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Jet noise jeopardy: Seattle's skies will soon get quieter — except on Beacon Hill
For decades, aviation visionaries have touted a coming revolution in avionics and piloting called "free flight," when communications and computational technology will free commercial flying from the limitations and inefficiencies of ground-based traffic control. This year the next stage in free flight's evolution will debut in Seattle, preparatory to a national roll-out, under the uplifting moniker Greener Skies. Those living in the flight path may find its auditory effects less uplifitng.
By relying on satellite-based GPS and onboard software, pilots will descend smoothly, precisely, and continuously to Sea-Tac, rather than loudly "stair-stepping" down in stages under ground-control direction. This will enable the airlines to reduce both their descent footprints — following tighter, narrower corridors — and their fuel consumption. For the residents of many communities alongside the descent corridors, this will mean less jet noise. But not for the most afflicted: those who live right under corridors that will become increasingly dense with descending jets.
Greener Skies' environmental assessment, which the Federal Aviation Administration approved in November, finds that noise impacts will diminish in broad vertical swaths from Wallingford and Fremont to downtown Seattle and Federal Way on the west and from Lake City to the Rainier Valley to the town of Pacific. But they'll increase along the axis of Sea-Tac Airport's runways, over Greenlake, the U-District, Capitol Hill, and, especially, Beacon Hill.
The reason, ironically, is greater efficiency: With GPS-guided continuous descent, air traffic will pack more tightly into the preferred north-south corridors and a diversion route over Elliott Bay (so Admiral and Alki will also get more noise). FAA officials contend that the additional noise impacts will be "indistinguishable," less than 1.5 decibels more than present levels.
This news comes as a cruel joke to Beacon Hill residents, who've learned through long experience not to take the claims of aviation and airport officials at face value. Together with adjacent Georgetown, Beacon Hill is the most jet-rattled part of Seattle; it has suffered for decades from an excess of aircraft presence and an insufficiency of official concern. Sea-Tac's north-flow departure route, used when the wind blows from the north, and south-flow arrival route, used when it blows from the south, run right along the hill's long spine before diverging toward Elliott Bay and Lake Washington.
Living on Queen Anne, I used to snarl at the planes that occasionally roared overhead, mistaking or ignoring their designated approach over Elliott Bay. But I realized how much worse things could get when I spent a few summer hours in the otherwise tranquil Lockmore subdivision on Beacon Hill seven years ago. It was a shooting gallery; planes roared over in a stream, a minute or so apart. Conversation would stop, then resume when a particularly noisy one passed.
Otherwise, Beacon Hill, with its single-family character, wide views and proximity to downtown, would seem situated to be one of Seattle's more desirable neighborhoods. Instead, the real estate site Zillow pegs its median home value at $289,500, just three-quarters the citywide median. "I sell homes here," says real estate agent Erik Stanford, who's lived on the hill for 25 years. "I used to tell people that unless you're really sensitive, the noise isn't so bad, that you get used to it. I can't tell them that anymore." Other residents say the same thing, only more vehemently.
FAA and Sea-Tac officials though, say flight volumes and noise impacts have actually declined in recent years, thanks to the recession and to the airlines flying quieter jets.
Stanford, who spearheads a Southeast Seattle group pointedly named the Quieter Skies Task Force, is the latest in a line of Southeast Seattle residents-turned-activists to take up the air noise cause. He struggles with the same challenges and frustrations as his predecessors: trying to organize a multilingual, multiracial community that's tended to be fragmented and politically passive; dealing with a federal bureaucracy whose mission is all about moving planes, not safeguarding the quality of life down below; and complaining fruitlessly to an airport authority that monitors noise levels, but insists it can't do anything to change them.
Even getting a meeting can mean running an obstacle course. In September, the FAA scheduled just two public meetings on the Greener Skies environmental assessment: in Federal Way for the corridor south of Sea-Tac and, for the north, in Ballard, which won't be appreciably louder. It held the original scoping meetings last January in Federal Way and in Shoreline, which will actually get less noise under Greener Skies.
Why not on Beacon Hill, which will be more affected? FAA spokesman Allen Kenitzer says the meetings are arranged by a consultant who's handling the Greener Skies roll-out nationwide, and are held where space is available. Stanford thinks it's because they wanted to avoid the heat. He says there were more attendees in Ballard from Beacon Hill than from Ballard. They were disappointed to find that it was show-and-tell, with no opportunity to ask questions during the session.
The ensuing outcry (echoed by Mayor McGinn's office) prompted FAA officials to schedule a meeting on Beacon Hill in October, where they would take questions. But about a week before, they cancelled that gathering, saying that key personnel wouldn't be available then. That didn't go down well. Erik Stanford had lined up interpreters and prepared a quadrilingual brochure for the meeting. Robert Bismuth, a Magnolia Community Club trustee and veteran of past FAA dealings cancelled a business trip to attend. When they cancelled the meeting on short notice, he says, "that sent a message to the community: You don't count."
The rescheduled meeting, in November at Cleveland High, did not go well either. The FAA reps seemed ill-prepared: no printed agenda, no signs directing attendees to the hard-to-find auditorium. About 100 attendees peppered them with sharp questions about flight routing and noise monitoring; they demurred on many, saying "Stan can explain that." (Stan Shepherd, the manager of Sea-Tac's noise programs, who seemed more informed and sympathetic.)
Such hand-offs are all too familiar to noise-weary, jet-wary citizens. "If you call the Port of Seattle to complain about noise, they'll take a complaint and say, 'It's out of our hands, you need to talk to the FAA,'" sighs Stanford. "It's a terminal condition — the Port pointing at the FAA, the FAA pointing at the Port."`
This daisy chain can take on a Wonderland quality. The Port tracks flight noise with 31 monitors distributed from North Seattle to Federal Way. According to Port spokesperson Perry Cooper, they "are used, together with a consultant who comes in and puts all the data together for airport noise around the country" to gauge noise impacts and determine mitigation.
The Quieter Skies group claims Southeast Seattle has gotten shortchanged on monitors. The district, which has 80,000 residents and lies right in the flight path, has just two monitors — on Beacon Hill and Brighton Playfield, while Federal Way, which lies farther from the airport, has four (and besides gets all the meetings). Quieter Skies urges, ambitiously, that six more be deployed around Southeast Seattle, in hopes that they'd prove that the noise there is worse than the FAA says and justify mitigation or remedial action.
Vain hope. Shepherd, the Port's noise-control manager, says he has no idea why the monitors were deployed as they were, but it doesn't matter; they don't affect noise policies anyway. "Even though there might be more in some areas and fewer in others, noise monitors aren't going to make any difference. Per FAA regulation [and despite what Port spokesman Cooper says], we cannot have a direct input of the noise monitoring data into the model used to gauge impacts."
So what are the monitors good for? "It's a kind of balance and check," says Shepherd. "The noise monitors' data is just used to answer questions from the community about impacts." (The Port's website says they also help it monitor airlines' compliance.) In other words, they are a means of reassuring the public, not protecting it.
Beacon Hill doesn't seem to be reassured.
In 1990, after heavy lobbying by the airline industry, Congress passed the Airport Noise and Capacity Act, which introduced noise standards around the nation's airports and preempted more stringent local controls. According to those standards, the FAA will only fund mitigation — noise-proofing and, sometimes, property purchases — in a designated noise impact "contour" where the average aircraft noise level, as determined by a complex formula, is at least 65 decibels, with a 10 dB bonus added to late-night noise because of its extra impact. (Sixty-five dB is commonly described as the noise of a cash register 10 feet away.)
The air-noise activists note serious flaws in this metric: The "average" levels don't seem to account for the frequency of flights, nor for exceptionally loud, low-flying jets. And the formula ignores the cumulative effects of multiple airports. Beacon Hill and several other Seattle neighborhoods lie in the flight paths of not just Sea-Tac but nearby Boeing Field (plus Renton's smaller airport). Their combined impact may well be more than 65 dB, but again, says Shepherd, that doesn't matter. "Boeing Field noise is not considered in our [noise impact] Part 150 calculations."
The Port is currently redoing those calculations, for the first time in a decade, in a Part 150 Noise Compatibility Study prescribed under federal rules. Again, Federal Way has gotten more attention from the feds than Southeast Seattle: Part 150 public meetings have been held in the former but not the latter. Again, however, Shepherd vows that Southeast Seattle will get just as much help under the new noise mapping as Federal Way and nearly every other community in the region: zilch. Sea-Tac's 65 dB contour, which currently runs in a narrow band from Tukwila to Des Moines, is projected to shrink by about half, thanks to quieter jets. Outside that band, FAA environmental specialist Kaylin Morgan told the restive Beacon Hill meeting in November, "there's no remedy for it. There's no money for it."
Some other airport districts have nevertheless managed to break the 65 dB sound barrier. The Cleveland and Minneapolis airports secured federal approval for mitigation out to 60 decibels (which would include South Beacon Hill). One noise expert contends that other airports could do the same if neighboring cities cooperate in their zoning. But Shepherd insists these are one-off cases that don't translate to Seattle: Cleveland's just catching up on previously promised mitigation and Minneapolis International was forced to extend its boundary through a lawsuit by neighboring cities.
Minneapolis's example might in fact be pertinent for Beacon Hill. "We've decided a lawsuit is the most effective way [to get action]," says Erik Stanford. His group doesn't have any funds for a suit, but he hopes to enlist UW researchers and perhaps Seattle University law students.
Meanwhile, Ticiang Dianson, a recently retired director of Seattle Public Utilities' environmental justice division, and a former EPA toxicologist, who now teaches at UW, are considering bringing their own action over the jet emissions released on neighborhoods with high rates of poverty and respiratory illness. The FAA's response to such concerns has been "mammoth bureaucratic," says Dianson. "They tried to placate us, but they wouldn't do anything."
Stanford relishes the prospect: "If we can go after the FAA and Port with the EPA behind us, we're going to have a whole lot more leverage." And they may be able to bring in even bigger guns without paying for lawyers. It has worked before, on Beacon Hill and in Magnolia.
Twice, in the late '90s and in 2010, Columbia City realtor Ray Akers caught the FAA extending its northbound departure corridor to the east, past Beacon Hill and MLK Way and over the Rainier Valley (and Akers' house), with no announcement or review. The first time, he says, the agency relented and restored the original routing. The second time it stonewalled, not even acknowledging the change. Akers got Congressman Jim McDermott's office to demand an explanation. The FAA's acting regional director replied that this "Plan Charlie" routing was necessary whenever "localized weather or clouds" impeded the ability of Boeing Field controllers to track Sea-Tac jets visually. Akers replied that this hadn't been necessary for years previous, and that jets were being rerouted even when no adverse weather interfered.
Eventually the jets stopped crossing into the valley. FAA spokesman Kenitzer says the agency "corrected" the routing after "discovering" it had somehow strayed off course.
"It takes a lot to get the FAA to respond," says Magnolia's Robert Bismuth, a longtime private pilot himself. "The FAA has two mandates, safety and commerce, and no mandate about anybody on the ground. It traditionally hasn't responded to noise and pollution concerns. If you want it to, you have to involve the congressional delegation."
That's what worked for Magnolia. In 2009 the FAA proposed lowering the Class Bravo "floor," the minimum altitude for incoming jets, from 3,000 to 2,000 feet. In familiar fashion, it convened public meetings in Tacoma, Burien and Everett, but none in Seattle where the effects would be most severe.
Bismuth got McDermott and Sen. Patty Murray, both on committees overseeing the agency, to write letters. And he played the safety card: This would drop the floor for the Lake Union seaplanes and other "uncontrolled" aircraft that fly below the jets to just 500 feet. Besides consigning Magnolia and Queen Anne to noise hell, this would come too close to hilltop water and communication towers. The FAA conceded the safety issue and dropped its plans.
Beacon Hill doesn't hold that trump card, but it may be able to play another: the National Environmental Policy Act, which bars environmental discrimination against poor and minority communities — the sort of neighborhoods that wind up under flight paths all across the nation.
That could be a much uglier fight. "To give the FAA credit, they turned around and worked with us," says Bismuth, who's shared his experience with the Southeast Seattleites. "I think they created a very antagonistic relationship with Beacon Hill, and they'll pay for it."
Meanwhile, the Port, the good cop, is trying to better its relationship. On Wednesday Sea-Tac's managing director, Mark Ries, and Stan Shepherd will meet with the Quieter Skies Task Force — on Beacon Hill.
The author lives in Southeast Seattle, but blissfully outside the jet noise path.
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Posted Mon, Jan 14, 9:09 a.m.
RE jet emissions, I use them as an excuse for not having a tomato or cucumber patch in my backyard. (I live in Magnolia.) Several years ago and only a week after SPU had delivered a new recycling bin, its top was covered with black 'stuff', otherwise known as airplane emissions.
I believe this is a valid evironmental concern.
Posted Mon, Jan 14, 9:37 a.m.
It's not average noise or adjusted noise that's the problem. It's peak noise that wakes us up at 2 AM on Beacon Hill. These middle-of-the night landings are mostly freighters. They could delay until daytime and land with the passenger planes. Also, since the politicians are talking about reduced government spending, they could consider cutting back on operating hours for the airspace and airports.
Posted Mon, Jan 14, 10:27 a.m.
The noise complaint web site for the Port of Seattle is here:
It is always worth filling out a complaint.
I have been involved in monitoring the current Part 150 process. The Port of Seattle and FAA have also had Part 150s in the past. The current one kicked off in late 2009 with the selection of Landrum and Brown as Part 150 consultant. The project is significantly behind schedule and for more than 18 months there has been essentially zero communication to people who showed up at the kickoff meetings. The Port did send an email recently saying that on Jan 22, the commission will be receiving an update. Here is an excerpt from the email:
--excerpt begins--
January 22nd Port Commission Meeting on Part 150 Study Meeting to be held at the Conference Center at Sea-Tac Airport at 1 PM
The Port of Seattle Commission's January 22nd regular meeting will include an update on Sea-Tac Airport's Part 150 Noise Study. The update will include information on the draft recommended options for reducing aircraft noise in the new proposed noise remedy area around the airport.
The Part 150 Study will be available for public review sometime after the January 22nd Commission meeting. The dates of the Part 150 public comment period, along with the date of the final public outreach event, will be announced in the near future.
For your convenience, please visit the dedicated Part 150 Study website (http://www.airportsites.net/SEA-Part150/) for all documentation connected to the study.
--excerpt ends--
When the third runway opened, the Port repeatedly said "Part 150 is where we will address noise issues." Many citizens said "please use Part 150 to look at noise issues beyond any type of contours that are mentioned in the regulations." Sadly, that has not happened. The Port Commission, the FAA, and the Port noise staff all point to Someone Else.
I highly doubt any of the hundreds of people who bothered to show up at the community meetings has any confidence at all that Part 150 findings will actually make a positive difference in the noise they experience. But, the commission on Jan 22 has an opportunity to prove this assertion wrong. Will they take it?
Posted Mon, Jan 14, 10:29 a.m.
Here is the noise complaint form web site:
Posted Mon, Jan 14, 8:53 p.m.
What about tapping two potential sources of funding to help mitigate this problem - noise abatement and energy conservation? My understanding was when Congress passed the "Cash for Caulkers" legislation providing subsidies for home energy audits and retrofits that they had a hard time finding places to spend the money. I would imagine communities in SE Seattle would welcome some additional insulation around now which could add to their comfort and reduce their heating bills. In the mean time its important to remember you get as much justice as you demand and bureaucracies will ignore you as long as you let them.
Posted Wed, Jan 16, 5:27 p.m.
Unfortunately we live in a temperate climate so for a good part of the year it is actually nice to open windows rather than living in a sealed environment full of stale and unhealthy air.
I live in NE Seattle under the flight paths and a comparable source of annoying nighttime summer noise are (empty) buses laboring up the hill 2 blocks from my house at 5 AM in the morning.
Posted Sat, Jan 19, 8:41 p.m.
By appearances, Mr. Scigliano describes the existing situation with regards to SeaTac noise footprints and monitoring.
What Mr. Scigliano fails to do is to adequately report the technology that the Greener Skies initiative incorporates.
As this article in the Seattle PI explains, Greener Skies is a combination of using GPS to plot a more direct route to the airport AND a continuous descent without the stair-step that current approaches mandate.
See here: http://blog.seattlepi.com/worldairlinenews/2010/07/23/alaska-airlines-greener-skies-test-flight-lowers-emissions-by-35/
As documented in the Seattle PI article, Alaska Airlines was able to demonstrate a 35% reduction in fuel burn through the use of Required Navigation Procedures (RNP) which Greener Skies encompasses.
And this is where Scigliano should have dug a little deeper and explained a little more thoroughly. A reduction of fuel burn of 35% is also a reduction in pollution and a reduction in noise. It is the continuous descents characteristic of RNP that eliminate the need to throttle back-up to hold airspeed that results in the elevated community noise levels.
RNP permits airplanes to more-or-less glide under idle thrust from cruise altitudes down to landing. So when current Mt. Baker residents complain of current airplane noise, it primarily is due to airplanes having to throttle-up to maintain airspeed and/or separation in approach traffic.
If one takes Scigliano's reporting at face value, one might be skeptical of the FAA's predictions based upon their previous history. But I would expect that any law suit to halt implementation of Greener Skies into SeaTac would not be sustained without expert testimony that would discount the FAA's contention that the continuous descent profiles would result in comparable community noise levels along the new flight paths.
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Batuki Music Society and Small World Music Society present Sidi Touré Thursday, September 29, 2011 at the Lula Lounge "Sidi Touré is a worthy successor to Ali Farka Touré. Among Songhaï musicians, Sidi is the best. Sidi Touré is a singer-songwriter from Mali who has garnered global acclaim for thought provoking songs that honour African sonic traditions in a manner that appeals to listeners from any continent. Throughout his time making music, Sidi's sound has both captured and challenged his roots. His music moves from the translucent swaying takamba to the trance inducing Holley, while the lyrics often address many non-traditional issues. Sidi has a critical mind and his songs have a purpose. His just-released album, 'Sahel Folk', a SPIN pick, features spontaneously recorded duets with other Malian musicians.
Batuki Music Society on facebook | by email Batuki Music Society gratefully acknowledges the support of Ontario Arts Council and Canadian Heritage. |

