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The Sarah Lawrence College Theatre program embraces the collaborative nature of theatre. Our objective is to create theatre artists who are skilled in many disciplines: actors who write; directors who act; theatre makers who create their own projects; and sound, set, and lighting designers who are well-versed in new media and puppetry. Students have the advantage of choosing from a multidisciplinary curriculum taught by working theatre professionals that also draws on the resources of the College's Theatre, Music, and Dance programs. At the heart of this curriculum are focused programs in acting, directing, playwriting, and design, with supplementary offerings in production and technical work. Theatre students are encouraged to cross disciplines as they investigate all areas of theatre. The faculty is committed to active theatre training—students learn by doing—and have put together a vocabulary that stresses relationships among classical, modern, and original texts. The program uses a variety of approaches to build technique, while nurturing individual artistic directions. The Theatre program examines not just contemporary American performance but also diverse cultural and historical influences that precede our own. Courses include Alexander Technique, acting, comedic and dramatic improvisation, creation of original work, design, directing, movement, musical theatre, playwriting, puppetry, speech, solo performance, voice, and the art of bringing theatre into the local community.
2015-2016 Courses
Actor's Workshop: Suit the Action to the Word, the Word to the Action—Hamlet-III. ii. 17-8
Open , Component—Year
Students will work on voice work, script analysis, sensory exercises, a Shakespeare sonnet, cold readings, improvisation, auditioning, and extensive scene work from the following playwrights: Sara Ruhl, Theresa Rebeck, Susan Yankowitz, Maria Irene Fornes, Martin Crimp, Jean-Paul Sartre, Eugene Ionesco, Jean Anouilh, Frank Wedekind, Tennessee Williams, Samuel Beckett, Sam Shepard, Oscar Wilde, David Auburn, Arthur Miller, and Edward Baker. Required text: The Art of Acting, by Stella Adler.
Actor's Workshop: Acting Techniques
Open , Component—Year
This is an acting techniques class: foundational, process-based work to empower the actor in any theatrical environment. The first semester focuses on the voice and body and the development of a "toolbox" of acting techniques. The second semester focuses on applying those "tools" to language and text while integrating the voice and body work through scene work. The goal is for students to leave the class with all of the basic tools that they need to act; to have a growing awareness of their body, voice, and physical habits in order that they may consciously use them in the development of character; and to begin to develop their own process of working, start to finish, with an arsenal of tools and techniques to use when needed. We explore the Alexander Technique, character work, sense memory work, viewpoints, animal work, voice and speech work, script analysis, text analysis, Lecoq exercises, and much more.
Actor's Workshop: Exploring Human Motivation and Craft
Open , Component—Year
"The character is in action…struggling." —Stanislavski
This class is dedicated to the actors' personal growth through improvisations and exercises. Our other concentration is on the fashioning of the actors' craft based on Uta Hagen's five "W's": who you are, where you are, what you want, why you want it, and when you want it. Scene work is in the second semester only. Our motto: "You use yourself in order to transform yourself." Improvisation forces you to use the pain and the joy in your life. Use it…and then move on. "Only connect…" —E.M. Forster.
Acting Poetic Realism
Intermediate , Component—Year
The plays of Anton Chekov, Tennessee Williams, and August Wilson serve as the point of departure in our exploration of the craft of acting. In this class, students will be challenged to expand their range of expression and build their confidence to make bold and imaginative acting choices. Particular attention will be paid to learning to analyze the text in ways that lead to defining clear, specific, and playable actions and objectives. In tandem with their work on a given text, students will be guided through a progression of physical, vocal, sensory, and imaginative exercises designed to impart tangible skills that will enable them to create multidimensional characters.
Acting Shakespeare
Advanced , Component—Year
Those actors rooted in the tradition of playing Shakespeare find themselves equipped with a skill set that enables them to successfully work on a wide range of texts and within an array of performance modalities. The objectives of this class are to learn to identify, personalize, and embody the structural elements of Shakespeare's language as the primary means of bringing his characters to life. Students will study a representative arc of Shakespeare's plays, as well as the sonnets, with the goal of bringing his characters to life. Class time will be divided among physical, vocal, and text work.
Forensics: Actors and Directors Lab
Advanced , Component—Year
Forensics is a production class for actors and directors. Students will read, analyze, direct, and act in a wide variety of one-act plays from a cross-section of periods and styles in a way of working that puts shared emphasis upon the text and its context. Forensics students form their own actor and director ensemble. Students present their work as part of the theatre program's second-semester season. Classwork includes discussion of the playwrights and the time periods that gave their plays shape and resonance and a practical overview of the production process. It is understood that students in Forensics will have a range of acting and/or directing experience. Emphasis is placed upon determining what is common for both actors and director in staging a play. Over the course of the full year and in presentation, students will be expected to both act and direct.
Audition Technique
Advanced , Component—Fall
This class is for the serious-minded actor who, after graduation, anticipates pursuing a career as a performer. Predicated on the idea that auditioning is a learned skill at which one gets better with more experience and practical knowledge, the class will focus at its core on the only unalienable factor: the individuality of the actor him/herself. As much time will be spent on material selection as on execution; actors will be asked to make necessary friendships with the dreaded "monologues" and, hopefully, come to regard them as necessary filters through which they can express themselves as both people and artists. Cold-reading prep will also be covered. The hope is for the actor to leave class with not only one or two terrific audition pieces but also a better understanding of the casting process itself and what is in and out of his/her control.
Breaking the Code
Intermediate , Component—Year
A specific text-driven approach to acting, Breaking the Code provides a context for the most vital performances based upon a way of dissecting a play and determining a character's behavior. Students will act scenes from contemporary plays and adaptations.
Close Up and Personal
Advanced , Component—Year
Great camera work demands intimacy, emotional adaptability, risk, and connection. Students will learn how to maintain an organic experience in spite of the rigid technical restrictions and requirements. During the fall semester, we will work on cold-reading techniques, emotional expansion exercises, and scenes from published works. In the second semester, we will put original monologues and scenes on camera. We will use a monitor playback system for reviewing work to help identify specific problems.
Comedy Workshop
Intermediate , Component—Year
An exploration of the classic structures of comedy and the unique comic mind, this course begins with a strong focus on improvisation and ensemble work. The athletics of the creative comedic mind is the primary objective of the first-semester exercises. Status play, narrative storytelling, and the Harold exercise are used to develop the artist's freedom and confidence. The ensemble learns to trust the spontaneous response and their own comic madness. Second semester educates the theatre artist in the theories of comedy. It is designed to introduce students to commedia dell'arte, vaudeville, parody, satire, and standup comedy. At the end of the final semester, each student will write five minutes of standup material that will be performed one night at a comedy club in New York City and then on the College campus on Comedy Night.
Contemporary Scene Study
Advanced , Component—Year
This class will take a rigorous approach to the preparation and process of performance. Building on your "toolbox," you will go deeper into text, character exploration, and action, expanding self-awareness and revealing and risking more. The first hour will focus on movement and making ephemeral works as a way to tune your instrument. The following two hours will be devoted to scene study, using contemporary and modern texts.
Creating a Role
Open , Component—Year
It is a sanctum of discovery, enabling the actor to explore non-Western movement: centering energy, concentration, the voice, and the "mythos" of a character to discover one's own truth in relation to the text—both contemporary and the classics. Traditional as well as alternative approaches to acting techniques are applied. Fall semester concentrates on working on roles such as Hamlet, Leontes, Caliban, Othello, Lear, Macbeth, Hecuba, Medea, Antigone, and Lady Macbeth; spring semester, applied to scene study from works by Arrabal, Beckett, Ionesco, Maria Irene Fornes, Sam Shepard, Albert Camus, and Jean Genet.
Improvisation Laboratory
Advanced , Component—Year
Improvisation forces you to face the pain and the joy in your life, use it…and then move on. Using experimental exercises and improvisation, we will explore the character's connections to his or her environment, relationships, needs, and wants. In the second semester, we will concentrate on fashioning a workable technique, as well as on using improvisation to illuminate scene work from the great dramatic playwrights: Lorca, Chekhov, Strindberg, O'Neill, Shaw, etc.
Singing Workshop
Open , Component—Year
This workshop is a lab where we explore techniques of vocal performance using songs and various styles, both past and present, including popular music, musical theatre, cabaret, and original work. Weekly presentations will emphasize dynamics, vocal interpretation, and material selection, as well as connections with the audience. This class requires enrollment in a weekly voice lesson and an Alexander Technique class.
SLC Lampoon
Advanced , Component—Year
SLC Lampoon is a comedy ensemble of actors, directors, and writers. The techniques of Second City and TheatreSports will be used to create an improvisational troupe that will perform throughout the campus. The ensemble will craft comic characters and write sketches, parodies, and political satire. This work will culminate in a final SLC Lampoon Mainstage performance in the style of Second City or Saturday Night Live.
The Webisodics Project/Web Series Asylum
Advanced , Component—Year
During the fall semester, we will develop—through the theatrical exercises, extensive improvisations, and intensive character creation—an original concept that, during the spring semester, will be shot and edited over the following year.
The final concept will be determined by class input and the outcome of the creative process. Some characters will expand, some compress, some will go the way of the Tasmanian Tiger. The object is not to have the biggest role, the most dialogue, or the most scenes but to create the best collaborative ensemble work possible within the timeframe and academic constraints. The past three Web series ensembles have proudly created the Web series Socially Active, which can be viewed online at http://vimeo.com/channels/sociallyactive); the Web feature Elusive, which will be submitted to various film festivals this spring; and the one-hour dramatic pilot Providers, which is in its final postproduction stage and will be festival- or Web-released later this year.
Forensics: Actor and Director Lab
Advanced , Component—Year
See the full description in the Performance/Acting section, above.
Alexander Technique
Open , Component—Year
The Alexander Technique is a neuromuscular system that enables the student to identify and change poor and inefficient habits that may be causing stress and fatigue. With gentle, hands-on guidance and verbal instruction, the student learns to replace faulty habits with improved coordination by locating and releasing undue muscular tensions. This includes easing of the breath and the effect of coordinated breathing on the voice. It is an invaluable technique that connects the actor to his or her resources for dramatic intent.
Breathing Coordination for the Performer
Open , Component—Year
Students in this class improve their vocal power and ease through an understanding of basic breathing mechanics and anatomy. Utilizing recent discoveries of breathing coordination, performers can achieve their true potential by freeing their voices, reducing tension, and increasing vocal stamina. In the second semester, principles of the Alexander Technique are introduced. Students consolidate their progress by performing songs and monologues in a supportive atmosphere.
Building a Vocal Technique
Intermediate , Component—Year
A continuation of Breathing Coordination for the Performer, which is suggested as a prerequisite, students deepen their understanding of breathing coordination and Alexander Technique and work on songs and monologues of their choice. The emphasis is on maintaining physical ease in performance to increase vocal range and power.
Contemporary Practice I for Dance and Theatre
Open , Component—Year
Successful performances in dance and theatre rely on training that prepares performers—in mind, body, and spirit—to enter the realm of aesthetic exploration and expression. In this class, we will work toward acquiring skills that facilitate the investigation of how the body moves in familiar and previously unimagined ways. Through traditional and experimental practices, students will develop a sense of functional alignment, form, physical energy and dynamics, strength, and focus, as well as awareness of time and rhythm. Improvisation is an important aspect of this study.
Introduction to Stage Combat
Open , Component—Year
Students learn the basics of armed and unarmed stage fighting, with an emphasis on safety. Actors are taught to create effective stage violence—from hair pulling and choking to sword fighting—with a minimum of risk. Basic techniques are incorporated into short scenes to give students experience performing fights in both classic and modern contexts. Each semester culminates in a skills proficiency test aimed at certification in one of eight weapon forms.
Advanced Stage Combat
Intermediate , Component—Year
This course is a continuation of Introduction to Stage Combat and offers additional training in more complex weapons forms such as rapier and dagger, single sword, and small sword. Students receive training as fight captains and have the opportunity to take additional skills proficiency tests, leading to actor/combatant status in the Society of American Fight Directors.
Directing the 20th Century: From Chekhov to Churchill
Intermediate , Component—Year
This class will focus on directing plays in the 20th-century canon, covering a range of styles and content. It will cover the whole journey of directing a play, with a strong emphasis on practical work. Students will be required to bring in design research for plays and to direct scenes from the plays, both of which they will present to the class for critique. The class will focus on how to use the text to inform the choices made by the director.
Directing, Devising, and Performance
Intermediate , Component—Year
This class is a laboratory, where students will explore (on their feet) a range of methodologies, philosophies, and approaches to creating performance and theatre. How do you direct a theatre piece without starting with a play? Alongside a broad survey of artists and art movements of the 20th century that continue to influence theatre artists today, students will practice a variety of ways of staging, both with and without text and always in relation to being a "live event." Following a trajectory from the Dadaists to Fluxus, from the surrealists to John Cage (and beyond), we will wrangle with these "postdramatic" artists and explore how their ideas can lead us in finding our own unique theatrical voice. Students will be given reading and creative assignments outside of class and will be expected to work collaboratively throughout the term.
Movement for Performance
Open , Component—Year
