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Fuel/propulsion System problems of the 2001 Ford Escape
Table 1 demonstrates the 1 most common fuel/propulsion system problems of the 2001 Ford Escape. The number one most common problem is related to the fuel/propulsion system (4 problems).
|Problem Category
|Number of Problems
|Fuel/propulsion System problems
Fuel/propulsion System problem #1
The vehicle involved was a 2001 Ford Escape. After driving for appx 19 miles, stopped at my destination and put car in park. Engine started racing to appx 3000-4000 rpm. Tapped gas pedal to see if I could make it stop, which I couldn't (it continued to race for a few moments). At this point I just turned ignition off. Started car back up and everything was normal again. This issue happened on 07/11/12.
Fuel/propulsion System problem #2
The car is a 2001 Ford Escape. Crash happened when the problem occurred. The vehicle's vehicle identification number (VIN) is 1FMCU031X1_. While stopped at driveway waiting to turn right into a 2 lane street, I proceeded to press on the accelerator to proceed into the right turn, when taking my foot off the accelerator pedal to brake, the vehicle continued to accelerate forward causing the vehicle to proceed across the street and impacting a parked vehicle. My vehicle is a 2001 Ford Escape v6. This fuel/propulsion system issue occurred May 25, 2012.
Fuel/propulsion System problem #3
The car was a 2001 Ford Escape. Driving the car and the rpm went up very quickly and the car accelerated. Even with foot off the gas pedal it continued to increase speed. Put the car to neutral and pulled to side of road rpm stayed high even in neutral. Had car towed to Ford dealership and they found no problem. This fuel/propulsion system problem happened on Saturday, June 16, 2012.
Fuel/propulsion System problem #4
My "stick shift" 2001 Ford Escape tends to stall when the clutch is pushed in, clear to the floor. The engine would die and leave me stranded everywhere. Even if you are driving down the road at 45mph or higher, once you push in the clutch to change to the last gear, it will still stall at high speeds. The engine completely cuts off, but only when you push in the clutch. Once this happens, it will not stay running. It will restart for just a few seconds, (not the battery or starter) then it will die again, repeatedly. It would get towed to the nearest dealership with no luck. They could not "duplicate the problem". Once, the car cools off, then the problem disappears. There is a valve the heats up and gets stuck open. If the valve cools down, it can close and then it is fine. Now, if I make alot of short stops (errands) where the car doesn't get a chance to cool off, say ten minutes or less, then it won't stay started. If you turn over the ignition, it will start, but immediately dies. However, if I let the car sit for say a couple of hours, say 4-6 hours. It will start back up just fine and stay running like nothing ever happened. The key tip don't put ethanol in the gas tank. If I buy the most expensive gas, the problem tends to clear up on it's own. It started doing it again this summer. Once I changed to the primo (most expensive) gas, it has now stopped without taking it to a dealership. Personally, I think gas containing ethanol has too much moisture in it causing this problem. Even the dealership told me that this Ford Escape car is not designed to run on "ethanol" products. This all mostly happens when it is very hot and humid outside. Was just wondering if anyone else had this problem and if it would qualify for others as a recall item?. This issue happened on Wednesday, May 18, 2011.
Fuel/propulsion System related problems in other Ford Escape model years:
- Fuel/propulsion System problems of the 2002 Ford Escape
- Fuel/propulsion System problems of the 2004 Ford Escape
- Fuel/propulsion System problems of the 2005 Ford Escape
- Fuel/propulsion System problems of the 2007 Ford Escape
- Fuel/propulsion System problems of the 2008 Ford Escape
- Fuel/propulsion System problems of the 2009 Ford Escape
- Fuel/propulsion System problems of the 2010 Ford Escape
Back to The 2001 Ford Escape overview or Ford Escape overview.


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Norbert Meyer came from Cincinnati to Decatur County with his family when he was three-years old.
He graduated from Greensburg High School in 1949. He worked at American Kitchens in Connersville and at Eckrich. Last week he shared what he knew about his friend and hero Alfons Felis. He said Al called him Nob and always treated him like an adult. Lois McLaughlin said he baked her wedding cake so many years ago and it was perfection.
Norbert was reluctant to talk about his experience in the Korean War but because I had recently heard about a Korean War Veteran (Patrick Sbarra of New York) who may be given the Medal of Honor for what he did on T-Bone Hill more than six decades ago I asked Norbert a few questions about Korea.
Fellow soldiers remember, no matter how long ago it was. The truth is however, many of us nonveterans know little about the Korean War that caused the deaths of 11 Decatur County men from June 25, 1950 to July 27, 1953.
Norbert was also on T-Bone Hill. I asked him how it got the unusual name. "The men that fought there named it," he said. He was in the Ninth Infantry Regiment, Second Division. He chooses not to talk about the horror of war and things he saw while in Korea during 1952 and 1953.
He did agree to talk a little about a couple of the "hills" that he was on. You've heard the names, the unusual American names, such as T-Bone, Pork Chop, Jane Russell, Heartbreak Ridge. Hill Eerie, Outpost Harry and so on.
On T-Bone Hill for 67 days, Norbert said that's where a can of spaghetti scared the soldiers nearly as bad as the enemy. He said, "Our C-Rations might be cans of soup and crackers, beans and franks or canned spaghetti or whatever. Just about everything came in cans and the way we warmed them up enough to eat was to poke a hole in the can, put napalm jelly on it and then light it. That warmed the food right in the can. We were in our bunker one night and this British guy decided to warm his can that way. He put the Napalm Jelly on the can and lit it. The thing blew up and we had spaghetti all over us, all over the bunker including the ceiling. It was a mess but most of all, the noise scared us. Here we had always tried to be quiet and eat our meals in peace and that can exploding made quite a noise. It turned out that he hadn't poked a hole in the can."

subset: commoncrawl


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Hey Utes,
I'm a Duck fan moving to Salt lake in a couple weeks, I'm looking for recommendations of good sports bars near campus so I can follow the Pac-10. Any other bar or restaurant recommendations near campus would be greatly appreciated.
Also I want to catch a game at the stadium, would it be worth the price of going to a BYU game to experience the rivalry or should I just try to get good seats to less interesting game?


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Hi, I'm in a deep keeper's league (16 teams and about 400farm players taken).
My farm pitchiing has been depleted due to call ups / trades, so now I'm looking to re-stock.
Since April, I've added the following pitchers to my farm team. I don't know too much about them except that they all seem to have around no.3 type ceilings. Was hoping I could hear more about what pitches they throw, and what type of ceiling they might have and if I should drop any of them.
Thanks in advance!
Charlie Morton AAA (back end starter)
Dan Hudson Hi-A
Evan Anundsen Hi-A
Jeremy McBryde Hi-A


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Health insurers, employers could play key roles in tackling healthcare disparities
There are two stakeholders who hold enormous potential in reducing or eliminating racial and ethnic disparities in healthcare, and they're not physicians, nurses, or policymakers. Health insurers and employers have an opportunity to improve patient outcomes. This is more than a moral issue. By focusing on racial and ethnic disparities, there is also an opportunity to lower long-term health costs.
The way to do this is by working together to take the financial leap and invest in programs that focus on collecting and surveying vast amounts of patient ethnic and racial data, which would help insurers and employers know how to tailor programs to reach at-risk populations.
That's what they could do, but few employers and insurers are working together to tackle the issue for the following reasons:
- Many employers are ignorant of the problem
- Employers are concerned about the legality of collecting and sharing race and ethnicity data
- Businesses don't want to face the administrative burden and cost of collecting the information
Patricia Collins Higgins, coauthor of the recent brief, "Reducing Racial and Ethnic Disparities in Health Care: Partnerships Between Employers and Health Plans," and a researcher at Mathematica Policy Research, Inc., in Princeton, NJ, says employers have so many competing priorities, especially in this economy, that they often don't see the connection between racial and ethnic disparities and the company bottom line.
But the connection is clear. Minorities are experiencing worse health, and their health costs are being transferred to payers. By examining where disparities exist, employers and health insurers can understand the problem and, in turn, create targeted programs that reach those members.
Instead, only 3% of employers say they are examining disparities in their workers' healthcare quality, according to Mathematica. The few health insurers and employers that have worked together on bridging the disparity gap have found they need to collect data through direct and indirect methods. Direct methods include self-reporting of race and ethnicity during enrollment or clinical interactions and via Medicare and Medicaid. Indirect methods include collecting information through geocoding and surname analysis.
The indirect methods have become more sophisticated, but having direct data from the individual is ideal. The problem is that many health plan members don't want to give personal information to their insurers because they think the company will use it against them. In fact, Mathematica said only about 30% of health plan members provide that information. This is where employers come in. Unlike health insurers, employers are required to collect race and ethnicity data from their employees under the Civil Rights Act of 1964, so it's simply a matter of businesses and health insurers working together to share this information.
Although the vast majority of employers are not keyed into the problem, more employers are now asking how health plans are dealing with health disparities as part of requests for proposals.
There are some employers and insurers that have already started to work on the problem. The National Business Group on Health and Office of Minority Health have joined forces to promote the issue and Cigna is collaborating with a large employer to improve breast cancer screening.
Employers are also using evaluation tools, such as eValue 8, to assess how health plans are tackling health disparities. The survey tool allows employers to look at health plans' performance in areas such as health information technology adoption, communication, disease management, provider performance, and patient safety.
eValue8 also includes questions about how health plans are dealing with disparity-related activities, according to Mathematica.
Although there have been advances, most employers are still not aware of the problem. Higgins suggests four ways to reverse the trend:
- Health insurers must educate employers about the importance of the problem and the associated costs of the disparities
- Health insurers must educate employers about the legality of collecting information and sharing it with insurers
- Employers must understand the added up-front financial burden of surveying the data, but appreciate the long-term financial benefits associated with closing the health disparities gap
- National leaders must encourage more employer participation in programs that target racial and ethnic disparities
Addressing these problems is not just a feel-good issue. This is a bottom-line problem that the healthcare system will need to address as the face of the nation continues to change.
"Until employers recognize the business case for reducing disparities—lower healthcare costs and potentially a more productive work force—employer interest is unlikely to gain serious traction," says Higgins.
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- Half of All Primary Care, Internal Medicine Jobs Unfilled in 2013


