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The Evolutionary World How Adaptation Explains Everything from Seashells to Civilization
ISBN13:by Vermeij, Geerat J.
Thomas Dunne Books
The Evolutionary Worldpresents a new argument for evolution's broader importance. Adaptation plays a role not only in the development of new species but the development of human civilization, and by understanding how evolutionary theory has played out in areas such as our economic system, our preparation for catastrophes, and even the development of communities, we can learn not just how these systems work, but also what challenges lie ahead.For readers of Richard Dawkins and Jerry A. Coyne'sWhy Evolution is True, this book offers the next step in appreciating evolution's integral part in our lives.
Author Biography
GEERAT J. VERMEIJ, Ph.D., is Distinguished Professor of Geology at the University of California at Davis. Vermeij was born in the Netherlands and came to the United States with his family in 1955. He has received the Daniel Giraud Elliot Medal by the National Academy of Sciences and was honored as a MacArthur Fellow. He has published more than two hundred scientific papers and five books and served as editor for Evolution and Paleobiology, the foremost journals in their respective fields.
Table of Contents
|p. ix
|p. xiii
|The Evolutionary Way of Knowing
|p. 1
|Deciphering Nature's Codebook
|p. 26
|On Imperfection
|p. 42
|Taming Unpredictability
|p. 59
|The Evolution of Order
|p. 83
|The Complexity of Life and the Origin of Meaning
|p. 106
|The Secrets of Grass: Interdependence and Its Discontents
|p. 131
|Nature's Housing Market, or Why Nothing Happens in Isolation
|p. 150
|Dispatches from a Warmer World
|p. 165
|The Search for Sources and Sinks
|p. 185
|Invaders, Incumbents, and a Changing of the Guard
|p. 206
|The Arrow of Time and the Struggle for Life
|p. 225
|History and the Human Future
|p. 251
|Suggested Further Reading
|p. 265
|p. 295
|p. 297
|Table of Contents provided by Ingram. All Rights Reserved.
The Evolutionary Way of Knowing
Squirrel Island is one of those iconic places on the coast of Maine where an idyllic landscape of meadows, mossy slopes, and fragrant forests of spruce and pine meets the sea. A short boat ride from Booth-bay Harbor, it was the perfect spot to spend time with my girlfriend Edith as we picked berries, listened to warblers singing high in the canopy, and examined all that grew in this tame fragment of northern nature.
Squirrel Island is one of those iconic places on the coast of Maine where an idyllic landscape of meadows, mossy slopes, and fragrant forests of spruce and pine meets the sea. A short boat ride from Booth-bay Harbor, it was the perfect spot to spend time with my girlfriend Edith as we picked berries, listened to warblers singing high in the canopy, and examined all that grew in this tame fragment of northern nature.
But it was the seashore that brought us here. A luxuriant cover of slippery rockweeds, their air-filled bladders crackling under the pressure of our boots, gave way to mats of blue mussels and then to stands of waving kelp fronds as we descended to the low water mark. All the expected inhabitants of the rocky shore were here: spiny green sea urchins nestled in pools and among the kelp holdfasts, large hairy horse mussels crammed into sand pockets around boulders, rock crabs and green crabs hiding beneath sponge-lined ledges, sluggish dog whelks massing in crevices or perched atop prey barnacles, limpets clinging to and scraping crusts beneath rocks, and three kinds of periwinkle feasting on seaweeds. Gulls, always on the lookout for crabs, patrolled overhead. To judge from their large size and the many closely spaced growth interruptions on their weather-beaten shells, the blue mussels had been living their sedentary lives on this shore for decades. To us as naturalists, the shore and its surroundings exemplified the serenity and beauty that give nature and life meaning. To us as scientists, they posed questions and invited inquiry into the ways of the living world.
Grinding winter ice, breaking waves, intense competition for light and space, and a variety of predators--crabs, lobsters, sea stars, whelks, fish, and gulls--are part of life for every creature on this shore. Yet despite these dangers and despite the conflicting interests of the seaweeds and animals in this community, the species are well adapted to each other and to their rigorous physical surroundings. The secure attachment by flexible threads secreted from the foot protects mussels from being dislodged by shifting ice or powerful predators from rocks. Even when the threads fail and the mussels become detached, the bivalves can produce new threads and re-fasten themselves if they land in the right place. A mussel's two shell valves can shut tightly around the soft tissues, so that would-be attackers homing in on the chemical plume that a mussel releases while actively feeding and respiring loses the scent and finds another victim. When snails like dog whelks and periwinkles become dislodged, they quickly withdraw the delicate soft parts--head, foot, and other organs--far back in the shell, whose opening is sealed with a flexible yet tightly fitting doorlike device. Predatory sea stars, when directly contacting potential prey snails, often elicit a vigorous escape response. Sponges beneath overhangs secrete chemicals that enemy sea slugs find repellent. I could fill a book documenting the adaptations of every species on this relatively simple shore, let alone every living and fossil species on the planet.