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Updated Friday, November 23, 2012 at 12:16 AM
Newly released documents add detail to the emerging portrait of the Food and Drug Administration's (FDA) ineffective and halting efforts to regulate a Massachusetts company implicated in a national meningitis outbreak that has sickened nearly 500 people and killed 34.
In the documents, released in response to a Freedom of Information Act request, the agency would threaten to bring the full force of its authority down on the company, only to back away, citing lack of jurisdiction.
The company, the New England Compounding Center, at times cooperated with FDA inspectors and promised to improve its procedures; at other times, it challenged the agency's legal authority to regulate it.
Records show that the agency was sometimes slow in pursuing its own inspection findings. In one case involving the labeling and marketing of drugs, the agency issued a warning to New England Compounding 684 days after an inspection, a delay the company's chief pharmacist complained was so long that some of the letter's assertions no longer applied to its operations.
The agency said Wednesday that it "was not the timeline we strive for."
The agency first inspected the company in April 2002.
On the first day of the inspection, Barry Cadden, the chief pharmacist, was cooperative, but the next day, the agency inspectors wrote, Cadden "had a complete change in attitude & basically would not provide any additional information," adding that he challenged their legal authority to be at his pharmacy at all.
The FDA was back at New England Compounding in October 2002 because of possible contamination of another product, methylprednisolone acetate, the same drug involved in the current meningitis outbreak.
While the FDA had the right to seize an adulterated steroid, officials said that action alone would not resolve the firm's poor compounding practices. In a meeting with Massachusetts regulators, FDA officials left authority in the hands of the state.
In a September 2004 inspection over concerns that the company was dispensing trypan blue, a dye used for some eye surgeries that had never been approved by the FDA, Cadden told the agency inspector he had none in stock. But in the clean room, the inspector noticed a drawer labeled "Trypan Blue," which contained 189 vials of the medicine.
Cadden told the agency there was nothing in the law saying a compounder could not dispense unapproved products. He rejected many of the claims in the warning letter that finally came in December 2006. The next correspondence did not come until October 2008, saying the agency still had "serious concerns," about the company's practices.
The agency did not conduct another inspection until the recent meningitis outbreak.


