with Reserve Online.
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This section of the website is devoted to explaining the different factors that will affect the total cost to study abroad, such as:
- the program's affiliation with DU
- CGS eligibility
- duration of the program
- student's status as an undergraduate or graduate.
Studying abroad doesn't have to be more expensive than staying at DU. If you plan ahead, few locations are out of reach, even with a limited budget. You need to be realistic about how cost-of-living varies around the world, but that can work in your favor. Sometimes, it's even possible to save money by studying abroad!
In the spirit of the commitment of the Cherrington Global Scholars (CGS) initiative, it is our hope that financial constraints never be the sole reason that a student is not able to study abroad. If you are aware that finances will be a challenge for you, let your OIE advisor know these concerns early on in the advising process and we will do our best to find a program that fits your budget.


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Download a PDF of this fact sheet here
A woman's fertility potential declines with age due to declining egg quality and numbers. This is reflected in the decreased ability to become pregnant and the increased rate of miscarriage with age. Although the ability to achieve a live birth decreases in all women as they become older, the precise age when a women can no longer conceive varies among individuals. Approximately one-third of couples in which the female partner is age 35 or older will have problems with fertility. Several tests may be useful in assessing fertility potential (ovarian reserve) in women.
The determination of blood concentrations of follicle- stimulating hormone (FSH) and estradiol on menstrual cycle day 3 has been used to estimate fertility potential. In general, women with elevated levels of FSH and/or estradiol on cycle day 3 have reduced chances of livebirth live birth with both ovulation induction and in vitro fertilization (IVF) compared to other women of the same age.
Several laboratory methods are used currently to measure blood levels of FSH and estradiol. Measurement of levels of these hormone may vary considerably depending upon the particular laboratory method used. Therefore, it may be difficult to compare blood levels of these hormones that are measured at different laboratories or by different laboratory techniques. It is important that normal and abnormal test values be based on the pregnancy rates achieved by women studied at a particular center using the same laboratory methods.
This test involves the oral administration of 100 milligrams of clomiphene citrate on menstrual cycle days 5-9. Blood levels of FSH and estradiol are measured on cycle day 3 and the level of FSH also is measured on cycle day 10. Abnormally elevated blood levels of FSH on either cycle day 3 or day 10 are associated with reduced pregnancy rates with both ovulation induction therapy and IVF.
A transvaginal ultrasound may be performed in the early part of the menstrual cycle to count the number of small (2mm-10mm) follicles in the ovary. The number of these follicles reflects underlying egg supply and response to gonadotropins. This test is more accurate if done by a physician or ultrasonographer experienced in working with fertility evaluations.
Gonadotropins (such as Bravelle®, Follistim®, Gonal-F®, Repronex®, Menopur®) are concentrated mixtures of FSH and LH (or FSH alone) which are given as injections to stimulate the ovary to produce multiple eggs in preparation for various fertility therapies. The amount of gonadotropins required to induce egg development increases with increasing chronological age. Patients requiring large amounts of gonadotropins to induce egg development generally have lower pregnancy rates with both ovulation induction therapy and ART.
These tests are useful to qualitatively predict a woman's response to fertility treatment and her likelihood of success compared to other women of the same age. In younger women, abnormal test results suggest that fertility potential is declining, but they do not identify who will or who will not conceive. It is also important to remember that some younger women with normal test results have difficulty conceiving. Women older than 40 years with abnormal test results have poor chances of achieving pregnancy naturally and after ovulation induction, and in these women the use of donor eggs or embryos can be considered, because the chances of pregnancy are primarily related to the quality of the donated eggs. Unfortunately, even with a normal ovarian reserve test, older women may have difficulty achieving a pregnancy. Moreover, the results may vary from cycle to cycle. Any single abnormal test, however, generally indicates that fertility potential has diminished.
Created 2005
Prediction of Fertility Potential (Ovarian Reserve) in Women-pdf
Members are allowed to have direct input in shaping policies and protocols in their area of expertise through ASRM affiliated societies, professional groups, and special interest groups.
Affiliates: SART | SMRU | SREI | SRBT | SRS
Professional Groups: ARM | LPG | MHPG | NPG
Special Interest Groups: AESIG | CAMSIG | ChSIG | CSIG | EndoSIG | EPSIG | ERSIG | FPSIG | FSIG | HDSIG | GCSIG | IRMSIG | MSIG | NutriSIG | PAGSIG | PGDSIG | RISIG | RMSCBSIG | TSIG | WC
©1996 - 2014 ASRM, American Society for Reproductive Medicine. All Rights Reserved.


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Stoneham Theatre Presents SOMETHING'S AFOOT, Now thru 3/23
Stoneham Theatre's upcoming Mainstage production of the musical mystery comedy Something's Afoot is a reunion of sorts. Director Caitlin Lowans has assembled a cast of Stoneham Theatre favorites who will be familiar to Stoneham Theatre audiences as well as audiences around the Greater Boston Area.
"We didn't start off with the idea of casting Something's Afoot with Stoneham Theatre favorites," Lowans explained. "But it slowly became evident that all these favorites would make the perfect cast."
With book, music and lyrics by James McDonald, David Vos and Robert Gerlach, Something's Afoot is a satirical spoof of whodunits like Agatha Christie's And Then There Were None and The Mousetrap. Nine strangers gather in a remote mansion on a stormy night. When the power goes out, the bridge is flooded, the butler is killed in a freak explosion, and the other guests start to die in mysterious ways, it quickly becomes clear that "something's afoot."
Stoneham Theatre favorites Margaret Ann Brady* (The Full Monty), John Davin* (The Porch), Russell Garrett* (42nd Street), Kathy St. George* (Dear Miss Garland), Stephanie Granade (Thoroughly Modern Millie), Mark Linehan* (Lumberjacks in Love), Andrew Oberstein (The Full Monty), Nick Sulfaro (Dr. Jekyll & Mr. Hyde), and Ceit Zweil (The Dinosaur Musical) are making Something's Afoot feel like something of a family affair. Boston-area actor J.T. Turner joins them, making his Stoneham Theatre debut. ""From the first rehearsal, the cast already had a great rapport," Lowans added.
Something's Afoot opens tonight, February 27, 2014 and runs through Sunday, March 23, 2014. Performances are Thursdays at 7:30pm, Fridays at 8:00pm, Saturdays at 3:00pm and 8:00pm and Sundays at 2:00pm. There is a post-show talkback after the Sunday, March 2nd performance. For tickets, call the Stoneham Theatre Box Office at (781) 279-2200, or visit www.stonehamtheatre.org.
*Denotes Member of Actors' Equity Association


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Gluten-Free Goddess in Newsweek? Rock on.
14 comments:
Congrats, that is so cool.
I love your blog. I have been following it for over a year. It's actually the first blog of any type that I discovered. I was so excited when I found it after being gluten free for two years. You have such great pictures and recipes. I really identify with your sensitive gut issues and your vegetarian experience.