The fact of adaptation--the good fit between organism and environment--was already well established by the time Charles Darwin and his collaborator and competitor Alfred Russel Wallace ushered in the evolutionary age with the presentation of their paper before the Linnean Society in London in 1858. All living things, including humans, effectively perform the essential functions of life--growth, metabolism, food intake, defense, maintenance of the body, and reproduction--in the places these organisms inhabit. Darwin and Wallace proposed one mechanism for adaptation, based on an idea borrowed from the English political economist Thomas Malthus--the number of offspring produced in a population exceeds the number surviving to reproduce as adults. Survivors possess heritable characteristics--those passed from generation to generation--that enable living individuals to meet the challenges and capitalize on opportunities in their environment more effectively than the traits of those individuals that die before reaching maturity. Adaptation thus involves a selective process, which was called natural selection by Darwin, resulting from the culling of inadequately performing individuals in the struggle for life.
Bipedal locomotion--running and walking on two legs--is a good example of human adaptation. The bipedal condition evolved from the ancestral four-footed condition many times, as in kangaroos and several lines of dinosaurs, but in primates it is restricted to our own species (Homo sapiens) and other species of Homo, dating back to perhaps as early as two-and-a-half million years ago. Among running animals in general and bipeds in particular, humans are unusual in that they can run for long distances, up to six miles (ten kilometers) per day for someone in good physical health. Only a few other mammals--wolves, hyenas, and African dogs that hunt in packs, as well as migrating horses and African wildebeest--engage in comparable endurance running, but these animals run on all fours. Our two-legged, long-distance running is made possible by modifications in the leg bones, joints, tendons, muscles, and even our skin. Unlike other running mammals, we achieve high speed with a long stride of up to three-and-a-half meters (more than ten feet) in highly trained athletes. Traits contributing to this long stride include unusually long hind limbs, a relatively short and lightweight foot, the unique presence of the Achilles tendon connecting the heel with muscles in the foot, and short bundles of muscles that produce the forces necessary for sustained running. All the joints in our legs, from the foot to the pelvis, are conspicuously enlarged compared to those of apes and compared to the joints in our arms. This enlargement enables the body to absorb the strong forces produced when the feet hit the ground as we run. The copious heat generated by our muscles during running is lost through the skin, which in humans has unusually abundant sweat glands through which evaporation takes place. Human skin is also peculiar in lacking insulating hair over most of its surface. These and other departures from the primate norm represent adaptations that enabled our immediate ancestors to compete effectively with other predators for scarce, protein-rich meat in hot open country. Other distinctive human adaptations--a large brain, delayed sexual maturity, the use of long-distance weapons, and the domestication of animals and plants--came much later. In the early history of our genus Homo, however, running-related modifications gave us a decisive competitive edge in a place where the struggle for life was particularly intense.
Not every aspect of an organism represents an adaptation. Many features are simply expressions of how an individual grows, or how it is put together, much as the seam of a plastic cup indicates how the cup was manufactured. Most shells, for example, grow in the shape of a spiral, reflecting a pattern of growth in which new shell material is added only at the expanding end of what is effectively a conical enclosure. The spiral can be variously modified in adaptive ways, ranging from the loose, rapidly expanding spiral of a clam shell or a cap-shaped limpet to the tightly coiled spiral of many snails; but the spiral form itself is not a direct expression of adaptedness. Likewise, the growth marks on the exterior of a mussel shell or in the bones of reptiles and some dinosaurs indicate periodic interruptions in growth rather than some subtle adaptation, but here again many animals have fashioned growth marks into larger features that impart greater shell strength and other protective functions.
Individual traits may even be harmful in some situations. An actively feeding mussel, which pumps water through its gills in order to extract food particles as well as oxygen, necessarily releases metabolic products with the expelled water. These are beacons for potential predators like sea stars and snails. The disadvantages associated with this inadvertent advertisement must be compensated for by an ability to recognize the nearby presence of hungry predators and to respond quickly by shutting the shell temporarily so that the scent disappears.
The catalog of potentially harmful traits in humans is also long. In the human eye, for example, there is no vision in the hole through which the optic nerve passes from the light-gathering surface of the retina to the brain. There is thus a blind spot located some thirty degrees to the right of the point of focus of the right eye, and another thirty degrees to the left of the focal point of the left eye.
It may even be that most evolutionary changes are neutral or nearly neutral, and therefore impervious to natural selection. In all organisms, genetic material (DNA and RNA) consists of helically wound chains of nucleotides of four kinds: adenine, cytosine, guanine, and thymine (or uracil). Some of this genetic material provides instructions for building proteins, which consist of long chains of twenty kinds of amino acids. In the sequence of three nucleotides that specifies a given amino acid, the third nucleotide of the sequence is typically silent--that is, a switch from one nucleotide to another in this position leaves the amino-acid specification unchanged. These alterations are likely to be common, but they have no effect on an organism's adaptation; they are thus effectively neutral. Even mutations with mildly deleterious effects may become established under some conditions. In very small populations of five or fewer individuals, a mutation with a tiny disadvantage can persist because a random fluctuation in population size by one or two individuals has a much larger effect on the fate of that mutation than selection does on the trait that the mutation specifies. If species often originate as tiny populations of this size, as many biologists believe, this so-called random fixation through genetic drift may be an important non-adaptive cause of genetic change. In still other cases, a new mutation or a new trait may be protected from selection because it is expressed in a very safe environment, as in the embryo inside the mother, where it is sheltered from the usual agencies comprising the struggle for life. In such situations, traits are relatively free to vary, and they therefore provide the raw material on which the agencies responsible for natural selection can act.