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Job ID: 20131309-7859 Description: The main purpose of this position is to assist branches with daily operations while gaining valuable work experience in the brokerage industry. Responsibilities: * L…
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Andrew Romanoff for Congress — Aurora, CO
Andrew Romanoff, former Speaker of the Colorado State House, is running to represent Colorados 6th Congressional District. The 6th District is comprised of the southern, eastern, and northern suburbs …
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Starz Entertainment — Englewood, CO
Primary Responsibility: Assist Headquarters Finance Department with day to day operations. Essential Duties and Responsibilities: Assist in creating and updating forecast and budgets. Work on film acq…
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Revolv — Boulder, CO
Revolv is looking for a front-end web developer able to work with our web development team to assist in implementing website updates. Revolv is a Boulder, CO based startup that unifies affordable home…
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The Blue Bench (formerly the Rape Assistance & Awareness Program) is Denvers only comprehensive sexual assault prevention and care center. We are the only organization of our kind with a year-round co…
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ARMA is looking to bring on an intern with strong knowledge and understanding of the digital media landscape, including various social media websites. Company is currently redesigning our website, and…
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The Product Marketing Intern, based in Denver, supports the launch of new small business solutions through multiple distribution systems. The person will have a wide range of assignments and will nee…
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in-touch mobile — Denver, CO
Were a growing startup with a proven product and are owning our niche. We seek an individual who is wants invaluable experience engaging and interacting with small business clients. The ideal candidat…
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Live Nation — Boulder, CO
Boomrat is a new music discovery platform that offers a fully immersive, intuitive, and personalized fan experience. Boomrat was created to change the way people find and listen to music. Visit www.bo…
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Music Network Consultant- Campus Intern
Live Nation — Denver, CO
Boomrat is a new music discovery platform that offers a fully immersive, intuitive, and personalized fan experience. Boomrat was created to change the way people find and listen to music. Visit www.bo…
Application Deadline: 8/24/2014


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CHARLESTON TOWNSHIP, Mich. (AP) -- Authorities say a Chicago-bound Greyhound bus hit the back of a semi-truck in southwestern Michigan, leaving 11 people with what were described as minor injuries. The crash closed westbound Interstate 94.
The crash happened about 10:30 a.m. Thursday in Kalamazoo County's Charleston Township. It's about 12 miles east of Kalamazoo and about 120 miles west of Detroit.
Kalamazoo County Sheriff Richard Fuller tells MLive.com that the injured included the bus driver and 10 passengers.
A Kalamazoo Metro Transit bus was brought to the crash site to get other passengers from the Greyhound bus, which authorities said was traveling from Toronto. They were being taken to a transportation center in downtown Kalamazoo to get on another bus to take them to Chicago.
Follow @fox32news
Police are investigating the murder of a homeless man who was beaten to death in an alley in Logan Square.
WTXF-TV330 Market StreetPhiladelphia, PA 19106-2796Phone: (215) 925-2929Fax: (215) 982-5494


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Routes Sorted
L to R R to L Alpha
Great route! Challenging direct start (best), but also possible to traverse in from left to ledge. Fairly sustained finger crack, awkward flared pod (crux). Not many rests.
South Bridge Wall - left of Your Mother, Where Real Men Dare, Maranatha, Beginners Only....keep walking left along wall until two obvious face cracks appear together. Of the two (twin Gemini Cracks), this is the right one.
Good pro. Small-medium nuts, cams, etc. Shuts.


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Greenwich IT consultant 'chased down street and branded a thief' after leaving store empty-handed (From News Shopper)
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Greenwich IT consultant 'chased down street and branded a thief' after leaving store empty-handed
2:12pm Tuesday 4th February 2014 in News
A GREENWICH woman says she was chased down the street, had her bags rummaged through and was falsely accused of being a thief after walking empty-handed out of a store.
Claire Williamson says the "horrific treatment" from a staff member at Greenwich Food and Wine in King William Walk was even worse because she never received an apology.
The IT consultant, who visited the shop on January 28 at around 4pm, explained: "I picked up two sandwiches to buy and was making my way to pay when there was a delay due to several tourists deciding which wine to pay for. I put the sandwiches down and left the shop.
"Then I was chased up the street by a gentleman from the shop screaming at me 'open the bag, open the bag'"
She went on: "I was shaking and traumatised and opened my bag which was of course devoid of any stolen goods.
"He then continued to scream aggressively with 'open the other bag, open the other bag'
"In total I had to show and empty both my rucksack and my handbag. There was no apology. I told him I was going to call the police. He seemed pleased at that."
When the police arrived on the scene, they were unable to help as no crime had been committed.
But Ms Williamson said: "Everybody looked at me as if I was a criminal. I am left feeling very depressed with no confidence.
"Given that the police are disinterested in this case have we any assurance that all the tourists who go into that shop and exit without actually buying anything will not be meted out the same horrific treatment?"
Nobody from Greenwich Food and Wine was available for comment.
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Comments (9)
Please log in to enable comment sorting
3:45pm Tue 4 Feb 14
the wall says...
I don't know what you are trying to gain by running to the paper. Now it's all over the web. So even more people will be judging you now.
10:14pm Tue 4 Feb 14
Simon bald says...
9:37am Wed 5 Feb 14
molsey says...
Simon bald wrote:She may be considering bringing a claim against the staff member and Greenwich Food and Wine for Distress, Inconvenience and Pain and Suffering i.e. embarrassment, anxiety, resulting from the businesses conduct.
look dodgy to me
8:46pm Wed 5 Feb 14
toomush2drink says...
When i next pointed who the cashiers were and gave detailed descriptions of them and asked to see cctv evidence of me driving off all of a sudden they couldnt apologise enough for the "mix up"
For some reason i forgot to go to the news shopper with my story,
i can only apologise for this missed opportunity for a folded arms photo.
9:50am Thu 6 Feb 14
kennycrabshaw says...
2:22pm Thu 6 Feb 14
principaledwards says...
6:45am Fri 7 Feb 14
molsey says...
principaledwards wrote:99.9% of wall's remarks are offensive, uncalled for and just plain retarded.
Something like this needs to be brought to the attention of other shoppers who may be potential victims of this unsavoury shopkeeper. He acted outside the law, which does not allow such public harrassment. It was obviously distressing for the lady concerned. Greenwich is a tourist area as well as a residential area, and tourists, who bring a lot of money into Greenwich, should not be discouraged by the actions of a rogue shopkeeper. As a Greenwich resident, I have actually used this shop in the past, but have since avoided it as it is overpriced compared to other similar shops in Greenwich and I have found the staff less than helpful. As for the comments by "the wall" - are you actually the shopkeeper? Your remarks are offensive and uncalled for..
10:13am Fri 7 Feb 14
the narkybadger says...
kennycrabshaw wrote:dont use corner shops pal, boycott them if they are rude or just check the goods on the shelves dates and if anything out of date just report them dob them in!
odds on the shop keeper was the usual suspicious type thinking everyones at it you just know he wasnt a true local
8:02am Sun 9 Feb 14
goldenbroomboy says...
the wall wrote:The point of this article is to warn other potential customers of this store what kind of "customer service" they can expect. I won't ever be going in there.
I am left feeling very depressed with no confidence....... But ok to ring the paper and get photos taken. Also ' Everybody looked at me as if I was a criminal ' So what, do you meet these people every day? Are you going to see these people ever again? I don't know what you are trying to gain by running to the paper. Now it's all over the web. So even more people will be judging you now.
The man had no right to demand that somebody in the street opened their bag for him. If he had tried that on with me I would have told him to live long & prosper & walked away.
Comments are closed on this article.


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About the Program
Shakespeare in Film
March 4: Controversy and Revenge
A portrait of anti-Semitism and Jewish vengefulness, The Merchant of Venice is one of Shakespeare's most controversial plays. Earlier audiences understood its central characters in strikingly different terms. Is Shylock a murderous villain or a persecuted patriarch? How should we understand the Venetians' hostility towards Shylock as a usurer? This lecture highlights the changes in attitudes towards the central figures in this complex and fascinating play.
Join Director Emerita of the Folger Shakespeare Library Gail Kern Paster as she examines The Merchant of Venice in Artis—Naples' Shakespeare in Film series.
March 1: The Merchant of Venice (Movie Preview)
Prior to attending Gail Kern Paster's "Controversy and Revenge" lecture on March 4, join your fellow Shakespeare in Film participants for a screening of The Merchant of Venice (2004), starring Al Pacino, Jeremy Irons and Joseph Fiennes, on the Artis—Naples campus.
Tickets include both days, lecture and movie preview.