We will explore the full instrument of the performer; namely, the human body. Daily exercises open the body to larger movement potential while introducing students to a better functioning alignment, efficient muscle and energy use, full breathing, clear weight transfer, and an increased awareness while traveling through space. In addition, students will be asked to create "movement-based pieces" in an effort to discover and articulate the languages that the body communicates regardless of the words spoken on stage. In all aspects, the goals of this class are to enable students to be courageous with their physical selves, more articulate with their expression, and more personally expressive in their performances. In addition to occasional reading handouts, there will be opportunities to visit rehearsals and performances of professional theatre and dance in New York City.
New Musical Theatre Development Lab
Open , Component—Year
Investigations for those aspiring to produce, direct, create, and/or perform musical theatre and experimental chamber opera, this class is open to theatre designers and technicians, actors, singers, dancers, composers, lyricists, and musicians who are interested in learning and using crossover skills. Students will create teams to present and perform in class project scenes that include set and costume designs and musical and choreographic styles and that go from concept ideas to production. Students will research the history of musicals, including European cabaret and global performance, with a particular focus on the influence of interdisciplinary needs of contemporary musicals. The process of adaptation, auditioning, casting, rewriting, rehearsals, and performance will also be presented. Second semester, the class will develop an open performance workshop.
Puppet Theatre
Open , Component—Year
This course will explore a variety of puppetry techniques, including bunraku-style, marionette, shadow puppetry, and toy theatre. We will begin with a detailed look at these forms through individual and group research projects. We will further our exploration with hands-on learning in various techniques of construction. Students will then have the opportunity to develop their own manipulation skills, as well as to gain an understanding of how to prepare the puppeteer's body for performance. The class will culminate with the creation and presentation of puppetry pieces of their own making.
Voice Lessons in Collaboration With Singing Workshop and New Musical Theatre Development Lab
This weekly voice lesson is required for students in Singing Workshop class and is optional for students in New Musical Theatre Development Lab.
Voice and Speech I: Vocal Practice
This course will focus on awakening the young artist to the expressive range of the human voice, as well as to the intricacies of developing greater clarity of speech and playing with sound. A thorough warmup will be developed to bring power, flexibility, and range to the actor's voice and speech. Exercises and text work will be explored with the goal of uniting body, breath, voice, and speech into an expressive whole when acting.
Costume Design I
Open , Component—Year
This introduction to the many aspects of costuming is for students with little or no experience in the field. Among the topics covered are: basics of design, color, and style; presentation of costume design from preliminary concept sketches to final renderings; researching period styles; costume bookkeeping from preliminary character lists to wardrobe maintenance charts; and the costume shop from threading a needle to identifying fabric. The major class project will have each student research, bookkeep, and present costume sketches for a play. Some student projects will incorporate production work.
Costume Design II
Intermediate , Component—Year
This more advanced course in costume design is for students who have completed Costume Design I or who have the instructor's permission to enroll. Topics covered in Costume Design I will be examined in greater depth, with the focus on students designing actual productions. An emphasis will be placed on developing sketching techniques and beginning and maintaining a portfolio.
Advanced Costume Conference
Advanced , Component—Year
This is an advanced conference in costume design.
Lighting Design I
Open , Component—Year
Lighting Design I will introduce the student to the basic elements of stage lighting, including tools and equipment, color theory, reading scripts for design elements, operation of lighting consoles and construction of lighting cues, and basic elements of lighting drawings and schedules. Students will be offered hands-on experience in hanging and focusing lighting instruments and will be invited to attend technical rehearsals. They will have opportunities to design productions and to assist other designers as a way of developing a greater understanding of the design process.
Lighting Design II
Intermediate , Component—Year
Lighting Design II will build on the basics introduced in Lighting Design I to help develop the students' abilities in designing complex productions. The course will focus primarily on CAD and other computer programs related to lighting design, script analysis, advanced console operation, and communication with directors and other designers. Students will be expected to design actual productions and in-class projects for evaluation and discussion and will be offered the opportunity to increase their experience in design by assisting Mr. MacPherson and others, when possible.
Scenic Design I
Open , Component—Year
This course introduces basic elements of scenic design, including developing a design concept, drafting, and practical techniques for creating theatrical space. Students will develop tools to communicate their visual ideas through research, sketches, and models. The class will discuss examples of design from theatre, dance, and puppetry. Student projects will include both conceptual designs and production work in the department.
Advanced Design Theatre Studio
Intermediate , Seminar—Year
This class will further develop the student's skill set as a scenic designer through work on department productions and individual projects. Students will deepen their skills in drafting and rendering for the stage and develop their ability to communicate with directors, fellow designers, and the technical crew. CAD drafting and modeling in Vectorworks will be introduced through the course, as well as the use of Photoshop. In addition, students will continue to have hands-on exposure to practical scenic construction, rigging, and painting techniques. Students in this course are required to design a department production. This course is open to select students who have completed puppetry and projection design for advanced design work in those fields.
Sound Design
Open , Component—Year
This course will cover sound design from the beginning of the design process through expectations when meeting with a director, how to collaborate with the rest of the design team, and ultimately how to create a full sound design for performance. The course will explain how to edit sound, as well as many of the programs commonly used in a professional atmosphere. Throughout the course, we will create sound effects and sound collages and cover the many ways that sound is used in the theatre. Skills learned in this class will prepare students to design sound in many different venues and on different types of systems. The class will focus on the creative side of sound design while covering the basics of system design, sound equipment, and software.
Projection Design for Theatre and Puppetry
Open , Component—Year
This course allows students to explore design possibilities in projection, animation, scenic design, and puppetry through a series of exploratory projects and group work. We will create visual sequences using the overhead projector, stop-motion animation techniques, shadow puppetry, and video animation. The course will introduce basic digital manipulation in Photoshop, simple video animation in After Effects, and the live manipulation of video using Isadora media interface software. Individual projects in the second semester will challenge students to integrate these techniques into performance. A basic knowledge of Photoshop and the Macintosh operating system is highly recommended.
CultureHub Live Media Workshop
Open , Seminar—Year
This course will explore live-feed projection design and technology with theatre students of Sarah Lawrence College and design and video students at the Seoul Institute of the Arts in Ansan, South Korea. The course will focus on creating puppetry and miniature environments for theatrical performance in two separate locations by utilizing the telepresence studios at SeoulArts and CultureHub. Students in both locations, Seoul and New York, will be introduced to basic puppetry manipulation and construction techniques, as well as to methods for designing and building miniature sets and environments. In addition, live video feeds, chroma keying, and depth-sensing cameras will be implemented to enhance the media and performance landscape. Through the process, students will be exposed to a variety of multimedia theatre and puppetry forms and will gain an understanding of critical design considerations, including lighting, manipulation, chroma key, and live video techniques. The goal of the course will be to create collaborative performances that are a combination of manipulated figures and sets in separate physical locations. The course will be team-taught by: Professor Seung-Ho Jeong, scenic and lighting designer at Seoul Institute for the Arts and one of Korea's most high-profile, in-demand set designers; Tom Lee, puppet artist, theatre designer, and guest faculty at Sarah Lawrence College; and Billy Clark, director of CultureHub New York City and faculty of the Seoul Arts Institute.
Creative Impulse: The Process of Writing for the Stage
Advanced , Component—Fall
In this course, the vectors of pure creative impulse hold sway over the process of writing for the stage, and we write ourselves into unknown territory. Students are encouraged to set aside received and preconceived notions of what it means to write plays or to be a writer—along with ideas of what a play is "supposed to" or "should" look like—in order to locate their own authentic ways of seeing and making. In other words, disarm the rational, judgmental thinking that is rooted in a concept of a final product and empower the chaotic, spatial, associative processes that put us in immediate formal contact with our direct experience, impressions, and perceptions of reality. Emphasis on detail, texture, and contiguity will be favored over the more widely accepted, reliable, yet sometimes limiting Aristotelian virtues of structure and continuity in the making of meaningful live performance. Readings will be tailored to fit the thinking of the class. We will likely look at theoretical and creative writings of Gertrude Stein, George Steiner, Mac Wellman, Maria Irene Fornes, Adrienne Kennedy, Mircea Eliade, Kristen Kosmas, RichardMaxwell, and Roland Barthes, as well as work that crosses into visual art realms and radical scientific thought from physicists David Bohm and F. David Peat. The course will be conducted in workshop fashion with strong emphasis on the tracking and documenting of process.
Experiments in Language and Form
Advanced , Component—Fall
In this class, we focus on writing "experimental theatre"; that is, we experiment with theatrical forms that extend beyond traditional portrayals of time, three-dimensional space, language, character, and dramatic structure to discover the impact that different types of onstage presentations might have on audiences. We are not interested in imitating the style of "experimental" playwrights but, rather, using their texts as influence, stimulus, and encouragement as we attempt our own "experiments." We will also style experimental texts to ascertain the types of environments—political, spiritual, mental, social—-that influenced such texts to be generated; that is, created. Our aim, first and foremost, is to investigate and explore ways to genuinely investigate and give theatrical expression to our own personal, political, and spiritual interior lives, values, observations, and beliefs. We will then strive to examine the most effective manner of communicating our theatrical experiments to an audience. Our experimental writing may include multimedia presentations as part of the scripted onstage play or performance.
Writer's Gym
Open , Component—Fall
"You can't wait for inspiration; you have to go after it with a club." —Jack London
Writer's Gym is a yearlong writing workshop designed for writers of any genre and any level of experience, from beginner to advanced. Our focus is on writing exercises that develop characters and stories—whether for the stage, screen, or prose narration. In addition, we study theories about the nature of creativity. Our goals are as follows: to study writing methods that help to inspire, nurture, encourage, and sustain our urge/need to write; to learn how to transform personal experiences and observations into imaginative dramatic and/or prose fiction or poetic metaphor and imagery; to concentrate on building the inner lives of our characters through in-depth character work in order to create stronger stories; to explore—that is to say, investigate—and gain access to our spontaneous ideas; to articulate and gain a more conscious relationship to the "inner territory" from which we draw ideas; to confront issues that block the writing process and gain greater confidence in relation to revision as we pursue clarification of the work.
Medley Workshop: Developing the Dramatic Idea
Intermediate , Component—Fall
The purpose of this workshop is to develop and complete a draft of a final project play of any length. Our focus is on originating character-driven stories that involve multiple events and/or multiple turning points and revelations, concluding with a major crisis and/or consequence for the characters. From the very beginning of the semester, writers create several short drafts of "mini plays," as we practice the components that lead to effective playwriting. Writers allow various characters, topics, and concerns to be revealed to them as their in-process project(s) take shape. We will also study a selection of full-length plays and/or screenplays for inspiration, guidance, and analysis of various contemporary styles of drama. Styles may be varied; but as dramatists, we are all challenged by a form of storytelling that requires us to try and hold the public attention of an audience for a condensed length of "real" time in a public space.
Playwriting Techniques
Open , Component—Year
The focus of this course is to investigate the mystery of releasing your creative process while, at the same time, discovering the fundamentals of dramatic structure that give form to that process. To that end, in the first term students will write a series of "spontaneous writing" exercises and "structural" exercises. Both types of exercises are taken from The Playwrights Guidebook, which we will use as a basic text. At the end of the first term, students will write a short but complete play based on one of their spontaneous writing exercises. In the second term, students go on to adapt a short story of their choice and to write a play based on a historical character, event, or period. The focus in all instances is on the writer's deepest connection to the material—where the drama lies. The work will be read aloud in class and discussed in class each week. Students will also read and discuss plays that mirror the challenges presented by their own exercises.
Playwright's Workshop
Advanced , Component—Year
Who are you as a writer? What do you write about, and why? Are you writing the play that you want to write or the play that you need to write? Where is the nexus between the amorphous, subconscious wellspring of the material and the rigorous demands of a form that plays in real time before a live audience? This course is designed for playwriting students who have a basic knowledge of dramatic structure and an understanding of their own creative process—and who are ready to create a complete dramatic work of any length. (As Edward Albee points out, "All plays are full-length plays.") Students will be free to work on themes, subjects, and styles of their choice. Work will be read aloud and discussed in class each week. The course requires that students enter, at minimum, with an idea of the play that they plan to work on, although they may also bring in a partial draft or even a completed draft that they wish to revise. We will read some existent texts, time allowing.
Learning That Matters: Teaching Artists and Society
Open , Component—Fall
This course is about the history of workshops and projects by artists who are continuing to be in the forefront of new ideas in education, as well as in community collaborations. The development of connecting devised expressive work and the creative process has proven to directly support new work on the brain and how one learns. Presenting and developing the techniques, talents, and skills needed in one's creative practice is part of the weekly class, along with videos on issues and the use of art forms extending into new works that speak to the needs of people everywhere.
Crisis Mode: Theatre From the Late 1960s Through Today
Open , Component—Year