The features of an organism may be nothing more than byproducts of construction, or they may be functionless legacies of the past, but living things are adapted units whose parts and characteristics enable them to thrive and propagate. Generations of such successful organisms form a lineage, whose members have accumulated enough adaptive information about their surroundings to pass on their traits and the instructions for those traits to the next generation. A lineage can persist for millions of years as long as its members keep working adequately. Often, a lineage divides, giving rise to two or more lineages in an evolutionary branching event. All the lineages of life--ancient as well as modern--can thus be thought of as forming an evolutionary tree, whose innumerable twigs can be traced back through time to a single common ancestor. At every point on the tree, organisms were successful enough to leave offspring. The tree of life is therefore a tree of unbroken success.
A more provocative way of thinking about adaptation is to say that living things are well fitted to their surroundings because they have evolutionarily formulated and tested an adequate hypothesis about their situation. Such an adaptive hypothesis consists of the totality of form, physiology, and behavior of an organism. It incorporates information about potential causes of failure and death--competition, predation, disease, and weather--as well as potential opportunities such as food or mates into a material body, a metabolizing "survival machine."
The concept of an adaptation as being equivalent to a scientific hypothesis, first proposed by the
Austrian marine biologist Wolfgang Sterrer, introduces three core ideas of this book. First, a living thing is an adapted whole, all of whose characteristics affect its fate in the struggle for life. Natural selection due to enemies and allies operates on wholes, not on genes or on isolated traits encoded by those genes. Selection may change the frequency of gene variants controlling such traits as eye color, blood type, or susceptibility to diseases like hemophilia, but it is the organism's phenotype--its form, physiology, and behavior--that is exposed to selection and that constitutes the adaptive hypothesis. Our fellow meat-eaters on the Pliocene plains of East Africa competed with whole people, not with our adapted parts or our genes. Their fates and ours hinged on how well the bodies of competing individuals worked.
This idea is most obvious when applied to individual organisms, but it applies also to cells within the living body. In the nervous system, for example, axons--long extensions of nerve cells--grow more or less at random, but they persist only when they reach their target as indicated by an electrical signal, that is, when a connection is established. Other axons wither away, leaving an orderly, flexible, and well-functioning network of nerve connections that allows an animal to sense and respond to its environment. This trial-by-success pattern of axon growth and death yields an adapted whole in the same way that natural selection does at the higher level of biological organization: that of individual organisms.
The notion of an organism as hypothesis also points to the role that living things play in modifying their environment. Organisms do not simply respond physiologically or behaviorally to their surroundings, or evolve through natural selection in response to a new situation; they also help create their environment. The good fit between organism and environment is a combination of acting and being acted upon, a feedback rather than a one-way relationship. Organisms are active participants in their adaptation, not passive players unable to influence their own fates.
Third, the trial-by-success procedure that lies at the heart of adaptation in nature is essentially identical to the human scientific way of knowing. In nature, feedbacks between body and environment impose selection and yield adaptive wholes by distinguishing between those that survive and those that do not. In the scientific search for objective reality, a scientist consciously uses observations and prior evidence to formulate a hypothesis, which is then tested and modified with additional evidence gathered through further observation and experiment. Evolutionary adaptation is achieved without a guiding sentient mind, whereas science for the most part proceeds deliberately and purposefully; but the two adaptation-producing methods have in common a feedback between the environment and a meaningful, predictive representation of that environment.
To see this parallel between adaptation and science in more concrete terms, let's return to the plants and animals on the coast of Maine. The organisms Edith and I met on Squirrel Island all belong to species that are native to the North Atlantic. It therefore seemed reasonable to conclude that their distinguishing features, including their adaptations, evolved in that ocean, and to assume that the dangers and opportunities important to individual members of species on these shores are representative of conditions faced by each species as a whole both now and in the past. These ideas were my preliminary hypotheses about the origins of the adaptive characteristics that these common species displayed so clearly.
But when I began to examine these intuitions, I quickly discovered that my hypotheses would require substantial revision. For example, it became clear that the environments in which we observed our seashore species were far different from those that existed four hundred years ago and earlier, when many of these same species were flourishing. In those few centuries, humans had greatly altered the complement of predators, competitors, and food sources in the waters of New England and southeastern Canada. Gone were the vast numbers of lobsters and cod--major predators of clams and sea urchins--that French fishermen and early English settlers encountered in the seventeenth century. Three species--the great auk, Labrador duck, and sea mink--that had once been significant consumers of shore animals and fish had disappeared before 1920. The Atlantic gray whale, a voracious bottom-feeding species, had been hunted to extinction by 1675. Meanwhile, species from elsewhere arrived on these shores, including a rockweed, the common periwinkle, and the green crab, all accidentally introduced with ships' ballast rocks from Europe before 1840. The adaptations displayed by the native shore species in Maine clearly had been honed under conditions quite different from those that prevail in the present day. More refined hypotheses about the nature and origins of these adaptations were clearly needed.
To pinpoint the origins of New England's marine life and its adaptations, I needed to trace lineages back through millions of years of evolutionary time. The categories--families and genera--in which our New England species were classified are found in other geographic areas as well, which means that an adequate hypothesis of evolutionary origin and change would have to consider many species besides those found in Maine. Our species might have arisen in places far away and in environments that no longer existed. Their adaptive hypotheses might work in the human-altered conditions prevailing today, but they were evolutionarily formulated and honed elsewhere.