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Cardiovascular disease is a leading cause of death in the United States. A new study in the Journal of the American Medical Association (JAMA) finds depending on where you live, you may be less likely to survive.
Researchers at the University of Washington analyzed data from more than 20,000 cases of cardiac arrests that happened outside the hospital. And they found that in only about half the cases did someone try to intervene and resuscitate the patient. They also found that whether people responded depended greatly on the community and whether the people there were encouraged to react to an emergency.
"Some communities may need to train more of the public to recognize and respond to medical emergencies. Other communities may need to focus on improving their local organized emergency response," said Dr. Graham Nichol from the University of Washington.
Researchers found that overall only about a quarter of patients in the study received CPR from a bystander, partly because many are not trained in CPR and fear they may do more harm than good by trying to help.
If you'd like to learn more about CPR, the Red Cross encourages families to learn together. And they make classes available to the public regularly. Just call the Red Cross for more information.
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Patients with diabetes have to keep a close eye on their blood sugar and new technology might make that a little easier. The hottest new healthcare tool may already be right in your own pocket.
You talk on it, you text, email, and now, if you're diabetic, you can even test your own blood sugar on your smart phone. Normally diabetics have to carry around a separate glucose meter with them at all times in addition to their phone.
"Diabetics have to carry around a lot of stuff," says James Winchester, a diabetes patient. "The great thing about smart phone technology is it's one less thing they now have to carry."
Winchester travels around the country demonstrating how to turn your phone into a blood glucose meter.
You need just two things: the Gmate phone app and the smart device. The device is the size of a quarter and plugs into the headphone jack of your iPhone.
"When it's ready, it tells you it's ready for the strip," says Winchester.
Since your cell phone is basically a hand held computer, the app keeps track of all your results, and charts out your blood sugar results over time. You can also instantly email all those results to your doctor or family members.
Pediatric Endocrinologist, Kevin Kaiserman, says this is just one of many advances that uses new technology to help people manage their diabetes.
"The greatest advantage is to help people gather, and be able to synthesize, analyze the information in a way that helps them not just have a single piece of information but to look for trends and analyze over time how their diabetes is being managed, where they can make adjustments to better manage their diabetes going forward," says Dr. Kaiserman.
Right now the Gmate only works with iPhone, not Android phones. It's already in use in Europe and is currently pending FDA approval here in the United States.


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Jacob Michael had a cocaine habit, inquest jury told (From Runcorn and Widnes World)
Send us news by text, start your message World News and your send photos and videos to 80360
Jacob Michael's mum tells inquest she disapproved of her son's drug habit
5:20pm Tuesday 2nd October 2012 in News By Barbara Jordan, Chief Reporter
JACOB Michael did take cocaine, his mum told his inquest in Daresbury today.
Christine Michael, of Lacey Street, said: "He used to go partying. He was a binger, every two or three weeks, not every day or every week.
"He knew I knew and that I disapproved of it.
We never discussed cocaine.
"I just thought it was a phase of his life he was going through and he might grow out of it."
She said she was aware he had been taken to hospital on one occasion, but denied knowing that Warrington Hospital had warned him about the risks if he continued taking the drug.
Doctors told him he could have a heart attack if he continued to take cocaine.
Mrs Michael told the jury: "He was a very fit lad, health conscious, with a healthy diet. He went to the gym.
"He was a very good sportsman. He played football, tennis and rugby."
She said her son was 6ft 1ins tall and strong.
She said: "He had enemies and he had friends. He was a popular lad."
She said he used to odd jobs for her late husband, who repaired and sold white goods.
Mrs Michael said she gave up her cleaning job to care for her husband after he was diagnosed with cancer.
She said: "Jacob was asking his dad if he could take over his business. He seemed to grow up when he knew his dad was not very well and get more responsible."
Traces of cocaine were found in Jacob's body, the inquest heard.
Jacob Michael, aged 25, was arrested for affray, after threatening police with a hammer at his home in Lacey Street, on August 22, last year.
He collapsed at Runcorn custody suite despite attempts by police officers, a nurse and paramedics to revive him.
The hearing continues.


