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Greetings hydrangea geniuses! Hydrangeas have been my favorite flower for years, but I have only begun to grow them myself since we bought a house last year (my husband bought me an Annabell, a Little Lime, and an Endless Summer when we closed on the house, and all are looking great so far :) Anyway, my question is about the hydrangeas that appeared at my local Costco. They are large and healthy-looking with those alluring blue and green blossoms...and of course the big box price of $15 is very tempting. They are marked "annual, enjoy indoors." But I have never heard of an annual hydrangea! They were grown locally, though certainly greenhoused...is marking them "annual" just a way of warning that they aren't woody shrubs ready to be planted out in the chilly springtime? If I were to keep them indoors until the weather warms up, could I eventually plant them out as a perennial? Or are these truly once and dones? |
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Not exactly "once only" but the industry considers them as disposable. Those non-reblooming hydrangeas are made to be stored indoors just for a little while (a few weeks let's say, while blooming) and then the plant is to be thrown away in the trash. They probably cannot withstand very cold temperatures as other named varieties do. They m-a-y do well outside in warm zones like where you live... Zone 7. The problem is that WHO KNOWS for sure???? So try if you want but remember that the color may change if the potting mix pH differs from your soil pH. No idea if they will be more susceptible to problems like powdery mildew but one can hope they do not. You can definitely try planting them into the ground and see if they can tolerate your winters and still bloom. In a typical year, they will produce invisible flower buds in July-August and these will open and bloom the following Spring. I have not bought one but have seen them. Not sure how long the bloomage will last. On the first year, the blooms may be old by the time you buy the plants and will soon commence the progression of color changes that hydrangea blooms normally go thru. These will end in brownish looking blooms. At that time, you can plant them (technically, you could bring them out any time if is not too cold or too warm). |
Thanks! I figure I should approach it as a nice big spring bouquet that may have a little side bonus of sticking around. I think I'm just hungry for those beautiful blooms...the $15 would probably go farther if I put it toward a nice nursery plant. Early Spring is such a test of self-discipline, eh? |
I hear you. This year, my Spring started around mid-January for my early blooming shrubs. However, my mid-season camellias started blooming in late Feb and are now finishing their bloomage. Weird year all right!!! |
I purchased one of these types of hydrangeas last spring. See my recent post on Easter Hydrangea. |
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Nappy headed hoes
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April 28th, 2007, 11:25
Now, on to JDR13…
Here we go again… Hmmmm, last I checked, Imus didn't work for Jesse and Al. He worked for MSNBC and CBS. They fired him. And from all reports I read, it wasn't because the boards got together and said, "hey, ya know what? that Jesse and that Al guy are right. Let's fire him!". It was because they were receiving pressure from advertisers, their own staff, and other figures with power. If you're claiming that all these people didn't know what to think about the subject until Al and Jesse told them, you're operating in a different reality than me.
I guess we are in different realities then, because Imus wasn't fired until CBS President and Chief Executive Officer Leslie Moonves met with Sharpton and Jackson shortly before the announcement was made, not to mention the fact that they were the most prominent people who openly campaigned for his firing.
Do you have proof that Al and Jesse approve of these terms when used by
rappers? Hmmm? Didn't think so. In fact, I do believe (not 100% sure) they've made several speeches asking black performers to clean up their act and avoid being so derogatory to women and blacks.[/
That's nice, but did they go so far as to say they would picket the studios where those people worked, like they did to Imus? Hmmm? Didn't think so.
In fact, they never said anything about rappers until after they were widely criticized for not having done so after making such a big deal about Imus's remarks.
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Leave it to Brooklyn to take a YouTube sensation and turn it into a fitness craze. If you haven't seen the daring stunts known as Parkour, or free running, you should check them out, and then go to Bklyn Beast to learn how to do them yourself. Bklyn Beast offers fitness classes incorporating Parkour, Capoeira, and Dance at their new facility, which includes a trampoline, foam pit, and juice bar. So even if you're not out to impress your friends by jumping off buildings, you can still have what is probably one of the most fun workouts ever. Prices vary by class, drop-in Parkour class is $18.
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- Proposed: Make Memoranda Decisions Available Online and Allow Them to be Cited as Persuasive Authority
Arizona Attorney, June 2006 - The "Secret" History of Memoranda Decisions
Arizona Attorney, June 2006 - Preserving the Record On Appeal
Arizona Attorney, March 2004 - Considering Your Alternatives: Obtaining a Stay Pending Appeal with Alternative Security
The Appellate Advocate, No. 2 at 9, 2010 - Four Easy Ways to Lose Your Ninth Circuit Appeal During Trial
Arizona Attorney, December, 2011 - Video: Osborn Maledon's Thomas Hudson on Supreme Court Health Care Ruling
ABC 15 News, June 28, 2012 - The Arizona Supreme Court Petition for Review: Art, Science and More
Arizona Attorney, November 2012
Criminal Defense
- Opinion: What Did Jeffrey Landrigan's Execution Teach Us About Respect?
Maricopa Lawyer, November 6, 2010 - Protecting Moscow from the Soviets -- Book Review
Experience, 2009 - Napolitano will Defend State Death Penalty Law before Supreme Court
The Arizona Republic, April 21, 2002 - Why Should You Oppose the Death Penalty?
The Arizona Republic, April 15, 2011 - Innocent Until Interrogated
Law Journal for Social Justice, May 2, 2011 - John Sears, John J. Flynn Lifetime Achievement Award 2011
The Defender, April 21, 2011 - Capital Case Crisis in Maricopa County, Arizona: A response from the Defense
Judicature, March / April 2012 - Sentence Must be Fair: Death-Penalty Defendants Need Competent Attorneys
The Arizona Republic, May 12, 2012 - Civil Discovery Standards Influence New Criminal Guidelines
Pretrial Practice & Discovery, 0:4© by the American Bar Association, Summer 2012 - Deferred Prosecution Agreements in the Financial services Industry: Trends and Tips
The Champion, June 2013
Real Estate
- Osborn Maledon Real Estate Memoranda
Osborn Maledon Real Estate Memoranda, 01/01/2003


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David Mills on dwarves, tatooed ladies, & fire eaters
David Mills, a former Post scribe and award-winning writer for shows such as "Homicide: Life on the Streets" and "The Wire" died Tuesday. He was only 48 but left behind an incredible body of work, not only as a frequent collaborator with his old friend David SImon, but also in print, as I discovered yesterday, rummaging through the Post's archives.
Read this story by Mills from 1991 about sideshow performers, presented here in its entirety. Enjoy.
The Disappearing Act;Once Carnival Staples, Fire Eaters and Tattooed Ladies Are a Vanishing Breed
David Mills, Washington Post Staff Writer
LEWISBURG, W.Va.--Little Pete, the fire-eating dwarf, is sitting on a patio chair, a groggy python draped across his lap. A painted soup can -- for the gasoline -- rests behind him, two wands sticking out. But now is not the time to eat fire. Not with the sun posted high over the West Virginia State Fair. The fire eating you save for twilight.
Besides, this is enough -- a sprawling snake and a stumpy man -- to draw attention. People interrupt their strides, approach the platform. They stand and stare. Or they point. Some smile and wave at Little Pete.
"Does that thing bite?" a wide-eyed teenage girl wants to know. "Sometimes," Pete says, his voice a quiet rasp amid the clatter and roar of thrill rides. His sweet grin rests upon a large, jutting jaw. Across his knotty fingers, the python is slowly squirming, flicking its tongue.
"That's the baby snake. The big ones are inside," Buck Campbell announces in a husky singsong. "One dollar! Today only, half price! Let's go! Awright!" He's the ticket man. And behind him, a long, long tent.
And under that, the sideshow. Or what's left of it.
Sitting with Little Pete up on the bally is a woman, her body concealed by a huge flowery sheet, her head a mystery in a crimson sack. In the great old days of the sideshow, this would have been the best, most shocking freak. Someone like Priscilla, the Monkey Girl. Standing there, covered up.And there'd be a talker, a master of gruesome seduction. "I would like to call your particular attention to the person you see standing here, heavily veiled from your sight. Ladies and gentlemen, you are viewing possibly the strangest living human being in the entire world today." And the people -- the marks -- would gather under his voice. "To show you just a sample of what I'm talking about, I'm going to ask her to expose her leg to you at this time, so you can see the long black hair that grows from her body. ..." Soon the marks would be handing over their money, eagerly, and stepping under the tent to see the human oddity unveiled.
There's nothing bizarre about the covered-up woman here, unless you count a recent gallbladder operation, and you can't exactly draw a crowd talking about that. No, she's the ticket man's wife, and she's just here as an eye-grabber. And as a faint tribute to a dead tradition.
There's not even a talker. Just a continuous tape loop, a thin, tin voice. "See lifelike facsimiles of famous freaks! Laloo, the Double-Bodied Man! The Mandarin of China with double eyes! The Pig-Faced Man and the Mule-Faced Woman! ..." The sign says "World's Largest Freak Museum." But what you find are shabby mannequins in glass cases, their clothes dirty, their heads cracked.
A world is gone. Just old people's memories now.
It is comforting to believe that America simply outgrew the sideshow, that our sensitivity conquered our curiosity, that we are somehow better than we used to be. Or at least that our impulse to gawk at strange people is now being satisfied by television talk shows. And we can tell ourselves that medical science is making genetic anomalies a thing of the past, that "freaks" are a dying breed.