Crisis Mode examines how theatre has responded to certain events of historical significance and moments of crisis. It is of particular value to those directors, actors, and theatre makers/producers interested in an expansive view of theatre and in how and why a play can change the way that we think. The course provides a working foundation for performance and production. Crisis Mode will examine plays and playwrights and theatre movements and styles that have developed and come to expression in the past several decades. Students will discuss a variety of plays, with an emphasis on looking at the world in which those plays were written and why they continue to resonate today. Students will study documentaries and make presentations on events of historical/political/cultural significance as a way of providing a play with a rich context for production and performance. Crisis Mode will concentrate on American plays and political movements but will encompass a global and cultural perspective, with discussion ranging from the influential works and innovations of Brecht and Beckett to political theatre groups such as El Teatro Campesino of the 1960s, to agitprop theatre events like those of the Vietnam War and civil rights eras, and to those of ACT UP in the 1980s AIDS crisis. Students in Crisis Mode will devise projects to serve their particular theatre interests. Projects range from staging and acting scenes to design work, dramaturgical presentations, and original plays written in the style/spirit of the events studied.
Theatre Outreach: Collaboration and Community
Open , Component—Year
Developing original, issue-oriented, dramatic material using music and theatre media, this course will present the structures needed for community extension of the theatre. Performance and teaching groups will work with small theatres, schools, senior-citizen groups, museums, centers, and shelters. Productions and class plans will be made in consultation with the organizations and with our touring groups. We will work with children's theatre, audience participation, and educational theatre. Teaching and performance techniques will focus on past and present uses of oral histories and cross-cultural material. We will study sociological and psychological dynamics as part of an exploration of the role of theatre and its connections to learning. Each student will have a service-learning team placement. Special projects and guest topics will include the use of theatre in developing new kinds of afterschool programs, styles and forms of community on-site performances, and media techniques for artists who teach, as well as working with the Sarah Lawrence College Human Genetics program.
Advanced , Component—Year
Dramaturgy is the study of dramatic structure: how plays are built and how they work. Although every play worth its salt works according to its own idiosyncratic plan, certain principles allow us to take it apart in order to better understand how it was put together. There are many ways to do that, and we will be trying a wide assortment. For example, we will study two plays that utilize the same dramaturgical devices but to very different ends. We will look at both Euripides' The Bacchae and Tennessee Williams' Suddenly Last Summer in order to examine classical structure; compare Thomas Kyd's The Spanish Tragedy to Shakespeare's Hamlet in order to see the guiding principles of Elizabethan revenge tragedy; read Emile Augier's simple-minded Olympe's Marriage side-by-side with Henrik Ibsen's great A Doll House; or trace the development of expressionism over the course of the 20th century from Eugene O'Neill's The Emperor Jones to Adrienne Kennedy's Funnyhouse of a Negro. We will also look at how two plays may tell the same story but with different plots and using different dramaturgical principles. For this, we might examine Euripides' Hippolytus, Racine's Phaedre, and Sarah Kane's Phaedre's Love or Shakespeare's King Lear and Nahum Tate's neoclassical version of it (in the conclusion of which, Lear, alive and well, presides over the wedding of Cordelia and Edgar). The examination of multiple drafts of plays is often the surest way to see inside the playwright's mind; fortunately, we have complete, early drafts of plays that, after substantial revision, became masterpieces. We will look at Chekhov's early manuscript of The Wood Demon in order to compare it to the play it became in Uncle Vanya; and we'll watch Ibsen struggle to find the way to release Nora's persona in the first draft of A Doll House and then watch him succeed incomparably in the final version. There are many other possibilities, as well: faux folk drama in the form of S. A. Ansky's great horror-thriller, The Dybbuk, or Federico Garcia Lorca's Blood Wedding; ritualistic drama from Jean Genet's The Maids to Edward Albee's Who's Afraid of Virginia Woolf?; and farce from Georges Feydeau's A Flea in Her Ear to John Guare's House of Blue Leaves. Because an understanding of genre is essential to the work that we will do, a working knowledge of the principle genres (classicism, Elizabethan, neoclassicism, realism, naturalism, expressionism, etc.) and their historical context is required for the course.
History and Histrionics
Open , Component—Year
Have you ever wondered where Arthur Miller got the idea to get inside Willy Loman's head? Did you realize that it was only after August Strindberg went insane that he wrote some of his most famous and influential plays? Did you know that the comedies of ancient Greece and of the 17th century were far more sexually explicit than contemporary comedies? Did you know that there's a Nigerian play about the ancient African culture that uses ideas from Aristotle to tell its story? And that Aristotle's ideas can also be found in plays by William Shakespeare, Henrik Ibsen, and Tennessee Williams? Did you ever wonder what we really mean by "realistic"? Or "naturalistic"? And that there's a difference? Did you ever consider that Godot may already have arrived? History and Histrionics answers these questions but asks many more. We read great plays from the last 2,500 years—tragedy, comedy, social critique, realism, naturalism, expressionism, musical theatre, absurdism, existentialism, and much more—to try to figure what they're about, why they were written as they were, and how they fit into the great constellation of our dramatic heritage.
Global Theatre: The Syncretic Journey
Open , Component—Year
"Good evening, ladies and gentlemen, and welcome to La MaMa, dedicated to the playwright and to all aspects of the theatre." —Ellen Stewart
The La MaMa Experimental Theatre Club in New York City has been the host of contemporary and international theatre artists for 50 years. You will have the opportunity to attend the performances, meet the artists, and participate in workshops led by them, as well as have access to the La MaMa archives on the history of international theatre in New York. Your personal "syncretic theatre journey" is enhanced by the observance of fellow theatre makers and oneself that is informed concretely by the application of text, research, movement, music, design, puppetry, and multimedia, as well as social and political debate in class. Coordinators of the LaMaMa International Symposium for Directors, David Diamond and Mia Yoo, will host you in New York City, where you will exchange ideas with visiting and local artists: Yara Arts Group and artists of the Great Jones Repertory Theatre. Historical/contemporary experimental texts will be discussed, such as: Psychosis by Sarah Kane, Death and the Kings Horseman by Wole Soyinka, Strange Interlude by Eugene O'Neill, The Caucasian Chalk Circle by Bertolt, A Dream Play by August Strindberg, Thunderstorm by Cao Yu, Goshram Kwotal by Vijay Tendulkar, Venus by Susan-Lori Parks, Ruined by Lynn Nottage, Mistero Buffo by Dario Fo, And They Put Handcuffs On The Flowers by Arrabal, and the works of Martin Crimp. Required reading: The Empty Space by Peter Brook.
Far-Off, Off-Off, Off, and On Broadway: Experiencing the 2015-2016 Theatre Season
Open , Component—Year
Weekly class meetings in which productions are analyzed and discussed will be supplemented by regular visits to many of the theatrical productions of the current season. The class will travel within the tristate area, attending theatre in as many diverse venues, forms, and styles as possible. Published plays will be studied in advance of attending performances; new or unscripted works will be preceded by examinations of previous work by the author or company. Students will be given access to all available group discounts in purchasing tickets.
Intermediate , Component—Year
DownStage is an intensive, hands-on conference in theatrical production. DownStage student producers administrate and run their own theatre company. They are responsible for all aspects of production, including determining the budget and marketing an entire season of events and productions. Student producers are expected to fill a variety of positions, both technical and artistic, and to sit as members of the board of directors of a functioning theatre organization. In addition to their obligations to class and designated productions, DownStage producers are expected to hold regular office hours. Prior producing experience is not required.
Production Workshop
Fall 2015 Theatre Season Productions
Spring 2016 Theatre Season Productions
The creative director of the theatre program will lead a discussion group for all of the directors, assistant directors, and playwrights participating in the fall theatre season (including readings, workshops, and productions). This is an opportunity for students to discuss with their peers the process, problems, and pleasures of making theatre at Sarah Lawrence College (and beyond). This workshop is part problem solving and part support group, with the emphasis on problem solving.
Stage Management
Open , Component
This course is a hands-on laboratory class in the skills, practices, and attitudes that help a stage manager organize an environment in which a theatrical team can work together productively and with minimum stress. Classroom exercises and discussion augment the mentored production work that is assigned to each student. Script analysis, blocking notation, prop management, and cue writing/calling are among the topics covered. Knowledge of and practice in stage management are essential tools for directors and useful supplements for actors and designers.
Tools of the Trade
Open , Component—Year
This is a stagehand course that focuses on the nuts and bolts of light and sound board operation and projection technology, as well as the use of basic stage carpentry. This is not a design class but, rather, a class about reading, drafting and light plots, assembly and troubleshooting, and basic electrical repair. Students who take this course will be eligible for additional paid work as technical assistants in the theatre program.
Internship Conference
Intermediate , Component—Year
For students who wish to pursue a professional internship as part of their program, all areas of producing and administration are possible: production, marketing, advertising, casting, development, etc. Students must have at least one day each week to devote to the internship. Through individual meetings, we will best determine each student's placement to meet individual academic and artistic goals.
Grad Lab
Taught by a rotating series of Sarah Lawrence faculty and guest artists, this course focuses on developing the skills needed for a wide variety of techniques for the creation and development of new work in theatre. Ensemble acting, movement, design and fabrication, playwriting, devised work, and music performance are all explored. The class is a forum for workshops, master classes, and open rehearsals, with a focus on the development of critical skills. In addition, students in Grad Lab are expected to generate a new piece of theatre to be performed each month for the Sarah Lawrence community. These performances may include graduate and undergraduate students alike.
Contemporary Collaborative Performance: Grad Projects I
This course will provide a critical and supportive forum for the development of new works of original performance, focusing primarily on where current dance and theatre combinations find inspiration. In the first semester, students will explore contemporary theatre-building techniques and methodologies from Dada to Judson Church and beyond. The majority of time will be devoted to lab work, where students will create their own short performance pieces through a multidisciplinary approach. Students will be asked to devise original theatre pieces that utilize methods such as solo forms, viewpoints, chance operations, and creations from nontheatrical sources. In addition to the laboratory aspect of the class, a number of plays, essays, and artists' manifestos will be discussed. In the second semester, students will collaborate on a single evening-length work, utilizing theatrical and nontheatrical sources in an attempt to speak to our cultural moment. Please note: The second semester will require additional developmental/rehearsal time outside of class. In addition to class work, there will be several opportunities to visit rehearsals and performances of professional theatre and dance in New York City.
Thesis Project
This course will provide a critical and supportive forum for the development of new works of original theatre with a focus on conducting research in a variety of ways, including historical and artistic research, workshops, improvisations, experiments, and conversation. Each student will focus on creating one original project—typically, but not limited to, a solo—over the course of the full year. During the class, students will show works in progress. During conference, students and faculty will meet to discuss these showings and any relevant artistic and practical problems that may arise.
London Theatre Tour
Open , Intersession
The purpose of this course is to experience and examine present-day British theatre: its practices, playwrights, traditions, theatres, and artists. This is a two-credit academic course, and any student enrolled at Sarah Lawrence College is eligible to participate in the class. During two weeks in London, students will attend a minimum of 12 productions, tour various London theatres, meet with British theatre artists, attend regularly scheduled morning seminars, and make an oral presentation on one of the plays that the group is attending. Plays will be assigned prior to the end of the fall semester, and preparation and research for the presentation should be complete before arriving in London. Productions attended will include as wide a variety of venues, styles, and periods of theatre as possible. Seminars will analyze and critique the work seen, as well as discover themes, trends, and movement in the contemporary theatre of the country. Free time is scheduled for students to explore London and surrounding areas at their leisure.
The London Theatre Program (BADA)
Sponsored by Sarah Lawrence College and the British American Drama Academy (BADA), the London Theatre Program offers undergraduates from Sarah Lawrence an opportunity to work and study with leading actors and directors from the world of British theatre. The program offers acting classes with leading artists from the British stage. These are complemented by individual tutorials, where students will work one-on-one with their teachers. Faculty selected from Britain's foremost drama schools teaches technical classes in voice, movement, and stage fighting. This intense conservatory training is accompanied by courses in theatre history and theatre criticism, tickets to productions, and the experience of performing in a professional theatre. In addition, master classes and workshops feature more of Britain's fine actors and directors. Designed for dedicated students who wish to study acting in London, the program offers enrollment in either the fall or spring semester for single-semester study. Those wishing to pursue their training more intensely are strongly encouraged to begin their training in the fall and continue with the Advanced London Theatre Program in the spring semester.
La MaMa E.T.C.
La MaMa E.T.C. sponsors two summer events in Umbria, Italy, in conjunction with Sarah Lawrence College: International Symposium for Directors, a three-week training program for professional directors, choreographers, and actors in which internationally renowned theatre artists conduct workshops and lecture/demonstrations; and Playwright Retreat, a one-week program where participants have ample time to work on new or existing material. Each day, master playwright Lisa Kron will meet with the playwrights to facilitate discussions, workshops, and exercises designed to help the writers with whatever challenges they are facing. More information is available at http://lamama.org/programs/umbria/.
Projects: Grad II
This course will provide a critical and supportive forum for the development of new works of original theatre with a focus on conducting research in a variety of ways, including historical and artistic research, workshops, improvisations, experiments, and conversation. Each student will focus on creating one original project—typically, but not limited to, a solo—over the course of the full year. During the class, students will show works in progress. During conference, students and faculty will meet to discuss these showings and any relevant artistic and practical problems that may arise.