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- Studio: Lions Gate Films Home Entertainment
- Release Date: Jun 26, 2009
- Starring: James Caviezel, Mozhan Marnò, Shohreh Aghdashloo
- Summary: Academy Award nominee Shohreh Aghdashloo and 'The Passion of the Christ' star Jim Caviezel star in this vital and enlightening story of one woman's persecution at the hands of religious extremists. Based on a powerful true story, the film has been hailed by audiences and critics worldwide including at the 2008 Toronto International Film Festival. (Roadside Attractions)… Collapse
- Director: Cyrus Nowrasteh
- Genre(s): Drama, Crime
- More Details and Credits »
Score distribution:
Positive: 8 out of 20
Mixed: 9 out of 20
Negative: 3 out of 20
The Stoning of Soraya M. goes well beyond its angry didacticism and its specific indictment of men's oppression of women to achieve the impact of a Greek tragedy through its masterful grasp of suspense and group psychology, and some superb acting.
A timely story, given the political upheaval in Iran, it is emotionally explosive. It also is profoundly compelling.
The Stoning of Soraya M."has such a powerful stoning sequence that I recommend it if only for its brutal ideological message. That the pitiful death of Soraya is followed by a false Hollywood upbeat ending involving tape recordings and silliness about a car that won't start is simply shameful. Nowrasteh, born in Colorado, attended the USC Film School. Is that what they teach there?
The film oddly mirrors "The Passion of the Christ," as a show trial leads inexorably toward an almost sadistically filmed public execution (it doesn't hurt that Jim Caviezel plays the reporter). Like that movie, it gets its point across with all the subtlety, sorry to say, of a rock upside the head.
A slow, inexorable slog to the titular event -- a public execution so inconceivably violent and brutal the movie practically dares you not to look away.
Director Nowrasteh seems to think the only way to save lives is to sensationalize death. You could trek to the theater and have this movie whack you upside the head. You could also just mail a check for $10 to the human rights group of your choice.
A classic case of preaching to the choir, since it's doubtful the film will reach many of the minds that need changing.
Score distribution:
Positive: 35 out of 37
Mixed: 0 out of 37
Negative: 2 out of 37
Jul 27, 2013It is riveting, moving and extremely powerful. This is a movie you need to see. The Stoning of Soraya M. is packed with extremely moving and powerful story, with truthful acting and graphic violence that has a reason to be there, because if you cut off some of the violence, if you didn't see it happen, you will say it never happened. It is a movie with a real hero, because think about how many heroes we have now, not many. The story is amazing, the directing is wise and the movie overall is one of a kind.… Expand
Oct 27, 2013The Stoning of Soraya M. was as real today as it have been for centuries. Women in foreign countries can be lied upon very easily as she was in this movie and stoned to death. This depiction broke my heart and the struggle continues. Stoning is wrong and no one deserves this kind of treatment. Her stoning wasn't based off facts but lies and her husband wanted her dead. Watch this movie if you can but if you cannot stand to see something that is real don't watch it because this is a real life story and such crimes still exist today.… Expand
Apr 28, 2013Definitely a must watch, everything in this movie made me mesmerized and into seeing what will happen next, although the ending is spoiled from the title but it is still one of the greatest I have ever experienced.… Expand
Sep 13, 2012This movie is filled with inaccuracies and stereotypes, it's hugely dramatized in every way and I'm getting sick of these american "based on a true story" movies.… Expand
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ESTA Staff
ESTA: For its efforts in standards, certification, and other programs designed to create a safer and more productive industry
Leading the way in standards, certification, and creating a better workplace for the entertainment technology industry, ESTA (Entertainment Services & Technology Association) is a non-profit trade association whose members are the dealers, manufacturers, reps, service and production companies, scenic houses, designers, and consultants who supply a broad spectrum of products and services to the industry.
According to executive director Lori Rubinstein, the organization was started in the late 1980s by a group of concerned backstage pros who wanted to exchange ideas and informtion. Rubinstein at the time was the general manager of San Diego Stage and Lighting Supply, who along with Grand Stage Company and Bash Theatrical Lighting were the nucleus of that group.
At an initial meeting in Las Vegas, 25 theatrical equipment dealers expressed interest. Bylaws were written, committees were formed, and the Theatrical Dealers Association was off and running. By the mid-90s, the organization had become ESTA, and expanded to include almost 450 member companies involved in all aspects of "building the business of show business."
The Technical Standards Program has been a major success story for ESTA, with over 400 individuals representing over 200 different companies and organizations who have actively participated over the past 10 years. They have diligently researched, presented, drafted, reviewed, polished, and published over 30 key documents, each one addressing a specific need of the entertainment technology industry. "It is imperative that we set standards ourselves rather than have people who know nothing about our industry try to set them for us," says Mike Wood, ESTA president, "If we do it, we'll get better standards that protect people and improve equipment compatibility while not impeding business."
Lately, ESTA's focus has been on creating the new industry-wide Entertainment Technician Certi-fication Program to establish personnel certification for entertainment technicians. "Our main goal for doing this is our concern for the safety of all who are involved in live entertainment, from technicians and performers to audience members," Rubinstein says. The two initial areas targeted for certification are rigging and electrical skills. "It's critical that there be a consistent way to identify competent practitioners," Rubinstein explains. "This is obviously an area of concern to the entire industry as evidenced by the many associations and organizations that have joined with us to create the certification program."
Writing standards and developing a certification program are extraordinarily huge tasks that would be impossible were it not for the hard work of the hundreds of volunteers who devote large amounts of time to ensure that the goals of ESTA are achieved. "In many non-profit organizations there are a large number of 'checkbook members' whose only involvement is to send in a check each year and that's it," Rubinstein says. "We don't have that problem. You really get out of it what you put into it and so many people have put a lot into ESTA."
ESTA also provides many services and benefits to help its members run their businesses more successfully and ethically. Being an ESTA member has made business much easier and more profitable for John Cooke, president and CEO of Stageworks, a theatrical equipment vendor in Little Rock, AK. "I was not a businessman when I started this company," he says. "ESTA offers a variety of business workshops for people like me and because of that my company is thriving. From personnel issues to insurance, ESTA knows more about my business than any local company."
ESTA is about to embark into another new realm: the Essential Skills Certificate Program that will arm the next generation with the basics they need to know in order to get their jobs done. From terminology to safety, the program will educate new entrants into the workforce on the critical basics of being backstage.
"The ability to network, share ideas and concerns, and address the issues common to all parts of our industry is the legacy that ESTA has created," Rubinstein says. "ESTA and its legion of volunteers are responsible for a lot of good that has happened in the industry over the last 17 years."
Mark A. Newman
Scharff Weisberg
Scharff Weisberg: For creative support and solutions in audio, video, and lighting
Bringing Frank Sinatra back to life and making monkeys fly are everyday activities at Scharff Weisberg where a team of video, sound, lighting, and projection pros help turn cutting-edge technology into great entertainment.
The company's first Broadway show was Tommy in 1993 and since then Scharff Weisberg, Inc. (SW) has been a constant on the Great White Way as well as in regional productions, although their mainstay remains corporate events. The company recently supplied the projection know-how for the Seattle Opera production of Wagner's Parsifal and the American Ballet Theatre's Pied Piper.
"What sets us apart is our collaboration with creative people," says Peter Scharff, CEO, who admits he was an A/V geek in high school…and still is. "We understand the creative and technical languages, as opposed to a lot of A/V companies who are like, 'Where do you want the projector?' We don't do that; we think about the end result and what the client's vision is. It's our job to help them realize that vision."
If you saw Sinatra: His Voice. His World. His Way. at Radio City Music Hall then you saw SW's work on its grandest scale yet: the projections were the focal point of the entire production. Working with Batwin & Robin Productions (a past EDDY winner) and Radio City Entertainment, SW provided an incredibly advanced and complex projection system that effectively allowed the packed house to relive Old Blue Eyes' glory days.
The Sinatra show was a bit atypical because of the show's complexity, according to SW president Josh Weisberg. "We had a huge team internally that consisted of multiple video engineers, show controllers, and graphic systems controllers," he said. "It was a very unusual situation because of the predominance and importance of the video system in the production. Our status was somewhat elevated compared to other shows."
The Broadway musical, Wicked, was not as involved because the technology was programmed, automated, and controlled from the High End Systems Catalyst media server. "We only get called if there's a problem," Scharff says as he knocks on the wood of the conference table.
So far the SW team has not had to return to the Gershwin Theatre where Wicked journeys back to Oz each night with projections of bubbles, confetti, and, of course, flying monkeys contributing to the show's magical atmosphere. SW's project manager Derrick Holbrook and show controller Lars Petersen worked with the show's projection designer, Elaine J. McCarthy (another past EDDY winner) to create and implement her designs.
Both Weisberg and Scharff agree that the company's success is thanks to a team of 85 full-time employees who have a unique mix of technical expertise and creativity. "They understand that it's not just about the technology making the brightest image, but how it's supposed to work within the theatre," says Weisberg. "We have a lot of confidence that when we turn a client over to one of our staffers that they will really know the technical details. They understand what the client is trying to create."
That teamwork also extends outside the walls of Scharff Weisberg to their work with designers. When working with projection designers Bob and Colleen Bonniol on Parsifal in Seattle, the onus was on SW to educate the designers about what is actually achievable. The designers also enjoy their side of the collaborative process, especially in finding innovative design solutions. "As a vendor, Scharff Weisberg is willing to go out on a limb with us," says Bob Bonniol. "They are truly a partner in the creative process. Without their solution, it was going to be impossible to do the opera the way we had envisioned." Parsifal utilized an 80' × 36' projection with 19' throw distance as a backdrop that was present throughout the entire opera.
Scharff gives a simple reason for the company's success in working with a plethora of creative minds: "We're frustrated artists and this is our way of dealing with it!"
Mark A. Newman
Humana Festival design and technical crew
The Actors Theatre of Louisville/Humana Festival Design and Technical Department: For sustained excellence in theatrical stagecraft
This spring marks the 28th annual Humana Festival of New American Plays, an ambitious five-week event produced by the Actors Theatre of Louisville, with six new full-length plays, an evening of 10-minute plays, and an anthology project in repertory over a five-week period (February 29-April 10). "We have a resident designer in all departments," says Frazier W. Marsh, the production manager who has been with the festival for 27 years. "There are also more than 50 people on the crew (see entire list on ED's website), counting carpenters, drapers, milliners, electricians, and sound technicians. Many of them have also been here for a very long time."
A good example of this longevity is set designer Paul Owen, who has been with the theatre for almost 35 years and has designed all of the Humana Festival productions except three, for the past 27 years (this year marks the fourth show he has not designed as one of the plays: The Ruby Sunshine is a co-production with Trinity Rep and designed by Eugene Lee). "The fact that Paul designs almost all the shows helps enormously," says Marsh. "The sets marry." To produce seven plays in such a constricted time frame (and in the middle of the theatre's ongoing season), there are many meetings. "More than you would like to imagine," says Marsh.
The building process starts in January, and everything is built in house, down to the last prop. In fact, the theatre maintains a props and scenic facility about one-half mile away where things are built then trucked to the theatre. The costume shop, sound studio, electrics shop, and lighting design office are in the large administrative facility attached to the theatre.
"Our biggest challenge," says Marsh, "is coming in on budget. The budgets are done a year out, yet we always service the plays and playwrights in the best possible manner. The focus of the festival is to allow the playwright to see their plays in full productions." Once the first tech rehearsal takes place the schedule is hectic, with a new play opening every four days until all seven are up and running. Tech rehearsals are from 11am to 5pm, then a turn around for the evening performance. "Everyone just works until it's ready," admits Marsh, noting that it is not unusual for some people to work 70 to 80 hours per week, especially department heads. "The pay off is a job well done. You name it, we've done it," he adds. "We've had just about everything you can think of on stage, from hot tubs and spring-feed pools to a life-size zebra and a snow storm."
Marsh points out that "the backbone of the whole ordeal is the apprentice/intern company. They serve as the tech crew in each of the venues. We couldn't do it without them." Some stay on and move up in the ranks, such as lighting supervisor Paul Werner. Others leave to go to school and return later, as as the festival's resident LD Tony Penna, who started as a lighting technician and returned after grad school as a designer and is now in his fourth season. This is typical for many of the designers and technicians, in spite of the challenging scheule.