I was vegetarian for 17 years but after I realized I was gluten intolerant and went on a gluten free diet all of a sudden all these other foods started to bother me also- like soy and chocolate gives me migraines and dairy makes me stuffy (ok dairy was a lifelong thing)
I started to feel the need to add some fish and meat back to my diet but I agonized over that decision for so long. I identified so much with being vegetarian. I did end up adding meat and fish about a year ago and I do feel so much better(But my conscience still bothers me sometimes) I really loved your meatloaf post and the comment about the Dalia Lama. Your post about your struggles made me feel less alone
I just wanted to say thanks for all your posts.
I finally got motivated enough to start my own gluten free blog (with my husband)
sorry this got so long.
Thank you again and congrats I have to get newsweek!
Oh Congratulations!! You totally deserve it!!ReplyDelete
Congratulations! Very, very cool! You and all the others mentioned really deserve the recognition! I read the online article, now I need to see the print version. By the way, it's been a "goddess week" here. I made your purple potato quiche the other night and we all loved it. Last night I made the rice and chili casserole and the hubby loved that even more!ReplyDelete
I jumped online as soon as I had heard and read it!ReplyDelete
That rocks, and you completely deserve it. When I find out someone just got diagnosed, I send them to your site. It is truly awesome!
Great article, and I was so glad to see your blog mentioned, Karina! I just wish they had mentioned the "silent celiacs" like me. I know there are many people out there like me who are gluten intolerant, but have no stomach problems, so they and their doctors think gluten can't possibly be the problem. I didn't believe my doctor when he wanted to test for it- he was pretty smug when my antibodies were 3x normal!ReplyDelete
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Thousands of people made their way across the iconic Brooklyn Bridge Sunday morning to raise awareness about domestic violence.
The 2nd annual Milagros Day Worldwide Mother's Day Walk was held to remember those who have died from domestic violence. The walk also acknowledged those who have overcome domestic violence.
The day continued with a multicultural concert in Cadman Plaza Park, Clinton and Tillary Streets in Brooklyn.
WHBQ-TV | Fox 13 485 S. Highland St.Memphis, TN 38111Main Station: (901) 320-1313Newsroom: (901) 320-1340


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With only a few hours before NHL free agency kicks off, here is a thought or two regarding the Lightning and some of their unrestricted free agents.
"Tell the fans, I'll try to block a shot with my pads next time and not my feet."Simon Gagne, your wish is granted.
Breaking News: Tampa Bay has acquired LW Simon Gagne from the Philadelphia Flyers for Matt Walker and a 4th round draft selection.
French language sports network RDS verifies that trade talks are ongoing between the Lightning and the Flyers over wing Simon Gagne, with the potential for them to heat up in the coming days.
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Get this recipe from HAP's Chef Paul. This recipe serves eight people.Ingredients:1 1/2 pints blueberries, washed and drained 4 eggs or equivalent in egg beaters3/4 cup sugar or for a low sugar option use ¾ cup of stevia in the raw1 cup 1% milk (or for a change use almond milk)1 teaspoon vanilla extract 1/4 cup white - whole wheat flour½ cup unbleached all-purpose flour Pinch fine salt Powdered sugar, for dustingDirectionsPreheat oven to 350 degrees F.
Place blueberries in the bottom of a small rectangular glass pan (about 8 by 10 inches).
In a medium bowl, crack eggs and whisk lightly. Add sugar and continue whisking until mixture thickens and is pale yellow. Add milk and vanilla; whisk to combine. Add flour and whisk to combine. Add a pinch of fine salt and whisk to incorporate. Pour mixture over berries.
Bake on the center rack of the oven until the Clafouti has puffed and the center bounces back when lightly pressed, about 45 minutes, rotating once.
Remove from oven and let cool slightly before cutting. Slice into 8 equal pieces and gently remove from pan with a spatula or cake server. Dust with powdered sugar and serve immediately.Recipe adapted from here.
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NU landed a 4-star QB - their second in as many classes - in Clayton Thorson, beating out Iowa, Illinois, Penn State, and Ole Miss for the speedy 6'4 signal-caller.
Northwestern's first recruit of the Class of 2013 is a big one.
As signing day approaches, we break down whether that, you know, means anything.
Northwestern's newest commit is capable of cornerback murder.
A former five-star recruit is transferring from USC, and, uh, well, he's actually like, looking at Northwestern. Are we blushing?
Northwestern landed its best get of the year in Ohio linebacker Iinebacker Ifeadi Odenigbo.
Northwestern picked up a wide receiver, but academics kept NU from landing a top recruit.
Northwestern lands the first linebacker commit of its 2012 recruiting class.
NU lands the 14th recruit of its class, beating out Michigan and Iowa for a DT.
Northwestern lands a safety recruit from the Houston area.
An ode to long snapping. Hopefully the last ever.
The 11th member of NU's Class of 2012 is Jack Schwaba, a tight end from Pennsylvania.
NU got a pair of commits from offensive linemen Thursday.
I haven't covered recruiting thus far. Let's change that!
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Alicia Bilsky
Central Catholic Swimming
New and Improved
The former soccer player's only swimming prior to this season was in her backyard pool. Now she's approaching 30 seconds in the 50 freestyle and placed in the 100 backstroke vs. Billerica.
"She's made extreme strides," said Raider coach Carlton Cronin. "She's always striving to improve herself."
The junior from Pelham is a member of the National Honor Society who is taking online courses in oceanography and genetics. She helps bring CCHS alumni back to the school to discuss their careers.
Bilsky also plays varsity lacrosse and is known for her home-made brownies. Her older brother, John, played football and lax for the Raiders.
Kayla Saras
Andover Field Hockey
Comeback Trail
As if Andover needed more weapons, coach Maureen Noone eagerly anticipates the return to full strength of senior midfielder Kayla Saras.
Hip surgery in March kept her out of lacrosse but she's rounding into form.
"With her on the field, we will be much stronger," said Noone, who added, "She's an all-around great kid and a perfect 'Unsung Hero.'"
Saras passed on her love of the sport to her sister, Nicole, who is on the freshman field hockey team.
Kayla's favorites include skiing at Sunday River, "The Office," "Bridesmaids," "Hunger Games" and Taylor Swift.
For college she's looking at Delaware, Clemson and Indiana.
Coaches or ADs should send nominations to Unsung Heroes writer Michael Muldoon at email@example.com.


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You are here > Home > Baseball Newsstand
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ContributorsJim Furtado
Founder & Publisher
Editor - Baseball Primer
Baseball Newsstand
— All the News That's Fit to Link
Saturday, July 19, 2014
Nine things to know about the best changeup in baseball | FOX Sports
You don't know Jack about Felix Hernandez's change up.
Jim Furtado Posted: July 19, 2014 at 01:20 PM | 7 comment(s)
Beats: felix hernandez, mariners
Svrluga: Baseball's Relentless Grind - Doug Fister
The original beat writer for the Nationals when they surfaced in D.C., Barry Svrluga, submits his 4th installment in a series examining "how the everydayness of baseball affects an entire organization." A long piece that makes for good weekend reading, or next week at the office :-)
I hope WaPo's paywall doesn't prevent you from reading this series, those money-grubbing ...Read More...
boteman is not here 'til October Posted: July 19, 2014 at 12:58 PM | 3 comment(s)
Beats: nationals, pitchers
The second day of the second half! OMNICHATTER UP!