text:
Anyone else in the same boat?
Pregnant with #7
We are on # 4 here! Looks like we will only have 1 daughter, but i'm ok with that. (I THINK I'm done....but then again, I have said that before)
This little one will be number 8. Craziness... LOL but this is our last one! Such a blessing!
Large Family
Married to my Best friend
Mickayla 16, Kyle 14, Madelyn 12, Caitlyn 10 , Brooklyn 7, Abigail 5, Elizabeth 2, & 1 more on the way
Mom of 4 boys and 2 girls and another precious LO due May 24, 2013!!!! Yah!! Team Blue....
This will be number 4 for us. I had 2 from my previous marriage ages 17 and 12. And I have a 17 month old.
Married to Kevin 7/11/2009
Mother to:
Diari 12/11/95
Wow! You ladies are amazing. This is my fourth child with my husband and my fifth (I have an older daughter who lives with her dad). We will have 4 kids under 6 in our home and quite frankly, this terrifies me. It makes me feel better to read that we are not the only ones.
Sleep is for the Weak!
DD /1998, Married to Pete /2006, DD /2006, DS /2008, DS /2010, DD coming May 2013!
This is number 7 for us. When this one comes along my others will be 13, 11, 8, 7, 5, and 4. I was using the mirena so we were a bit suprised but we are so so excited. Good luck to you!!!
Number 4 baking now.
6/02, 4/05, 4/09
Addy 6/11/10
Sydney 5/25/13
Mom of 4 boys and 2 girls and another precious LO due May 24, 2013!!!! Yah!! Team Blue....