"First, you have to realize the sheer volume of work that pours from our dedicated production staff each season," says artistic director Marc Masterson. "In many regional theatres, a typical season is comprised of maybe six to ten productions. At Actors Theatre, in addition to the regular 11-play season, our annual Humana Festival of New American Plays is a major undertaking of eight fully produced plays — all of which open within a four-week period! This implies a feat of organization and commitment that boggles the national mind. The work of our production personnel is of the highest caliber. The talent and dedication is nothing short of extraordinary. I am thrilled and honored to be associated with these talented top-notch professionals."
Ellen Lampert-Gréaux
Lorrie Snyder
Lorrie Snyder, Technical Director, REDCAT: For sustained excellence in technical direction
As technical director of the experimental REDCAT in Los Angeles (Roy and Edna Disney/CalArts Theatre), Lorrie Snyder finds herself more than a little busy. Their first season (REDCAT opened in October 2003) is densely packed with over 45 performances from film festivals, modern dance performances, international touring theatre, multimedia events, and more. A busy performance schedule in a brand new performance space brings an entirely new and involved set of challenges. But Snyder isn't fazed by any of it. In fact, she thrives on it.
"It made me take the job," Snyder says. "The problems never stop coming. I guess either you love that and you are addicted to that, or you get out of the business. There's not much middle ground there. But that problem solving, and the joy in that problem solving, is the hook in this game."
Snyder's joy in creative problem solving has motivated her diverse professional career path, and made her well suited for her current role as TD of REDCAT. At 18 she started working in construction, and quickly moved into fine furniture fabrication and general contracting. Ten years later while working in upstate New York, she was introduced to the entertainment industry, due to a chance meeting with Bill Ballou, last year's recipient of the Technical Direction Award at ETS-LDI.
In what has been a pattern in Snyder's career, her unique "skill package" at the time placed her at the advantage when opportunity, in the form of Ballou, knocked. "At that time she was an accomplished woodworker; equally at home with cabinetry, furniture making, finish carpentry and rough construction," explains Ballou. "She had also run her own contracting company in New York City, and was used to the business side of the work."
Within months, Snyder was working with Ballou on the John Sayles' film City of Hope (1991). As carpenter to Ballou's construction coordinator, Snyder was hooked into the entertainment industry.
She moved on to work on music videos, commercials, museum installations, environmental construction, dance, opera, and Broadway theatre. Her creative technical skills were sought out for the construction of large, complicated sets, such as the tilting pool in Broadway's Sunset Boulevard, the canopy-covered automated audience seating in CalArts' King Lear (which she wrote about in the ED Theatre Crafts supplement, Nov. 2002), Elizabeth Streb's Ringside Dance, which incorporates inventive machinery with human movement, and the Builder's Association's media-driven Jump Cut (1997).
The constant challenges presented by live productions stimulated Snyder. "You get to solve so many different kinds of problems using every possible vocabulary — rigging, light, sound, metal, wood," she says. "That's what I find most interesting about this business — how to manifest what's in the mind directly to the physical world to show it to others. Nothing gets the goods to the customer more directly than theatre or film or dance and being a technical designer or technical director in those worlds."
Opportunity knocked for Snyder again in 1999, and again Ballou was knocking. While working as technical director at California Institute of the Arts (CalArts), he contacted her to get involved with the burgeoning King Lear project. It developed from a four-month build into a three-year process, and Snyder worked as associate technical director with Michael Casselli. "Lear was a fascinating, huge, monster project," she says, "and, from a technical design and direction standpoint, was a truly challenging moment."
While working at CalArts, Mark Murphy, REDCAT's executive director, asked Snyder to act as a consultant during the final phase of its technical development. Again Snyder's diverse interdisciplinary background prepared her for the opportunity that lay ahead. Snyder explains, "Everything that I have done…makes REDCAT not so intimidating because my background, or the background of anyone who would want to be TD here, should be varied. It shouldn't just be theatre, because that is absolutely not what just goes on here."
Thanks in part to Snyder's skill and technical competence, REDCAT is now a well-packed running machine with systems that interface well and can accommodate endless functions and needs. Ever the problem-solvers though, Snyder and her team are continually working to improve REDCAT, which is one reason she is receiving the EDDY award for sustained excellence: "My goal for this house is that the question will always be, 'Well that worked, but how can I make it better?' And that is the driving energy: that the interest is not lost, that this never turns into a jaded roadhouse."
Snyder is quick to acknowledge that she does not meet the technical obstacles alone. "I have an absolutely magnificent staff, including my associate TDs Jamie McElhinney and David Taylor," she says. "We are flying by the seat of our pants often, and trying to come up with solutions very quickly for stuff we've never done before." This staff is comprised mainly of MFAs, recruited straight from CalArts, a fact that Snyder finds refreshing: "The backstage technical discussions are always interesting." The knowledge, involvement, and interest Snyder and her staff bring to the venue is very important to her. "That's how the dialogue should be, and here it is possible to take the chance to make that dialogue as one would hope it would be."
As she moves through the second half of the first season, Snyder continues to expand upon her diverse media and theatrical background at REDCAT. "There's nothing that we don't do…A lot of the people that come through here are into specifically pushing the definitions and pushing the boundaries between disciplines. The space is tremendously adaptable for that," she explains. "We can do it here because we have the equipment.
"I always say the house's greatest strength and its greatest weakness is that it's trying to be everything to everybody." As only a technical director would, she adds, "But very much it's its greatest strength — as we solve the technical issues." With Snyder at the helm, there is no doubt that they will continue to do so.
Lauren Thompson
Susan Hilferty and the Costume Design Team for Wicked
Costume Designer Susan Hilferty and The Entire Costume Team From Wicked: For excellence in a theatrical production
Nobody in Oz buys off the rack. It's a world filled with haute couture, according to Susan Hilferty, costume designer for Wicked, and she should know. "There is no design house in Paris doing better work than what's in Wicked," she declares. "Not only is the dressmaking and millinery beyond what has ever been done, it has to run eight performances every week."
Be forewarned: If you walk into the Gershwin Theatre expecting to relive your memories from The Wizard of Oz, you will be pleasantly surprised. As the story itself goes, so go the costumes. "Animals were equal to humans in this land so I had to create a world that was the same as ours, yet also very different," she explains. "If you arrive in this world, you can speak the language but everything else is off-kilter."
Hilferty drew her inspiration from the original source material — the books of L. Frank Baum and the illustrations of W.W. Denslow — and the time period in which they were written at the turn of the 20th century. Her approach to costuming the denizens of Oz and Emerald City were twofold; she would design it straightforwardly first, then put a twist on it so it would be far from traditional or typical. "I felt comfortable distorting the shape of people's bodies so you don't quite know the way they really are," she says. "This is a place where there could feasibly be three-legged people or characters with oversize heads." Since a talking goat is a schoolteacher in Oz, extra appendages would not be so shocking.
However, Hilferty was not alone in creating her "twisted Edwardian" look; she was aided by her New York team that consisted of associate designer Michael Sharpe; assistants Maiko Matsushima and Amy Clark; production wardrobe supervisor Alyce Gilbert; milliners Lynne Mackey and Rodney Gordon; hair and wig designer Tom Watson; prosthetic artist Matthew Mungle; makeup artist Joe Dulude; and costume shops Eric Winterling Costumes, Parsons Meares Ltd., EuroCo, Barbara Matera Ltd., and Tricorne. Hilferty further praised the teams of stitchers and drapers at the costume houses for their amazing contributions, as well as the hair and makeup teams. Their work takes audiences to Oz via a detour off the yellow brick road.
It was vital that Hilferty have a team that could travel to her brave new invented world rather than simply reproducing or copying period costumes. "The people who go with me on this journey have to trust my vision and trust that I'm not going to take them someplace where there is no resolution," she says. "The critical ingredients for each of these artisans were a sense of trust, excitement about going on an invented journey, and incredible skill."
Only the most skilled could sign on for this yellow brick road trip because everyone involved needed to totally understand the essence of their tools. "There were moments when I cried because I couldn't believe how beautiful the work was," Hilferty says, adding that there were also rare times when she cried because there were occasions when the idea was completely missed. "I would see a piece of fabric where someone who didn't understand the essence of either the idea or fabric just mangled it. But that was very, very rare."
The costumers and milliners needed to push their skills even farther and have a sense of inventiveness as well as design abilities. Hilferty compared designing the costumes for Wicked to learning a new language. "I learned it first and then had to teach it to my team," she says. "Their inventiveness was astonishing because they constantly had to break their brains and do something that made sense in this new language. What you see on stage is in every way a celebration of all the unbelievable skill of the artisans who worked on it."
From irregular hems, uneven sleeves, and bent pleats to a hat in the shape of a boot, the costuming team had to seemingly suspend their belief about clothing in order to arrive at their creative conclusions. Also, it should be noted that with the rare exception of a couple of guards and a few party guests, every single costume in the show is unique; there is no chorus of dancing girls all dressed alike. "Each costume was started from scratch in terms of developing an idea," Hilferty says. "It tested every single person."
While Hilferty is quick to praise every member of her team, she hails wardrobe supervisor Alyce Gilbert as an unsung hero. "She's had the responsibility to make sure that the costumes are maintained and stay at the high level at which all the shops are working," Hilferty says. "Alyce is the one who makes it happen because she's there in command of the battle stations every single night."
Mark A. Newman
Patrick Woodroffe
Lighting Designer Patrick Woodroffe, Associate Lighting Designer Adam Bassett, and Lighting Director/Programmer Dave Hill: The consummate lighting design team
Think of rock and roll lighting and you are likely to think immediately of Patrick Woodroffe. ABBA, AC/DC, Andrea Boccelli, Bob Dylan, The Bee Gees, Bjork, Cher, The Pet Shop Boys, Bryan Ferry, Depeche Mode, Donna Summer, Elton John, Garth Brooks, Genesis, Erasure, Mike Oldfield, Michael Jackson, Mick Jagger, Peter Gabriel, Phil Collins, M. People, Rod Stewart, Sarah Brightman, Seal, Simply Red, Simon and Garfunkel, Stevie Wonder, Tina Turner, Van Morrison and The Rolling Stones — he has lit them all.
Woodroffe first got into the lighting business through his brother, Simon Woodroffe, who worked at ESP Lighting, Brian Croft's old company in London, England. "I started on the lighting crew, back in the 1970s," says Woodroffe. "I went around the world twice on tour with Rod Stewart and liked what I saw. I went to live in the United States for a while." When he got back to the UK in the mid-80s, Woodroffe soon had his first gig with The Rolling Stones, and from there on he has gathered no moss.
From the show at London's Millennium Dome to the Rock in Rio festivals in Brazil, The Montreux Jazz Festival, The Les Miserables' 10 Year Anniversary Concert, The Brit Awards, and The Freddie Mercury Tribute to fashion shows for Jasper Conran, Woodroffe has expanded his repertoire to include lighting musicals, classical music, ballet, and architecture. And along the way he developed a close team of associates, including Dave Hill and Adam Bassett.
Woodroffe and Hill hooked up in Germany during a tour of the Spandau Ballet in 1986, and quickly became a team. "Dave is a big part of my life," says Woodroffe, who refers to Hill as both a colleague and a companion. "He programs all my shows, and used to take them out on the road as well."
An LD in his own right for music, dance, and theatre, Hill started as a stage hand, then a lighting technician and eventually a stage manager at The Rainbow Theatre in London's Finsbury Park. He later worked in Australia, where he saw his first moving lights on a David Bowie tour in 1983. "I knew then this was the future of lighting, and if I wanted to work with these systems I would have to live in either the USA or the UK," says Hill. Home seemed like the best idea, and Hill returned to the UK in 1984.
"We are one of the longest-running teams in the business," Hill comments about working at Woodroffe's side. "Patrick is the salesman and I am the programmer. He gets the jobs and gives me free reign on the console." With Woodroffe providing the big design picture, and Hill building the show and programming, who does the paperwork? Enter Adam Bassett.
A graduate (with honors) of the Central School of Speech and Drama in London with a BA in theatre specializing in lighting design and production, Bassett first worked as Woodroffe's assistant on the Millennium Dome Central Show and the Millennium Eve Opening Ceremony in 1999. He is now Woodroffe's associate LD and an essential part of the team.
"Adam is organized and ambitious in an understated way. He is also very detail-oriented," says Woodroffe. "We are a good combination. He learned a lot of things at college that I don't know about, like beam angles and patch schedules, all of which is very useful. From my big design ideas, Adam helps realize the design."
Bassett adds, "My role on each project varies, from assisting to having more design responsibility. Perhaps the most challenging was the Rolling Stones' Licks tour, due to the scale of the project. There were three different shows, not just one format."
When it comes to challenging, Woodroffe and Bassett are in the midst of a very large, very complex architectural lighting project for Steve Wynn's new hotel, Wynn Las Vegas. "This is a very technical project, with 3,000 trees and 6,000 lighting fixtures," says Woodroffe, who is designing the exterior lighting as well as a sound and light show with waterfalls and projections. "I've never lit anything of this scale," he says. "There are over 190 drawings."
With Bassett on hand to take care of the drawings and help with the design process, and Hill waiting in the wings in case they need his help with programming, Woodroffe's energy will be directed toward Wynn Las Vegas until it opens in 2005. "Then we can get back to rock and roll," says Hill.
Ellen Lampert-Gréaux