Gamingboy Posted: July 19, 2014 at 07:19 AM | 39 comment(s)
Beats: omnichatter
Neyer: Jeff Garlin, we hardly knew ye.
Just a bit outside the rules of professional conduct. #FJeff
Read More...
Repoz Posted: July 19, 2014 at 06:05 AM | 57 comment(s)
Beats: media
Nationals Infielder Anthony Rendon Labels Baseball 'Too Long And Boring'
Read More...
Robert in Manhattan Beach Posted: July 19, 2014 at 01:13 AM | 50 comment(s)
Beats: another meeting at the mound, anthony rendon, nats, zzzzzzz
105 Year Old Woman To Throw Out First Pitch For Padres
The Padres are going for a record Sunday:
The ...Read More...
The Yankee Clapper Posted: July 19, 2014 at 12:24 AM | 37 comment(s)
Beats: first pitch, milestone, oldwarhorse, padres, veteran leadership
Friday, July 18, 2014
Angels bringing on Huston Street
Looks like the Angels have found the Street that leads to the playoffs.
Joyful Calculus Instructor Posted: July 18, 2014 at 11:48 PM | 20 comment(s)
Beats: angels, padres
What it's like to live and play in the Cape Cod League - Sports - The Boston Globe
Jim Furtado Posted: July 18, 2014 at 08:29 PM | 0 comment(s)
Beats: amateur, cape cod league
Davidoff: Sabathia shut down for knee surgery — and it might get worse
Here comes debridement.
Read More...
The District Attorney Posted: July 18, 2014 at 05:55 PM | 14 comment(s)
Beats: c.c. sabathia, injuries, yankees
Calcaterra: The Astros didn't sign #1 overall pick Brady Aiken
Aiken: "Not On My Way Here"
Read More...
The District Attorney Posted: July 18, 2014 at 05:43 PM | 71 comment(s)
Beats: astros, brady aiken, craig calcaterra, draft
Braves release Dan Uggla
That is one Uggla contract.
Read More...
RoyalsRetro (AG#1F) Posted: July 18, 2014 at 04:02 PM | 38 comment(s)
Beats: bad contracts, braves, dan uggla, released players
Jim Bouton Still As Opinionated As Ever
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Jose Can Still Seabiscuit Posted: July 18, 2014 at 02:46 PM | 149 comment(s)
Beats: ball four, not thurman, pilots, yankees
Dave Cameron: 2014 Trade Value: The Top 10
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RoyalsRetro (AG#1F) Posted: July 18, 2014 at 02:01 PM | 35 comment(s)
Beats: angels, dave cameron, diamondbacks, dodgers, nationals, orioles, pirates, rays, rockies, royals, trade value, white sox
Rangers replace Carlos Pena with J.P. Arencibia to play at first
Tell 'im, Wash.
Read More...
The District Attorney Posted: July 18, 2014 at 11:15 AM | 47 comment(s)
Beats: carlos pena, j.p. arencibia, rangers, transactions
Top pick for next MLB commissioner rejects job offer
Bud Selig begrudgingly accepts staying on the job another 15 years.
Read More...
RoyalsRetro (AG#1F) Posted: July 18, 2014 at 09:26 AM | 26 comment(s)
Beats: bud selig, commissioner's office, steve greenberg
Vaccaro: Yankees greats have stumbled from where Jeter now stands
Jeter: I can't OPS+ any more.
Read More...
Repoz Posted: July 18, 2014 at 09:02 AM | 79 comment(s)
Beats: yankees
Primer Dugout (and link of the day) 7-18-2014
An account of the game of the year from the Pittsburgh Press, July 18, 1914:
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The Robby Hammock District (Dan Lee) Posted: July 18, 2014 at 08:40 AM | 8 comment(s)
Beats: dugout, history, honus wagner
Instinct Magazine: Legendary Baseball Player Yogi Berra Comes Out Swinging For Gay Athletes In The MLB
Not as pithy, but as wise as any Yogiism he's ever said (or didn't):
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Avoid running at all times.-S. Paige Posted: July 18, 2014 at 08:39 AM | 0 comment(s)
Beats: yogi berra
Nightengale: Greenberg could follow Selig - but will he?
In addition to the increased workload, I guess he doesn't want to take a ...Read More...
OsunaSakata Posted: July 18, 2014 at 07:33 AM | 0 comment(s)
Beats: commissioner
BP: Why are we playing the Hunger Games with minor leaguers?
In addition to the points made in the ...Read More...
The Clarence Thomas of BBTF (scott) Posted: July 18, 2014 at 07:32 AM | 3 comment(s)
Beats: baseball prospectus, development, minors
Tracy McGrady Retires From Baseball
That Baseball-Reference page is Popeye Jones ugly!
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The District Attorney Posted: July 18, 2014 at 05:44 AM | 10 comment(s)
Beats: atlantic league, basketball, minor leagues, nba, sugar land skeeters, tracy mcgrady
Let's get this started again! The second half begins!
Gamingboy Posted: July 18, 2014 at 12:17 AM | 81 comment(s)
Beats: omnichatter
Thursday, July 17, 2014
Journal News: Recap of Derek Jeter Retirement Gifts
The big 2nd half issue at BBTF is likely to be the retirement gifts The Captain receives as he completes his Final Journey. To provide perspective, the LoHud Yankee Blog reviews the 1st half:
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The Yankee Clapper Posted: July 17, 2014 at 05:17 PM | 28 comment(s)
Beats: angels, astros, athletics, brewers, cardinals, cubs, derek jeter, indians, mariners, mets, new york yankees, retirement tour, twins, white sox
MLB Network: Christopher Russo Tongue Twisters
I dislike E.W. Scripps. I dislike Scripps. I dislike Scripps a lot.
Repoz Posted: July 17, 2014 at 05:08 PM | 21 comment(s)
Beats: media
Pitchman: How Tom Emanski changed the sport of baseball — and then disappeared
This checks out.
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RoyalsRetro (AG#1F) Posted: July 17, 2014 at 01:11 PM | 15 comment(s)
Beats: baseball drills, bobby cox, brad komminsk, eddie taubensee, fred mcgriff, glenn burke, tom emanski
The Curious Case of Mark Buehrle
Barry`s_Lazy_Boy Posted: July 17, 2014 at 12:06 PM | 75 comment(s)
Beats: grantland, pick offs
WaPo: Research supports the notion of the 'hot hand'
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Chris Needham Posted: July 17, 2014 at 11:28 AM | 80 comment(s)
Beats: sabermetrics, statistics, stats
Primer Dugout (and link of the day) 7-17-2014
Milwaukee Journal, July 17, 1914:
Seems like you'd get the exact opposite of a dent in your head if you ran into somebody's chin.