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2012 Is So Yesterday
This year has been interesting to say the least. I took myself out of my comfort zone, moved to a beautiful city, won some, lost some and won some more. I got a job in my degree field, started being more independent and even pretended I knew how to cook. I found out I'm going to be an Aunt and got home sick... maybe once. Okay, twice. I got to see mountains and stuff, went on a few picnics, dyed my hair dark only to go back to red and made some new friends. Now, I'm not one to make resolutions, but I do have some goals and such up my sleeve for 2013. For now, I leave you with SOME of my most memorable moments of 2012….
Moved to this gorgeous city
Got my very own nest
Balcony brunches
This team and some hard work
Another year of NSN and my baby love, Monikapolitan.
Family time became more meaningful
Road trip to Colorado. Mountains, yes.
This man.
First event in Austin.
Summer, lakes and creeks.
Pool parties.
Mom retired, so we threw her a surprise boat party.
Summer roomie, hula hoopin' and booty poppin'
Beach visits and more parties
New friends, campin' and ridin dirty.
Petey became a father and I got dis lil thing.
My family got more awesome.


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Technology? Cute?
Okay, I'm not much of a techie girl. I'd rather spend my money on a fab new handbag than on a gadget. Cell phones, blackberries (or as my tech-addicted friend Melissa calls them, "crackberries"), mp3 players that do triple duty as phones, computers and personal stylists: they don't do anything for me.
In fact, I'd had the same simple flip phone (no camera! no fancy ringtone!) for the past four years. So no one was more surprised than me was when I fell in love with (gasp!) a new cell phone a month agoand immediately had to have it. Now, before you think I've changed my ways and become a technophile, you should know that's not it. Even though my new Motorola Pebl phone has cool features like picture messaging and photo and ringtone downloads, I love it for a different reason: because it's so darn cute!
There's just something about the chubby, roundish shape and the soft-to-the-touch surface that makes me want to keep holding it. I know it's weird but I can't help it!
Have you ever had a favorite phone or other techie thing? Am I crazy for thinking a phone is cute? Do you have the Pebl too and agree with me? Tell me what you think!
XOXO, Marina


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Trial by combat
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- "A trial by combat, deciding a man's guilt or innocence in the eyes of the gods by having two other men hack each other to pieces. Tells you something about the gods."
- ―Tyrion Lannister
A trial by combat is a means by which a party can prove their innocence when accused of a crime in the Seven Kingdoms. In lieu of a standard trial where a lord - or a council of them - hears testimony from the involved parties and makes a ruling, one or all parties may choose the option of a trial by combat.
In a trial by combat the accused may represent themselves in combat or, if unable (such as if they are female, injured, crippled, a dwarf, or otherwise incapacitated), may ask for a champion to represent them. The victorious party is held to have had his or her case judged fairly by the gods (be it the Seven, the Old Gods or the Lord of Light) and has proven their truthfulness in the eyes of the gods. Hence, if the accused party is victorious, they are cleared of all charges. If the accused or their champion is defeated, however, then they are considered guilty and condemned to death.
Season 1Edit
Refusing to have his fate judged by Lord Robin Arryn, Tyrion Lannister demands a trial by combat when charged with the murder of Jon Arryn. As Robin is underage and his mother Lysa Arryn cannot fight, she names Ser Vardis Egen, the Captain of the Guards of the Eyrie, as her champion. Tyrion also demands the right to name a champion to fight and chooses his brother, Ser Jaime Lannister, but Lysa refuses because Jaime is not present; she insists that the combat must take place that day. Tyrion asks for volunteers from the court but is only jeered at. However, just as Lysa is about to condemn him, the sellsword Bronn steps forward and offers to fight for the dwarf.
Ser Vardis dons full armor and a heavy shield while Bronn eschews offers to be lent armor or a shield, preferring to maintain his maneuverability at the risk of making himself more vulnerable. The pair engage in a fierce running duel throughout the Eyrie's throne room. Ser Vardis nearly forces Bronn out the Moon Door at one point, but Bronn breaks off from the attack. Bronn uses underhanded tactics such as knocking objects onto the floor, jumping over railings, and running behind stone pillars. Ser Vardis, forced to chase after Bronn, grows increasingly tired. Bronn manages to land a quick stabbing blow to his side. The wounded Vardis fights even slower, until ultimately Bronn sidesteps him and slashes him deeply across the back. The sellsword then disarms the badly wounded knight and finishes him off by driving his sword through the knight's neck, then throwing his body out the Moon Door. Lysa Arryn shouts that Bronn did not fight with honor. He matter-of-factly agrees, and indicates that Ser Vardis did. Thus acquitted, Tyrion is then released.[1]
Season 3Edit
During her captivity with the Brotherhood Without Banners, Arya Stark accuses Sandor Clegane for the death of her friend Mycah. As the Hound argues he was following the orders of Prince Joffrey Baratheon and there are no other witnesses, Lord Beric Dondarrion sentences the deserter Kingsguard to trial by combat.[2]
Lord Beric uses his own blood to ignite his sword during his duel with the Hound. Clegane is initially at a disadvantage due to his fear of fire, and is disturbed by the flaming sword and the torches inside Hollow Hill. Dondarrion manages to set the Hound's shield on fire, but Clegane eventually overpowers the outlaw lord and kills him. Even though Thoros resurrects his fallen comrade, the Hound is found innocent before the eyes of the Lord of Light and allowed to go.[3]
Season 4Edit
Considering his trial for the murder of Joffrey Baratheon to be a farce, and refusing to go along with his father's plans, Tyrion Lannister demands a trial by combat to defend his innocence.[4] Queen Cersei chooses Ser Gregor Clegane as her champion. Tyrion has difficulty finding a champion; his brother Jaime cannot fight well enough with his left hand, while Bronn is unwilling to face Clegane. However, Oberyn Martell then volunteers to stand as champion for Tyrion to get a chance to kill the Mountain as revenge for the rape and murder of his sister Elia and her children during the Sack of King's Landing.[5]
During the trial, Oberyn Martell fights with a spear and little armor while Gregor Clegane is covered in heavy plate armor and wields a greatsword. Oberyn uses his speed and the long reach of his spear to gain the upper hand against Gregor. He wounds Clegane and knocks him on his back. However, Oberyn is obsessed with extracting a confession from Gregor and he lets his guard down, and is tripped by Gregor. Gregor roars for all to hear that he raped and killed Elia as he smashes out Oberyn's teeth and gouges his eyes out, before crushing Oberyn's skull between his fists and collapsing next to his dead opponent. Thus, Tyrion is found guilty and sentenced to death[6], although he manages to escape King's Landing for Essos before his execution.
In the booksEdit
In the A Song of Ice and Fire novels, trials by combat are risky gambits only invoked when there is little other choice. In historical times there were more variations of the trial, such as a trial of seven when the two sides would pick seven champions who would fight until one side yielded or the plaintiff withdrew their charge. This was held to be a more holy contest, but the practical difficulties have made such trials rare. Ser Duncan the Tall first came to the attention of legend by holding a trial of seven against his accuser, Prince Aerion Targaryen, and defeating him and his other six.
For trials by combat involving the royal family, they must be defended by a knight of the Kingsguard.
See AlsoEdit
- Trial by combat on A Wiki of Ice and Fire (MAJOR spoilers from the books)
- Trial by combat on Wikipedia