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Penguins vs. Canadiens: Shot Quality
A blogger over at Brodeur is a Fraud (yes, that's the actual name of the site) looked at shots from the Pens-Habs series that were tracked according to location. He found that shots that went high were much more likely to go in than shots that were low. After eliminating some games from the consideration due to bad data, he found that the Habs had 39 high shots and the Pens had 37. The Habs did a better job at capitalizing on their chances, but this is some evidence that they had more high-quality opportunities.


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Gangsta guilt tripJuly 25,2013Even the loathsome Stephen Flemmi was loath to see a picture of the skull of Debbie Hussey.
I dont want to see that, the man who murdered for a living said, turning his head away from the macabre remains of a beauty he raised from the time she was a toddler as his own daughter, then molested when she was a teenager, and then helped kill when she was 26.
Jurors stared at the skull of Debbie, who grew up calling Flemmi Daddy.
Do you remember how many teeth you pulled out of your stepdaughters mouth? Whitey Bulgers tart defense lawyer, Hank Brennan, asked Flemmi, Whiteys old partner in killing, ratting and womanizing who is now the star witness against Whitey.
The 79-year-old Flemmi replied that he had been in a semi-traumatic state and on a guilt trip during the murder. Whitey nicknamed Stevie Dr. Mengele, because extracting identifying teeth was his specialty.
The bodies have piled up in this trial, men, women and teenagers killed accidentally or vengefully in the 70s and 80s, often for the flimsiest of reasons. There is even a new body, a man who was at one point scheduled to testify against Whitey who died here last week under suspicious circumstances.
Yet, as Kevin Cullen, a Boston Globe columnist, told me, Debbie Hussey might be the saddest case of all. Cullen co-wrote the compelling chronicle of the Winter Hill gang, Whitey Bulger.
I think the most interesting thing about Whitey and Stevie was their obsession with women, Cullen said. They could never have enough of them. They kept very tangled domestic situations, with common-law wives and girlfriends on the side. Their domestic lives were more complicated than their criminal lives.
Indeed, the emotional core of this case concerns women. The federal government is wasting all this money proving what we already know, that Bulger, 83, is a misogynist and rat, because he is determined to beat back the contentions that he was an FBI informant and killed women anathema to the Irish mobster code he supposedly lived by.
The first woman was Debbie Davis, a sexy blond girlfriend of Flemmi. Flemmi made the mistake of mentioning his FBI handler to her, but she had to pay for his slip.
The second was Debbie Hussey. At 25, Flemmi moved in with Debbies 19-year-old mother, Marion. They had three kids, and he raised Debbie as his own. When she was 12, she saved Flemmis 9-year-old son from a riptide in Montauk. Flemmi started molesting Debbie in her early teens, according to the authors of Whitey Bulger, and, after that, she fell into using drugs and working in the Combat Zone, a red-light district. Whitey, a violent opponent of Boston busing, and Stevie were furious that she had been bringing black men (described in court as clients) to the family home for sex, Whitey told their protégé, Kevin Weeks.
Is it hard for you to accept the fact that you strangled somebody who sat on your knee as a little girl? Brennan asked a fuming Flemmi.
You could see the thought bubble over Flemmis head: Can I whack this guy now, Your Honor?
Brennan asked Flemmi about the unholy relationship with his daughter.
Stepdaughter, Flemmi primly corrected. He asked Brennan why he couldnt focus more on the positive things, like when he gave her money to go away.
Asked by Brennan if he understood that his incestuous relationship was wrong, Flemmi replied, Probably. Not really. No. Because the fact of the matter was, she was a different person in my eyes once she began her different lifestyle.
Flemmi contended there were only two instances of consensual oral sex once she turned 17 (17 and a half, almost 18) but conceded it was an indiscretion.
He and Whitey prided themselves on being a cut above other wiseguys because they did not succumb to weaknesses like overdrinking and overeating they once looked disdainfully at an FBI agent who kept refilling his glass with red wine. But Flemmi admitted on the stand that he had shown weakness with Hussey. Then he tried to drag in Whitey, saying righteously: He had a young girl, 16 years old, he took to Mexico. Thats a violation of the Mann Act. (The Mann Act was the least of their problems.) Nodding toward Bulger later, he said, You want to talk about pedophilia right over there at that table.
Like Debbie Davis, Debbie Hussey had to pay. Once more, Flemmi noted sullenly that Whitey had coerced him. Without irony, Flemmi declaimed, Theres never any justification for murder, adding that if Whitey had just said four little letters p-a-s-s, he would have been so happy.
Flemmi took Debbie Hussey out shopping at the mall and then lured her to her death in a house that Whitey dubbed The Haunty, because of the bodies they had buried in the basement. Flemmi said Whitey choked the young woman it didnt take long because she was very fragile and dragged her down the stairs in 1985, just as he had with Debbie Davis in 1981.
Im not a doctor, Flemmi said, but she looked dead to me; she felt dead to me; she was dead. He added, Dead, period.
Nonetheless, he told Whitey to Let her pray. She was, after all, his little girl.
Maureen Dowd is a columnist for The New York Times.MORE IN CommentaryFrançois Hollande, the president of France since 2012, coulda been a contender. Full StoryIt has been a mystery why economic recovery and a rising stock market have failed to translate... Full StoryAs he has grown weary of Washington, President Barack Obama has shed parts of his presidency,... Full Story
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Audit Profile
Audit Reports help buyers source with confidence, save time and money, and reduce risks. All Audited Suppliers have been pre-inspected onsite by a respected inspection company and have detailed audit reports ready to download online.
The company has 4 Audit Reports, the following is the latest report.
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Company:Xiamen Kao Shi Imp. & Exp. Co., Ltd.
SGS Serial NO.:QIP-ASR137205
Audit Date:Jul 2, 2013
Report Price:US $39.50 (Payment Method)
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Company Type:Trading Company
Year of established:Dec 16,2008
Registered capital:RMB 1000000
Products:Marble & Granite Stone, Sandstone, Basalt, Slate, Paving Stone
Number of Employees:13
Market:Europe,Southeast Asia/ Mideast,Australia