The Robby Hammock District (Dan Lee) Posted: July 17, 2014 at 09:55 AM | 13 comment(s)
Beats: buck weaver, dugout, history, ray demmitt
John Feinstein: Len Bias, like Pete Rose, shouldn't be in a Hall of Fame
A march to sheer madness…
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Repoz Posted: July 17, 2014 at 07:25 AM | 32 comment(s)
Beats: history
MLB, Fox release a joint statement about the lack of a Tony Gwynn tribute on Tuesday night
Calcaterra with the joint blowing statement.
Read More...
Repoz Posted: July 17, 2014 at 07:14 AM | 53 comment(s)
Beats: jeter
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Is Harry well-prepared to find and destroy the horcruxes?
June 03, 2006, 07:13 PM
|Oh, yeah. Just call him Dumbledore.
439 (3%)
|Yes, because he's gained enough information from Dumbledore and his time at Hogwarts to do what needs to be done.
842 (6%)
|He'll get by with a little help from his friends (and possibly other people/things, too).
10389 (78%)
|No way no how nuh uh.
649 (4%)
|Once he learns how to dry his robes, he'll be set.
853 (6%)
|I didn't forget the plus; I called PotterCast, left a voicemail, and you can hear what I think in this week's show.
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I don't even want to know what the numbers are. Suffice it to say it is insanely HOT today. The extent of my activities were to let the sun make my iced tea, drink it, and when the mail carrier came, to meet him outside,with a tall ice cold glass of tea for himself. Ahhhh. Tomorrow? Maybe I will clean out the freezer?
Solar tea working overtime today
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Quesadillas Rancheros
Serves 4| Hands-On Time: | Total Time:
- 8 8-inch whole-wheat tortillas
- 2 tablespoons olive oil
- 3 cups grated Cheddar (12 ounces)
- 4 large eggs, fried
- salsa verde, sliced scallions, and hot sauce, for serving
- Brush the tortillas on one side with the oil. Dividing evenly, form sandwiches with the tortillas (oiled-sides out) and the Cheddar.
- In batches, broil the sandwiches on 2 foil-lined rimmed baking sheets until the tortillas are crisp and the cheese has melted, 1 to 2 minutes per side.
- Top with the eggs. Add the salsa, scallions, and hot sauce.
Similar Recipes
Quick Tip
These quesadillas are also delicious with Monterey Jack or pepper Jack cheese.
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High in vitamin C, these hard, tart berries are grown in bogs in colder regions of North America and Europe. They're almost always eaten cooked, as in the classic Thanksgiving relish.


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Andrew Bruce
Lifetime Achievement in Theatre Sound Design
A few years ago in these pages, in a profile of the UK-based Autograph Sound, I wrote that the staff of that company tended to wear a lot of hats, noting that in their promotional brochure co-founder Andrew Bruce was billed as "landscape gardener and managing director." These days, Bruce — who's work on such productions as Les Miserables, Miss Saigon, and Mamma Mia! has redefined the role of a theatre sound designer and earned him this year's EDDY Award for lifetime achievement in sound design — can add another hat to his rack: that of inventor. For Bruce, as you may not know, is the creative force behind the software on the hugely popular DiGiCo D5T digital theatre console, which, ironically enough, was also named one of the ED Sound Products of the Year.
That's just the latest in a long line of hats for the designer, who started out at school as an aspiring musician, playing trombone, drums and writing for a variety of jazz bands, big bands, and what he calls "rather pose-y music 'n poetry performance groups" in the '60s. While still in school, his music teacher — who taught drama as well — encouraged him to study classical music and opera, and through a special program at the school he visited the Royal Opera House to see his first opera, a five-hour production of Parsifal. "I'm surprised my interest survived that, but it did," he says, so much so that he decided to focus on theatre as a career. After a stint at nearby Glyndebourne Festival Opera as an assistant stage manager and electrician, he found himself back at the ROH, this time working as an electrician. While there, he befriended Philip Clifford — the Opera sound engineer — who was overworked and needed an assistant. Clifford convinced him to change jobs and join the sound department (for a slight drop in salary from 160 pounds a week to 15!). "It was a classic moment that defined the direction my life in the theatre would take," he says.
He and Clifford formed Autograph Sound in 1973 as a rental house (or hire facility, as they say in the UK), but it wasn't until they established a relationship with Abe Jacob, who was looking for an equipment supplier on the UK production of A Chorus Line, that the company began to take off. And it wasn't until he was asked to rescue the sound on the original 1981 Paris production of Les Miserables that Bruce even considered taking on the role that would define him in the theatre. "I'd never had any particular aspirations to become a designer, because I enjoyed running the company. But to my surprise I found that I quite liked it."
That fun eventually turned into two decades of groundbreaking sound design work, from the aforementioned productions of Les Miz to such West End shows as Witches of Eastwick, Martin Guerre, and Chess, and many, many more. Indeed, Bruce and his team are responsible for nearly a dozen productions of Mamma Mia! currently taking a chance on theatergoers around the world.
In the last three years, two shows in particular have kept Bruce and associate designer Simon Baker busy: the recent West End openings of Mary Poppins and Chitty Chitty Bang Bang, and the subsequent Broadway debut of the latter this spring.
These days, Bruce's thoughts are very much with the D5T. The user interface has its roots in the ill-fated Broadway console from Soundcraft, which Bruce also worked on, as well as Autograph's own G-Type Mixer control software. More recently, he worked on the user interface for Cadac's SAM software, when he happened upon the DiGiCo D5 console at PLASA in 2003; after talking with the company about his ideas for a console geared to the theatre, the D5T was soon a reality.
"I'd spent half my life at the back of theatres watching the lighting people using computer controlled boards and wondering why no one was doing the same for us," Bruce says. "This was an opportunity to create something specifically for theatre sound designers. And I have to say I'm very pleased and gratified that we've created something we could all use after all."
Bruce is proud enough of the new console that he intends to continue to juggle his sound design work with the next stages of its development. "I always felt it was our duty to invest in R&D, since — when we started out — there was not a single product specifically made for use in the theatre, and it's the determination of the designers together with the rental companies that have changed all that," he says. "You need to hold onto an inquisitive mind when you get to my position. You get terribly bored doing the same things all the time. Repeating a design, using the same products, frankly gets quite dull. I do find the prospect of potentially doing 10 identical productions of the same show in five years pretty daunting."
Still, don't think for a minute that Bruce will have too much time on his hands; he still has a company to run. "Oh, I'll have lots of things to do," he says. And he'll more than likely be adding even more hats to his collection.
— David Johnson
Jennifer Tipton
Lifetime Achievement in Dance and Theatre Lighting
"I love it all," says Jennifer Tipton, one of the undisputed leading ladies of light. An equal-opportunity designer, she feels completely comfortable lighting dance, theatre, or opera. "They are all the same, but each situation is different," she says. "In dance there is never enough time, in theatre there are previews, and in opera there is big scenery to accommodate. But the intent of the light is always the same, and my lighting choices are always made by intuition."