That's part of it. But some in the sideshow business say they are victims mainly of carnival economics. The "big metal," the fast rides, that's what the modern carnival is about. Over the years, as carnivals acquired more and more rides, space on fairgrounds became increasingly expensive for sideshow operators to rent. Eventually it became impossible to afford the 20, 25 people it takes to mount a big, old-fashioned sideshow. (This one is now at the Clarke County Fair in Berryville, Va., 60 miles west of Washington, through tomorrow.)
So what you are about to see here, ladies and gentlemen, is a rare sight indeed, one of the last traveling sideshows in America today. It might amuse you. It might amaze you. Yes, it might even disturb you. But come, come, witness it with your own eyes. For tomorrow it too may vanish.
Under the Tent The loudspeaker comes alive at the far end of the red and blue tarpaulin tent. "Before we start, why don't y'all come down this way in front of the stage here, we'll try and entertain you." Time for the live show. "We don't bite. We've had our shots. Come on down."
On a cluttered stage, a 40-year-old guy in a black T-shirt is beckoning. It's John Stuart, a man with hitchhiker eyes and orange hair sweeping back like flames. He begins to pace and lecture. "I'm going to give you people a very small demonstration of what the powers of the mind can do... ."
The air hangs hot and moist in here. Two electric fans are onstage, one beside Stuart's empty folding chair, the other in front of a stout, elderly woman who's still sitting, her bifocals never lifting from the needlework in her lap. Blue-green tattoos cover her bare arms and legs.
"What I'm going to be doing up here on this stage has been done for many thousands of years by Hindu fakirs and other masters of yoga," Stuart says dryly. "It is what we call here in America in the entertainment industry -- the human blockhead.
"In other words, I'm gonna take this nail ..." His fingers twirl a frightening spike. "This particular nail is a 40-penny barn nail. It's about five inches in length. It's almost a quarter-inch in diameter." About 50 people are looking at him now. "I'm going to drive it into the center of my head."
Girlfriends look up at boyfriends, smiling.
Stuart hands the nail down to an onlooker for inspection. It is an actual nail. He takes it back, places the point inside his right nostril. "Watch." Then he starts tapping it with the microphone. Tap tap tap tap tap. The nail disappears into his face until only its head is visible.
Children's mouths hang open. A woman lifts a dainty hand. Some heads turn away.
Stuart continues his deadpan lecture until it's time to pull the nail out. Then he picks up a Phillips screwdriver. "The carnies out there, they think I have a screw loose," he says. So he pushes the screwdriver straight into his sinus. "It does go in by hand, by the way. You really don't need a hammer, or in this case a microphone, to drive it in." Half smirking, he taps the plastic handle sticking from his nose. "But it does create a real nice sound effect, doesn't it?"
When Stuart sits down, the 77-year-old woman puts down her yarn and rises wearily.
"Ladies, gentlemen and children, I am Lorett, the Tattooed Lady. Upon my arms I have 106 roses. On my chest, the American eagle. On my stomach, a three-masted schooner." A thousand times she must have said these exact words, exactly this way. Flat. Staring out at nothing. "And on my legs I have snakes of various sizes and shapes. On the left knee I have the face of Genghis Khan, and on the right knee a Chinese pirate girl. Below her the peacock, and below him, from India, the hooded cobra. ... "
When she's through, Stuart stands again to lecture on the ancient art of sword swallowing. He lowers long steel blades deep into his esophagus. "The fastest way to get iron into your system," he says, wiping one sword dry with a dirty dishrag.
"Wow, that was unreal!" says Richard McMillion of Quinwood, W.Va., leaving the tent, shaking his head and grinning, spitting tobacco juice. "How in the world could he do that? Hard to believe, I swear."
Ten minutes later, Stuart has drawn a fresh bunch of folks toward the stage. "I'm going to give you people a very small demonstration of what the powers of the mind can do... ."
What Once Was The "10-in-one" sideshow -- 10 attractions, one price -- was a unique feature of the 20th-century American carnival. You'd see not only human oddities but "working acts" -- sword swallowers, contortionists, human pincushions, fire manipulators.
Only a few 10-in-one-style shows remain on the carnival circuit, and one of them belongs to Ward Hall. Featuring John Stuart, Lorett Fulkerson and Pete Terhurne, Hall's show is a shadow of its former self.
Until a few weeks ago, the troupe included a fat man, a 700-pounder billed as Howard Huge. But the heat was too much for him, so he went home. (Maybe that's just as well. "You wouldn't have wanted to see our fat man," confides one person with the show. "He was filthy. He would never wash.")
The show also featured a cute little dog, a Chinese crested hairless named Pinky. It would sit on stage with Lorett, and stand when she stood, turn when she turned. Unfortunately, before the season began, Pinky apparently got hold of a poisoned rat at Hall's home in suburban Tampa, Fla., and died.
As recently as 1986, things were different. Hall had Dick Brisben, the Penguin Boy, whose feet grew out of his hips. He had Dolly Reagen, the Ossified Girl, "the woman turning into stone." He had Little Pete and Lorett. He had a fat man and a bearded lady.
The last stop that season was the Texas State Fair in Dallas, and Hall says 80,000 people saw his sideshow over 17 days. Then Brisben and Reagen retired, and Hall decided to merge his separate touring freak museum with the remainder of his 10-in-one. "My people got old," Hall says by phone from his home. "And I didn't take the effort to go out and find new ones because I'm getting old too."
Hall, 61, has been in the sideshow business for 40 years. In the 1940s, by his estimate, there were a hundred 10-in-ones traveling North America. "Every circus had one," he says, "and just about every carnival."
And at the big carnivals, the sideshow would be just one of many live shows. "They would have performing midget troupes, big girl revues and posing shows, all-black revues, motorcycle thrill shows, big magic shows, trained animal shows," Hall says. "Where now we have one fat person in the sideshow, back in those days they would have a separate show with maybe five or six fat people who would perform."
In the '50s, he says, American carnival owners began investing in more sophisticated European thrill rides. They discovered it was cheaper to put a down payment on ride equipment than to produce an elaborate show. Besides, the independent show operators used to keep 60 percent of their gross; with rides, the carnival owners kept 100 percent. "It was just a matter of economics," Hall says. More and more rides. Fewer and fewer shows.
But Doc Swan of Palmyra, N.J., who runs a traveling two-person "vaudeville circus," thinks changing public tastes had a lot to do with the demise of the 10-in-one. "A lot of people just don't think the exhibition of human oddities, to be gawked at by the curious and laughed at by the merciless -- that just conjures up images of, 'Oh, I wouldn't want to see that. Why would I want to see a guy with no arms and legs?'
"The world has changed to try to give these people their rightful place in a normal life," he says.
Swan, 36, got started as a teenager in a Ward Hall 10-in-one. Now he does a "family-oriented" presentation of fire-eating, escape artistry and magic. Tongue-in-cheek, harmless. Although he knows how to swallow swords and do the nail-in-the-head, Swan says even those acts are too intense for modern sensitivities. "If I go to a fair and they find out I'm doing blockhead and sword-swallowing and the needle-through-the-arm," he says, "there's no way I'm getting on that fair lot."
Attractions "It was -- " the girls say together, then giggle. "It was bizarre," says 15-year-old Lisa Burford of South Charleston, W.Va. "It was amazing, though."
"I don't know how he got it down his throat," chirps her friend Laura Harvey, 16.
"I think it would be neat to be a tattooed lady, though," Burford says.
Around midafternoon, things slow down under the sideshow tent. So John Stuart is sitting on stage sucking chicken wings. In a 14-hour workday, you take your nourishment when you can.
After returning from Vietnam in 1967, Stuart says, he was taught to swallow swords by a performing "hermaphrodite" (actually a transsexual). Since then, he has been an all-purpose carny, working the games, working the illusion shows, working the rides. But he prides himself on his mastery of the "yoga torture acts" -- "that's sword swallowing, fire eating, fire and glass dancing, hot-coal dancing, bed of nails, bed of spikes and daggers, the human blockhead and the pincushion. And they just don't pay to do it anymore. I just do two acts." (The low-end salary for a sideshow performer, according to Ward Hall, is $ 500 a week.)
"I don't know whether it would be worth it for me to go as a single-o, and do five acts in one," Stuart says, wearing down a cigarette. "The thing is, you do exert an awful lot of energy doing what I do. And I couldn't be doing this every 15 minutes constantly, you know, all five acts. Two acts, eh, nothing to it. Blockhead, once you learn how to do something like that, it does become automatic. But when you start doing the pincushion, fire and glass dancing, at night you'll be spending hours picking glass out of your feet. You're not bleeding or nothing, because you can control mentally your blood flow. Same thing with the pincushion. But every once in a while you will hit a main vein or a main artery and you will bleed, but not a whole lot. But it does run you down."
Mentally control his blood flow, huh? Even after you've seen him stick a screwdriver into his nose and deep-throat a broadsword, something about Stuart's squinty eyes, as friendly as he is, makes you wonder about him. Did he really use his skills as a sideshow "human ostrich" to win bar bets by eating shot glasses? Did he really eat light bulbs, tacks, razor blades and old 78 records onstage? ("I can literally shut my digestive system down and let the stomach acid work on it.") Did Cass Elliott really tutor him in a Philadelphia orphanage?