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Michele Satta Michele Satta Bolgheri Rosso Piastraia 2002, Tuscany, Italy: A delicious, layered, full-bodied red with notes of black cherry, mocha and berries. 709980 13% XD 750 mL $39.95 Score: 92/100. March 15, 2008 Full Review
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The International Brigades were Republican military units in the Spanish Civil War, formed of many non-state sponsored volunteers of different countries who traveled to Spain, to fight for the democratic government in the Spanish Civil War between 1936 and 1939. They fought against Spanish Nationalist forces, who were led by General Francisco Franco and assisted by Nazi German and Fascist Italian forces.
The Brigades recruited 60,000 men and women, as many as 10,000 of whom never returned. More than 55 nationalities were represented in the Brigades: during the Battle of Madrid alone, the XIIth Brigade counted representatives from no fewer than 17 nationalities in its ranks.
Using foreign Communist Parties to recruit volunteers for Spain was first proposed in Moscow in September 1936 – perhaps at the suggestion of Maurice Thorez - by Willi Münzenberg, chief of Comintern propaganda for Western Europe. As a security measure, non-Communist volunteers would first be interviewed by an NKVD agent.
By the end of September, the Italian and French Communist Parties had decided to set up a column. Luigi Longo, ex-leader of the Italian Communist Youth, was charged to make the necessary arrangements with the Spanish government. The Soviet Ministry of Defense also helped, since they had experience of dealing with corps of international volunteers (during the Russian Civil War). The idea was initially opposed by Largo Caballero, but after the first setbacks of the war, he changed his mind, and finally agreed to the operation on 22 October. However, the Soviet Union did not withdraw from the Non-Intervention Committee, probably to avoid diplomatic conflict with France and the United Kingdom.
The main recruitment centre was in Paris, under the supervision of Polish communist colonel Karol "Walter" Swierczewski. On 17 October 1936, an open letter by Stalin to José Díaz was published in Mundo Obrero, arguing that liberation for Spain was a matter not only for Spaniards, but also for the whole of "progressive Humanity"; in a matter of days, support organisations for the Spanish Republic were founded in most countries, all more or less controlled by the Comintern.
Paths were arranged for volunteers: for instance, Josip Broz, who would became famous as Marshal Tito, was in Paris to provide assistance, money and passports for the volunteers from Eastern Europe. Volunteers were sent by train or ship from France to Spain, and sent to the base at Albacete. However, many of them also went by themselves to Spain. The volunteers were under no contract, nor defined engagement period, which would later prove a problem.
Also many Italians, Germans, and people from other countries with repressive governments joined the movement, with the idea that combat in Spain was a first step to restore democracy or advance a revolutionary cause in their own country. There were also many unemployed workers (especially from France), and adventurers. Finally, some 500 Communists who had been exiled to Russia were sent to Spain (among them, experienced military leaders from the First World War like "Kléber" Stern, "Gomez" Zaisser, "Lukacs" Zalka and "Gal" Galicz, who would prove invaluable in combat).
The operation was met by Communists with enthusiasm, but by Anarchists with scepticism, at best. At first, the Anarchists who controlled the borders with France were told to refuse Communist volunteers, and reluctantly allowed their passage after protests. A group of 500 volunteers (mainly French, with a few exiled Poles and Germans) arrived in Albacete on 14 October 1936. They were met by international volunteers who had already been fighting in Spain: Germans from the Thälmann Battalion, Italians from Centuria Gastone Sozzi and French from Commune de Paris Battalion. Among them was British poet John Cornford. Men were sorted according to their experience and origin, and dispatched to units.
Albacete soon became the International Brigades headquarters and its main depot. It was run by a troika of Comintern heavyweights: André Marty was commander; Luigi Longo (Gallo) was Inspector-General; and Giuseppe Di Vittorio (Nicoletti) was chief political commissar. [2].
The French Communist Party provided uniforms for the Brigades. Discipline was extreme. For several weeks, the Brigades were locked in their base while their strict military training was under way.


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Are you looking for a loft conversion in Ealing, Ruislip or surrounding towns? Jeffery and Wilkes Building Contractors are loft conversion specialists and have been in business for over 12 years. They do not sub contract out work but manage the project from start to finish. They will work to guarantee customer satisfaction. Loft conversions can be viewed as disruptive projects, but much of the work will take place outside of your house. Jeffery and Wilkes Building Contractors have experience with all kinds of loft conversions, from velux to mansards, to full dormers. They are happy to help with any initial queries and concerns and constantly review their prices. The quote will be competitive with the guarantee of quality craftsmanship, diligence and trust. Throughout the course of the project they will consult, advise and inform. Why not begin your loft conversion project today.
Established in 2001.
Jeffery and Wilkes Building Contractors Ltd was set up by Jon Jeffery & Greg Wilkes back in March 2001. Jon Jeffery was an experienced roofer and Greg Wilkes was an experienced and fully qualified carpenter. They merged together to become loft conversion specialists.
They soon gained a reputation for competitive prices and quality built lofts. As the demand for their services grew, mostly based upon word of mouth recommendations, they gradually expanded with the philosophy that the best and most loyal employees were ones trained as apprentices. Working alongside the Construction Industry Training Board they employed and trained new recruits, who were all molded to their style and way of working. After years of intensive training & education, they now have a fantastic team of employees.
Jeffery and Wilkes Building Contractors Ltd now offer a wide repertoire of trades and services, including plumbing and electricians.
This user has arrived from Qype, a European company acquired by Yelp in 2012. We have integrated the two sites to bring you one great local experience.


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Last Match
Next Match
Video & Audio
- Watch The Analyst: The art of death bowling
- Listen Strong England key to counties - Rho…
- Watch England must 'keep moving forward' -…
- Watch Cook salutes 'almost perfect' England
- Watch The Analyst: How to play a bouncer
- Watch Cook hails 'world class' Broad
- Watch Broad shows off broken nose
- Watch India performance pathetic - Vaughan
- Watch Anderson and the science of swing
- Watch Anderson 'best I've seen' - Cook
- Watch I'll stay until captaincy is untenab…
- Watch Cook's career at risk - Vaughan
- Listen England spin bowling 'dire' - Emburey
- Watch The Analyst: Secrets of spin bowling
- Watch Cook queries India's Anderson motives
- Watch Aggers looks ahead to Test match
- Watch Runs will keep Cook captain - Vaughan
- Listen Do not underestimate India - Jordan
- Listen Cook critics have agenda - Swann
- Watch Cook says England will play tough
Features & Analysis
Resurgent England look a team again
England captain Alastair Cook must be very satisfied with this summer's turnaround, says Jonathan Agnew.
Robson lets golden chance go begging - Agnew
England's opener missed the opportunity to prove he can succeed in Test cricket on the second day at The Oval, says Jonathan Agnew.
Meek India fail to follow Dhoni's lead - Agnew
India's minds look scrambled and their confidence shot as England close in on a series win, says Jonathan Agnew.
Should cricket introduce red and yellow cards?
Is it time for cricket to follow football and rugby by giving umpires the power to send players off?
Moeen makeover at heart of revival - Agnew
Newcomer Moeen Ali has quickly converted himself from part-time spinner to England match-winner, writes Jonathan Agnew.
Anderson and Broad show gulf in class
BBC cricket correspondent Jonathan Agnew on how the England pair produced a 'masterclass of new-ball bowling' at Old Trafford.
How England ended a year of Test misery
Alastair Cook's men were at rock bottom, so how did they end a run of 10 matches and 354 days without a Test win?
England's 'complete performance' rewarded
BBC cricket correspondent Jonathan Agnew reflects on how almost everything went to plan for England in the third Test.
One more hurdle for long-awaited win - Agnew
England have been in strong positions all summer, but the third Test against India is the best yet, says Jonathan Agnew.
Anderson's best effort this season - Agnew
After England's batsmen got back on track in the third Test against India, the bowlers - especially James Anderson - have followed suit, writes Jonathan Agnew.
Encouraging signs in England recovery - Agnew
England's batsmen have had two good days in Southampton, now it's down to the bowlers to back them up, says Jonathan Agnew.
Team by Team
- India humble England to win series
- England v India fourth ODI as it happened
- Moores defends Cook's one-day role
- Uncapped Roy in England T20 squad
- Cook defends England's ODI approach
- India beat England to take 2-0 lead
- England v India: 3rd ODI as it happened
- Hales wants strong Cook partnership
- Swann denies witch hunt against Cook
- Cook on brink of ban after fine
- Indian media: Raina's 'heroic' century
- Cook angry about Swann's criticism


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August 22, 2006
Valdosta - Students at our area's largest college now have some new dining options.
After a four million dollar face-lift, the Palms Dining Center at Valdosta State University re-opened its doors.
The dining hall was closed during a two-month renovation project. Now, it includes new food stations as well as three new eateries, Quizno's Subs, Jazzman's Cafe, and Salsa Rico.
Einstein Brother's Bagels is also available in the Education Center at VSU.
Feedback: firstname.lastname@example.com?subject=VSUCafe/Eakin
P.O. Box 3130
Albany, GA 31706
(229) 446-1010
FCC Public File
(229) 446-4005
EEO Report
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The Greendale Panthers Athletic Booster Club will be hosting its Casino Night fundraiser from 7-11:30 p.m. Saturday, Feb. 16, at Tuckaway Country Club, 6901 W. Drexel Ave.
Proceeds from the event help support 22 Greendale High School organized sports teams.
Over the past six years, the GPABC has contributed more than $350,000 for uniforms, replay camera, a scoreboard, field turf, track, softball and baseball field improvements, weight room equipment, as well as offset costs for the Greendale School District.
Tickets to Casino Night are $40. The cost includes casino script money and hors d'oeuvres. Tickets can be purchased online.
Can't attend but still want to help? Consider becoming an event, dinner or music sponsor or contribute to the raffle and silent auction. Contact Melissa Bychinski at 414-807-8653 or email@example.com.