Born in Columbus, OH, Tipton majored in dance at Cornell University, but once she moved to New York, she found herself looking at the stage rather than performing on it. She became a rehearsal mistress for the Merry Go Rounders, a group that performed for children in the 1960s. "Sitting out front, I became interested in lighting. I learned to look at the big picture and create a composition of what you see on stage," she recalls.
One of Tipton's mentors in lighting design was the late Tom Skelton, with whom she studied at Connecticut College. "Tom Skelton lit dance, and I was in the dance world so it was a natural thing that I started lighting dance," she says. In 1963, she began working with Paul Taylor, and that collaboration has endured over 40 years. She has also designed lighting for hundreds of dance pieces for other choreographers including Mikhail Baryshnikov, Jerome Robbins, Dana Reitz, Twyla Tharp, Jiri Kylian, and Tricia Brown, as well as numerous works for New York City Ballet and American Ballet Theater. Her name is synonymous with the best in dance lighting.
In the 1970s, set/costume designer Santo Loquasto asked her to join him at Lincoln Center, where she lit her first plays. Over the years, she developed long-lasting relationships in the theatre as well as in the dance world, including two companies, American Repertory Theatre in Cambridge, and the Goodman Theatre in Chicago, where she served as artistic associate. Tipton has also worked with more avant-garde companies such as Wooster Group, where her lighting includes the award-winning production of Brace Up!, and she is a founding member and resident lighting designer for The Builder's Association. She recently collaborated with Laurie Anderson on several projects, including O Composite for the Paris Opera Ballet, bringing her different worlds together in a tidy confluence.
Anderson's The End Of The Moon, which recently completed a national tour in the United States, marked Tipton's first collaboration with the innovative musician/storyteller/multimedia artist. "Our paths had crossed, but we had never actually met before this project," notes Tipton. The project is based on Anderson's experience as resident artist at NASA, and features her alone on stage in an environment sculpted in light by Tipton. "I created a lighting language for the event as the text evolved." Her color palette was influenced by the colors of stars, from hot white, to blue and red.
In The End of The Moon, projection was more limited than in some of Anderson's other work, but Tipton was aware that "the light had to respond to the use of video. There needs to be a careful balance of the two things," she says. "There needs to be light on what the camera is looking at, but not too much light to distort the image."
As choreographers turn more toward new technologies, Tipton finds herself working more and more in the world of projections. Anderson uses them, as well as choreographer Kathy Weiss. "The light in these cases has to serve the camera's eye," says Tipton. "There are great needs that must be satisfied." One problem she points out is that she is often called onto a project late in the process. "The artist has been using the camera throughout the entire rehearsal period, yet lighting comes in at the last minute. We should be there from the get-go."
Tipton's recent projects also include William Kentridge's production of The Magic Flute at La Monnaie in Brussels. A visual artist as well as a director, Kentridge used a lot of projection in his version of this Mozart classic. "What was interesting was that he made the projections seem very three dimensional," says Tipton. "My bone to pick is that projections are so often much too flat."
A member of the design faculty at Yale University where she teaches lighting, Tipton serves as an inspiration to many young designers. "The first semester they learn to do what I do and how I do it," she explains. "After that I encourage them to find their own way of doing it and try to stimulate them to cultivate their own ideas." This summer she will also be teaching lighting workshops for students in Beijing, Manila, and Shanghai.
Tipton's EDDY Award comes after two "Bessies" (New York Dance and Performance Awards) and an Olivier for lighting dance. Her theatrical lighting has won a Joseph Jefferson Award, a Kudo Award, a Drama-Logue Award, two American Theatre Wing Awards, and an Obie. She has also won two Drama Desk Awards, the first for The Cherry Orchard and For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf and the second for Jerome Robbins' Broadway, Waiting for Godot, and Long Day's Journey into Night. She is also the recipient of two Tony Awards (The Cherry Orchard and Jerome Robbins' Broadway). She held a Guggenheim Fellowship for the 1986-87 season and received the 1989 Common Wealth Award in Dramatic Arts. In 1991, she received a Dance Magazine Award. She has been a recipient of the National Endowment for the Arts Theater Program Distinguished Artist Award, and a grant in the National Theatre Artist Residency Program funded by the Pew Charitable Trusts.
How does Tipton feel about art versus technology as lighting becomes more and more complex? Her answer is very clear. "The technology is only as good as the people using it," says our leading lady as she enters her fifth decade of designing environments in light.
— Ellen Lampert-Gréaux
Steve Ryan
Sustained Achievement in Technical Direction
Like most technical directors, the Opera Theatre of St. Louis' Steve Ryan got his start in lighting and set design in high school. It was not long after enrolling at Webster University that Ryan discovered he was "a better problem solver than a problem creator." And thus, a life as a technical director began.
However, do not mistake Ryan for a frustrated designer who "settled" on being a TD; nothing could be further from the truth. "It wasn't a surprise," he says of his career choice. "I got quickly pulled into technical direction, became master carpenter my first year, and evolved quicker in that area. I don't see my job as not being creative. It's very creative, especially when it comes to a budget! For me, it was a lot more fun translating the design and figuring out how to get a model or sketch onto the stage. It became a more interesting process to me."
Ryan also saw that as he and his classmates matured in the program at Webster, those who were designers spent a lot of time on the road, which did not particularly appeal to him. "I always knew that I wanted to have a family," he explains. "So if I'm a technical director, I can find a place to live and have a normal life outside of this crazy job path I'm choosing. I don't want to fly all over the country for nine or ten months out of the year. Plus, I was happy as a technical director."
While at Webster, Ryan was able to work with the TD for both the Opera Theatre of St. Louis and St. Louis Repertory Company where he spent his time "solving problems and spending money." By the end of his junior year, Ryan was hired by Black Hills Playhouse in Rapid City, SD as technical director which allowed him to continue to grow at his profession and avoid some of the "growing pains" his classmates were going through. When it came time to apply to graduate school, Ryan had a portfolio full of finished, professional projects rather than student or school productions so that made him a hot commodity to several programs. He chose the University of Missouri/Kansas City because it had a relationship with Missouri Rep. "I was used to the idea of sharing resources," he says, "and I knew there would be more resources available, be it teachers, designers, or projects. It was a model I had capitalized on at Webster and I wanted to keep going in that direction."
Ryan arrived at the Opera Theatre of St. Louis during his second year of grad school when the company created an assistant technical director internship with Webster University. He assisted OTSL's TD Mark Wilson and Webster's TD John Wiley and at the end of the season he was hired full-time even though he had to go back to school in Kansas City. "I did a lot of driving up and down I-170," he says. "The day I did my portfolio review, we were loading in my second season as technical director in St. Louis. A professor asked, 'what's your next step?' and I told him that I had to go back to St. Louis and load in the season; I already have a job." Ryan is currently in his tenth season at Opera Theatre of St. Louis, "a spooky long time," he adds.