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Bruce Martin, Special to Motorsport.com
Back in 2000, the Viper GTS-R was the best sports car in the world. Last year in August, the Viper made its in return to the sportscar stage at the ALMS race in Mid-Ohio and now they are making their return to the 24 Hours of Le Mans.
Teams beginning to announce lineups for 51st running of Daytona classic
Ciaran Haggerty and his dad will be part of the Starworks team at the 2013 Rolex 24 Hours of Daytona. The young Scot will be in the team's paddock with not only Dalziel but also Scotsman McNish, Venezuelan Popow and Frenchman Bourdais.
Audi Sport factory driver Allan McNish heads to the USA for the "Roar Before The 24" testing in Daytona, Florida with the Starworks Motorsport team. The Scotsman is one of many racers worldwide that take on the January 24 hour race in a one-off...
Morning fog rolled into Daytona forcing the GRANDAM officials to call for a full course caution.
Scott Mayer 2012 FIA GT3 Champion will join Gaetano Ardagna Perez, Ivan Bellarosa, Jan Charouz and Brendon Hartley in the #8 Starworks Ford Riley Daytona Prototype.
The pole-winning car led the final seven laps – its only stint out front – as Fogarty and Gurney won in the Rolex Series for the first time since late 2011.
North American Endurance Championship claimed by Chip Ganassi Racing.
By Eric Mauk: One of the more versatile drivers on the planet will take on a new challenge as Sebastien Bourdais joins Starworks Motorsport for this weekend's Grand-Am event at Watkins Glen
Incident-marred qualifying sessions have teams scrambling to prepare back-in-the-pack starting spots potential roadblocks to podiums.
Starworks Motorsport raced with BMW Power in 2008 through 2010.
Three-times a runner-up, the Scotsman bids for Rolex at Daytona win at eighth attempt. He will share the ride with Sébastien Bourdais, Ryan Dalziel and Alex Popow.
Five Scottish drivers are in the solid U.K. contingent expected for 51st Rolex 24 at Daytona. Ryan Dalziel and Dario Franchitti are past winners of the challenging race.
Starworks Motorsport adds IndyCar racer Sébastien Bourdais and sportscar ace Pierre Kaffer to their lineup for the GRAND-AM Rolex Series endurance race at Watkins Glen.
In the 16-car GT field, the rain held off and a first-time pole winner emerged as Robin Liddell set the fastest time on the Watkins Glen road course.
Kansas Speedway will host the GRAND-AM Rolex Sports Car Series for the first time on Saturday night. In the Continental Tire Sports Car Challenge, Plumb and Longhi can clinch the GS title in Kansas City.
Motorsport.com staff
Peter Baron was already scouting future talent when made the move from driving to team owner in 2005.
The rain has moved away from Atlanta, leaving sunny but cool conditions for the fourth race of the season.
In a one off race with Starworks Motorsport, Allan McNish along with Ryan Dalziel, Sebastien Bourdais and Alex Popow finished 6th their Ford Riley.
Juan Pablo Montoya fastest in opening Sprint Cup practice.
10 drivers separated by 5 points with 2 races to go, who will step up and claim the prize?
The Rolex Sports Car Series head to Road America with Alex Popow and Ryan Dalziel holding the Grand-Am points lead in the Daytona Prototype class.
Turner Motorsport 1-3 in GT class and 1-2-3 sweep in CTSCC Street Tuner class.


text:
Genomma announces $834 million proposal to acquire Prestige
MEXICO CITY—Genomma Lab Internacional, S.A.B. de C.V. has
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The proposal was delivered to the Chairman and CEO of
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Chairman of Genomma. Genomma's board unanimously supports the proposal, which
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"We believe this is an extremely compelling offer with
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As part of this uniquely compelling combination, Prestige would be well
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Genomma's letter noted that its decision to make the
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Aspra added that Genomma is very serious about the proposal
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"We have a high regard for your operations, management and
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employment of Prestige's management and employees following the consummation of
a transaction," he said.
In response to the proposal, Prestige announced that it
would review the letter and respond in due course, though the company noted
that it was "puzzled" by Genomma's approach.
"The 'offer' described in the letter is highly conditional,
requiring, among other things, due diligence, significant financing and Genomma
Lab shareholder approval," Prestige noted in a press release. "Given the
extensive conditionality, combined with the absence of detail and the expressed
preference for a negotiated transaction, we are puzzled by Genomma Lab's
decision to go public without any attempt to first engage in discussions with,
or make a proposal to, the board of directors of Prestige Brands. The Company
advises shareholders that they need not take any action at this time in
response to Genomma Lab's letter."
Prestige markets and distributes brand-name OTC products in
a variety of areas, including cold, allergy, sinus, oral, eye and skin care.
Some of its brands include Chloraseptic, Luden's, Dramamine, Beano and Clear
Eyes. Code: E02231201 Back |


text: This functioning steam engine can be a dramatic introduction for your energy conversion unit. Every step of the operating process can be seen with this visible working model - lighting the match, burning dry fuel, converting water to steam and steam to mechanical power. With built-in safety valve, fuel pellets and instructions.


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Sponsored by: Desert Diamond Casino
Nov 7, 2012 5:04 PM
(NBC NEWS) - A missing crocodile is back at a Gaza zoo after 18 months on the run.
Police called fishermen to catch the now six-foot-long reptile after people complained he had been eating livestock.
The crocodile went missing when it was less than two feet in length.
He was spotted in sewage pools in the northern part of the Gaza Strip and netted by fishermen Monday.
The elusive croc spent some time re-acquainting himself with his pen yesterday. He lives at the zoo with four other crocodiles.
The zoo's owner decided to name him "Sakher," which means "Rock," as a tribute to his survival.
4 hours ago