Lorett Fulkerson tells a simpler tale, and she tells it with a feisty charm. She grew up in Kansas. Got married and divorced as a teenager. One day, the carnival came through her town. "I said, 'I think I'll run off and join this thing.' [My ex-husband] said, 'You won't be gone a week till you'll be writing me for money to come home on.' Been gone 60 years and I ain't wrote him yet."
She started out in a girl revue. "Dancin'. Strippin'," she says. "Whatever they told you to do, you did. As long as it wasn't you-know-what."
After her first season on the road she decided to get herself covered in vegetable-dye tattoos. She can't say why. "Something to do. Something to do."
There was a cost to being a self-created curiosity. "You couldn't get a job when you went home in the wintertime," Fulkerson says. "They looked down their nose at you. Now, it's an up-and-coming thing. You'd be surprised.
"You look at the girls coming in here. They got one here, they got one there, they got one down there. And they all say, 'You want to see my tattoo?' 'No, I don't want to see your tattoo. I see mine every day.' " She's not kidding. "You know, they don't think. They don't seem to think that you're tired of looking at tattoos. Because I see 'em every day of the year. Every hour of the day that I'm awake, I see 'em. Why should I want to look at yours? Does it make sense?"
A Love Story Show manager Bob Fulkerson, in a trailer behind the tent, has just counted the previous day's front-door gross, one dollar bill at a time. About $ 3,000. Not a lot when you consider that the rent for a show this size can get up into five figures. (Most carnivals don't take a percentage anymore.)
"We are surviving," says Fulkerson, his bulky body settled into this dim space. At first, Fulkerson tried a $ 2 adult ticket price here. Nobody would pay it.
At 68, Fulkerson remembers the glory days of the American carnival. He came out of the service after World War II with a severe drinking problem, he says. "I was in Chicago, on skid row. A man came up and he said, 'You look like you're sober. Would you like to do a little work tonight?' I said, 'Yes, I would. I'm running out of drinking money.'
"He took me out to a carnival, and he put me to work on the big Tilt-a-Whirl." Soon, he was the full-time "Tilt man" for a small carnival that traveled West Virginia, and he had cut way down on his drinking. With a first man and a second man, plus four or five others on tear-down night, Fulkerson would take the ride apart, load it onto a truck, drive it to the next spot, then put it together again.
"One night, I had just finished the Tilt and I was sitting down on the steps. And here's this gal over there by the Ferris wheel." He points out the back of his trailer, toward the red-and-blue tent, toward Lorett. "We met, we fell in love, we got married. Whatever I am today, I owe to that girl. She fought for me. You know, a drunk -- I don't think there's any willpower. There's spiritual power. She taught me some spiritual power about God, Christ."
She also talked him into giving up his beloved Tilt-a-Whirl during the late '50s. "Lorett said, 'Now honey, there's an easier way to do this.' She suggested that maybe I might want to change. I said, 'Absolutely not. I'm happy with my Tilt.' She says, 'You won't be 10 years from now when you ache in every bone in your body.' I gave in," Fulkerson says. "We went to a sideshow. And I found I was a perfect fit." Within a few years, the Fulkersons were running their own 10-in-one.
Even a heart attack and stroke in 1976 couldn't keep Bob Fulkerson off the road for long. "My doctor told my wife, 'If you don't get him back with the people that he loves in life, we're going to lose him.' "
Now Lorett says this is going to be her last season performing. "I'm tired," she says in front of her fan. She had knee surgery two years ago; the scar cuts right down the face of Genghis Khan. "Wait till I get home [to Louisiana]. I'm gonna stay home and I'll work my buns off in my garden."
"Oh, we've been saying that for 10 years," says the man in the trailer. "I don't think the day will come in our lives that we will stay at home. I love my home, I'm comfortable with it. But after Christmas, in January, I get my atlas, I call Ward. 'What've we got cookin'?' And he'll say, 'Well, we're definitely here, here and here.' The next thing I know, I've got the whole scheme laid out, mileage, estimated cost to produce, and I'm ready to go.
"Lorett wants to quit. Of course," Fulkerson says. "I can understand that. I do too. I'm tired. But come February, somewhere we find a hidden strength" -- he laughs -- "to go on."
Sunset When the western sky becomes a purple wall behind the great flashing spokes of the Ferris wheel, and the air turns cool, Little Pete waves two torches in the air. He tilts back his head, lowers one flame onto his outstretched tongue, closes his mouth around it, snuffs it.
Pete Terhurne is hearing-impaired, doesn't say much. In 1954, when the carnival came through his home town of Breckenridge, Minn., Terhurne approached Ward Hall about work. "He told me, 'We'd be glad to have you.' And I've been with him ever since," Terhurne says.
Years later, Terhurne and a man known as "Sealo, the Seal Boy" (his hands grew out of his shoulders) were listed as plaintiffs when Hall challenged a Florida law against the commercial exhibition of "any crippled or physically distorted, malformed or disfigured person."
In 1972, the Florida Supreme Court struck down that law as unconstitutional.
"Such exhibitions," the state had argued, "tend to generate the public concept of physically handicapped and deformed persons as freaks. Such a concept is morally intolerable in light of its impact upon those handicapped and deformed persons who do not care to be looked upon as carnival acts." But the court agreed with Hall that "individuals in this unfortunate condition" could not be barred from making an honest living.
Despite carnival economics, Hall is convinced that "today would be a golden time for a big sideshow." For the exhibition of unusual human beings? "Oh yes," he says. "Recently I saw a 'Donahue' show that featured all fat people. I saw an 'Oprah Winfrey Show' that had three sets of Siamese twins," he says. "And people keep turning back to Oprah and Donahue hoping they're going to see something else strange."
If only he were a younger man, with the energy to round up some new attractions. "I'm sure there's a lot of people out there today who would like to be in this business," says Hall. "But they don't know how to get in touch with us."
Annys Shin
| April 1, 2010; 8:50 AM ET
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Experience Hendrix LLC and Legacy Recordings have announced the release of People, Hell & Angels, a new Jimi Hendrix album featuring 12 complete, previously unreleased studio recordings. The album will be released March 5, 2013.
People, Hell & Angels showcases Hendrix working outside of the original Jimi Hendrix Experience trio. Beginning in 1968, Hendrix grew restless, eager to develop new material with old friends and new ensembles.
The album's 12 tracks encompass many of the elements — horns, keyboards, percussion and second guitar — Hendrix wanted to incorporate in his new music. The album features guest appearances by the Buffalo Springfield's Stephen Stills, drummer Buddy Miles, Billy Cox and others (See the track-by-track breakdown below).
The album is co-produced by Janie Hendrix, Eddie Kramer and John McDermott.
Hendrix, who would have turned 70 today (November 27), developed a unique rapport with Kramer, who engineered every album issued by the guitarist in his lifetime and recorded the Woodstock festival in August 1969.
The dozen previously unreleased Jimi Hendrix performances premiering on People, Hell & Angels include "Earth Blues," "Somewhere," "Hear My Train A Comin'," "Bleeding Heart," "Baby Let Me Move You," "Izabella," "Easy Blues," "Crash Landing," "Inside Out," "Hey Gypsy Boy," "Mojo Man" and "Villanova Junction Blues."
A musical companion piece and successor to 2010's Valleys Of Neptune, the new album offers new clues as to the direction Hendrix was considering for First Rays of the New Rising Sun, his planned double-album sequel to 1968's Electric Ladyland.
"We're thrilled to be able to release People, Hell & Angels during the celebration of the 70th anniversary of my brother's birth," said Janie L. Hendrix, president/CEO of Experience Hendrix LLC. "The brilliance of the album serves to underscore what we've known all along: that there has never been and never will be a musical force equal to his and that we cherish and take inspiration of what he left us both now and for many generations to come, simply eternity."
People, Hell & Angels, Track by Track
"Earth Blues":
Totally unlike the version first issued as part of Rainbow Bridge in 1971, this December 19, 1969, master take features just Hendrix, Billy Cox and Buddy Miles playing stripped-down funk at its very origin.
This newly discovered gem was recorded in March 1968 and features Buddy Miles on drums and Stephen Stills on bass. It's entirely different from any previous version fans have ever heard.
"Hear My Train A Comin'":
This superb recording was drawn from Hendrix's first-ever recording session with Billy Cox and Buddy Miles — the powerhouse rhythm section with whom he would later record the groundbreaking album Band of Gypsys. Hendrix shared a deep love for the blues with Cox and Miles. Both musicians understood Hendrix's desire to create what he described as a "new type of blues." Hendrix's menacing lead guitar is the centerpiece of this dramatic addition to his remarkable legacy.
"Bleeding Heart":
This Elmore James masterwork had long been a favorite of Hendrix's. He had performed the song earlier that year with the Experience in concert at the Royal Albert Hall and had attempted to capture the song in New York studio sessions during the weeks that followed. Recorded at the same May 1969 session as "Hear My Train A Coming," the track conveys Hendrix's firm understanding of the arrangement and tempo he desired. Before they began, Hendrix instructed Cox and Miles that he wanted to establish a totally different beat than the standard arrangement. He then kicked off this amazing rendition that was nothing like any other he had ever attempted.
"Let Me Move You":
In March 1969, Hendrix reached back to another old friend, saxophonist Lonnie Youngblood. Before he was discovered by Chas Chandler in the summer of 1966, Jimi had contributed guitar as a nondescript studio sideman for Youngblood and such infectious rhythm and blues styled singles such as "Soul Food." This March 1969 session features Hendrix and Youngblood trading licks throughout this never before heard, high velocity rock and soul classic.