Despite his tenure at OTSL, Ryan maintains that he is constantly surprised by different challenges and problems that crop up virtually every day. One production that stymied him in particular was John Adams' opera Nixon in China (ED, Oct. 2004), which used a lot of TV and video technology, something that Ryan had not faced until that point. "As I jokingly say, I went to grad school all over again but it was in video production and computer control," he says. "It was one of those areas that I never kept up with because I never thought it would touch me, literally. That was the first time I felt like I didn't have the needed skill level and that was frightening, to say the least."
Since Nixon was a co-production with funding from, among others, AT&T, Ryan was equipped with cash and a good design team so he wanted to do the production right. "I quickly realized that I was going to spend a lot of money for a consultant or somebody to build the system, which would mean we wouldn't have any money left over to actually do what we wanted," he says. "Or I was going to have to become an expert." With the help of intern Eric Woolsey, Ryan split the duties between the two of them — Woolsey would master the computer network, the Dataton Watchout system, and everything else inside the machine while Ryan dealt with building the system, finding computers, cables, the right signal path, etc.
The production was a success and Ryan even created a trouble-shooting guide for future productions that plan on using the same system. Ryan has prepared himself to provide answers to other TDs around the country for years to come. It should be noted that since Nixon in China was part of a full rep program, it was unplugged and rolled out every night. "We put it through the hardest part of its existence," Ryan says. "Now everything is very easy for future productions to just plug in and run."
As far as future plans are concerned, Ryan has no intentions of leaving a job he loves in his hometown. But he does have future plans for OTSL and its new facility scheduled to be completed by the end of the year. "The big dream is that we will do more training and keep pushing young people out into the real world," he says. "We have an apprentice program where we are identifying people and promoting them into resident assistant designer positions."
Ryan has been working with his alma mater, Webster, as well as Washington University and St. Louis University and wants to get seniors into the program for a year to work an entire season and then send them off into the world. "I want to create something better than I had," he says. "I'd love to see us identify the best students and really give them a look at what it's like to work at a nonprofit. I want to take advantage of their youth and new ideas and keep things alive and interesting around here at the same time."
— Mark A. Newman
Artfag: Doug "Spike" Brant & JUSTIn Collie
Taking Concert Lighting and Projection to the Next Level
Doug "Spike" Brant and JUSTIn Collie pooled their talents in 2001 to create a force in the business of entertainment design: Artfag LLC, the purpose of which is to provide not just lighting design, but performance environment design.
Both Brant and Collie started in lighting in the '80s, and they have amassed some serious experience in lighting, set, and production design in TV, video, concerts, and special events. Before aligning forces, each was accomplished in his own right, Brant doing design work for such acts as The Red Hot Chili Peppers, Korn, and the Foo Fighters, and Collie designing for Prince, Jodeci, and P. Diddy (then Puff Daddy), to name a few.
The two met while on tour for Def Leppard's Hysteria tour in 1989 — Collie was the crew chief and Brant was the self-proclaimed "second or third lighting guy down." They were on the road as technicians, and both evolved into lighting designers from there. Years later, when both designers were both up for the position of LD for Korn, Brant not only suggested that the management consider Collie as his competition in the bidding process, but when Brant got the gig, he brought in Collie to collaborate.
"Artfag was started soon after that," says Brant. "We have different strengths, so together, we're a good dynamic duo. Justin is a much better show programmer, and he's got better timing. He's the king of intricate cueing — very much in the same way Roy [Bennett] is known. He can figure out the impossible, spatial relations, and putting pieces in the right place. We also have a lot of crossover, and it's always evolving anyway. I used to be better at doing 3D drawings, for instance, and now he's better at it."
"One thing I always remember about Spike from the beginning is that, rather than wait on others to get things done or complain, he would simply go ahead and take down the corner of the PA that was in his way to get to his stuff," says Collie. "When we worked on Korn together, we seemed to get a lot done, and we did it well, and it was productive and fun. So, it just sort of grew from there. We started working together and gradually discovered those things that each one is better at or prefers doing or doesn't like to do." He added that Brant is also adept at bringing reality into the situation. "Whatever fancy ideas we, or the pop star might have, Spike has the ability to see how to make it something real, just exactly how, what gear, or who to bring on board to make it happen," he says.
With their combined strengths, the two set out on a mission: to consolidate all the visual aspects of production into one design element and, basically, conquer the world of production design by providing a one-stop design shop. When the technology doesn't exist, they build teams to find solutions to get the looks they want. They shoot their own video content. They hire VJs to work on their shows. They assemble crews of "propellerheads" for tours in the same way any genius builds an empire: surround yourself with really, really smart people, and you'll come up with a spectacular product.
And that's taking nothing away from how smart and creative these guys are themselves. They've practically invented the concept of convergence of video and lighting. "The idea of complete performance environment design came out of us both being lighting guys and having to always fix how things looked with lighting," says Brant. "A lot of it has to do with us being control freaks, but we're respectful of each other's territories. Sure, someone else can do the job, as long as they do it well. If they don't, we take it over."
And how do two control freaks manage to work together in creative harmony? "One of us is always the lead designer, but each job is different, and we almost always work together," continues Brant. "We share feedback with creative or certain concepts, and we pass ideas back and forth constantly. Sometimes, we don't at all on smaller gigs. But it's really the relationships we built in the '80s and early '90s that has really gotten us in the door. Actually delivering once we're in the door has been the key."
"What has always gotten to me about the partnership is how much braver it makes you and how much more you can do," says Collie. "Our process is one of constant discussion back and forth, and we're always sharing new ideas, without necessarily having an exact idea of where they will be used. Then, maybe down the road, we'll find a fit for them. I had never really experienced that before — the ability to always be discussing design concepts in general with another designer. It makes you think about your own ideas more closely and justify yourself to the other person, but it also makes you take more risks. Performance environment design was just the next step in this ongoing process, as we realized we could really be in control of everything seen in a production. And we don't have to experience the situation that often occurs where the video director and lighting director don't collaborate or even speak to one another."
For those who may be thinking, "Jacks-of-all-trades and masters of none," think again. In 2004 alone, this team cranked out performance environment designs for tours for Destiny's Child, Green Day, Gwen Stefani, Beastie Boys, Blink 182, No Doubt, and Eminem, and that's to say nothing of the clubs, radio concert series, TV specials, corporates, and slews of other gigs this team pulled down last year.
So far in 2005, they've locked up the lighting and video for the annual benefit for The Robin Hood Foundation, performance environment designs for Bon Jovi, New York's Z-100 Zootopia Festival, and the NFL Opening Kickoff in the fall.
And, here's the clincher: they're starting to dabble in product development. That's right — product development. Artfag's work on the intricate lighting, video, and networking for the Beastie Boys To the 5 Boroughs tour (Lighting Dimensions, January 2005) has attracted so much attention that they're now developing a control system for lighting designer Jim Lenahan for an upcoming Tom Petty tour with the help of Stuart White, the team's longtime collaborator who acted as system engineer and custom video software programmer on the Beasties tour.
"I've been working with Stuart since designing for Prince, and he's such a great mind," says Collie. "He was the keyboard tech back then, and Prince wanted to run everything via MIDI, and we were running the lights so that every guitar chord triggered a cue."