subset: commoncrawl


text:
The Best Cologne : Learn What Kind Of Cologne Girls Love
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Recent Articles
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Rising Star Seduction Program
How To Be A Jerk Like Me
A Crash Course In Seduction
The Player's Black Book
Paragon Project: The New Breed
Simple Seducer
Quick Tips
What To Say To Girls
How To Flirt With Girls
How To Be Confident
Dating Tips & First Dates
How To Game Girls
An Attractive Lifestyle
Advanced Seduction Tips
Rules - Picking Up Girls
Rules - Self Improvement
Rules - Relationships
Online Dating
Making A Dating Profile
Messaging Girls Online
Game & Build Rapport
Meeting Her In Person
Online Dating Strategy
Rules & Reminders
Private Coaching
Reading Body Language
Attract With Pheromones
Cologne That Girls Love
Pick Up Lines That Work
Which Do Girls Love?
Everything from the best ways to apply cologne, to which ones you should buy. Learn how to use cologne right so you always smell great and are wearing the type of cologne that women love and respond to.
Much More To It Than Just Spraying...
Everyone understands that it is important to smell good when trying to attract the opposite sex. However, do you know which cologne is the
most effective
? Do you know the few
simple tricks
that can bring your "smelling good" to the next level? If not, you're at the right place!
Cologne Rotation
Always have a few different colognes, I recommend at least
which you rotate often. You will become more attractive to women that you are around on a regular basis because they will not be able to predict what you will be smelling like. Predictable is boring, and most women think that their
lives are boring... so in turn they search for a mate who does NOT appear to be living a boring life in order to add some spice to their own. When you smell different just about each day, you will be displaying that you are a
person... as well as a person with
, and with the right choice of cologne... a person with
as well. This is exactly what ANY real player should want the ladies to think of them.
Cologne & Pheromones
apply cologne to your clothes, the smell will fade away in less than a few hours, plus your clothing does not contain natural
like your body does... so spraying your shirt would not be produce the full effect of the cologne. When you spray cologne on your body in the right spots, pheromones mix together with the cologne to "create" an
original smell
original smell. If you have ever wondered why the same brand of cologne smells different depending on who is wearing it, now you know... it is because each person's body produces slightly different pheromones, and when mixed with cologne produces their own unique "version" of the cologne. For more information on boosting your body's natural pheromone production...
click here
The "Hot" Spots
The best spots to apply cologne are the areas of your body that produce the most
body heat
. Body heat "activates" the cologne, increasing the strength of the smell and making it last as long as possible... while colder areas of your body tend to dull the smell and make it disappear more rapidly. To achieve maximum results when wearing cologne, apply it to the following body parts :
Wrists, neck, arm pits, and behind the ears
. When using a cologne spray, do NOT spray behind your ears, spray it onto your hands and wipe it on... the last thing you want is to smell like you took a bath in your cologne. Another
added bonus
of putting cologne behind your ears is the fact that when you are in a club with loud music girls tend to talk into your ear so you can hear them... and when they do they will get a nice gentle whiff of your scent.
Choosing The Right Cologne
When shopping for a new cologne, never go by what smells good... you don't want a cologne that JUST smells good... you want a cologne that will trigger
good memories
. When a woman smells a scent that triggers an old, happy memory... she becomes
attracted to whatever is producing the scent... and you want that to be YOU, right? Sure you do, so keep that in mind when choosing a new cologne. The trick to selecting a cologne that does this effectively is to test them on yourself... if it triggers any type of good memory in
your mind
, then it should have a similar effect on most of the women that you try to pick up. To make your life a bit easier I have compiled a list of cologne at the bottom of this page that are the
absolute BEST
at doing this... so you don't even need to go "smell testing" :) This is not a required step, and you can't really expect to find a cologne that will trigger
woman's good memories... but selecting a cologne with ingredients that make people reflect on the "good ol' days" when smelled is always a nice bonus, it's like having a "press here to put her in a good mood" button :)
Cheap VS Expensive
Don't be fooled by brands like Calvin Klien, Curve and Polo Sport. If you wear any of these "regular brands" you will not be ANY better than the last guy who decided that a
cologne was not worth the investment, plus most of the cheaper brands smell pretty bad... the last thing you want to do is turn women off simply because your cologne gave them a headache! Now you might automatically say "I can't afford that!" when you hear a name like
... but I can assure you that their cologne is quite cheap compared to most of their other products, and spending
on a REALLY amazing bottle of cologne instead of wasting
on a cheap bottle is definitely worth it when it literally has a major impact on how women desire you!
So What's Best?
Below you will find a list of my favorite cologne on the market. I have owned all of these fragrances myself and can tell you from
first hand
experience that you will most likely never find
better... and once you've tried these you won't even want to try anything else. These are all TOP notch scents and you can either use them to make up the perfect seven-day rotation or pick one that you like the most for your signature scent if you like the traditional approach. I have also included links so you can purchase them online from the same place I order from and get them quickly. If you don't believe that they are as good as I say they are... then go to a department store and smell them first,
you'll know what I'm talking about.
If you like getting compliments from women on how good
you smell, you'll love my cologne selections below...
By Burberry
This is the most seductive cologne I've owned!
Burberry has devised a fragrance which is comfortable, welcoming, yet rich in contrasts. Touch displays an initial freshness of hard-to-define notes. Like a strong, deep breadth, the trail develops quietly into a sturdy, masculine, unforgettable scent.
Buy it online
By Versace
This is my own personal favorite for every day use!
The Dreamer was created and introduced by eccentric Italian designer, Gianni Versace. Its fragrant nature explores essences of juniper, lily and iris. Blended with notes of tobacco, amber and tarragon, Versace Dreamer is a romantic type of fragrance.
Buy it online
By Gucci
Sophisticated yet sexy. An unforgettable smell!
Woody, aromatic fragrance for men luxurious, masculine & elegant scent opens with citrus, lavender & pink pepper the heart contains orange blossom & neroli dry down to woody notes of patchouli, cedar & amber perfect for all occasions.
Buy it online
By Burberry
This seriously badass cologne blew my mind!
An addictive, woody fragrance for trendy, rebellious men features british heritage, edgy attitude & modern elegance. Exudes rhythm, style, sensuality & energy. Notes of cedrat, black pepper, violet blended with leatherwood, vetiver bourbon.
Buy it online
By Givenchy
My new secret weapon. This stuff is like GOLD!
This masculine scent possesses a blend of fresh citrus in combination with a strong woodsy aroma, as well as a low note of vanilla. Recommended for evening wear, as women are unusually drawn to comment you on this fantastic scent.
Buy it online
By Armani
Women go absolutely crazy over this cologne!
A woody, oriental fragrance for gentlemen expresses masculinity in a sensual, pronounced manner strong, rich, elegant & long lasting contains notes of sicilian lemon, star anise, cardamon. Comes with a signature sculpted bottle inspired by art deco.
Buy it online
By Bvlgari
Sexy & sensual. Wear this one when out on a date!
An oriental woody fragrance for men; masculine, charismatic & sensual. Launched in 2010. Top notes of lotus, bergamot & violet leaf. Middle notes of vetyver, woodsy notes & sandalwood. This killer cologne is a MUST for when getting your groove on!
Buy it online
By Givenchy
Best citrus scent! This is a summertime favorite!
A modern yet timeless fragrance for gentlemen suggests fun, enjoyment, freedom & relaxation. Delivers woody fresh & warm sensation from amyris wood and citrus. Top notes are bergamot, mandarin orange, bitter orange, grapefruit.
Buy it online
By Dolce
This classy, alluring scent can be worn anytime!
Masculine balance of sophisticated scents. Top notes are lemon, clary sage, lavender, tarragon. Middle notes are coriander, pepper, geranium, cinnamon. Base notes are cedar, tonka bean, sandalwood, musk. Perfect for casual wear.
Buy it online
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A portion of Padden Parkway will be closed next week in both directions so 1.7 miles can be repaved.
The closure is scheduled from 7 p.m. Aug. 23 until 6 a.m. Aug. 28.
Contractor Knife River plans to run 24-hour shifts to complete the work from Northeast 94th Avenue east to Northeast 117th Avenue, according to a press release from Clark County Public Works.
More than 8,600 tons of hot mix asphalt will be used to reinforce the existing pavement. The project also will include drainage improvements.
"This is a major project that we want to get done as quickly and as safely as possible," said Linda Small, pavement preservation manager. "We appreciate public understanding and cooperation in doing what is necessary to preserve the taxpayers' investment in roads and other infrastructure."
Signs will guide motorists to detours.