In the aftermath of the Woodstock festival, Hendrix gathered his new ensemble, Gypsy Sun & Rainbows, at the Hit Factory in August 1969 with engineer Eddie Kramer. "Izabella" had been one of the new songs the guitarist introduced at the Woodstock festival and Jimi was eager to perfect a studio version. This new version is markedly different from the Band Of Gypsys 45 rpm single master issued by Reprise Records in 1970 and features Larry Lee, Hendrix's old friend from the famed rhythm & blues 'chitin' circuit', on rhythm guitar.
"Easy Blues":
An edited extract of this gorgeous, free flowing instrumental was briefly issued as part of the long-out-of-print 1981 album Nine To The Universe. Now nearly twice as long, the track offers fans the opportunity to enjoy the dramatic interplay between Hendrix, second guitarist Larry Lee, Cox and drummer Mitch Mitchell.
"Crash Landing":
Perhaps known as the title song for the controversial 1975 album that featured Hendrix master recordings posthumously overdubbed by session musicians, this April 1969 original recording has never been heard before. Hendrix is joined here by Cox and drummer Rocky Isaac of the Cherry People to record this thinly veiled warning to his girlfriend, Devon Wilson.
"Inside Out":
Hendrix was fascinated by the rhythm pattern that would ultimately take form as "Ezy Ryder." Joined here by Mitch Mitchell, Hendrix recorded all of the bass and guitar parts for this fascinating song — including a dramatic lead guitar part amplified through a Leslie speaker.
"Hey Gypsy Boy":
The roots of Hendrix's majestic "Hey Baby (New Rising Sun)" trace themselves to this March 1969 recording. Unlike the posthumously overdubbed version briefly issued as part of Midnight Lightning in 1975, this is original recording that features Hendrix joined by Buddy Miles.
"Mojo Man":
Hendrix would lend a hand to Albert & Arthur Allen, the vocalists known as the Ghetto Fighters, whom he had befriended in Harlem long before he achieved fame with the Experience. When the two recorded this inspired, previously unreleased master at the legendary Fame Studios in Muscle Shoals, Alabama they took it back to Hendrix at Electric Lady Studios. Hendrix knew just what to do to elevate the recording beyond contemporary R&B to the new hybrid of rock, rhythm and blues he was celebrated for.
"Villanova Junction Blues":
Long before his famous performance of this song at Woodstock, Hendrix recorded this studio version with Cox and Miles at the same May 1969 session that yielded "Hear My Train A Comin'" and "Bleeding Heart" also featured on this album. Never fully finished, the song stands as an example of the fertile ideas he hoped to harness and bring to fruition.
For more information about the album (including a preview video), visit Hendrix's official website.
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Emotional Reactions to Games
- By
- 31 May, 2010
- 17 Comments
Hey guys and gals, I'm going to be writing a post for you today! The topic is 'Emotional Reactions to Games', I will talk about my feelings on games that get you involved about specific characters, and how that affects people.
When I play the singleplay story of videogames today, I don't want shit like Modern Warfare 2, or most other games out there. Even Halo 3. I want to feel connected to the story, drawn in, and feel saddened by the loss of a character, like in a book. Too often do games have throwaway stories, and they learn nothing from their rivals. At the very least, I want to feel sad or regret upon killing something.
The last time I was actually sad in a game was in playing Fable 2. I had sided with the evil cult because of the advantages of doing so, but then I was sent away for awhile. I came back to a town ravaged by the same cult I joined, and the very air was darker in the village; gloomy. I strongly regretted my actions, and remembered the names of several of the villagers I had interacted with most often. They, too, seemed gloomier. I had brought this upon the people. This is the emotional reaction I want — I want a game to be evocative.
Another instance of an emotional reaction in a game was playing GTA4 — yes GTA4, it has feelings, too — and several times I was faced with decisions of execution. These people I weren't actually attached to, but in their final hour I actually stopped and thought. I thought of what I'd been told they'd done, and what part of that I thought was true. I shot Playboy-X because he hung his mentor out to dry. I killed several meaningless druglords. I saved Ivan, though, because he was against the menace I was forced to work for, and every act of rebellion I could pull off was strived for. Most of the characters in that game I didn't care about, but these decisions made me stop and think. That's what makes an even weakly compelling story: moments where you have to stop and think, where there's no immediately obvious gain either way and it's a completely moral decision.
Another way, I feel, to achieve a more evocative game and make people take more stock in their actions, is to add children to games. If there were children in GTA, I'd be a lot less likely to shoot anybody who said anything negative to me on the streets. Especially if each kid felt unique, as in there was an extreme variety in the character models and speech options to each action, and if they acted scared more wretchedly than the adults. I know I'd feel sad, ashamed, and regretful if I killed a young kid that was tripping, scrambling, screaming in his or her attempt to just get away from me.
To address you now, I'd like to ask: do you want more evocative and compelling singleplayer campaigns in games, or the throwaway crap that's been all that's being developed the past years especially? Would you also like to see similar things carried over into the multiplayer?
Thanks for reading!, in case you were wondering who this new guys is; I'm Tim, owner and founder of Fynmark.org (known before fall of 2008 as Finmark with an "I"). I've known Sean here for awhile, and helped him out a little bit with his forum that he used to own. We knew each other from Droidz (a little known and low community count pivot website). But that's enough of our personal affairs.
I might be making some more guest posts here soon, so hopefully I'll see you then!
17 Comments
What can I say, I enjoy writing
.-= Tim´s last blog ..FM_Tim: Woot! http://b2l.me/x2dae =-. -
really good post. If you added children to the game the people that reviewed the games and that wouldnt let it go through to stores like aliens vs predators in australia or one of those games created by the same people that made hitman (dunno what its called, read it in a game magazine.) but it would make it much better but it might ake people a bit depressed.
Me and my sister used to get upset during DOA3, i think it was ayanes last cutscene where she burns her step father or something, that was very emotional.
Red Dead Redemption has some pretty good areas where it strikes a cord with the player — too bad I didn't play it before this post.
.-= Tim´s last blog ..FM_Tim: @slantedmindz yes. Doesn't everybody think sloths are ugly? =-.-
is red dead redemption the sequel or something to red read revolver? i LOVED red dead revolver
I didn't play Revolver, and I am told the titles are not related by story in any way past Rockstar San Diego making both games, and being a Western. It's everything the GTA's should have been, but more. i suggest you check back here in a day or two
.-= Tim´s last blog ..FM_Tim: @slantedmindz yes. Doesn't everybody think sloths are ugly? =-. -
Tim, great post!
Can't wait for your RDR one! -
Very nice post, Tim. I love it when a game gets you enough into the story where you feel a legit reaction to what's going on. One of the best examples for me would have to be the plot twist in Modern Warfare 2 (if you played the campaign, you'd know what I'm talking about) I actually was shocked as it happened, and I got chills as that cut-scene came to an end. Another would have to be Bioshock (the first one). The major plot twist in that one got my head spinning like crazy, so I had to play the game through again to really catch onto it. Anyway, great post, Tim, very nice topic.
This is a nice blog i must say, usually i don¡¯t post comments on others¡¯ blogs but would like to say that this post really forced me to do so!


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Bible Verses About Being Born in Sin
Bible verses related to Being Born in Sin from the King James Version (KJV) by Relevance
Romans 5:12 - Wherefore, as by one man sin entered into the world, and death by sin; and so death passed upon all men, for that all have sinned:
Psalms 51:5 - Behold, I was shapen in iniquity; and in sin did my mother conceive me.
Psalms 58:3 - The wicked are estranged from the womb: they go astray as soon as they be born, speaking lies.
Romans 3:23 - For all have sinned, and come short of the glory of God;
Psalms 51:1-19 - (To the chief Musician, A Psalm of David, when Nathan the prophet came unto him, after he had gone in to Bathsheba.) Have mercy upon me, O God, according to thy lovingkindness: according unto the multitude of thy tender mercies blot out my transgressions. (Read More...)
Genesis 8:21 - And the LORD smelled a sweet savour; and the LORD said in his heart, I will not again curse the ground any more for man's sake; for the imagination of man's heart [is] evil from his youth; neither will I again smite any more every thing living, as I have done.
Romans 5:19 - For as by one man's disobedience many were made sinners, so by the obedience of one shall many be made righteous.
Ezekiel 18:20 - The soul that sinneth, it shall die. The son shall not bear the iniquity of the father, neither shall the father bear the iniquity of the son: the righteousness of the righteous shall be upon him, and the wickedness of the wicked shall be upon him.
Isaiah 1:1-31 - The vision of Isaiah the son of Amoz, which he saw concerning Judah and Jerusalem in the days of Uzziah, Jotham, Ahaz, [and] Hezekiah, kings of Judah. (Read More...)
1 Kings 8:46 - If they sin against thee, (for [there is] no man that sinneth not,) and thou be angry with them, and deliver them to the enemy, so that they carry them away captives unto the land of the enemy, far or near;
Ephesians 2:1 - And you [hath he quickened], who were dead in trespasses and sins;
Romans 5:14 - Nevertheless death reigned from Adam to Moses, even over them that had not sinned after the similitude of Adam's transgression, who is the figure of him that was to come.
Acts 2:38 - Then Peter said unto them, Repent, and be baptized every one of you in the name of Jesus Christ for the remission of sins, and ye shall receive the gift of the Holy Ghost.