These possibilities began to engage my attention fifteen years later on the other side of the continent. Edith (by then my wife of fourteen years), our four-year-old daughter Hermine, and I had settled in for a spring sabbatical of research and teaching at the Friday Harbor Laboratories on San Juan Island in the state of Washington. Friday Harbor is an idyllic place, combining a rich and easily accessible marine fauna, a forest preserve perfect for long morning walks, and a stimulating intellectual atmosphere. Contemplating the specimens I collected during our stay, I realized that many of Friday Harbor's seaweeds and marine animals have close counterparts in the biologically much more impoverished floras and faunas of the North Atlantic. Even though the Pacific and Atlantic species were now separated by the impenetrable ice barrier in the Arctic Ocean, they must have had a common origin. But where was this place of origin, and what were conditions like when the adaptations of these species were evolving?
I settled on two hypotheses. Either the common ancestors of Atlantic-Pacific species pairs originated in the North Pacific and spread northward through the Arctic Ocean to the Atlantic, or they originated somewhere in the North Atlantic and moved through the Arctic into the Pacific. Either way, the spread of a temperate-zone ancestor from one northern ocean to another required a much warmer Arctic Ocean than the ice-covered ocean of the last eight hundred thousand years. Furthermore, the land bridge that linked Alaska and Siberia for tens of millions of years would have to have been breached by the sea to form the Bering Strait, which connects the North Pacific and Arctic Oceans. Testing and refining these hypotheses would involve gathering evidence from many sources. And so began a research project that has engaged me off and on for more than twenty years.
I settled on two hypotheses. Either the common ancestors of Atlantic-Pacific species pairs originated in the North Pacific and spread northward through the Arctic Ocean to the Atlantic, or they originated somewhere in the North Atlantic and moved through the Arctic into the Pacific. Either way, the spread of a temperate-zone ancestor from one northern ocean to another required a much warmer Arctic Ocean than the ice-covered ocean of the last eight hundred thousand years. Furthermore, the land bridge that linked Alaska and Siberia for tens of millions of years would have to have been breached by the sea to form the Bering Strait, which connects the North Pacific and Arctic Oceans. Testing and refining these hypotheses would involve gathering evidence from many sources. And so began a research project that has engaged me off and on for more than twenty years.
One obvious source of evidence, especially to a paleontologist like me, is the fossil record. Happily for me, seashells are abundant as fossils, and most species of living clams and snails have a fossil record that can be traced back for millions of years. If the lineage leading up to a living species extends further back in time in the Pacific than in the Arctic or Atlantic Oceans, it likely originated in the Pacific. Using genetic characteristics that can be observed in fossils, such as details of shell form, paleontologists can link ancestors with descendants. With the advent of molecular techniques, in which DNA sequences of related species are compared, it has become much easier to identify species lineages and to determine the geographic locations and times of lineage splitting. Geological evidence can help to specify when the Bering Strait was open, and when the Arctic Ocean was warm or when it was covered by sea ice.
Excerpted from The Evolutionary World by Geerat J. Vermeij.
Copyright © 2010 by Geerat J. Vermeij.
Published in 2010 by Thomas Dunne Books.
All rights reserved. This work is protected under copyright laws and reproduction is strictly prohibited. Permission to reproduce the material in any manner or medium must be secured from the Publisher.
Copyright © 2010 by Geerat J. Vermeij.
Published in 2010 by Thomas Dunne Books.
All rights reserved. This work is protected under copyright laws and reproduction is strictly prohibited. Permission to reproduce the material in any manner or medium must be secured from the Publisher.


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If you've read my column lately, you might notice it's been a tad Lucy-centric, so imagine my delight when I recently had the opportunity to chat with the cast of 'I Love Lucy Live on Stage', I jumped at the chance so quick, you'd think I was Lucy Ricardo trying to sneak her way into Ricky's show at The Tropicana. This weekend marks the final Nashville performance of the current National Tour of the show at Nashville's TPAC. As Music City bids a fond farewell to Lucy, Ricky, Fred and Ethel, I thought I'd share my conversations with their on-stage counterparts, Bill Mendieta, Sirena Irwin, Kevin Remington and Joanna Daniels before they head out to continue the funny foursome's zany road trip at theatres across the U.S. What follows is a rare expanded installment of my recurring celebrity interview format RAPID FIRE 20 Q . They were all so much fun answering my questions, I just couldn't limit myself to 20.
RAPID FIRE 20 Q+ with the cast of 'I LOVE LUCY LIVE ON STAGE'
First up is my chat with Bill Mendieta who is mesmerizing as Cuban bandleader and husband Ricky Ricardo to show-biz-obsessed Lucy Ricardo.
JONATHAN PINKERTON: In preparing for my chat with you I learned that you grew up in San Francisco in a family with a somewhat mixed-bag of Latin roots. Can you tell me a little about your family background?
BILL MENDIETA: Mendieta is a Basque name, with roots in the Pyrenees mountains of Spain and France. My parents were both born in San Francisco. On my dad's side, his mom was from Mexico and his father's family had settled in Peru. On my mom's side, her mom was from Guatemala and her father was from Spain.