text: Learning is often amplified through doing, rather than just reading, so perhaps educational books shouldn't be limited to the printed word either. Regular readers of Springwise may remember we recently wrote about The Drinkable Book, which teaches about the danger of unsafe water while also doubling as a longlasting filter to make any water drinkable. Now using a similar technique, The Barbecue Bible includes pages that provide everything needed for beginners to host a successful grill.


text:
Gimme A Brake (Light) for My Custom CarWritten by on December 29, 2004 Simple Ways to Call Attention to Your Car's Posterior
Call us vain if you want, but in the battle of good looks versus safety, most rodders go for the style points. We like big engines, open cars, and technology predating the Eisenhower administration. We also tend to favor small lights ('39 Ford, '59 Cad, etc.) on our cars' posteriors, and we typically mount them low on the body or in the bumper. For the most part they work fine, and R&C would be the last to mandate uncool, billboard-sized blinkers for every cruiser out there. Yet we've seen several rear-ended rods and customs recently serving as reminders that today's glassy-eyed motoring public sometimes needs more in-your-face cues to warn it when your rig is coming to a halt.
The subject came into clearer focus the other day when Editor Rizzo was following my Plymouth wagon. Not only are the car's taillights small, but Riz noticed that the brake lights came on well after the car started slowing down. The culprit, of course, was the original and not-so-reliable pressure-activated brake light switch. Simply replacing it with a fresh one might've helped. However, I decided a different approach was in order, so I ordered up a mechanical brake light switch from Watson's StreetWorks, which is activated off brake pedal action instead of brake line pressure. While I was at it, I asked Steve and Carol Watson what else they offered to bring attention to my (ahem) rear end. The accompanying photos show several options (plus a closer look at the switch), and the Watson's StreetWorks catalog has even more. Check it out and see what you think.
More Photos From This Article View Slideshow
They may be small, but taillights carry a big burden. Namely, keeping other jokers on the road from invading your trunk space. Needless to say, it's important that brake lights and blinkers work well and shine bright.The Watson's device is a very simple switch that can be activated by nearly any through-the-floor brake pedal arm. A nylon roller on the switch arm provides a contact point for the brake arm.The switch arm pivots as the brake arm is depressed, actuating the brake lights. An elbow joint on the switch arm (arrow) makes it easy to adjust or change the brake light "on" position.Here's what the switch looked like installed on our Plymouth. It probably took longer to re-route the wiring (which had yet to be done in this photo) than it did to mount the switch using the two supplied screws.Watson's offers many other products to improve the visibility of your car's backside. The Ultra Bright Bulbs are probably the most popular. They are more than twice as bright as stock lights and provide brake and turn lights that are 50 percent brighter than standard bulbs.Another eye-catcher is the Brake Light Pulsator, which pulsates brake lights at a rate of five pulses per second.


text:
: [Pokémon+]
The Pokemon Trainer Academy (OOC) (NEW!)
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June 14th, 2012 (12:42 AM).
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text:
Forever Flame A Boston Warehouse Draw
Sunday March 3rd, 2013 - 6:31AM
These are shortcuts to your favorite social networking and bookmark sites. Add this story to your Facebook page, del.icio.us, DiggIt, and many others!
Boston Warehouse, at the International Home + Housewares Show, demonstrates how it can make domestic environments more attractive and safer with its range of pillar and new taper flameless candles. Its Forever Flame candles generate a random flicker within the context of LED illumination, Boston Warehouse pointed out.
To provide further authenticity, Forever Flame candles are made from unscented, drip free, 100% paraffin wax. They are packaged in an acetate gift box, which displays the candle in full view. Glow time is about 120 hours using 2 AA batteries. Forever Flame candles incorporate a five-hour timer function and come in a wide assortment of home décor and holiday colors, Boston Warehouse asserted.
The new line of taper candles rolls out in ivory, and measures three-quarters of an inch in diameter by 8-inches high.
Pillars measure 3.25 inches in diameter and come in 5-inch, 7-inch, 9-inch heights with the tallest only available in ivory. Other colors available for the smaller candles include green and red smooth, and plum and taupe distressed.
Suggested retail price is $24.99 per taper candle, $24.99 for 5-inch pillars, $39.99 for a 7-inch pillars and $44.99 for 9-inch pillars. The pillar candles are shipping currently, and the taper candles will ship by July, Boston Warehouse said.
Tags: • Housewares • Home Décor • Trade Shows •
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There are plenty of companies that still sentimentally wish they didn't need to navigate the disruption to generations of reliable retailing routine ignited so stealthily by Amazon more than 20 years ago. And there are sure to be mixed reactions among some housewares vendors and retailers to news that Amazon was anointed the 2016 HomeWorld Business Retailer of the Year.


text:
Images: Marines strike enemy, kill insurgents, recover WMDs [Image 2 of 7]
Photo by Master Sgt. Kevin Wallace
U.S. Marines from the 1st Air Naval Gunfire Liaison Company Supporting Arms Liaison Team, who have been training in the Idaho desert since Sept. 30, 2013, carry their officer-in-charge, Capt. Charles Watt, off the battlefield after he's simulated-hit with a mortar, near Mountain Home Air Force Base, Idaho, Oct. 9, 2013. For SALT officers or NCOs leading strikes, command and control is essential, as is communication. (U.S. Air Force photo by Master Sgt. Kevin Wallace/RELEASED)
This work, Marines strike enemy, kill insurgents, recover WMDs [Image 1 of 7], by SMSgt Kevin Wallace, identified by DVIDS, is free of known copyright restrictions under U.S. copyright law.
Date Taken:10.09.2013
Date Posted:10.11.2013 01:30
Photo ID:1033814
Size:1.32 MB
Location:MOUNTAIN HOME AIR FORCE BASE, ID, US
Gallery Images
Associated News
Marines strike enemy, kill insurgents, recover WMDs


text:
My car is stuck on 1st gear and won't shift, the reverse works just fine. I have replaced the throttle and checked the gear shift linkage and it seems fine. I have not taken it to the mechanic, hopping to fix this at home.
by G1ggles in San Bruno, CA on July 19, 2013


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- Challenge events
- Social events
- Organise an event
- Raising sponsorship money
- Fundraising for Mencap
- Corporate partnerships
- Raise money for Mencap
- Learning Disability Week
- Volunteer
- Local groups
- Community
- Donate
They joined 125 other participants in the 200km race, which takes on a different route every year. This year the views were as striking as ever, taking the runners across varied terrain including beautiful beaches, steep inclines and declines, swamp crossings and plenty of water crossings, which the participants needed to swim through without losing their backpacks!
An extremely challenging event, the Jungle Marathon tested the endurance and stamina of the whole team. There were the usual bouts of stiff legs, sore feet, blisters and lost toe nails, and the high humidity meant there were some cases of dehydration.
Nature also made its presence felt. The final two athletes to cross the finishing line were accompanied by firemen and the military due to the failing light, and the presence of a jaguar which had been heard a little too close for comfort!
In previous years competitors from Brazil have dominated the race but for the first time an international competitor, Ryan Sandes from South Africa, was victorious. Of the 125 participants who started the race, just over 50 completed the course.
We would like to thank all of Mencap's extreme team for their amazing efforts in taking on this difficult race. All the funds raised will make a real difference to the lives of people with a learning disability. Thank you!
- Join Mencap's extreme team or find out about our other running events.
Who to contact
For more information about the Jungle Marathon and other extreme events, please contact:
Andrea Matias
Telephone: 020 7696 5566
Email: email@example.com


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This two-year-old female, brown, tabbie and white, domestic, short hair cat, ID No. AO64851, and this six-month-old female, black and brown, German Shepard and bloodhound, ID No. AO66938, are both available for adoption at the Onslow County Animal Shelter, which is located on Georgetown Road in Jacksonville. For more information and shelter hours, call 910-455-0182.
Location, ST | website.com


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Endeavour astronauts Mike Fincke and Greg Chamitoff begin the fourth and final planned spacewalk of space shuttle Endeavour's 16-day mission on Friday.
The six-and-a-half hour spacewalk was the 159th involved in the assembly and maintenance of the station in 1998. Since then, the $100 billion (£610,154m) outpost has grown to more than 1 million pounds (455,000kg) of hardware orbiting 220 miles above Earth.
The goal of Friday's spacewalk, was to transfer the shuttle's 50-foot (15-metre) inspection boom to the station so it can be used to extend the reach of the station's robotic crane.
Nasa plans one last shuttle mission in July to deliver a year's worth of supplies to the station before turning over Endeavour and sister ships Discovery and Atlantis to museums.
Endeavour and its six-man crew are due to leave the station late on Sunday May 29, landing early on the morning of Wednesday 1 June at the Kennedy Space Centre in Florida.