Luke 18:19 - And Jesus said unto him, Why callest thou me good? none [is] good, save one, [that is], God.
Matthew 19:14 - But Jesus said, Suffer little children, and forbid them not, to come unto me: for of such is the kingdom of heaven.
Matthew 19:13-15 - Then were there brought unto him little children, that he should put [his] hands on them, and pray: and the disciples rebuked them. (Read More...)
Matthew 18:3 - And said, Verily I say unto you, Except ye be converted, and become as little children, ye shall not enter into the kingdom of heaven.
Ezekiel 28:15 - Thou [wast] perfect in thy ways from the day that thou wast created, till iniquity was found in thee.
Ezekiel 18:1-32 - The word of the LORD came unto me again, saying, (Read More...)
Jeremiah 17:9 - The heart [is] deceitful above all [things], and desperately wicked: who can know it?
Job 14:1-4 - Man [that is] born of a woman [is] of few days, and full of trouble. (Read More...)
1 John 3:4 - Whosoever committeth sin transgresseth also the law: for sin is the transgression of the law.
1 John 2:1-2 - My little children, these things write I unto you, that ye sin not. And if any man sin, we have an advocate with the Father, Jesus Christ the righteous: (Read More...)
1 John 1:10 - If we say that we have not sinned, we make him a liar, and his word is not in us.
1 John 1:9 - If we confess our sins, he is faithful and just to forgive us [our] sins, and to cleanse us from all unrighteousness.
James 4:17 - Therefore to him that knoweth to do good, and doeth [it] not, to him it is sin.
Hebrews 12:9 - Furthermore we have had fathers of our flesh which corrected [us], and we gave [them] reverence: shall we not much rather be in subjection unto the Father of spirits, and live?
Romans 3:10 - As it is written, There is none righteous, no, not one:
Acts 3:19-21 - Repent ye therefore, and be converted, that your sins may be blotted out, when the times of refreshing shall come from the presence of the Lord; (Read More...)
John 8:44 - Ye are of [your] father the devil, and the lusts of your father ye will do. He was a murderer from the beginning, and abode not in the truth, because there is no truth in him. When he speaketh a lie, he speaketh of his own: for he is a liar, and the father of it.
John 3:16 - For God so loved the world, that he gave his only begotten Son, that whosoever believeth in him should not perish, but have everlasting life.
Luke 1:28 - And the angel came in unto her, and said, Hail, [thou that art] highly favoured, the Lord [is] with thee: blessed [art] thou among women.
Jeremiah 31:29 - In those days they shall say no more, The fathers have eaten a sour grape, and the children's teeth are set on edge.
Isaiah 55:8-9 - For my thoughts [are] not your thoughts, neither [are] your ways my ways, saith the LORD. (Read More...)
Isaiah 55:8 - For my thoughts [are] not your thoughts, neither [are] your ways my ways, saith the LORD.
Isaiah 53:6 - All we like sheep have gone astray; we have turned every one to his own way; and the LORD hath laid on him the iniquity of us all.
Isaiah 11:9 - They shall not hurt nor destroy in all my holy mountain: for the earth shall be full of the knowledge of the LORD, as the waters cover the sea.
Isaiah 7:16 - For before the child shall know to refuse the evil, and choose the good, the land that thou abhorrest shall be forsaken of both her kings.
Isaiah 7:15 - Butter and honey shall he eat, that he may know to refuse the evil, and choose the good.
Isaiah 2:1-22 - The word that Isaiah the son of Amoz saw concerning Judah and Jerusalem. (Read More...)
Ecclesiastes 7:20 - For [there is] not a just man upon earth, that doeth good, and sinneth not.
Proverbs 22:15 - Foolishness [is] bound in the heart of a child; [but] the rod of correction shall drive it far from him.
Psalms 119:9-11 - BETH. Wherewithal shall a young man cleanse his way? by taking heed [thereto] according to thy word. (Read More...)
Psalms 118:26 - Blessed [be] he that cometh in the name of the LORD: we have blessed you out of the house of the LORD.
Psalms 118:23 - This is the LORD'S doing; it [is] marvellous in our eyes.
Psalms 106:36-39 - And they served their idols: which were a snare unto them. (Read More...)
Psalms 82:6 - I have said, Ye [are] gods; and all of you [are] children of the most High.
Psalms 22:6 - But I [am] a worm, and no man; a reproach of men, and despised of the people.
Psalms 14:1-3 - (To the chief Musician, [A Psalm] of David.) The fool hath said in his heart, [There is] no God. They are corrupt, they have done abominable works, [there is] none that doeth good. (Read More...)
Job 15:14-16 - What [is] man, that he should be clean? and [he which is] born of a woman, that he should be righteous? (Read More...)
Deuteronomy 32:4 - [He is] the Rock, his work [is] perfect: for all his ways [are] judgment: a God of truth and without iniquity, just and right [is] he.
Exodus 20:12 - Honour thy father and thy mother: that thy days may be long upon the land which the LORD thy God giveth thee.
Genesis 6:5 - And GOD saw that the wickedness of man [was] great in the earth, and [that] every imagination of the thoughts of his heart [was] only evil continually.
Revelation 5:13 - And every creature which is in heaven, and on the earth, and under the earth, and such as are in the sea, and all that are in them, heard I saying, Blessing, and honour, and glory, and power, [be] unto him that sitteth upon the throne, and unto the Lamb for ever and ever.
Revelation 1:5 - And from Jesus Christ, [who is] the faithful witness, [and] the first begotten of the dead, and the prince of the kings of the earth. Unto him that loved us, and washed us from our sins in his own blood,
Jude 1:6 - And the angels which kept not their first estate, but left their own habitation, he hath reserved in everlasting chains under darkness unto the judgment of the great day.
1 John 4:8 - He that loveth not knoweth not God; for God is love.
1 John 1:7 - But if we walk in the light, as he is in the light, we have fellowship one with another, and the blood of Jesus Christ his Son cleanseth us from all sin.
1 John 1:5 - This then is the message which we have heard of him, and declare unto you, that God is light, and in him is no darkness at all.
2 Peter 2:4 - For if God spared not the angels that sinned, but cast [them] down to hell, and delivered [them] into chains of darkness, to be reserved unto judgment;
1 Peter 1:16 - Because it is written, Be ye holy; for I am holy.
James 1:14 - But every man is tempted, when he is drawn away of his own lust, and enticed.
John 1:29 - The next day John seeth Jesus coming unto him, and saith, Behold the Lamb of God, which taketh away the sin of the world.
Matthew 21:42 - Jesus saith unto them, Did ye never read in the scriptures, The stone which the builders rejected, the same is become the head of the corner: this is the Lord's doing, and it is marvellous in our eyes?
Matthew 18:10 - Take heed that ye despise not one of these little ones; for I say unto you, That in heaven their angels do always behold the face of my Father which is in heaven.
Matthew 3:2 - And saying, Repent ye: for the kingdom of heaven is at hand.
Ezekiel 18:4 - Behold, all souls are mine; as the soul of the father, so also the soul of the son is mine: the soul that sinneth, it shall die.
Jeremiah 3:25 - We lie down in our shame, and our confusion covereth us: for we have sinned against the LORD our God, we and our fathers, from our youth even unto this day, and have not obeyed the voice of the LORD our God.
Isaiah 64:6 - But we are all as an unclean [thing], and all our righteousnesses [are] as filthy rags; and we all do fade as a leaf; and our iniquities, like the wind, have taken us away.
Ecclesiastes 12:7 - Then shall the dust return to the earth as it was: and the spirit shall return unto God who gave it.
Psalms 118:22 - The stone [which] the builders refused is become the head [stone] of the corner.
Job 31:18 - (For from my youth he was brought up with me, as [with] a father, and I have guided her from my mother's womb;)
1 Kings 4:33 - And he spake of trees, from the cedar tree that [is] in Lebanon even unto the hyssop that springeth out of the wall: he spake also of beasts, and of fowl, and of creeping things, and of fishes.
2 Samuel 11:5 - And the woman conceived, and sent and told David, and said, I [am] with child.
Deuteronomy 23:2 - A bastard shall not enter into the congregation of the LORD; even to his tenth generation shall he not enter into the congregation of the LORD.
Leviticus 5:7-13 - And if he be not able to bring a lamb, then he shall bring for his trespass, which he hath committed, two turtledoves, or two young pigeons, unto the LORD; one for a sin offering, and the other for a burnt offering. (Read More...)
Genesis 38:1-30 - And it came to pass at that time, that Judah went down from his brethren, and turned in to a certain Adullamite, whose name [was] Hirah. (Read More...)
Genesis 2:17 - But of the tree of the knowledge of good and evil, thou shalt not eat of it: for in the day that thou eatest thereof thou shalt surely die.
Genesis 1:27 - So God created man in his [own] image, in the image of God created he him; male and female created he them.
Jude 1:3 - Beloved, when I gave all diligence to write unto you of the common salvation, it was needful for me to write unto you, and exhort [you] that ye should earnestly contend for the faith which was once delivered unto the saints.
1 John 3:5 - And ye know that he was manifested to take away our sins; and in him is no sin.
1 John 2:2 - And he is the propitiation for our sins: and not for ours only, but also for [the sins of] the whole world.
1 John 1:8 - If we say that we have no sin, we deceive ourselves, and the truth is not in us.
1 Peter 3:18 - For Christ also hath once suffered for sins, the just for the unjust, that he might bring us to God, being put to death in the flesh, but quickened by the Spirit:
Hebrews 9:19 - For when Moses had spoken every precept to all the people according to the law, he took the blood of calves and of goats, with water, and scarlet wool, and hyssop, and sprinkled both the book, and all the people,
Hebrews 7:9 - And as I may so say, Levi also, who receiveth tithes, payed tithes in Abraham.