JP: Of course both the fictional Ricky Ricardo and his real-life creator, Desi Arnaz are decidedly Latin, hailing from Cuba. Coming from a background rich with Latin blood, were you exposed to much Latin music or actors as a kid?
BILL MENDIETA: My family was very musical. My parents loved music and dancing and encouraged us kids to learn a musical instrument and dance as well. Growing up with three boys and three girls in the family, we always had dancing partners at weddings and parties and had music of all different styles continually playing in the house. My family loved classic movies and classic TV shows like Zorro, Star Trek, Mission Impossible and I Love Lucy. I remember my grandmother enjoyed Cantinflas and his movies, as well as Charlie Chaplin, Benny Hill, and Lucy - she loved to laugh, and enjoyed physical comedy. I also remember my dad would often be singing while he was working in the house. He reminded me of a combination of Guy Williams' Zorro and Desi Arnaz. Though he didn't have an accent, the awareness of his Latin roots were strong. And for myself, as a third generation American, my cultural awareness may have been watered down a bit, but it was still present growing up.
JP: While it would be daunting indeed to simply mimic Ricky Ricardo and his real-life originator, Desi Arnaz, I love that that's not the goal if this show, but rather for you and your co-stars to maintain the essence of the classic, but at the same time offer a fresh spin and your own interpretation. How do you achieve that balance?
BILL MENDIETA: There are certain things we have to hit for audiences to suspend their disbelief and join us on the ride of this show. We aren't Desi, Lucille, Viv, and Bill but we can project the essences of the characters they created through the timbre of our voices, our bodies, and certain characteristics that have become key in this show's canon: Fred's grumpiness, curmudgeonly, and key one-liners, Ethel's helpful and earnest friendship and co-conspirator in Lucy's schemes, Lucy's child like ambition and optimism, as well as her "ewww" and other Lucy-isms and of course her willingness to go to extreme to get what she wants, and Ricky's intelligence, charm, joy of performing, mispronunciation of certain English words, and his frustration of Lucy's antics, of which he can't help but be amused too, because he indeed loves her. And as we're not impersonators, but actors, our focus is to be authentic in the moments of the situations and breathe life into these characters, so there is room to do Ricky Ricardo as what I bring to it. My job was to get these core elements and let it live through my instrument - my body, voice, thoughts and emotions, and simply do the role and be in the story. I think whenever anyone performs a role that is in the public consciousness, we must embrace our likenesses and our differences to that original, and dare to create something new and authentic, and give our audience comfort and confidence in us as we bring them through a journey.
JP: When this journey began, did you have any idea just how many people really do Love Lucy, Ricky, Fred & Ethel?
BILL MENDIETA: I had no idea how many people still really loved these Fab Foursome. I knew the TV series was popular, and some people still love it to this day but I was shocked when we first put it up in Los Angeles at a little theater and learned that people flocked from all over the country to see it, and a few from Canada and overseas, and that it drew audiences and repeat audiences in Chicago and now on our North American tour. It is a testament to the original material and the creators of the series. The "I Love Lucy" show is still on the air, and it is still funny. I am no longer surprised but honored that we are able to give this show to audiences and rekindle and celebrate their love for these characters and the material.
JP: Before being cast in I Love Lucy Live on Stage, you've acted and directed in everything from Shakespeare to my favorite daytime drama, Days of Our Lives. I know versatile actors get ask this question all the time, but I always love the variety of responses....what's more challenging to you, drama or comedy....and why?
BILL MENDIETA: I like both comedy and drama at different times and both have certain challenges but I would have to go with the challenge of comedy because I get to have that immediate response in laughter which let's me know if I am successful or not in the material. If I get the laughs, it is so joyous, and if I don't, it seems worse than death. And so my responsibility is to be authentic with the character, situation and technique of sitcom and comedy, and don't expect the laugh yet be ready if it happens. If laughs are there, great. If they're not there, at least I'm being authentic in that moment. But if it's timed right, I can achieve the authenticity of the moment, and the audience can have that opportunity to release in their laughter - a win-win situation.
JP: Ok, I'm gonna resist asking you how it was to act opposite DAYS' super villain Stefano Dimera played by Joseph Mascolo and instead stay on task and ask...as you prepare to take the stage, is it hair, makeup, wardrobe, voice, a combination of all or something else that you feel when you've achieved the essence of Ricky Ricardo?
BILL MENDIETA: Well, I'll give you this: working on DAYS was fun, and I did have Joseph Mascolo in my scenes when I appeared there, and he's a very kind, professional actor. As Soap work is quick, everyone is extremely prepared, the atmosphere is easy going and everyone does they're respective parts well to create that daily entertainment....The essence of Ricky Ricardo? Yes to your question - all of the above. Before I get on stage, I must adjust my hair and make up to get that Ricky Ricardo look. Getting into the stylish clothes of the era helps with the physicality too - with nice period suits, an Eisenhauer jacket, tux or smoking jacket - the clothes do indeed help make the man. Sure, also the voice is crucial to this character - the Cuban accent and rhythms as I speaks English, and the Spanish with the Cuban rhythms and pronunciation. I also discovered the musicality of this Cuban bandleader is very key. On the Tropicana stage with the band is where Ricky is king, and jamming with the band and entertaining and charming the audience is a lot of fun. Before this role, I considered myself to simply be an actor who can sing and move well. In being Ricky Ricardo, I committed to being a singer and as I got more and more familiar with the music of that time period with singing standards and latin classics, and I found a love for this music. And this musicality is in the body, and so I discovered also a joy for dancing salsa, swing, tango, etc.