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Talk about polishing the "Apple" until it shines.
In the Roundabout Theatre Company's revival of "The Apple Tree," Kristin Chenoweth makes her own special brand of musical-comedy magic. The woman belongs in the theater (not in movies like "Deck the Halls" or her short-lived TV series "Kristin"), preferably in a musical that can show off her voice and delirious comic timing at the same time.
She gets just such an opportunity in this odd, uneven entertainment, actually three one-act Jerry Bock-Sheldon Harnick musicals based on short stories by Mark Twain, Frank R. Stockton and Jules Feiffer. The 1966 original ran for over a year, a showcase for the quirky talents of Barbara Harris. And Chenoweth played the lead in "The Apple Tree" two years ago in a production at "Encores! Great American Musicals in Concert" If anything, she has gotten better.
This version, which opened Thursday at Studio 54, expands on the bare-bones "Encores!" version and recasts Chenoweth's co-stars. Her new leading men are Brian d'Arcy James and Marc Kudisch.
"The Apple Tree" is a musical about temptation, a situation most obvious in the evening's curtain raiser, Twain's "The Diary of Adam and Eve." Chenoweth, of course, is Eve; James is Adam and Kudisch a most debonair snake.
The key to Chenoweth's vibrant stage persona is her impish confidence. She is a personality, a unique performer who would have been right at home appearing in musical comedies of the 1920s and 1930s. Imagine if George and Ira Gershwin, or Rodgers and Hart had written a show or two for her. Here, director Gary Griffin, who also directed the "Encores!" presentation, wisely allows his leading lady to be front and center for most of the evening.
Chenoweth knows where the laughs are and goes right for them in all three pieces. Her Eve is cheerfully all-knowing, a hilarious contrast to James' obtuse, if good-natured Adam. She portrays a spoiled princess in Stockton's "The Lady or the Tiger?" It's a chance for her to engage in high camp and low comedy. And in Feiffer's "Passionella," the actress is a forlorn chimney sweep suddenly transformed into a blonde bombshell of a movie star not unlike Marilyn Monroe. She goes from sweetness to sexy in warp speed.
Bock and Harnick, who wrote such musicals as "Fiddler on the Roof," "Fiorello!" and "She Loves Me," are craftsmen of the old school. Even with a show that is not of first rank (and "The Apple Tree" belongs in their second tier), Harnick's lyrics are never less than intelligent. They often are warmhearted and witty, while Bock's music, particularly in the first piece, is affecting without being overly sentimental.
"Adam and Eve" also contains the show's best song, 'What Makes Me Love Him." It's a number that Chenoweth delivers with enormous affection, singing in a simple, direct style that never descends to maudlin.
The songwriting team, with additional material from Jerome Coopersmith, also are credited with the book, whose quality varies greatly from story to story to story. If "Adam and Eve" is the most carefully thought-out piece (it borders on whimsy without getting too sticky), "The Lady or the Tiger?" has a strangely abrupt ending and "Passionella" is the most dated, a mid-1960s variation on "Cinderella," loaded down with beatnik hipness and an Elvis Presley-like hero gamely played by James.
The production designs are still minimal. "Adam and Eve," for example, is performed on a nearly bare playing area. And the chorus lineup is exceptionally skimpy, only four guys and four girls. But don't worry. Kristin Chenoweth can fill the stage all by herself.
"The Apple Tree" opened on Broadway in 1966 and it was slender stuff even then: three cartoonish skits plus a sunny score by Jerry Bock and Sheldon Harnick. It ran 463 performances, largely due to the appeal of its stars, Barbara Harris (she won a Tony), Alan Alda and Larry Blyden, who could sing and sell silly. It also had Mike Nichols, a director who knows comedy.
The Roundabout Theatre Company's production of the show, which opened last night at Studio 54, has the star power, that's for sure. It is led by pint-sized powerhouse Kristin Chenoweth, the ideal leading lady for a show built for a knockout comic diva. Her co-stars are two seasoned pros, Brian d'Arcy James and Marc Kudisch.
What's missing from the Roundabout revival, as directed by Gary Griffin ("The Color Purple"), who based this version on his 2005 Encores! staging (also starring Chenoweth), is light-footedness. Timing is everything in comedy. Griffin's production is pleasant, but it plods. Ensemble dance numbers and a stripped-back design (the less said about this the better) fail to add excitement.
The show is based on love stories by Mark Twain, Frank R. Stockton and Jules Feiffer. Act I is "The Diary of Adam and Eve," about the First Couple in Eden. After intermission, "The Lady or the Tiger?" leaps to a "semibarbaric kingdom a long time ago." "Passionella" is a fable about Ella, a 1960s chimney sweep who yearns to be a film goddess. Although the score never hits the heights of Bock and Harnick classics like "Fiddler on the Roof," the songs are breezy and charming and have range. Eve's tender "What Makes Me Love Him" and Ella's goofy "Oh, To Be a Movie Star" are radiant.
We've come to expect that from Chenoweth. She is an old-school Broadway star who can sing, dance, act and is funny, all in a perky blond package. It is a special treat to have her onstage amping up the adorable and filling out a glamour-girl gown while pitching her warm and lustrous voice to the rafters.
D'Arcy James fills the romantic roles nicely. Kudisch is surprisingly good as a Snake (he's got cobra-like body lingo down) and as a dapper fairy godmother.
But the trio's efforts to make the most of the thin material are ultimately undermined by the sluggish pacing. "The Apple Tree" has never been revived on Broadway until now. One wishes for a crisper comeback.
Let's hear it for Kristin Chenoweth - and we'll be hearing it on all sides this morning - for at Studio 54 last night she opened, and all but exploded, in the Roundabout Theatre Company's "The Apple Tree."
First time 'round on Broadway in 1966, the Jerry Bock-Sheldon Harnick musical was a vehicle for Barbara Harris, then Broadway's darling.
And so it is now for today's darling, Chenoweth - an undeniably effective vehicle, but, then, so is an express bus.
This vehicle had been patched together by the same flying-high team that only two years earlier had devised their masterpiece, "Fiddler on the Roof."
But while "Fiddler" had a great story, "The Apple Tree" did not. Though the original production ran for more than a year, it still lost money.
What Bock (music) and Harnick (lyrics) came up with was what Italian opera would call a "trittico." It was for Broadway a virtually unknown concept (and has remained that way) of three one-act musicals, based on stories by Mark Twain ("The Diary of Adam and Eve"), Frank R. Stockton ("The Lady or the Tiger?") and Jules Feiffer ("Passionella").
Unfortunately, the conception never delivered. Bock and Harnick imagined their three one-acters were linked with a theme of man, woman and temptation. Maybe.
What they are really linked with is the unbearable lightness of being cute. It's an evening that runs with cuteness like an abattoir with blood.
All three pieces provide a sugar overload capable of bringing the sensitive close to screaming and making even the undersensitive queasy.
The first segment, "The Diary of Adam and Eve," sets the tone, with the father and mother of us all naming all the names and prescribing all the gender stereotypes, while falling - with help from Snake - from pristine grace.
"The Lady or the Tiger?" has a jealous Chenoweth wielding a recalcitrant bullwhip, deciding whether her lover, forced to choose between those two fateful doors - one hiding death, the other a dame - would be "better dead than wed" to someone else. (We never do know for sure.)
The final segment, "Passionella," is Felffer's charming Hollywood take on Cinderella, transforming a poor little chimney sweep into a Monroe look-alike who falls in love with a Brit rocker - a Prince Uncharming - who boasts a Lennon-style Queen's English.
Director Gary Griffin's neat staging elaborates only slightly on his earlier, austere production for City Center's "Encores!" series a year ago, in which Chenoweth also glittered. Now, however, the orchestra is split stereophonically between the theater's boxes.
No doubt it's hoped that, as with the record-breaking Encores! version of "Chicago," a new golden apple will not fall far from the tree.
It doesn't - but it's anything but pure gold.
Luckily, the performances are. Chenoweth at times seems a cleverly calculated amalgam of Lucille Ball, Carol Burnett and Anna Netrebko - but at glossy heart she's all Chenoweth, a Broadway legend in the making and wondrous to behold.
Nor are her two terrific co-stars slouches, either. Both kept busy making wit out of corn.
Brian d'Arcy James can even match Chenoweth in timing and comic grimace, though he's hardly helped, as Adam, by having an uncredited, unmistakable voice-over God from Alan Alda, who played James' roles back in 1966.
As Snake, Balladeer and Narrator, Marc Kudisch provides a fiendishly subtle triple threat.
Nevertheless, this "Apple Tree" still has more bark than bite.
Simba, Tarzan, Beauty, Beast: sorry, kids, but you're not even in the running. The most winning performance by an animated cartoon in a Broadway musical is not to be found among the rows of dancing cyborgs in Disney productions. Look instead to the stage of Studio 54, where the virtues of Betty Boop, Jessica Rabbit and Blondie (wife of Dagwood, not the pop group) have been blended into one small, blindingly radiant package that goes by the name of Kristin Chenoweth.
In the Roundabout Theater Company's revival of "The Apple Tree," which opened last night, Ms. Chenoweth, who is not quite 5 feet, is giving Imax-screen-sized life to three curvaceous doodles who by rights shouldn't be any larger than creatures confined to the frames of the Sunday funnies.
Nor should her characters — who embody the eternal female essence through the centuries, starting with Eve and ending with a Jayne Mansfield-like love goddess — seem as fresh as Ms. Chenoweth makes them. Written by Jerry Bock and Sheldon Harnick, "The Apple Tree" must have felt at least a tad moldy even when it first opened in 1966. And to be honest, Gary Griffin's revival doesn't manage to polish off all the dust that has since gathered on the show.
Though tuneful and sweet-tempered, this slender series of comic sketches about those silly but overpowering creatures called women was already looking faded in the 1960s, when writers like Betty Friedan and Gloria Steinem were finding and raising their voices as feminists. But the original "Apple Tree" had the irresistible force of its star, Barbara Harris, on its side.
Ms. Harris, who won a Tony for her performance in "The Apple Tree," vanished from Broadway shortly afterward, leaving behind her a misty memory of musical-comedy perfection that most actresses would wisely choose not to disturb.
Ms. Chenoweth — a Tony-winning, classically trained soprano with the feral comic instincts of Lucille Ball — is fearless and, when need be, shameless. She uses every theatrical weapon in her lavishly stocked arsenal to make "The Apple Tree" her own. And with splendid support from Brian d'Arcy James and Marc Kudisch as the men in her characters' lives, she emerges as a mighty conqueror.
Are the vitality, craftsmanship and musical chops of Ms. Chenoweth and her co-stars enough to turn a rusty time capsule into a transporting time machine? The answer is an unqualified yes only in the first act, based on Mark Twain's "Diary of Adam and Eve." In the second act — which consists of campy variations on the old "Lady or the Tiger?" teaser of a story and Jules Feiffer's account of a chimney sweep transformed into a movie star — "The Apple Tree" starts to look pretty bare.
The show's hoariness was less noticeable when Ms. Chenoweth appeared last year in a concert version of "The Apple Tree" in the Encores! series at City Center, also directed by Mr. Griffin. The minimal staging, combined with the richness of Ms. Chenoweth's performance and that of the onstage orchestra, allowed audience members to imagine that the show was fuller than it is.
The Roundabout version, designed by John Lee Beatty (sets) and Jess Goldstein (costumes), falls awkwardly between a bare-bones presentation and a full-dress production. This works just fine for the Adam and Eve sequence, conceived in the naked-stage tradition of "Our Town."
And whatever your feelings about the portrayal of the original man and woman as prototypes for a race of silent, dim he-creatures and chatty, nagging she-creatures, it's almost impossible not to be seduced by the jokes, songs and sentimentality as rendered by Ms. Chenoweth (as Eve), Mr. d'Arcy James (as Adam) and Mr. Kudisch (as the snake). All three of the principals have angelic voices, which give luster to the show's most charming songs.