"We've basically started to develop complete visual control systems with Stuart," adds Brant. "We're developing a product called The Conductor, which allows you to automate shows via DMX or MIDI, etc. On Tom Petty, we're automating the Encore video control system from Barco to be controlled from the lighting desk. We're also developing an [Element Labs] VersaTube™ controller for Lenahan. It can be a media server on some level, as well. This is all happening as we speak, so we're still feeling our way around this part of it, but there seems to be a need for it."
So there is.
— Marian Sandberg-Dierson
Troika Ranch
Bridging the Gap Between The Artist and the Technology
It would be interesting to know what George Ballanchine or Martha Graham would think of Troika Ranch, the multi-media dance troupe that uses the latest computer technology as much as it uses pas de deuxs. This unique melding of dance and technology is precisely why Troika Ranch received a 2005 EDDY Award as time and again the company seamlessly blends the artist with the atmosphere via groundbreaking uses of new technology.
The artistic co-directors of Troika Ranch are Mark Conigilio and Dawn Stoppiello. He's the composer/computer whiz, she's the dancer/choreographer and the two began their unlikely alliance more than a decade ago at California Institute of the Arts. They were both in a class for composers and choreographers that aimed to teach the two disciplines to work together. Stoppiello and Coniglio were paired up on a lark and that pairing has lasted ever since.
Although the duo were first randomly paired in 1987, Troika Ranch was officially formed in 1994 and they still don't really have a name for what they do. "We've called it so many different things," Stoppiello says. "People were calling their work interdisciplinary, then it became multi-disciplinary, then multi-media. Mark started calling us 'slash' artists because people like us were multi-talented and they were calling themselves poet/composer/ video artist or choreographer/media artist. The slash became the unifying theme."
"We define ourselves as a dance theatre company that creates media-intensive performances," Conigilio says. "The dance and the theatre are on equal footing as is the media. Troika is Russian for three, so for us, those three are: dance, theatre, and media. We slide around the disciplines a little bit. Surfacing, the piece we premiered at St. Marks church last May, was a dance piece. But the piece prior to that, The Future of Memory, was far more theatrical. The piece tells us what it needs to be and we drift around between dance and theatre."
Conigilio was something of a rare breed at 16 as he was getting paid to program computers in 1977. He began to seriously study music at 18 when he enrolled at CalArts, where he began working with electronic music composer Morton Subotnick. Stopiello entered CalArts to study dance with modern dance pioneer Bella Lewitzky. After the two were randomly paired in class, they found themselves working together on various projects of Subotnik's, who was still using analog technology at that time.
In one of those projects, Coniglio created the MIDIDancer that would attach to a dancer's body and make different noises based on the dancer's movement. After college, Coniglio continued his collaboration with Subotnick noting that the composer became his "artistic father." While Stoppiello worked with various dance companies after leaving Lewitzky's tutelage, she partnered again with Coniglio to work on projects full-time. "I am often asked how my choreography has changed by using interactive systems," she says. "My answer is it hasn't changed, because I was a beginner choreographer when I started with Mark so my choreographic abilities grew up at the same time as the integration of these hardware and software packages we were using."
"Our work has matured for us as artists," Coniglio says. "The ideas that we wanted to implement are finally possible with the technology now available to us. Technology caught up to what we could imagine. The dance community in general is pretty conservative about accepting new ideas into the fold. It was hard for people to see technology and media as being a part of dance. Now all choreographers are using it."
After almost a decade of working together, the last few years have yielded the most professional accolades for Troika Ranch. Aside from the 2005 EDDY Award, Troika Ranch also received a 2003 Bessie Award for Dance for the troupe's The Future of Memory, and an Audience Dance Award by the readers of Time Out New York. The same piece also received an honorable mention at Prix Ars Electronica, Europe's premiere festival/competition for digital art. And last Fall, Stoppiello received the Princess Grace Foundation Statue for Sustained Achievement in Choreography. "It's been crazy the way people have been recognizing the work we've been doing for a long, long time," Coniglio says.
Next on their plate is 16revolutions, a new piece they hope to premiere in New York in November that they have been working on with Essexdance in England. They are also working with new 3D-manipulation software where dancers create 3D worlds in real time through their movements. "You can't believe what [this software] does and it's free and that makes it more unbelievable," Coniglio says. "It's wild new technology that's incredibly spectacular and goes far beyond what we've been able to do and is a big leap." Coniglio compares the technology to the motion capture methods used by Hollywood, but emphasizes that the software is free and done with a single camera.
Troika Ranch appears to be maturing hand-in-hand with the technology. "Technology is faster and it can do these wonderful things but we have 10 years of experience behind us to let us know what we want to do," Stoppiello says. "The tools are fine but to know what to do with those tools and make a really beautiful expression is the hardest part in any art form and we're ready to match that."
However, Coniglio points out that Troika does not use technology just for technology's sake. "We don't use new technology just because we can; it depends on what the piece is about and how that medium will enable us — and the audience — to see movement in a different way," he says. "When people see our work they expect a super slick, glitzy show, but afterwards they are always surprised at how human it is. We take that as a great compliment. Even though we use some pretty edgy technology, it is still about people and stories and what you have to say and that comes across in the work."
— Mark A. Newman
Paul Vershbow
Bridging The Gap Between The Designer and The Technology
An incredible projection in a Broadway show, dance production, rock concert, or even a church doesn't just go from the designer's brain onto the screen. There is a conduit for that information that is largely unsung in the annals of entertainment design — the projection programmer. That is, until now as projection programmer, Paul Vershbow, is receiving a 2005 EDDY based on his stellar abilities to bridge the gap between the designer and the technology. "I fill a lot of different roles," Vershbow says. "It really depends on the production and the designer."
If he's working on a smaller scale production where a lot of input from several different people is not needed, he will typically concentrate on the technical aspects and "go from A to Z and make sure everything works," he says. "If it's a more involved production and the designer seeks out input from other sources, which I have to say is true with virtually all the designers I work with, then I end up doing not only doing the technical aspect, but also as another design eye."
Aside from staying on top of the technical aspect, i.e., making sure that the digital files he is given can make it from the idea stage to the projection surface, Vershbow also tweaks the design when needed. "Oftentimes, I'm given material that can be enhanced," he explains. "There may be a whole bunch of files that could sit there as a still, but maybe there's music involved and maybe there's movement on stage, and maybe there's no reason why the info on screen couldn't move as well. I end up editing movement to enhance the information on the screen in a dynamic way."
Vershbow has been a theatrical projection go-to guy since 1993 when he was recruited by Wendall K. Harrington to work on The Who's Tommy on Broadway. Prior to that, he spent a couple of decades working in the world of corporates and industrials. He got the idea to move from the convention center to the theatre after working with theatrical projection designers who would freelance in the corporate world for a few extra bucks. "The skills were always there and the need to enhance a product, given my job description, was always there," he says on making the transition. "Part of my learning curve has been to first accept that I had the ability to do it and that I had the green light to go ahead and make it better. [In the corporate world] people were satisfied the way a projection was, but they were happy to make it better. However, they weren't in a position to make it better. It took me a little while in the theatrical world to be more proactive, because it was new territory. The worse [a designer] can do is say no. One good thing about projection is you usually can't kill anyone if you screw up."