JP: As you mention, a big part of Ricky/Desi was his accent. After having played the role in both Chicago and LA productions, winning a broadwayworld.com award, and now taking it on tour, do you ever lapse into Ricky's dialect in your off time?
BILL MENDIETA: There has been a few times in conversations where some people have laughed and said "You sounded like Ricky there," on a phrase or two, or there may have been a moment or a sentence I thought would sound funnier in Ricky's accent, but now after doing this show for over 400 performances since its inception back in LA, It is easy to only do Ricky when I have to and be me on the day to day life.
JP: Is it true your co-star Kevin Remington, who brings to life William Frawley's Fres Mertz in I Love Lucy Live on Stage, is much more fluent in Spanish than you? When I chatted with him, I asked him to interpret what Ricky says when he's upset with Lucy...Has he taught you anything you can share?
BILL MENDIETA: The speaking of languages is always better when introduced early in our lives. Yes, Kevin is more fluent than I am as he grew up in Mexico, and can go from Spanish to English effortlessly. I grew up in San Francisco, a third generation American, and English was my family's first language, and my parents rarely spoke Spanish. But my grandmother did and taught my siblings and I some, and I learned with the high school curriculum, but it wasn't until I travelled in Spain, Mexico and Peru that I learned more practical Spanish and could hold conversations. As it has always been an effort to have my Spanish exercised enough to speak it confidently, with this show I received coaching with my Spanish so I don't sound too much like a gringo speaking and singing in Spanish. And Kevin has shared his experiences surprising people with his fluency as his look belies it - seeing a Fred Mertz type speak fluent Spanish is pretty cool.
JP: Something the stage version does to transport the audience back to the 1950s and being at a live taping of I Love Lucy is the inclusion of retro-looking cameras on stage and 'commercial breaks'. Desi was instrumental in creating the three-camera technique used by most modern sitcoms. Is there a moment between scenes in which we get to see you and your co-stars as the real-life legends Lucille, Desi, William and Vivian and therefore learn a little 'behind the scenes' about Desi's astute business sense or Lucille's meticulous attention to detail?
BILL MENDIETA: As our production is a 'love letter' to "I Love Lucy" and classic television, and our concept is to give an audience a taste of what it might have been like then to witness an actual filming of the show, we do show what happens in between the scripted scenes - as cameras are re-set, make-up adjusted, costumes changed, insert shots executed - and so the audience does get a glimpse and a taste of what it might have been like on the set and in those moments. In sitcom tapings of today, we don't know the details of the relationships of the people on the sets but we can see some dynamics of what is going on and make our own assessments. In theatre, the audience gets the whole stage to view and assess and interpret, so in our show we present the actors and crew on a TV set as they are all doing their jobs. You may be able to interpret things you see of what we do and of what our positions in this production allows. Rick Sparks, our director, left many of these moments subtle and open enough for a number of interpretations to give people something to see if they choose to, yet not to take away from the focus of the show.
JP: I understand that the producers of your show have the rights to all 179 original episodes. I love that the two episodes recreated in the stage show include both the musical aspect of the show as well as the classic comedy element. I think 'Sally Sweet/Cuban Pete' from Season 1's 'The Diet' is my favorite overall musical moment from the original, while the 'baby chicks' scene from an episode late in the show's run is my favorite comedic moment, although that would be hard to pull off on-stage. In your own research for playing Ricky, do you have a particular song or scene you'd like to bring to life should the show continue with a focus on different episodes?
BILL MENDIETA: The beauty of this concept and that we have the rights to all these episodes is that we can make additional theatrical representations of the show, and perhaps even run them in repertory. I enjoy the "Cuban Pete" number as well, and Sirena and I have prepared a version of that number for promotional appearances, but there are also some very fun episodes and moments from the TV show to choose from. The episode "Lucy is Jealous of the Girl Dancer" is a fun one that affords comic possibilities with song and dance. Many of the ones in Hollywood are very funny and offers many chances for Lucy to embarrass herself in her efforts to be a star. Or a really touching one would be "Lucy is Enceinte" when she is looking for the best way to tell Ricky she is pregnant. There are so many possibilities, what we do next could be a lot of fun.
After my conversation with Bill, it was time to get to know Sirena Irwin actress behind the spot-on reinterpretation of the show's leading lady Lucy Ricardo.
JP: Prior to winning the coveted role of Lucy, were you much of an I Love Lucy fan?
SIRENA IRWIN: I hadn't grown up with a TV and though I knew of "I Love Lucy" – I hadn't seen it but a handful of times. I had a lot to learn! Now I would consider myself one of the biggest fans. I Love Lucy!!!
JP: No TV?!?!? I can't imagine, but as a huge I Love Lucy fan myself, I can relate the the latter part of your reply. So, are their nuances to Lucy that you've tapped into since first stepping into the role during the initial Chicago & LA runs?
SIRENA IRWIN: There are little things that hit me occasionally on stage – like, "oh wow – that head turn was very Lucy." It's a funny thing to be thinking in the midst of it all. But sometimes, yes, it can be really thrilling to feel myself deepening my connection to Lucy Ricardo. Things are happening that make me feel ever closer to the character. I guess that happens after 400+ performances.