Hebrews 7:5 - And verily they that are of the sons of Levi, who receive the office of the priesthood, have a commandment to take tithes of the people according to the law, that is, of their brethren, though they come out of the loins of Abraham:
Hebrews 4:15 - For we have not an high priest which cannot be touched with the feeling of our infirmities; but was in all points tempted like as [we are, yet] without sin.
Titus 2:11 - For the grace of God that bringeth salvation hath appeared to all men,
2 Timothy 3:17 - That the man of God may be perfect, throughly furnished unto all good works.
2 Timothy 3:16 - All scripture [is] given by inspiration of God, and [is] profitable for doctrine, for reproof, for correction, for instruction in righteousness:
2 Timothy 3:13 - But evil men and seducers shall wax worse and worse, deceiving, and being deceived.
1 Timothy 2:14 - And Adam was not deceived, but the woman being deceived was in the transgression.
1 Timothy 2:13 - For Adam was first formed, then Eve.
1 Timothy 2:5 - For [there is] one God, and one mediator between God and men, the man Christ Jesus;
Colossians 2:15 - [And] having spoiled principalities and powers, he made a shew of them openly, triumphing over them in it.
Colossians 2:12 - Buried with him in baptism, wherein also ye are risen with [him] through the faith of the operation of God, who hath raised him from the dead.
Colossians 1:14 - In whom we have redemption through his blood, [even] the forgiveness of sins:
Philippians 3:18 - (For many walk, of whom I have told you often, and now tell you even weeping, [that they are] the enemies of the cross of Christ:
Ephesians 5:25-27 - Husbands, love your wives, even as Christ also loved the church, and gave himself for it; (Read More...)
Some scripture references/categories courtesy of Open Bible .info under CC BY 3.0
Search the King James Version (KJV) for more references about Being Born in Sin...


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Paralleling Switchgear And Control Systems
IEM Paralleling Switchgear and Control Systems are designed and manufactured to deliver full control of custom-configured power generation systems. They integrate all facets of metering, protection, communication and controls to deliver peak performance, system reliability and operating economy.
IEM's experience with generators and voltage regulators from all major North American manufacturers, governor systems for prime movers, and proprietary engine controllers results in efficient and innovative parallel switchgear designs for redundant power applications. Types of Configured Power Systems
Intrinsic System Features
IEM Difference
Recent DevelopmentsSeismic testing completed – fully qualified to worst case response spectrum. |


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Some musicals never quite get the attention they deserve.
A case in point is "110 in the Shade," a musical adapted by N. Richard Nash from his play "The Rainmaker." Originally seen during the 1963-64 Broadway season, it was overshadowed by such blockbusters as "Hello, Dolly!" and "Funny Girl."
The show ran for 330 performances, and although it didn't entirely disappear, the musical remains under the radar for many theatregoers. That may change with the Roundabout Theatre Company's modest yet affecting revival, which opened Wednesday at Broadway's Studio 54.
Not that "110 in the Shade" could ever be called a blockbuster. It's an unassuming musical, whose quiet charms slowly draw you in. The show celebrates the blossoming of a lonely, love-starved woman who learns to believe in herself—with a little assistance from a handsome con man.
There's nothing flashy here, but the emotions are honest and after the insistence of such recent perpetual-motion musicals as "Legally Blonde," its lack of flash is a relief. Director Lonny Price has deliberately kept everything low-key.
But then, the score by Tom Jones and Harvey Schmidt of "Fantasticks" fame is gentle, folksy, romantic, and full of heart. And its lead role has the good fortune to be sung by Audra McDonald, a performer who possesses one of the finest voices in the American musical theater.
Lizzie Curry is tailor-made for the glorious McDonald, although she is way too pretty to be described as "plain." It's an adjective that gets through around a lot in "110 in the Shade," even by the menfolk in her life. They include her father (the reliably rustic John Cullum) and two brothers (Chris Butler and Bobby Steggert).
Lizzie has what today would be called "self-esteem" issues. She's just too darn competent for her own good. And, what's worse, she speaks her mind, not something that endears her to the male residents of a drought-parched Western town, particularly the sheriff (Christopher Innvar), a man who has his own relationship problems.
Into this rural community strides Starbuck—a name that now draws (caffeinated?) titters from the audience. He promises to bring rain, and along the way, the man romances Lizzie. Steve Kazee, whose powerful voice matches McDonald's, makes a fine scruffy, sexy interloper.
McDonald, a four-time Tony winner, is as much an actress as she is singer. She knows how to find the truth in songs, whether they are comic—her sassy number here is called "Raunchy"—or heartbreakingly sad like "Old Maidk," a bitter lament that ends the final act. Schmidt's often wistful melodies and Jones' simple, direct lyrics excel in revealing character, and character is what "110 in the Shade" is all about.
A lot of that is due to Nash's meaty book, which provided juicy acting opportunities in the original 1954 stage version of "The Rainmaker," for Geraldine Page and Darren McGavin and, two years later, in the movie, which starred Katherine Hepburn and Burt Lancaster, Inga Swanson and Robert Horton (of "Wagon Train" fame) headed to the 1963 cast of the musical.
The Roundabout revival downsizes the musical a bit. The chorus seems a little under populated, which makes choreographer Dan Knechtges' dances look undernourished. And designer Santo Loquasto's settings, most prominently a giant orb that suggests the heat of a hot summer day, are minimal.
But McDonald more than makes up for the paucity of production values. She's a performer who can fill any stage.
The title "110 in the Shade" connotes a scorcher, and plenty of warmth is coming off the stage at Studio 54, where the Roundabout Theatre Company's revival of the 1963 show opened last night. Most of the heat radiates from Audra McDonald, who proves once again she's more than a Broadway star - she's an entire constellation.
"110 in the Shade," adapted by N. Richard Nash from his play "The Rainmaker," is a charming romantic gem with song after beautiful song that goes straight to the heart. The chance to hear the score by Tom Jones and Harvey Schmidt ("The Fantasticks") is a reason to celebrate.
The Depression-era story is set in a Western town. No rain for ages. No romance for "plain" Lizzie, ever. Starbuck, aka the rainmaker, arrives in time to solve these problems.
Director Lonny Price has cast principals and the pared-down ensemble with biracial actors - an inventive choice that works.
McDonald, a four-time Tony winner, brings great depth to Lizzie. Her moving versions of "Simple Little Things" and "Is It Really Me?" are exactly why you go to the theater. All of this at a time when she's mourning the unexpected death of her father.
Steve Kazee, as Starbuck, is pleasant, but lacks the electricity and vocal virility a serial seducer should have. Ironically, Christopher Innvar, as shy sheriff File, comes off as sexier. As Lizzie's dad, John Cullum is, as usual, solid. Chris Butler is aptly sour as Lizzie's brother. Bobby Steggert, her other sib, and Carla Duren, as a flirty girl, are frisky in the duet "Little Red Hat."
The production uses a turn-table to keep the show in motion. It works best when File and Starbuck vye for Lizzie. Otherwise Santo Loquasto's set is too abstract for the sweet and delicate show. Poles for trees? A huge white disc changing colors (sunny orange to sky blue)? A crypt-like lean-to that yawns open from the floor to become Starbuck's wagon?
But Loquasto gets the rain right. Hands-down, "110 in the Shade" has the most joyful and wettest finale on Broadway.
Radiance is a thing called Audra McDonald. To cast a woman born to play Carmen in "Carmen Jones" as a plain Jane of a country gal is creative casting as its dizziest.
Admittedly, it comes off triumphantly in Lonny Price's restaging of "110 in the Shade," which opened last night at the Roundabout Theater Company's Studio 54.
Yet despite the wondrous McDonald, a good supporting cast, Price's intelligent staging (backed by Dan Knechtges' lively choreography and admirably simple designs from Santo Loquasto), "110 in the Shade" remains a cold fish of a musical.
With a book by N. Richard Nash, based on his 1954 play "The Rainmaker," it has music by Harvey Schmidt and lyrics by Tom Jones (no, not the pop singer), the musical duo that gave us "The Fantasticks."
This 1963 musical isn't fantastic, and never was.
It has the kind of music that always sounds - especially in these handsome orchestrations by Jonathan Tunick - as though it's about to start, and never quite does.
Like his original play, Nash's book is a variant on the Cinderella story.
Lizzie (McDonald), a bright young woman no longer so young, is dooming herself into spinsterhood until Starbuck (a strong-voiced but charismatically challenged Steve Kazee) comes into town offering rain for money.
Along the way, he persuades Lizzie that underneath her self-defeating attitudes and fears lies the beauty of womanhood, and someone who could be loved.
It's a sentimental little tale, dragged out by a sagging story line that has Lizzie's dear old, crusty, understanding Pop (the dear old, crusty, understanding John Cullum), her two brothers, the skeptical Noah (Chris Butler), and the younger, bouncier Jimmy (Bobby Steggart) trying to rope in the town's taciturn single sheriff, File (Christopher Innvar), into marrying her.
It's all as sweet as saccharine stirred into molasses.