The second act is steeped in a makeshift glitz that brings to mind 1960s television variety revues (right down to Andy Blankenbuehler's cheesecake choreography). This in turn makes you more conscious than you should be of how closely the latter part of the "Apple Tree" resembles a middling segment from an old "Carol Burnett Show."
With orchestrations by Jonathan Tunick and musical direction and vocal arrangements by Rob Fisher, both peerless talents, the sound of the show stays at tree-top level, though. So do the central performances.
Mr. d'Arcy James brings a robust wit that is mercifully free of archness to his varied incarnations of male stolidity. (His roles were originated by Alan Alda, who makes an aural cameo here as the voice of God.) And Mr. Kudisch, who becomes two very different but equally droll narrators in the second act, has a canny grasp of the styles he is sending up.
As for Ms. Chenoweth — a bona fide Broadway star ("You're a Good Man, Charlie Brown," "Wicked") who works regularly in film ("The Pink Panther") and television ("The West Wing") — she consistently turns canapé-scale jokes and songs into banquets. Her compact hourglass body turns out to be as flexible and resonant an instrument as her voice, which is saying something.
Her transformation from the Chaplinesque Ella the Chimney Sweep into the undulating movie star Passionella is her most obviously virtuosic achievement here. But the peppy stride with which she endows Eve, a combination of take-charge bustle and the ecstatic energy of a newborn human, is even more memorable. It should also be noted that Ms. Chenoweth makes inspired comic use of props as varied as a bullwhip and a pickerel.
In her first moment on stage, as Eve wakens into being, Ms. Chenoweth sleepily grabs the air, as if hugging a phantom lover. What Eve is really trying to embrace, it develops, is the whole world. For the duration of "The Apple Tree," the whole world — or at least the entire audience at Studio 54, which is all the world that counts for two hours — is delighted to return the embrace.
Perhaps the only reason to revive "The Apple Tree" is to showcase a couple or three shiny-bright apples.
If so, the Roundabout Theatre Company has what it needs in Kristin Chenoweth, Brian d'Arcy James and Marc Kudisch - who are sweet and amused with one another and do everything but bake themselves into a pie to justify the extremely minor new production dwarfed by the oversized environs of Studio 54.
But there is an expired sell-by date to this limited run - an inescapable sense that the sunny 1966 trifle by Jerry Bock and Sheldon Harnick got stuck into this big dark theater as filler between more interesting work.
"The Apple Tree," made up of three modest musical play lets, was produced for a weekend last year as part of City Center's semi-staged "Encores!" series at City Center. Unlike "Chicago" and "Wonderful Town," "Encores!" shows that cried out to be transferred intact to Broadway, this feels like an underproduced road show that only had to travel a few blocks.
As at City Center, the draw is Chenoweth - the reigning Kewpie doll with her teeny comic body and big musical notes. For those with no limits to their Chenoweth appetite, this show offers the chance to watch a real old-style Broadway star be tirelessly cute as four different characters - from Eve in Paradise to a spoiled princess in an ancient barbaric kingdom to a movie-queen variation of Cinderella in the '60s.
Director Gary Griffin, who staged the "Encores!" production (and never got enough credit for "The Color Purple"), delivers the vehicle on what appears to be the cheap. John Lee Beatty's set amounts to the "Encores!" proscenium with a tree embossed on a burlap curtain and just enough props to establish, sweetly, the contrasting situations.
In the most amusing section, "The Diary of Adam and Eve," inspired by Mark Twain, we find Adam (d'Arcy James) being awakened by the voice of God - that is, the voice of Alan Aida, who co-starred with Barbara Harris in Mike Nichols' original production. Adam, asleep in what looks like white tennis clothes (by Jess Goldstein), reluctantly gets up to start naming things on Earth. He gets a pain in his rib and out rolls Eve, alert and chatty and able to name everything - for example, a parrot because "it looks like a parrot."
He tells bad jokes and fears commitment. She gets too close and likes to decorate. Kudisch, who can be adorable and creepy in the same instant, portrays their conspiratorial snake as if there were an echo chamber behind his nose.
Bock and Harnick - far better known as the team who created "Fiddler on the Roof" and "She Loves Me" - wrote larky songs here that make tough vocal demands appear sweet and casual. Rob Fisher, musical master behind the early days of "Encores!" conducts an antiphonal orchestra that plays from balcony box seats on either side of the stage.
In "The Lady or the Tiger" (based on Frank R. Stockton's story), they spoof the fable with d'Arcy James as the conquering hero and Chenoweth as the royal brat. In "Passionella" (story by Jules Feiffer), she plays an unemployed chimney sweep who gets her wish and becomes a star who looks like Marilyn Monroe in a slinky mermaid-tailed gown.
Chenoweth, who has a solo concert at the Metropolitan Opera in January and her legitimate Met debut in 2010 in "The Ghosts of Versailles," can switch vocal registers as effortlessly as she tosses comic riffs. With her tiny-girl steps and limbs that look as if a child had drawn them, she has her very own cartoon sexuality - if not Jessica Rabbit, then surely Jessica Bunny-Rabbit.
Kristin Chenoweth's biggest problem is that she was born late.
A half-century ago, a beautiful woman with a gleaming soprano and a flair for comedy was prized in musical theater. Each Broadway season brought a new showcase for her gifts, as then-fledgling performers such as Julie Andrews and Barbara Cook could testify.
Contemporary musicals, with their soft-rock-flavored scores and coarse camp, offer fewer settings for such elegant jewels. A girl might luck into a canny vehicle, as Chenoweth did a few years back with Wicked; otherwise, she can only hope that the right revival comes along.
Which brings us to the Roundabout Theatre Company's The Apple Tree (*** out of four), from Jerry Bock and Sheldon Harnick, the team behind Fiddler on the Roof and She Loves Me. A trio of mini-musicals adapted from stories by Mark Twain, Jules Feiffer and Frank R. Stockton, Apple enjoyed a brief run in the 1960s.
This fresh Apple, now at Studio 54, has ample charm to sustain it for two hours. That's not to say it's as ripe for Chenoweth's talents as the New York Philharmonic's staging of Candide. Though she expertly handles Bock's tunes, they don't accommodate her silvery vocal tone and multi-octave range the way Leonard Bernstein's did — or show off her supple middle register as fetchingly as some songs that Stephen Schwartz penned for Wicked.
And while the roles that Chenoweth assumes seem tailored to suit her adorable presence, the skits are inconsistent. "The Diary of Adam and Eve" is the first and the best, casting her as the world's deceptively dizzy first woman opposite an endearing Brian d'Arcy James. Marc Kudisch, Chenoweth's former flame offstage, adds devilish humor as the snake who worms his way into Eden.
The three dynamic young performers are underserved in other sequences, in which Chenoweth plays a tempestuous princess and a chimney sweep transformed into a Marilyn Monroe-like screen idol. Still, they tackle their goofy characters with verve, putting a new spin on the cliché that tells us there are no small roles, only small actors.
Clearly, even at 4-foot-11, Chenoweth remains a force to be reckoned with.
As star vehicles go, Jerry Bock and Sheldon Harnick's "The Apple Tree" is a female musical comedy performer's dream. The 1966 tuner snagged a Tony for original lead Barbara Harris and provides a snug showcase for the effervescent vocal and comic gifts of Kristin Chenoweth in her welcome return to Broadway. But while the triptych of musical vignettes was charming in its semi-staged Encores! presentation last year, Roundabout's decision to upgrade to Broadway in a slapped-together production at Studio 54 only exposes the flimsy material's limitations.
There's still lots to enjoy here, but with a top ticket north of $100, sweet and pleasant doesn't quite cut it. Unlike other revivals sparked by Encores! airings such as "Chicago," "Wonderful Town" and "The Pajama Game," this insubstantial musical barely withstands a full-scale staging in a large house. A quaint relic of the era of variety-show sketch comedy, it establishes a tenuous link between the three stories of Man, Woman and the Devil. Downsizing from the full orchestra onstage at Encores! to 15 musicians and a smaller ensemble also adds to the generally anemic quality.
Taken together, Bock and Harnick's songs have little to rival their earlier collaborations on "Fiddler on the Roof," "She Loves Me" or "Fiorello!" Nonetheless, there's a versatility and command of tone and theme on display that identify the composer-lyricist team as master craftsmen.
The numbers extend in range to reflect the style and subject matter of each mini-musical, based on stories by Mark Twain, Frank R. Stockton and Jules Feiffer. The dawn of humankind and chartering of the male-female dynamic is echoed in soft, dewy ballads and wry comic songs in "The Diary of Adam and Eve." Brassy fanfares usher in the over-the-top sword-and-sandal spoof of "The Lady or the Tiger?," and showbiz pizzazz flavors the satirical dream of stardom in "Passionella: A Romance of the '60s."
While the sentimental opening tale offers the show's prettiest songs and most nuanced treatment, it becomes the weakest part here due largely to the austere staging choices made by director Gary Griffin and designer John Lee Beatty. The gentle comedy of the exploratory interaction between self-reliant Adam (Brian d'Arcy James) and bossy nester Eve (Chenoweth) too often seems dwarfed on the vast empty stage, littered with stepladders and wooden boards in a bare-bones style reminiscent of "The Fantasticks."
Chenoweth has the timing and physical comedy skills of a classic screwball star like Carole Lombard, and her airy, effortless soprano makes enchanting work of songs such as "Here in Eden," "Feelings," "What Makes Me Love Him" and the daffy lullaby "Go to Sleep Whatever You Are." But even with her delectable turn, the material is too thin to support an entire act.
James' regular-guy Adam has moments but lacks warmth. When he gets to show some heart in "Eve," he's shortchanged by the scene-stealing (if admittedly hilarious) shtick of Chenoweth as she bustles back and forth across the stage like a biblical Martha Stewart on a decor mission. (James' roles in the show were played in Mike Nichols' original production by Alan Alda, heard here as the voice of God.)
For the second story, Jess Goldstein's vibrant costumes and the casbah-via-Vegas setting for the ancient Middle Eastern kingdom provide slightly more lavish eye candy. Chenoweth plays the lusty princess torn between sacrificing her soldier lover (James) to a savage beast or another woman. Her finest moment here is vamping through "I've Got What You Want" while perilously cracking a whip that threatens to topple her headgear.
Closing seg has Chenoweth as chimney sweep Ella, fantasizing about the glamorous life. A touch of magic via her TV set gives the soot-stained frump a Jayne Mansfield makeover, hourglass curves and instant fame -- with conditions. The transformation is deftly mirrored in Chenoweth's vocals, from tone-deaf forlornness in "Oh, to Be a Movie Star" to trilling self-adulation in "Gorgeous," the show's funniest number. That song also provides a virtuosic opportunity for the diva to hit a high D -- famously recorded by another singer and played as a joke by Harris in the original production.
His hair teased inexplicably into '80s-vintage Duran Duran mode in "Tiger" and into an inflated rockabilly quiff as the motorcycle-riding beatnik celebrity who sets Passionella straight, James sings smoothly and displays fine comic chops, but he's second fiddle all the way.
Same goes for Marc Kudisch -- a dependable class act but underutilized here. He plays the satanic Snake in "Adam and Eve," complete with serpentine head moves; a twangy folk balladeer in "Tiger"; and a droll narrator in "Passionella."
The show doesn't exactly zip along under Griffin's workmanlike direction, but he knows the engine here is the pint-sized star with the radiant smile, and he gives her plenty of room to purr.
It's hard to imagine material that could cater more amusingly to the vanity and fearsome confidence of Chenoweth's stage persona -- admiring her form as original woman Eve ("Whatever I am, I'm certainly a beautiful one"), carried aloft by slaves as Princess Barbara ("Make way! Her goddessness!") or gushing over her sudden attributes as Passionella ("I am such a divine me! Every studio will sign me!"). There's no call for humility here and no confusion as to the single motivating element behind this production.
Here's hoping that next time Chenoweth takes a Broadway breather from doing movies and TV, it will be in a more rewarding musical.