JP: I noticed on the I Love Lucy Live on Stage website that one of your headshots shows you with red hair, but you're typically a blonde. Did you dye it at some point, or was that just a bit of marketing photoshop?
SIRENA IRWIN: I dyed my hair red when we did the show in L.A. I wanted to know what it felt like to be a red head. It was great! But, ultimately, I felt called to return to the blonde locks!
JP: With this show, audiences get the chance to see I Love Lucy in living color. The only other time audiences saw Lucille and Desi I color was their big-screen pairing 'Forever Darling', the very Lucy-esque 'The Long Long Trailer' and CBS's colorized Christmas Special. Why do you think seeing our four favorite funny friends 'Live' and in color is proving so popular more than six decades after their debut?
SIRENA IRWIN: Because our four favorite funny friends are a thrill to watch! The master geniuses who created them did such a phenomenal job that whether audiences find them on stage or on TV, the love endures – the funny bone is tickled and a good time is had by all. Thank you Lucille Ball, Desi Arnaz, Vivian Vance, Bill Frawley, Jess Oppenheimer, Madelyn Pugh, Bob Carroll Jr. and all the many other technicians that made "I Love Lucy" the iconic television show that it is!
JP: Speaking of 'creating Lucy'...Is it a long process to get that 'Lucy look' ..hair/make-up/wardrobe?
SIRENA IRWIN: 1 and 1/2 hours before each performance.
JP: So we've talked about Lucy's hair, makeup and I wardrobe, but it's Lucille's physicality, pulled faces and voice that seem to really be the essence of Lucy Ricardo. I have to know....do you ever find yourself sitting in front of a mirror and practicing Lucy's trademark facial expressions or her distinctive 'whaaaa'?
SIRENA IRWIN: Absolutely! When I first started working on Lucy Ricardo I spent time both in front of a mirror and I even video taped myself to see if I was capturing her the way I thought I was capturing her. I was thrilled to eventually read that Lucille Ball frequently worked with a mirror when she was honing her comic bits – her moments of genius. So it felt like an invitation to do the same! No vanity – just craft. And, of course, FUN.
JP: Your ability to mimic Lucy's voice is earning your praise. Something your new fans may not realize...you, or at least your voice, is familiar to modern-day young TV viewers as well, as you have voiced SpongeBob SquarePants' mother, Mrs. SquarePants. What's more difficult, voice-over work or live theatre?
SIRENA IRWIN: One of my greatest joys has been to do voice work on Spongebob! I LOVE that show and everyone on it! It has been a huge gift in my life. HUGE! I thank Steve Hillenburg, the creator of Spongebob, everyday for the incredible opportunity and experience he has provided me. It's hard to compare levels of difficulty because the worlds are so very different! Doing live theater 8 shows a week is demanding because it requires the same level of concentration and commitment each time. I wouldn't ever want to let down an audience member. Ever! I may be there 8 times/week but they will probably only have this experience once and I want it to be a great experience for them! With voice-over I can record a take multiple times and then the director, producer and engineer will work together to make sure the viewers get the best take. So, the worlds are very different worlds - both are immensely pleasurable and both come with responsibility and accountablility.
JP: Being a genuine I Love Lucy fan, my absolute favorite moments in I Love Lucy come when the actors' true affection for each other shines through. A prime example comes in the episode when Lucy is trying to tell Ricky she's expecting. When he finally realizes she's the expectant mother in the audience, he sings and they kiss and Lucille gets teary-eyed. According to several books I've read, Lucille, the consummate professional wanted to do the scene again because she got so emotional, but director William Asher wouldn't allow a retake, knowing he had just captured classic TV gold. Is there a certain moment in the play that you look forward to every night?
SIRENA IRWIN: That's funny because in one of the most recent Lucy reads of mine, "The Lucy Book" by Geofferey Mark Fidelman he recounts that they actually did do a re-take at William Asher's request. And I believe I read elsewhere that the studio audience let their feelings be known that they didn't think there should be a re-take as you can imagine they were probably all in puddles of tears! I LOVE that episode! It is one of my all time favorite episodes! Bill and I have been trying to get the producers to let us do that song – possibly as an encore or something? I look forward to the simple moments – Bill and I on the couch… and then I look forward to playing with Joanna Daniels (our Ethel) as we fight over the horse head…and then I look forward to Bamboo tree… and then I look forward to dancing with King Kat and then and then and then! There is so much to love about this play. I honestly don't know where to stop!
JP: Wow! An encore featuring 'The Baby Song' would be awesome. Lucille had Desi and you've got Bill. As I mentioned earlier, the current National Tour marks the third mounting of this show in which you and Bill have shared the stage as Lucy and Ricky. What's your favorite thing about Bill's portrayal of Ricky Ricardo?
SIRENA IRWIN: His honesty. His connection. His perfect reactions to the zany antics of Lucy.
After posing questions to Bill and Sirena, I got a chance to pick the brain of actor Kevin Remington who brings to life the outwardly grumpy, but inwardly caring Fred Mertz, The Ricardos' landlord and Ricky's best friend.
JP: Have you noticed certain aspects of the show that the audience really responds to?