As for humor, the biggest laugh now comes from a line that in 1963 might have gotten only lovers of "Moby-Dick" to smile. After confessing that his real name is Smith, the con man continues: "I needed a name that had the whole sky in it. And the power of a man! Star - buck! Now there's a name for you - and it's mine!"
"110 in the Shade" could be dismissed as nothing much more than a weather forecast were it not for the ebullient charm of both Steggart's Jimmy and Carla Duren as Jimmy's girl, Snookie - and, of course, McDonald.
What an artist! But it's not much of a showcase. Now how about "Carmen Jones"?
Is it possible for a performance to be too good? Audra McDonald brings such breadth of skill and depth of feeling to the Roundabout Theater Company revival of "110 in the Shade" that she threatens to burst the seams of this small, homey musical. Ravishing of voice and Olympian of stature, she's an overwhelming presence in an underwhelming show.
Watching Ms. McDonald in this gentle, threadbare tale of a love-starved spinster in a rain-starved farmland, which opened last night at Studio 54, is like drinking rare Champagne from a plastic cup. Yes, a Baccarat flute would be preferable. On the other hand who's going to turn down the chance to sample a vintage Cristal?
For what Ms. McDonald makes of Lizzie Curry, an unmarried woman in a household of manly men, is a dazzling case for the musical as a dramatic form that plumbs hearts and minds. She so blurs the lines between spoken and musical expression that one seems like a natural extension of the other.
Singing for Ms. McDonald is just a more emphatic and articulate way of talking, one that's needed when emotions are so intense they can't be captured without the texture and shading of melody. When you listen to Ms. McDonald's Lizzie sing about the ache of loneliness or her disgust for the words "old maid," you don't know how she feels; youfeel how she feels. You're likely to find tears in your eyes by the end of even comic songs.
Nothing else in Lonny Price's production, , which officially concludes the Broadway season, warrants tears, either of joy or distress. First produced on Broadway in 1963, with songs by Harvey Schmidt and Tom Jones ("The Fantasticks") and a book by N. Richard Nash (adapted from his play "The Rainmaker"), "110 in the Shade" is a poor man's "Music Man."
Like Meredith Willson's high-stepping blockbuster of 1957, "110" is an all-American love story about a con man who brings sweet relief to the parched life of a small-town virgin. Both trade in a Norman Rockwell vision of the United States. But if "The Music Man" is a John Philip Sousa-style blast of brass, "110" is an Aaron Copland-esque twang of fiddle strings.
The songs in "110" are tuneful, pseudo-rustic and on occasion as cute as buttons on overalls. This is not music that rattles the rafters. On the contrary, it seems to melt away even as it's being performed, despite the caressing orchestrations of Jonathan Tunick and masterly music direction by Paul Gemignani.
Extolling the pleasures of "simple little things," to borrow from one of Lizzie's songs, "110" left critics unawed 44 years ago, though it ran for 330 performances. "There is no danger even a lightning bolt could ignite it," Howard Taubman wrote in The New York Times.
Well, if Ms. McDonald doesn't qualify as a lightning bolt, I don't know who does. But it's true that while she does provide a blazing center, the temperature of the show around her remains steadily lukewarm. Mr. Price's direction emphasizes the cuddly aspects of the show in ways that date it more than necessary.
Though Santo Loquasto's revolving wooden set, overhung by a giant moonlike sphere, has a fairy tale starkness, much of the production feels like a family-oriented romance from the early 1960s, before rock 'n' roll was king. There are songs about cleaning up the house and playing poker and going on a picnic and about, gosh, how very hot it is.
Within this small and cozy world, Lizzie oversees a household that includes her father, H. C. (the excellent John Cullum), and her brothers, Noah (the stern one, played by Chris Butler) and Jim (the cute one, played by Bobby Steggert). She pines quietly for a man of her own, preferably File (Christopher Innvar), the moody town sheriff.
Her prayers seem destined to go unanswered until a charismatic wanderer named Starbuck (Steve Kazee) shows up, promising to bring rain to the dying fields. Lizzie learns that she is a woman and hence worthy of being loved. And just to make sure she knows it, her father slips Starbuck a hundred bucks in the hopes that he'll spend the night with her.
Ick. As you can tell, "110" remains family entertainment only for families without feminists. But its patronizing view of its heroine doesn't keep Ms. McDonald from building a fully authentic character.
She finds revitalizing detail in even shopworn gestures, like fiddling with her buttons to indicate nervousness. And she uncovers a barbed self-awareness in a wistful ballad like "Love, Don't Turn Away" and the pain in a comic number like "Raunchy." Yet even the most ambitious of the songs — including the searing nervous breakdown of an aria, "Old Maid" — can't quite take this complex Lizzie to the levels you know she could ascend to.
Aside from Mr. Cullum, who has a marvelously easy rapport with Ms. McDonald onstage, none of the men in Lizzie's life seem worthy of her. Part of this may come from miscasting. As Starbuck, the pleasant-voice, round-faced Mr. Kazee, clad in snug black denim, suggests a Boy Scout posing as a biker dude. As the straight-and-narrow File, on the other hand, Mr. Innvar positively smolders. (Role switch, anyone?)
When at last the skies open in "The Rainmaker," in a stage-drenching climax, Ms. McDonald seems utterly happy and at home. Elemental force meets elemental force. Now that's a love match.
Audra McDonald's voice has more moods and colors than most people's entire personalities.
In "110 in the Shade," a sweetheart of a revival that ended the Broadway season last night, McDonald bewitches us into forsaking the wattage of reality and believing that she's the plainest old maid in Texas.
We expect nothing less from this luminous singing actress, who has won four Tony Awards—for "Carousel," "Master Class," "Ragtime," and "A Raisin in the Sun"—which means just about every time she has stepped onto a Broadway stage.
The real surprise is the 1963 musical itself, which N. Richard Nash adapted from "The Rainmaker," his sturdy fairy tale set during the Depression. It offers a richly melodic score by the "Fantasticks" team of Harvey Schmidt and Tom Jones. In this revival, the lovely show turns out to be a soft-sell romance with enough charming open-road Americana to counteract its cornball plot and its passé message about the stigma of unmarried women.
Director Lonny Price manages to rush us past the worst aspects of Lizzie's father (John Cullum in his most endearingly twangy mode) and two brothers, who scheme to "lasso" a husband for her. Instead of stressing Lizzie's alleged homeliness, Price and McDonald convince us that, in fact, her level-headed intelligence is what's scaring the menfolk away.
McDonald lets us see desperation without ever looking pathetic. Like LaChanze in "The Color Purple" and Eve Best in "A Moon for the Misbegotten," McDonald must whip up the passions of a handsome woman who feels ugly inside. Although embarrassed by blatant efforts to marry her off, Lizzie cherishes the depths of her family's affection for her.
Besides, as we learn from her first song, "Love, Don't Turn Away," she fears a gnawling lonliness. In the mock-vamping "Raunchy" (a number with major obnoxious potential), McDonald lets loose with an unaffected lack of inhibition and honest eroticism. She even makes an unmotivated cartwheel look like a spontaneous act of sensuality.
The casting is color-blind, which means that, after we initially wonder about Lizzie's mixed-race family, we never think about it again. Except for a bizarrely hysteric portrayal of the amorous Snookie (Carla Duren), the ensemble maintains the easygoing grace of its star. In the pivotal role of Starbuck, the con man who promises the make rain for this region enduring a terrible drought, newcomer Steve Kazee is sweet and impressively lyrical. His portrayal seems willful at first, but blossoms with the character, as he coaxes the beauty out of Lizzie.
Christopher Innvar applies his deep, dark baritone to the deep, dark torment of the sheriff, who can't admit he needs to be loved. Chris Butler makes Lizzie's stern brother Noah seem less cruel than concerned. Bobby Steggart does a breakout turn as Jim, the supposedly dumb brother with delightful emotional smarts.
Santo Loquasto's costumes are a bit too spanking clean for a poor Dust Bowl town. But his sets are stirring, simple, and poetic. Dominating the stage is an enormous orb, which changes from blue moon to scorching orange sun under Christopher Akerlind's lights.
In a tender, almost unbearably poignant scene, Lizzie tells Starbuck about the value of real life over dreams. She practically hugs herself recounting how she sometimes looks at her adoring pop and then forces herself to look closer to notice "little things I never saw in him before…and I want to thank God I took the time to see him real!" Suddenly, we remember that McDonald's own father recently died in a flight accident—and we see a real pro.
Every genre has its critical darlings, and in musical theater, few inspire more rhapsodic praise than four-time Tony Award winner Audra McDonald.
So intense is stage pundits' and fans' devotion to this singer/actress that the Roundabout Theatre Company has seen fit to revive a relatively obscure work as a vehicle for her, much as it revived The Apple Tree for Kristin Chenoweth last fall.
110 in the Shade (* *½ out of four), which opened Wednesday at Studio 54, has a hokey, dated book by N. Richard Nash — based on his play, The Rainmaker — and songs by Harvey Schmidt and Tom Jones, better known for their better work on The Fantasticks. It also has a central role that demands a strong, fluid presence.
Strength is not an issue for McDonald, who has an impeccably trained voice and abundant energy. But the role of Lizzie, a plucky wallflower living in the Texas Panhandle, requires qualities that seem less instinctive to her, such as spontaneity and looseness.