Vershbow is the first to admit that he is nothing without the designers he works with because the process is a very even-handed game of give and take. "We learn from each other out of necessity," he says. "I'm not much of a tech head. I'm happy to learn new stuff, but I don't seek it out. You get into situations where you have to learn something new and the only way for me to learn is to do; I'm not much into reading manuals. I may not be the world's greatest user of those things but I know more than enough to be dangerous. But as with anything the more you use it, the better you become and I'm actually pleased at my skill level at this point."
One thing that is not necessarily pleasing to Vershbow, however, is — as he calls it — the C-word, better known as convergence. "Every time I read a discussion in Entertainment Design, I can certainly understand why convergence is a goal, especially since producers want as few people as possible on a show," he says. "Some designers feel it's important that they handle all aspects of visual design (lighting and projection). All I know is that most of the shows I work on have so much information that it is very difficult to do justice to both aspects. Maybe some people are clever and smart and fast enough to stay on top of things, and many people can. But I don't know that it always benefits the end product. I guess I'm more of a traditionalist. In the projection world I feel we have to fight for our territory because we're usually the low man on the totem pole. I accept that for what it is, but on the other hand a lot of people are fooling themselves into thinking they can do both really well."
Currently represented on Broadway with Avenue Q, Spamalot, 700 Sundays, and the forthcoming Lennon, Vershbow says the bigger the production, the more you shouldn't converge. "It depends on who's on the design team and if everyone's on the same page," he says. "If someone has a chip on their shoulder and wants this singular vision, then fine, you should do it all because it's not worth anyone's effort to force people together. It really comes down to whoever's making the decisions but they need to make an educated decision. Unfortunately, that doesn't always happen."
— Mark A. Newman
David Rockwell
Blurring the Line of Environmental Design
David Rockwell was destined to design for the theatre. His mother was a former Vaudeville hoofer and his family was heavily involved in community theatre. "I was brought up being in love with the ability to go into a school auditorium and transform it," he says of his childhood. "It was very Waiting for Guffman," he says, alluding to Christopher Guest's 1997 film that skewers amateur theatrical troupes.
However, at age 11 Rockwell and his family moved south of the border to Mexico, where his infatuation with theatre was supplanted by a fascination by what he calls public theatre: public spaces, market places, the vibrant color of bull rings, mariachis, etc. "I got more interested in space and architecture and then went to school to study it (at Syracuse University), but I always had in the back of my mind this fascination with live theatre."
While at Syracuse, Rockwell became intrigued by the way architecture used ideas from the theatre: the notion of entrance and transformation, and he says he was lucky enough to see the original Broadway production of Dracula with lighting design by Roger Morgan and sets by Edward Gorey. He was so impressed with the design that he called Morgan and eventually went to work for him as a theatre designer for a semester.
After working for Morgan, Rockwell studied in London for a year where he saw a lot of theatre. "Theatre always propelled my architecture, and I was always looking at the theatrical possibilities of a space," he says. "Not theatrical as in looking theatrical, but as in being immersive and interactive and communal. A public space — a restaurant or a hotel — is a shared communal experience just like theatre."
After years of attending theatre and taking notes and doing sketches in the dark two or three times a week, Jules Fisher suggested he design something for the theatre. He started researching the history of theatre design and became somewhat of a student in it and even started discussing theatre at various seminars. He started meeting with directors, producers, and writers and his move to the stage slowly evolved.
After Jordan Roth, the producer of The Rocky Horror Show, introduced him to director Christopher Ashley, his fascination with theatre finally became a reality in 2000. Oddly enough, Rockwell had never seen the movie and after renting it he asked Ashley, "Why in the hell would anybody do this?" Upon which he was told that if he saw the movie alone, he didn't really see the movie at all. Ashley told him that the show was very much about creating yourself in your own image as well as about self-determination. Rockwell was sold: "It was the perfect first project because there were not a lot of expectations about it," he explains. "People thought Circle in the Square was limited space, but in some ways constraints are helpful design-wise, because they make your design more specific."
Since Rocky was his first show, Rockwell learned that previews are not supposed to be perfect. "The first challenge I had to get over was the incredible pressure to get it done by the first preview," he says. "Design-wise, combining the familiar with the unfamiliar, is much more powerful than just dealing with the unfamiliar, so having this movie theatre break apart at the beginning then come back together at the end provided an emotional push to the show that was the reality."
After Transsexual Transylvania, Rockwell found himself in Baltimore, designing the sets for Hairspray, directed by Jack O'Brien. Rockwell says his experience on this show is one that will never be duplicated as his research began with a tour of Baltimore with O'Brien, choreographer Jerry Mitchell, and John Waters. "We turned down a very scary street and it looked like a drug deal was going on," Rockwell says. "And the only advice John Waters gave us was that it was important to laugh with them, not at them!"
As per the director, Hairspray needed to move lighting quick, which further inspired Rockwell. "As a designer what interests me about theatre is all the transitions. The one thing theatre can do that no other art form can is physical transformation right in front of your eyes," he says. Aside from the transitions, Rockwell also found inspiration in the classic Lite-Brite toy as well as Necco Wafers!
Rockwell returned to stark reality when he designed the sets for the intimate off-Broadway dinner party play, Omnium Gatherum, which was very personal for the designer as it was set post-9/11. Living in Tribeca, Rockwell was personally affected by the events of September 11th. "I felt so paralyzed after 9/11," he says. "Why create something for pleasure, when there's this amazing hole in the city and this power of destruction? But the act of creation is such a powerful reaction to such a horrifying event."
This season, Rockwell is represented on Broadway with a show in the French Riviera and one in a "square town in a square state" with Dirty Rotten Scoundrels and All Shook Up, respectively. These are two very different shows in two very different locations. While Elvis Presley influenced his design in All Shook Up — "The buildings all have a swagger and sway, just like Elvis" — he got more inspiration from the South of France setting of Scoundrels. "The most memorable image of the Riviera is how the sky meets the water with a sort of endless horizon," he says. "We created something elegant and reminiscent of the Riviera, without being literal, so as not to overwhelm the comedy. The physical manifestation is as light and airy as the humor."
Theatre is not the only entertainment design Rockwell has been up to lately; he also created an entire world — from Mount Rushmore, to a Broadway Theatre, to South Korea — for the movie Team America: World Police by the warped minds behind South Park, Matt Stone and Trey Parker. Movies, like theatre, are an extension of Rockwell's penchant for storytelling. "Even with the Mohegan Sun casino, the biggest architecture project we've ever done, or the W Hotel, there is a storytelling component to it," he says. "In some ways it's a natural evolution. It also confirmed my interest in collaboration because the thing that's most thrilling about theatre is the chance to collaborate and work with such amazing people in real time. You're sitting in a room working together to make this story come to life."
— Mark A. Newman