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Thanks! That really helped me decide on the 3000. Especially the part about digital downloads. I want to own the physical game, I'm just old fashioned. Plus the comfort. I bought a GBA SP because it was new and shiny and back-lit... but horribly uncomfortable to play with my large hands.
Good review!


text: ×Close Product Image 1 of 1 Quality Is Personal A Foundation For Total Quality Management See image Quality Is Personal A Foundation For Total Quality Management By Harry Roberts In this penetrating guide to involving employees in the process of total quality management, the authors make the argument that "personal quality checklists"--by which employees monitor waste reducers and value adding activities in their immediate work environment--can significantly increase individual understanding of the general concepts and implementation of top quality management. × Added to Cart List Price $16.99 Your Cart ( items) Cart total Continue Shopping CHECKOUT NOW Choose a format: Trade Paperback eBook Choose a format: eBook Trade Paperback eBook Free Press | 176 pages | ISBN 9781439118528 | May 2010 Add to Cart List Price $16.99 In Stock: Available for immediate download Browse Related Books Business & Economics > General Buy from another retailer • see more retailers Amazon's Kindle Store Apple iBookstore Barnes & Noble Blio Books-a-Million Google ebookstore Kobo see more retailers Get a FREE eBook when you join our mailing list. Plus, receive updates on new releases, recommended reads and more from Simon & Schuster. Email Address Free eBook available to NEW subscribers only. Offer redeemable at Simon & Schuster's ebook fulfillment partner.Offer expires in three months, unless otherwise indicated.See full terms and conditions and this month's choices. About the Author Harry Roberts BECOME A FAN BOOKS


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Related Videos
Ever since as early as 1689, when both the citizens of Massachusetts Bay and of Ireland waged parallel and simultaneous revolutions against William of Orange and his "New Venetian Empire", Irish and Americans have found ourselves in solidarity in an unbroken struggle which continues to the present day. The long arm of this history is now acting to shape the present.
The younger generations of 25-45 are in the front lines of a historic battle, while the older generation tries to compromise with the enemy. We bring you reports from the LaRouche Democratic campaigns across the country on the advance of the mass strike movement.
The LaRouche Democratic slate has doubled, adding three more candidates to the ticket. In addition to Rachel Brown's campaign in Massachusetts, Kesha Rogers' in Texas, and Summer Shields' in San Francisco, the three additional candidates are Bill Roberts in the greater Detroit region, Dave Christie in the area of Seattle, Washington, and Diane Sare, running in the New Jersey-Philadelphia region.
The mass strike is on. This week we feature clips from Kesha Rogers NAWAPA Conference in Houston, TX with a report from Basement Team leader, Sky Shields and a statement from Summer Shields candidate in California's 8th district.
BueSo Chairwoman Helga Zepp-LaRouche speaks on The Historic Opportunity of 2011. Be sure to read and distribute her written statement, which can be found by clicking here.
This video was originally published during the height of the BP oil crisis, when the British press had been full of articles, mourning the coming end of the so-called "special relationship" between the U.S. and Britain. We republish this video now to remind our fellow Americans, that the only "Special Relationship" that exists between the United States and the British is that is it is our job to shut the the British Empire down!
As the fervor of the mass strike begins to boil, and the desperation of Obama's controllers swells, the only real issue is: Will the appropriate measures be taken to bankrupt our enemies and effectively halt the attempts at a coup against the United States?
Editor's Choice


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Nature's Playhouse is an all-natural play and wellness center for children and parents.
In a world that is filled with noise-filled, over-stimulating play options for young children,
our space offers a return to the play experiences of earlier generations with hand-made, all-natural,
open-ended toys that stimulate imagination and creativity, and class offerings based in old world traditions.
We offer a non-toxic yesteryear open playtime experience with our all-natural play environment. Enjoy spending time with other families at a relaxed unstructured pace.
Some of Nature's Playhouse's most popular services include our enrichment classes, baby sign language, infant massage and free support groups.
Fitness classes emphasize natural methods of healing for the body through physically therapeutic exercise in compliment with centered thought for the combination of mind and body wellness.
Copyright 2015 Nature's Playhouse


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> Ive made missions before/edited missions before but how does one edit the vehicles/weapons stats? Im sure this is quite easy so just point in the right direction will speed things up a bit for me, thanks.
New editing question. Modding vehicles
Started by Raptor341 , 23 Apr 2011 21:07
2 replies to this topic
Posted 24 April 2011 - 18:36 #2
well you could wire the W key to increase velocity of the vehicle while pressed, that is definitely possible, if your talking about speed tuning, that is.
Posted 27 April 2011 - 02:26 #3
lol, nice. Guess I'll just have to start digging through the pbos,