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Americus-- People in the Woodland Avenue neighborhood got a rude awakening Monday morning. Around 6:30 a house at the end of the street exploded.
Three people including a newborn were injured in the blast. "I just heard a big boom, you know," said Michelle Earl.
Michael and Michelle Earl are selling their home to move to Alaska. But Monday morning, investigators say the pressure in their hot water heater caused it to explode.
Michelle Earl, her infant son and her mother Diana Haywood were inside during the blast.
posted by firstname.lastname@example.com
P.O. Box 3130
Albany, GA 31706
(229) 446-1010
FCC Public File
(229) 446-4005
EEO Report
Closed Captioning


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Change hurts – but is usually for the better…
Sometimes Change hurts – but Sometimes it makes a lot of sense….
Change – something we always have to deal with these days – has always been a challenge for most of us I suspect. Disregarding the myriad emotions and side effects of change that are most times very difficult to calculate and forecast – change is more often than not for the better and drives 'betterment' of an industry, business, organization or person.
While I'm not going to spend time on iphone vs. android and other facets of the mobile business – I will pick out a very specific 'change' to the industry that has been an interesting event to watch. Apples' introduction of the lightening adapter for the newest generations of their devices has been revered, complained about and flamed to pretty deep levels. However, an interesting 'benefit' of the change here is the macro-sized effect that Apple has on the industry and the correction of (from my perspective) a very flawed design point that has lasted the better part of a decade now.
Even before Apple's proprietary connector type (30 pin Doc Connector) – the USB connector was (and still is) the defacto 'open' connector standard. The old style had a keyed mechanism that forced users to insert their connector in a specific way only – leaving the user to guess if the 'logo up', or 'logo down' is the way to connect device.
I never understood why the designers (or as I suspect – perhaps engineers did the design without design/usability specific input) felt that a keyed approach with a visual indicator – that is completely and utterly useless in the dark or without visible reference (think fiddling in your car to plug in your phone) – would be sufficient. I have watched many people jam those poor connectors together (myself included many times) sometimes to ruin their equipment – or minimally swear and curse at the situation.
Granted, perhaps the original team didn't expect their standard to be so ubiquitous worldwide. But then we see the same 'design consideration' (or flaw from my perspective) in the mini-usb connector. Its keyed. It's even smaller. However, the visual keyed approach – making visual representation of up/down – less important helps somewhat. Of course, in the dark or under your desk – you can't tell which is up or down. Still fried gear sometimes when you've really jammed the connector into the socket – I've seen it really!
The new lightening adapter – putting aside cost implications and end user frustration with 'useless' connectors now – fixes one major component of device connectivity – being able to be used up or down – it works.
Simple really. Difficult to do. Success is variable and subject to many external forces.
(Good example of past 'design choices' added up over time – nasty! http://www.cultofmac.com/190779/apple-vs-samsung-a-decade-of-proprietary-connectors-humor/ )
Will Apple be successful? I leave that to others – but I will say that taking the old norms, breaking with tradition and doing 'good change' is something I think most of us strive for on a regular basis. Speaking for myself, I try to approach old problems with updated questions, challenge historic design decisions and re-ask the questions to stakeholders – in the hopes of introducing positive, lasting, valuable and leading change.
Thanks for reading!
NB: Adding to my list of 'stupid things that should work in any orientation' include:
- Parking machines that issue stubs with mag stripes one way, then expect you to insert it a week later at the airport 'the correct' way.
- Credit card readers of all stripes and sizes – I get you need to read the mag stripe – but why not have a reader on both sides?
- Hotel room key systems – does the reader mechanism really cost that much to have on both sides? My math says the reader is less than $0.30 to include – so really? I mean Really?


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WG152 Worx GT 18V NiCad 10" Telescopic Cordless Grass Trimmer & Edger
WG152 Worx GT 18V NiCad 10" Telescopic Cordless Grass Trimmer & Edger
NOTE: This listing is for a BRAND NEW, NEVER USED WORX WG152 WITHOUT Battery and Charger. You will need to provide the battery and charger.
Parts Needed:
WORX WA3709 18V Battery Charger for WG150 WG152 WG250 WG541 WG900 WG901
WORX WA3127 1.5Ah 18 Volt Ni-Cad Battery For WG150/152 WG541 WG250
Product Description
The WORX cordless 18-Volt Ni-Cd 2-in-1 Grass Trimmer/Edger provides a wide range of quick and intuitive adjustments ...
Jul 10 -
Trabuco Canyon - Everything else
Exmark 72"
26Hp gas engine
1500 Hours
Mulching Deck
Hydraustatic Drive
This ad was posted with the eBay Classifieds mobile app.
Aug 3 -
Los Angeles :
Santa Paula - Business & industrial
Exmark Lazer 48
Gas 25Hp
Hydrostatic Drive
This mower is in excellent condition and ready to work!!!!
This ad was posted with the eBay Classifieds mobile app.
Jul 28 -
Los Angeles :
Santa Paula - Business & industrial
Brand new Echo CS-341 16" Chain saws, 15% off Cash Sale
MSRP: $339.99 + tax
CASH: $288.99 + tax
Lomita Mower & Saw Shop
2344 Lomita Blvd.
Lomita, CA 90717
chainsaw chainsaws chain saw chain saws husky husqvarna stihl redmax dolmar shindaiwa echo efco craftsman jonsered poulan ryobi tanaka tree trimming services arborist arborists outdoor power equipment
Jul 18 -
Los Angeles :
Lomita - Farm equipment
Brand new in the box
Call for pricing and availability on the quietest Honda Generators, EU Series
Lomita Mower & Saw Shop
2344 Lomita Blvd.
Lomita, CA 90717
honda generators honda generator inverter inverters eu1000i eu2000i eu3000is eu3000i handi eu6500is eu 2000i camouflage camo eu2000i companion super quiet whisper quietest silent generator generac briggs and stratton briggs & stratton yamaha kohler honeywell dewalt kipor
Jul 18 -
Los Angeles :
Lomita - Sporting goods
Friends are getting ready for a big move & I'm helping them sell their stuff.
Selling a LARGE Rubbermaid Slide Lid Storage shed. Perfect for lawn mowers, bikes, wheelbarrows, etc etc.....see pix
It's already disassembled & ready for pickup. It's in great condition & will br useful for MANY MANY MANY more years to come!
Delivery could also be arranged.
Printed assembly instructions will also be included.
Best way to reach me is by text.
I've included pictures of similar models & the current price ...
Jul 15 -
San Diego :
San Diego - Everything else
We'll be sending text message alerts for your subscription to


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|Home > Wilson High School Wilson, OK lahoma Activity > Golf
Wilson HS Golf
Each of the alumni below were a part of Golf while they attended Wilson . Register if you would like to be listed below.
|Add yourself to the Wilson Golf activity list
View other Wilson High Activities


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Ham and Gruyere Mini Turnovers
The ham and cheese filling is wrapped in flaky, golden phyllo dough for these savory appetizers.
Yield: 18 turnovers Prep 35 mins Start to Finish 55 mins
- 1 cup (3 ounces) grated Gruyere
- 4 ounces cooked ham, cut into 1/4-inch dice
- 3 tablespoons half-and-half
- 1 1/2 teaspoons dried sage
- pinch freshly ground pepper
- Flour, for work surface
- 1 17 1/4ounce box frozen puff pastry, thawed
- 1 large egg, beaten
- Whole-grain Dijon mustard, for serving (optional)
1. Heat oven to 400 degrees F. In a bowl, stir together cheese, ham, half-and-half, sage and pepper. On a lightly floured surface, roll out 1 pastry sheet to a 12-inch square; cut into 9 squares. Working with one square at a time, brush edges with egg and place 1 tbsp. filling in center. Fold together opposite corners of square, forming a triangle, and press together edges to seal; decorate with tines of a fork. Transfer to a baking sheet, brush with egg and prick top of each once with a fork. Repeat with remaining pastry sheet, filling and egg.
2. Bake 5 min. Reduce heat to 375 degrees F and bake until puffed and golden brown, about 15 minutes more. Serve warm with mustard (if using). Makes 18 turnovers.
Nutrition Facts
- cal.(kcal)190,
- Fat, total(g)13,
- chol.(mg)21,
- sat. fat(g)4,
- carb.(g)13,
- pro.(g)5,
- sodium(mg)251,
- Percent Daily Values are based on a 2,000 calorie diet


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City crews
responded Monday to a minor sewage spill at 2021 West Lake Ave.
A 6-inch PVC
Lift Station force main split, spilling an estimated 1,260 gallons of sewage
into a drainage ditch at the east dead end of West Lake Avenue, according to
the city.
The main was
reported and the area was cleaned. City Water and Sewer crews were notified about
the spill at 7:42 a.m. and it was stopped at 8:34 a.m.
ditch drains to a storm retention basin on the south side of Interstate
516. Notifications about the spill were posted around the storm retention
pond. The sewage in the drainage ditch was contained using sand bags and a
City jet-vac trucks removed sewage, according to the city. A
by-pass pump took the contaminated water out of the drainage ditch and put it
into the City Sanitary Sewer Collection system, according to the city.
spill is classified as a minor under Georgia Environmental Protection Division.
Bacteriological sampling was conducted to verify the extent of the spill and
all agencies were notified.
Copyright 2012 WTOC. All rights reserved.
PO Box 8086
Savannah, GA 31412
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text: 2 Jan 2014 THE SCOPE As part of an ongoing series, CR's official astrologist, Dominique Monjanel, is on call with her insightful, daily horoscope readings. Pisces, here's your first horoscope reading of 2014! Above: Our pre-fall, back-to-work story photographed by Hans Neumann January 2, 2014: Pisces "Add some complicity to your relationships at work and in your personal life—you will win."—Dominique Monjanel Facebook Twitter Pintrest