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Located in the picturesque Lido Marina Village in sunny Newport Beach, California, the Lido Yacht Expo is the best place to sell big boats and yachts in the West! The show is the major Southern California boat show designed and produced specifically to draw customers of big boats and yachts along with the gear that makes owning one more enjoyable. The Lido Yacht Expo's continued growth over the past 33 years has created the word of mouth that drives buyers to the show. And with more than 250 big vessels on display, this is the one fall show that serious buyers won't miss.
When: September 26 – 29, 10:00 am – 7:00 pm
Where: Lido Marina Village | 3420 Via Oporto, Newport Beach, CA
More details: Visit Website


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A few new images of the home covered in this post. Still one of my favorites of late.
Photography: Christopher Wesnofske.
Via Remodelista.
Thanks so much for the comment, Christine, and Happy Holidays!
Merry Christmas to you too Dave and thank you for another year of really fabulous posts, :-)
Dave Hime has a passion for (dark) color, texture, and great materials--all hallmarks of masculine design. He's an interior design consultant, speaker, and founder/curator of Japanese Trash, where he brings that passion into your world, your life and your home.
Find out more about Dave here.
What is Masculine Design?
Contact Dave


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Public Radio 89.5 HD1 – OK. Maybe you're in your desk chair. You're in your office. You're in New York , or Detroit , or Timbuktu . You're on planet Earth. But where are you, really? This hour, Radiolab examines the bond between brain and body, and looks at what happens when it breaks. Author and neurologist Oliver Sacks tries to find himself using magnets, we talk to a neuroscientist who uses an optical illusion to solve a century-old mystery that haunts some amputees, and pilots describe surviving out-of-body experiences while flying fighter jets. Listen Friday at 8:00 to RadioLab on Public Radio 89.5 HD1.