In fairness, I've never quite gotten the level of fuss over McDonald. There are numerous leading ladies (Chenoweth among them) whose voices I find prettier in tone and richer in character. McDonald's technique is meticulous, but its relentless precision and operatic vibrato can make her singing sound studied, particularly when the tunes have blues or jazz nuances.
McDonald's acting, too, can seem self-conscious and overeager. Watching her Lizzie, it's difficult to shake the feeling that you're observing a Juilliard-educated pro, rather than a plain Southern girl desperate to find a man.
That's not to say McDonald isn't a dynamic performer, or that she's entirely unconvincing as Lizzie, with whom she clearly shares a strong will and a desire to please. She gets endearing support, too, from a cast that seems intent on milking this trifle for all its sentimental appeal. The ever-reliable John Cullum is especially fine, lending grit and heart as Lizzie's father.
He earned a hearty reception at a recent preview, but not quite the thunderous standing ovation that greeted McDonald. Good for her — I would never begrudge theater a star, even one I can't wholeheartedly endorse.
The luminous Audra McDonald is probably nobody's idea of a plain-Jane spinster, and even less likely to pass for one when she opens her mouth to release that full-bodied soprano. So it's a testament to her gifts that McDonald's vibrant characterization in such a role -- as spirited, smart and affecting as her luxuriant vocals -- gives "110 in the Shade" a touching verismo in the midst of Santo Loquasto's stylized design. Ambling along for much of the time like a low-rent "Oklahoma," this 1963 musical version of "The Rainmaker" gets by on its charming score, old-fashioned romantic heart and, most of all, its magnetic lead, but the temperature rarely rises above that of a mild spring day.
Faithfully adapted by N. Richard Nash from his 1954 play (filmed by Paramount with Burt Lancaster and Katharine Hepburn), the show is a fondly regarded midlevel entry in the American musical theater canon whose fame couldn't match that of composing team Tom Jones and Harvey Schmidt's earlier and somewhat more precious Off Broadway hit, "The Fantasticks."
While "110" also was overshadowed by "Funny Girl" and "Hello, Dolly," two far showier leading-lady vehicles that premiered the same season, the tuner is nonetheless a sturdy showcase for a talented female star. As such, the revival represents a tidy segue for Roundabout from its recent "The Apple Tree," which existed solely for Kristin Chenoweth the same way this production is built around the versatile McDonald, whose last Broadway musical role was in 1999's "Marie Christine."
Loquasto's striking design -- dominated by a massive overhanging disc that all but fills the Studio 54 stage and serves as both the sun and the moon, washed by the countless color variations of Christopher Akerlind's warm lighting -- might give the initial impression that a more inventive sensibility were being brought to the rustic romance. But Lonny Price's fairly pedestrian production serves up the material largely as is, despite the innovation of color-blind casting in a show set in the Depression-era Texas Panhandle.
There's also a slight shift in character focus to explain the failure of ranch girl Lizzie Curry (McDonald) to land a husband, playing down her supposed homeliness and instead emphasizing her feisty, outspoken intelligence.
However, Lizzie is no shrew waiting to be tamed. She desperately yearns to be married, which McDonald conveys with aching vulnerability in the song "Love Don't Turn Away." Her sweet-natured, widowed father, H.C. (John Cullum), and doting brothers, Noah (Chris Butler) and Jimmy (Bobby Steggert), are equally anxious to see her hitched and happy. Prime target for their matchmaking endeavors is town sheriff File (Christopher Innvar), a brooding loner burned by love when his wife walked out on him.
A more unexpected candidate emerges when wandering conman Starbuck (Steve Kazee) breezes into town, promising to quench Lizzie's parched heart and end the drought gripping the community by miraculously producing rain for a $100 fee.
Particularly in the first act, Price could lean harder on the accelerator, but the director makes good use of the stage's central revolve to keep things in motion. This is not the most dynamic of stories, its romantic triangle seeming to form only minutes before Lizzie makes her choice, but the appeal of Nash's book and of Jones and Schmidt's correspondingly mellow songs is the gentle, low-key way they express real feelings.
Lizzie's need for emotional fulfillment, Starbuck's advocacy of the limitless power of dreaming and File's self-imprisoning heartache all are sweetly rendered in a show that grows more engaging after a plodding start. And as much as it could seem a positive-thinking cliche, Starbuck's mission to teach Lizzie to see herself as beautiful has the air of an understated fairy tale unfolding under an enchanted starry sky -- "Everything beautiful happens at night," sing Lizzie and the townsfolk.
The musical is laced with well crafted songs that enhance and advance the narrative, the best of them entrusted to a most capable musical storyteller in McDonald. She vamps playfully through "Raunchy," imagining herself the kind of flirtatious woman who has no trouble attracting men; sings wistfully of her unadorned desires in "Simple Little Things"; exchanges tentative overtures of love with Innvar's File in "A Man and a Woman"; angrily exposes her fear while cranking up her soprano into full dramatic throttle in "Old Maid"; and all but explodes with the girlish joy of self-discovery and unleashed emotion in "Is It Really Me?"
Music director Paul Gemignani and orchestrator Jonathan Tunick compensate for the reduced ranks of musicians and cast (the town's July Fourth picnic looks distinctly underpopulated) by highlighting the score's lightness and airiness.
Ensemble songs "Another Hot Day" and its corresponding "The Rain Song" provide the elemental echo for the story's romantic longing. Comedy numbers "You're Not Fooling Me" and "Poker Polka" are hokey and disposable. but "Little Red Hat" is a frisky delight, performed with brio by the winning Steggert and Carla Duren as Jimmy's flighty girlfriend Snookie. The song is also one of the rare occasions when choreographer Dan Knechtges' work is allowed to develop.
In addition to Steggert, the supporting cast has an asset in the dependable Cullum, who makes a steadfast, nurturing figure of Lizzie's father. Tall, lean and handsome in a throwback '50s mold, Innvar has a nice unassuming stage presence that befits a character who shrinks from public declarations for most of the action.
While his vocals are pleasing, Kazee is a less ideal match for seductive dreamweaver Starbuck. In fairness, the fault may lie not so much with the actor as with whoever decided to give him sleazy villain hair and outfit him (Loquasto also did the otherwise efficient costumes) like a Castro cowboy in soccer mom jeans. He also gets stuck with the dud song "Melisande," its cloying whimsy representative of the less durable aspects of Jones and Schmidt's work.
But even with two leading men competing for her attention and ours, this is McDonald's show all the way, and she shines.


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Last week, the Queens Chronicle reported that the American flag flying over the memorial for soldiers killed in action at Charles Park in Howard Beach was in terrible condition.
A reader, Robert Morrissey of Howard Beach, had sent us a photo, inset, of the flag torn to shreds. Old Glory was badly damaged in Hurricane Sandy and subsequent storms.
The National Park Service, which oversees the park and the memorial, responded to the story and changed the flag on Friday, according to Daphne Yun, a spokeswoman for the NPS.
By dawn's early light on Saturday, a brand-new, vibrantly colored star-spangled banner was billowing in the bayfront breeze.


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Mon, Apr 19, 10 at 0:39
Follow-Up Postings:
- Posted by buyorsell888 Zone 8 Portland OR (My Page) on Mon, Apr 19, 10 at 15:44
Pretty! |
That's a lovely picture of the apricot tree. I could almost smell it! Pink-trumpet daffodils are definitely in my 'gotta have!' list, and, if I had to seriously reduce numbers I'd find Some Way of keeping them. I particularly enjoyed your use of the little heartsease as a foil for them. So nice! Most of all - that delicious untouched vacant SPACE in your yard! Ooooooooh. YES!!!! PS Loved the tractor! |
- Posted by hostalover360 4-WC Wisconsin (My Page) on Tue, Apr 20, 10 at 23:58
Thanks buyorsell2008 and vetivert. I never expected I'd have pink colored Daffodils this year, But when I saw them at Walmart, I knew I was going to buy some! and the little blue flowers in the backround of the pink Daffodils are Violas that have been coming up on there own! |
I love your daffodils. |
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The International Doctorate Program "NanoBioTechnology" offered outstanding graduate students from all around the world doctoral positions in the area of NanoBioTechnology. Regular lectures and seminars as well as summer workshops and winter schools provided the students with an effective introduction to the interdisciplinary field of nanobiosciences. Early in the program, students had the opportunity to participate in international conferences and in exchange programs with other nanoscience centers. The lectures, workshops and seminars of the International Doctorate Program NanoBioTechnology and those of the Center for NanoScience were held in English.
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- English as working language
- Supervision by a thesis advisor and co-advisor
- Lectures, seminars and workshops in the field of Nanosciences and Nanobiosciences
- Retreats and international exchange programs
- Professional skills workshops
- German language course
- Participation in the stimulating network of nanoscientists at CeNS
Scientific Support
Participants in the doctorate program had a thesis advisor as well as a second thesis advisor. In addition to the intensive support of the scientific advisors, CeNS offered additional support in diverse research fields through its interdisciplinary network and infrastructure. This included well equipped laboratories at the Ludwig-Maximilians-University (LMU), the Technical University of Munich (TUM) and at the University of Augsburg. The graduate program was structured to encourage the students to be active through e.g. self organization of graduate student seminars, summer schools and workshops.


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text: The Rutgers Food Innovation Center has received considerable interest from entrepreneurs and established businesses regarding the availability of a wide variety of education and training programs in the food industry. These classes are now available online, in-class and on-site to meet your personalized needs. Please click the options below for more information.