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Enjoy the beautiful scenery of Chautauqua Institution year-round when you stay at The Spencer Hotel & Spa. It is the only literary-themed hotel in North America and the guest rooms and suites were hand-decorated by local artists to honor the lives and works of famous authors. Each room has a select library of thoughtfully-chosen books and musical selections to further convey the tone of each writer's life and times. All of the rooms have cable television, free Wi-Fi, monogrammed robes and Gilchriest and Soames bath amenities. Most of the rooms are outfitted with King beds and have brand new mattresses. Some of the rooms have desks, arm chairs, sofa beds, direct porch access and whirlpool/Jacuzzi tubs with European handheld showers. An elevator services all four floors. Steamboat Gothic porches grace the front of the hotel, and are appointed with Victorian sofas, chairs and rockers that overlook the famous Chautauqua Amphitheater. A gourmet savory or sweet breakfast is served each morning with fresh fruit in the Peacock Dining Room and luxurious massage services and a cedar sauna are available for guests to indulge in.The Spencer offers cozy areas that are perfect for playing a board game, curling up with a good book, or engaging in conversation. In the Monet Parlor a movie projector and screen are also available for use. Packages and specials are also available for guests from Couples Renewal Weekends to Gourmet Dinners, Ladies Pampering and Wine Touring.The Spencer Hotel is the perfect place for small weddings, receptions, book-clubs, reunions, business retreats and more. Group packages can be custom built for your next event. During the 9 week Chautauqua Season gate and parking passes are required for guests staying at The Spencer and need to be arranged through Chautauqua Institution at (716) 357-6250.
1,8 su ottobre 26, 2015
The hotel switched our room without telling us (which was a themed room that we specifically chose as it was my wife's favorite author, C.S. Lewis). Upon arrival, we were moved into a different room that was more than disappointing. It looked nothing like the pictures on the website (aside from the fact that it wasn't the room we had selected). We were told that the top 2 floors of the hotel were closed for the season (although we had booked about 3 months prior). My wife and I had left for a bit to get lunch and continued to talk about our disappointment with the room. We're not rude or confrontational people, so we hadn't said anything initially. We decided that this was not what we paid for and that we were going to go back and talk to the manager about a refund. He immediately knew something was wrong and said that he saw the disappointment in our faces when he put us in the alternate room. He agreed with everything that we said and said that the owner makes changes to the rooms sometimes and then he has to deal with unhappy customers. He ultimately said that he could not offer a refund (only a credit for a future stay) and that the owner would have to approve a refund. After several attempts at getting ahold of them afterwards, I went through bedandbreakfast.com to get a resolution. They ended up declining our request and said that we're not allowed to cancel day of. How is it fair that we're not told that our room is changed until we ARRIVE at the hotel, but we were supposed to have cancelled within 7 days of the stay? This felt like a 100% bait and switch and we were completely taken advantage of. Very disappointing and a huge waste of money. This place definitely wouldn't have been worth the $220/night even if we had gotten the room we booked.
4,6 su settembre 10, 2015
We had a great time. One thing we did realize, though-the walls are thin. One night, we could hear all the sound effects of the lovemaking of the couple in the room next to us!!
4,8 su giugno 04, 2015
We needed a getaway and were delighted to arrive at Chautauqua and the unique B&B at the Spencer Hotel. Very cordial staff, room was creatively decorated - great fun. The breakfast provided was delicious and beautifully presented. We enjoyed our meal with the other guests. We look forward to returning.
3,6 su gennaio 29, 2015
We had a plesant stay at the Spencer Hotel. The accommodations were wonderful. Dick and Helen were great hosts and the food was exceptional! We will definitely go back!
4,4 su gennaio 15, 2015
The Spencer far exceeded my expectations and the staff could not have been more accommodating. Will definitely stay here again!!!
4,2 su ottobre 24, 2014
My husband and I stayed at the Spencer after the Institute season, so it was very peaceful. The hotel was quaint and lovely. Chris couldn't have been more accommodating and helpful. I really didn't know that breakfast was included with the room, so that was an added bonus. We loved our stay at the Spencer!
4,0 su ottobre 23, 2014
A very sophisticated inn in a very sophisticated community. Just gorgeous.
3,0 su ottobre 18, 2014
Very peaceful in the Fall. Can't imagine summers here. Staff & Owners fun to talk to. Helpful. We were offered an opportunity to join the grape stomping at the Lucille Ball celebration in Jamestown but instead went leaf peeing/wine tasting. Lovely part of the country.
Risposta del proprietario
Thank-you for staying with us and for your kind words. Everyone on our staff enjoys visiting with our guests and helping them to get the most out of their stay. We are glad you enjoyed how peaceful and beautiful Chautauqua is in the Fall and look forward to having you back!
4,4 su settembre 02, 2014
We rarely stay at Bed and Breakfasts, but the trip was spontaneous and we loved the relaxed atmosphere that the Spencer provided on short notice. The idea that our suite had 1 and 1/2 baths was wonderful. Having a mini library in the suite made it all the more special. Our thanks to the wonderful staff who treated us like long last relatives.
Risposta del proprietario
Thank-you for your detailed review. We are pleased that you enjoyed the relaxed atmosphere and felt like family while you were here. We would love to have you stay with us again!
4,4 su luglio 20, 2014
Stayed the with my wife for a three day visit. Although I arrived very late the first night, was given the cell number of the summer hotel intern, Laura, to contact upon my arrival, who waited up for me and assisted with the late night check in without any complaint or problem! Chris, the GM, was equally vigilant and helpful in negotiating last minute parking details for my niece. The hotel is innovatively designed around literary themed rooms. Beds very comfortable. Bathrooms small, period plumbing, yet adequate. Free wifi was a plus and worked very well. Breakfast was filling albeit predictable. Didn't learn of the elevator until day three of our stay which resulted in my schlepping bags up three flights of stairs til then!! In general, good value and excellent service makes this a winner!
Risposta del proprietario
Thank-you for pointing out how attentive our staff is to our guests. We strive to provide the best experience and to make sure every detail in the rooms is up to par. I am glad you found the bed comfortable. The mattresses were brand new this past year, so it is great to hear positive feedback. I do apologize that you were unaware of the elevator. We have remedied this problem by taking all of our guests to their rooms via the elevator at check-in so they know where it is. We look forward to your next stay with us.
First floor corner room with King-sized bed and neo-angle shower
Prezzo per notte: $195 - $271
Prezzo per notte: $195 - $271
Second floor corner room with Double-sized bed, and a spacious Jacuzzi tub with a European hand-held shower.
$195 - $271
Second floor Full Suite with King bed, kitchenette, corner Jacuzzi tub for two with hand-held shower, and a full bathroom with neo-angle shower. Also known as our Honeymoon Suite.
Prezzo per notte: $225 - $329
Prezzo per notte: $225 - $329
Third floor Junior Suite with a King-sized bed, kitchenette and neo-angle shower
Prezzo per notte: $205 - $300
Prezzo per notte: $205 - $300
Third floor room with King-sized bed, direct porch access, and neo-angle shower.
$195 - $271
Third floor corner room (on porch) with King-sized bed, direct porch access, and neo-angle shower.
$195 - $271
Third floor corner room with a King-sized bed and a neo-angle shower.
$195 - $271
Third floor room with a double-sized bed, direct porch access, and whirlpool tub with hand-held European shower.
Prezzo per notte: $195 - $271
Prezzo per notte: $195 - $271
Fourth floor room with a double-sized bed, direct porch access and whirlpool tub with hand-held European shower.
$195 - $271
Fourth floor room with King-sized bed and neo-angle shower.
Prezzo per notte: $195 - $271
Prezzo per notte: $195 - $271
Fourth floor corner room with a King-sized bed, direct porch access, and claw-foot tub/shower.
$195 - $271
Fourth floor room with a King-sized bed, direct porch access and whirlpool tub with European hand-held shower.
$195 - $271
Fourth floor corner room (on porch) with King-sized bed, direct porch access and neo-angle shower.
$195 - $271
Fourth floor Junior Suite with a King-sized bed, kitchenette, and neo-angle shower.
$205 - $300
Fourth floor Junior Suite with a King-sized bed, kitchenette and a bathroom that features a full-sized shower with double doors, seated shower and hand rails (handicap accessible).
$205 - $300
Fourth floor Full Suite with a Queen-sized bed, loveseat/pull-out twin sofa bed, kitchenette, and 1.5 bathrooms with a whirlpool tub that has a European hand-held shower.
Prezzo per notte: $225 - $329
Prezzo per notte: $225 - $329
Apartment on second floor with separate bedroom that houses a King bed; bathroom has neo-angle shower, living room has a loveseat/pull-out twin sofa bed, and gallery kitchen has a dishwasher and hand-made Italian tile.
Prezzo per notte: $260 - $364
Prezzo per notte: $260 - $364
First floor corner room with direct porch access, King-sized bed and neo-angle shower.
$195 - $271
The Chautauqua Institution Lake Chautauqua, Aeroporto, Campagna, Fronte lago, Piccolo Paese, Villaggi, Regione vinicola
Buffalo, NY (BUF-Buffalo/Niagara International) 75 miles
From NY I-90, take exit 60 to 394 to Chautauqua Institution and go through the gate and turn right on Massey followed by left on Janes. Go two blocks and turn left on Wythe Avenue and immediate right on Palestine Avenue. You will see the Spencer on your right hand side.From NY I-86, exit for 394 to Chautuaqua Institution and go through the gate and turn right on Massey followed by left on Janes. Go two blocks and turn left on Wythe Avenue and immediate right on Palestine Avenue. You will see the Spencer on your right hand side.
Shopping Antiquariato, Gallerie d'arte, Spiaggia, Casino, Concerti, Cene da gourmet, Interessi Storici, Lago, Musica dal vivo, Cinema, Musei, Parchi Nazionali/Statali, Zona Naturale, Chautauqua Institution, Chautauqua Lake, Lucy-Desi Museum, Bemus Point, Niagara Falls, Lake Erie Wine Country, Lilydale Assembly, Roger Tory Peterson Institute, Robert H. Jackson Center, Jamestown Ice Arena, Teatro, Servizi religiosi, Rodeo, Zona sciistica, luogo di sport, tours, Vigneti, Azienda vinicola
Other, Bed and Breakfast, Historic Inn, Spa, Boutique Hotel
Giochi da tavolo, Ventilatori, Clothes dryer, Fotocopiatrici, Scrivania, Dispositivo Fax, Camino, Accesso a internet , Biblioteche, Film disponibili, parcheggio, Pianoforte, Terme, VCR, Video, Lavatrice/Asciugatrice, Attrezzature matrimoni, accesso per disabili , The suites and apartment have in-room fridges and microwaves. Some rooms have Jacuzzi tubs. There is central air and heat in the climate controlled building as well as an elevator. Four levels of porches with views to the Amphitheater and Chautauqua Institution grounds are outfitted with chairs, rockers and tables. There is a spa and relaxation room and a cedar sauna. There is a large pull-down projection screen in the Monet Living Room and a Dining Room where breakfast and wine is served daily and a bar with beer and wine service.
Aria condizionata, Sveglia , Prodotti di cortesia, Accappatoi, CD player, Asciugacapelli, Jacuzzi, Ferro da stiro, Ingresso privato, Radio, TV via cavo/satellite, TV, Telefono, Wi-Fi, Internet via cavo
Noleggio bici, Piste ciclabili, Bici, Osservazione Uccelli, Nautica, Canottaggio, Piste da sci attraverso la campagna, Sci in discesa, Pesca, Golf, Escursioni, Cavallo, Caccia, Kayak, Mountain Bike, Wine tasting at the wineries and Antiquing, Regate, Shopping, Scenari, Ciaspolate , Nuoto, Campi da tennis, Sport acquatici
Kathy and Kurt


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These solid dumbbell handles are drop forged from one piece of solid steel—there is nothing stronger by weight or design. Collars not included.
14" Long
3.5 lbs. each
Sold individually
This item is usually shipped via . Estimated time to ship is 1-2 days, please allow 7 to 10 business days for delivery.
Please review our FedEx shipping terms below.


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Dr. Arnaldo Lopez has lived in Florida for 16 years, married and with three children arrived in 1993 to Sebring, a small community in Central Florida. Moved to Orlando in 2007, because he and his wife wanted to be in a bigger city.
After graduating from medical school at The University of Puerto Rico he did his residency training in Obstetrics & Gynecology at the same institution. Then he went to his military service with the United States Air Force in Georgia, where he was awarded the commendation medal for meritorious services.
After that he returned to his native Puerto Rico for 3 years where he practiced in a big single specialty group.
He enjoy sports and is an avid fan of the Tampa Bay Bucs, Florida Gators and Orlando Magics.
He is fluent in both English and Spanish and performs minimally invasive surgery where you can have a lot of different procedures through small incisions and be able to go home the same day and return to normal activities in a week. He also manages high risk pregnancies in conjuction with a high risk specialist.
American Board of Obstetrics and Gynecology


text: I have searched and didnt find much on them. I have been looking for a new wheelset because mine are bent to hell. I looked on danscomp and found alex mx-22s. Then i saw the easterns had a cassette hub so for 10 bucks more I thought it would be better. Which ones will hold up better I am kinda hard rims, but not to bad.


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Shapeways: Bring your creativity to life in 3D http://www.shapeways.com/forum/index.php Shapeways: Bring your creativity to life in 3D Hello there, http://www.shapeways.com/forum/index.php?t=rview&goto=50774&th=10078#msg_50774 <![CDATA[Hey there,

 New to the site I am a 3d modeler and entrepreneur/business consultant really excited about this site and the service it offers this is right up my alley.

 Very refreshing and awesome to see the difference new startups like this are making using new technologies pretty cool stuff!

 Cheers,

 Andrew Labret]]> amlabret 2012-07-04T01:12:11-00:00