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Though the Intalk voip service is aimed towards residential and SOHO customers, it offers some enterprise level features like simultaneous rings to multiple phones, find-me-follow-me, click to call and more. The price is on par with residential home phone services. Yearly plan is $195 and monthly plan is $19.95.
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We at VoipDealsReview.org have many voip services ourselves. Out of all the providers we have tested, Lingo's Chatterbox plan stood out from the rest with a superior product for its core features, like Call quality, Voicemail, Price & Customer service. Then outside the core feature list, Lingo offers free calls to 21 European countries, a monthly price plan with no contract ( a safer choice than yearly plans). We highly recommend Lingo chatterbox plan. With its risk free 30 day money back guarantee, you have a safe exit if you don't like it.
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Are you female?
Are you female?
Are you from a theme park? No, I don't think so
Are you from the 50's no
Are you female? yes
are you animated?
yes I am animatedOriginally Posted by disneydreamer98
Are you Jessica Rabbit?
Por favor mantanganse alijado de las puertas.
Are you an animal?
I almost did Jessica Rabbit but changed my mind...nope not JessicaOriginally Posted by olmec26
I will say yesOriginally Posted by disneydreamer98
Originally Posted by flutter
Do you do meet and greets in any of the parks?
Not that I am aware ofOriginally Posted by disneydreamer98
Are you from a movie?
-Pat (Disneydame2004)
Dream Team Auction Coordinator
Help make a child smile! Dream Team Project Firstgiving Page
Yes I amOriginally Posted by disneydame2004
Originally Posted by flutter
9.Are you from the 60's?
My DeviantArt Page


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What's Happening Now
These materials are maintained in safe, climate-controlled storage.
The IFF Archive Working Group has:
* Recorded all items in a databse and assessed them for condition.
* Digitized many of the older, more at risk tapes.
* Digitally preserved over 40 newspaper articles about Moshe's life in many languages.
* Digitally preserved over 80 hours of audio from workshops in English, German and French.
* Placed the 50 year old manuscript of the Potent Self with a professional paper conservator to halt its deterioration and prepare for digital preservation.
* Digitized the 1,500 photos donated by Bob Knighton and are organizing them to be available to Feldenkrais pracitioners via the image galleries soon.
* Provided access to researchers for a number of projects including the biography authored by Mark Reese.
* Acquired materials through gifts from the New York Public Library (6 hour workshop video,) Stanley Brown (35 hours of audio) and Jerry Karzan (150 photos.)
For the Future
Policies to provide community access to the archive are under development. Sample archival audio recordings and images are available in the Audio Samples section of this website; photos will be available in the Image Galleries.
Audio recordings of workshops suitable for publication are being improved for release by the Distribution Center in a low-cost 'From the Archive' series.
Lectures given by Dr. Feldenkrais in the 1960's at Hebrew University are being assessed for translation and publication.
Audio recordings of Feldenkrais teaching in German, French and Hebrew are being assessed for possible publication.
Photos need to be scanned and catalogued.
Fundraising is ongoing and needs to increase to meet the cost of preserving and maintaining the entire collection.
The work of organizing and preserving these materials requires your generous contribution so that the rich legacy of Moshe Feldenkrais can be more easily accessed. Use the 'Donate Funds' link on the left.


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Very frustrated at the moment ~ I can't seem to download the free Kindle app from Amazon for Windows 8. May I please have the link? I've tried every combination of words in the aforementioned and it either goes to the Kindle device which I don't want or children's books or something else inane. I understand there is an Amazon (long time user)... "free" Kindle software download for PC's and many books are free or what else am I missing? I realize I'm late to the party but ~ sometimes, life happens ~ and I haven't kept up, I'll admit. I have Windows 8 and relatives who say "oh, it's just an app" - just download it - it's on Amazon. Between taxes (I owe), losing a pet, having to re-home another, moving, remodeling problems, health issues, family issues & so forth....I just want a simple answer. It would be very much appreciated. Thank you. |
Follow-Up Postings:
A stroll down Google Lane gave me this. Hope it is what you are looking for. DA |
Here is a link that might be useful: Amazon.com
- Posted by sanantoniorose (My Page) on Mon, Apr 15, 13 at 22:13
O.K. dammccoy ~ I've been there exactly and here's what I get : 1. Download now for Windows 8 (Also, under "download now for W8, it says, "Buy Once, Read Everywhere:" - I thought it was free, so I figured I wasn't at the right place) but I continued to..... 2. View in Windows Store 3. Then the link goes to TWINUI ~ I know it's an application, but how do I know it's safe? I've seen it before but I don't really know what it is. I guess that's when I tuned off. EmmaR ~ This looks a little cleaner (clearer) but again it said to shop at the Windows 8 store - I'm still learning W8, so I always figure store = $ or the download would be on Amazon as I expected. Thanks to you both - I'll figure it out now, just feel silly to ask since I know I'm a couple of years behind. You get older, you lose brainpower. Not so LOL., but true. Darn. |
Don't worry about it. We all do that, especially me. I have been trying for day to stop a certain cookie from getting on my PC. It was stupid but I was bound and determined to stop it. Well, I did, but now I don't know how I did it???? |
- Posted by sanantoniorose (My Page) on Mon, Apr 15, 13 at 23:56
Thanks Emma - I appreciate your making me feel better or at least trying to ~ I think sometimes we try to do too many things at once and deal with too many emotions at the same time and just get brain freezes - at least, I do. Paranoia doesn't help (guilty) Thanks again :) |
Hi. Buy once read anywhere means if you buy a book, even a free one, you can read it on any device that has the kindle app. If you download the app to your PC and later get a tablet or smart phone, you can read those same books there too. I read on my iPad and if stuck in a waiting room, the book is on my phone too. Thousands of free books, pretty good ones too! |
- Posted by acraftylady (My Page) on Sat, Apr 20, 13 at 12:10
Also here is the kindle help forum on amazon, they are very helpfull with the acutal device and the reading app. If you have further problems on the right of that page is a contact us button. I find the chat option works very good or you can choose to have them call you and they call with in a minute to help with your problem. I am one of the forum pro helpers over there but I only know the actual device and have never used the reading app but they are a great bunch of people that help other users. Mary |
Here is a link that might be useful: Amazon kindle help forum
If it is for a laptop or computer, you should be looking for "kindle for PC"..as mentioed there are many diff flavors ie. Kindle for Android (which would be for Android tablets etc) when loaded on each device you have...you give each device a name then thru the kindle menu, under Tools you find Manage your Kindle..there you can send the book to any of your devices and advance the pages to where you left off on another device..also register at Amazon(no cost) there are a zillion free books that will be sent to you when you pick one,thru their Whisper net (wireless) right to the device you choose |
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| Email | Full Article (TrendHunter.com/id/144199) |
44th President Barack Obama addresses the city of Chicago after he was elected in the 2008 U.S. presidential election in a captivating speech in which he discusses the power of democracy and the influence of each and every vote. During his speech, he reaffirms the powerful themes of his successful campaign and his interest in each and every one of the voices across the nation.
In his victory speech, President Barack Obama speaks of the American dream and of his hope for the potential and future of the nation, a theme that was central to the spirit of his campaign. President Obama vows that he will always be honest about the struggles facing the nation and clarifies that his election is not the change we seek, but is the chance we seek to make that change, and that it cannot happen without a new spirit of service to rebuild the country.


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In 2007, a near-perfect vintage across the Golden State, Saxum's wines reached new heights. The 2007 James Berry Paso Robles, an eclectic mix of Grenache, Mourvèdre and Syrah, is evidence of Paso's potential. For its classic quality and reasonable price, and for its testimony that Paso Robles has earned its place on the world's wine stage, Wine Spectator has selected it as the Wine of the Year for 2010. Wine Spectator senior editor James Laube explains.
For the full article, check out the new issue of Wine Spectator, on newsstands December 7, 2010.
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Environmental concept art
Constantly expanding and experimenting with your methods, subject matter and discipline is important. All arts are connected; you'll even find that elements within music have parallels with the visual arts. If you aren't motivated or are in a slump, change the variables and experiment. Not only is the variety refreshing, you'll also be able to apply what you learn to your core interests. Here, I'll show you a few methods I use for keeping visualisation fresh as well as some other tricks of the trade.
I believe no matter what field of art you are in, good design is important. Regardless of final intent, a good-looking product will get not only the product recognised but you as well. Shapes play a major role in design and are the bread and butter of my visualisation methods and experiments. I often find the initial creation with these basic shapes to be more enjoyable than any other part of the process; this is where life is born and worlds are created, and this is what interests me and drives me. In comparison, the rest is hard work. I recommend you find what drives you and your progress will never stop. I want to stress that each painting is a learning experience. If you're worried about making portfolio pieces, try to stop stressing, and relax. Be passionate and enjoy your art and you'll have a much better portfolio, not to mention life.
From issue 20.


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verb \ˈhȯik\: to lift or pull (something) with a quick movement
Full Definition of HOICK
transitive verb
: to move or pull abruptly : yank <was hoicked out of my job — Vincent Sheean>
Examples of HOICK
- He hoicked up his trousers and waded in.
- <hoicked up his pants and hastily waded into the water>
Origin of HOICK
probably alteration of 1hike
First Known Use: 1898
Learn More About HOICK
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