KEVIN REMINGTON: The audience, collectively, is an essential character in each performance. That was true when the original show was, for the first time, "filmed before a live audience" – and it's true for the "live onstage" version. However, every audience is different and responds differently. Consistently though, the "quiz" portion of the show, where an audience member is brought onstage to test their "Lucy" trivia knowledge, is extremely interactive and it can get really fun and rowdy. "Babalu" is also a place in the show where people just go nuts – sometimes it feels like a rock concert – an exciting moment for sure.
JP: In one of my favorite I Love Lucy episodes from later in the series run, Little Ricky gets a puppy and after much deliberation decides to name it Fred...because he "wanted to name it after someone he loves". In spite of his curmudgeonly ways, why do you think Fred Mertz is thought of so fondly, not just by Little Ricky but by six decades of TV audiences?
KEVIN REMINGTON: Well he's really, really funny in his cranky, understated way. And deep down, we know he doesn't ever mean to hurt anyone's feelings. He's very affectionate about who he ribs and teases. His gruff demeanor is an exterior shell, I think. And it's very easy to sense that when he's your friend, he's loyal and would go to the mat for you every time, even after telling you how fat you are. This was actually true of Frawley himself – a very loyal friend once he accepted you. This and other of his qualities were woven into Fred Mertz by the show's writers. I also think he reminds us all of that uncle, brother-in-law, or grandpa that's cantankerous on the outside but sneaks you some candy or a five dollar bill when no one's looking.
JP: I think you're right about that. My own grandfather could easily be described the same way. Pretty much the plot of most I Love Lucy episodes involved Lucy scheming to get into Ricky's show. While that always ensured laughs, I also loved it when everybody did production numbers. You all get to sing and dance as part of I Love Lucy LIVE.
KEVIN REMINGTON: My personal favorite (I'm not in it, but I love it) is "Cumbanchero." It's a fantastic, driving, brassy-horned Latin piece that gets your blood pumping. Fred & Ethel perform "Varsity Drag" in the second episode of the show. It's a pleasure to sing and dance it every night with Joanna Daniels – we have a great deal of fun with it.
JP: Whenever Lucy gets into a predicament, Ricky would usually blow his stack and go off into a Spanish rant. My sources tell me you're the only one of the four who speaks fluent Spanish, so can you answer something I've been wondering for years? What does 'Mira que tiene cosa la loco mujer esta' mean?
KEVIN REMINGTON: Not sure why the word order's so jumbled up but – should read something like: "Mira que cosa tiene esta loca mujer!" which roughly translates as "Can you believe/get a load of/what's the matter with that/this crazy dame!?"
JP: Ha! The jumble is probably because I snagged that line from a Lucy fansite after not being able to transpose it from the episode myself. Prior to joining I Love Lucy LIVE, you were part of another quarrelsome quartet when you portrayed Truman Capote in Jeffrey Hartgraves' 'Carved In Stone', a 'what if' look at an afterlife conversation between Capote, Oscar Wilde, Tennessee Williams and Quentin Crisp. (Wow! I'd love to have seen that!) Who do you think is more difficult to channel, Frawley or Capote?
KEVIN REMINGTON: Frawley – definitely. He's extremely understated, Midwestern and droll. There are no glaring "handles" to grab onto with him at first. I looked at many "Lucy" episodes to find patterns both vocal and physical to latch onto in the beginning of building the Frawley/Mertz persona for "Lucy Live". It is something that I continually work on to refine and detail with every performance.
JP: Taking a cue from that show, if Truman Capote were to have a conversation with William Frawley, what do you suppose he'd ask?
KEVIN REMINGTON: "Straight up, or on the rocks?"
JP: OK, that's the perfect response. TPAC, your host venue for the Nashville run of I Love Lucy LIVE quickly announced that the run was been extended. Is there anything you hope to see on your off-time while in Music City?
KEVIN REMINGTON: I'd really like to see the Hermitage, Honky Tonk Highway area for some good music and local color. I don't think I'll be able to see a performance at the Grand Ole Opry, but would definitely like to visit or take a tour if possible. I'd also like to find some real "locals only" music venues and restaurants that are off the beaten path.
JP: Hit me up about the 'locals only' spots. So...It's well documented that William Frawley and Vivian Vance didn't exactly get along off-set mainly because Vivian felt Frawley was much too old to be playing opposite her. On the flipside, what's the best part of having Joanna Daniels as Ethel to your Fred?
KEVIN REMINGTON: I really love working with Bill (Ricky) and Sirena (Lucy) and Joanna equally – they're all so much fun and always ready to play. And to be honest, I enjoy everyone in the company both onstage and off. So – the best part of having Joanna as Ethel. There's a lot of "bests" I could list – she's really extraordinary. It's her ability to respond so naturally and completely as Ethel/Vance in any given situation. If we're ever thrown any curve balls, she takes it all in stride and does it with humor, courage, verve and panache.
That answer led to the perfect segue into my questions for the fourth and final member of our fabulously funny quartet, Joanna Daniels, who much like her 1950's counterpart, Ethel Mertz, and Vivian Vance, the legendary supporting actress who played her, is easily the show's not-so-hidden gem.
JP: Kevin just told me his favorite aspect of working with you as Ethel to his Fred, so let's start our conversation with what you enjoy most about playing opposite Kevin?
JOANNA DANIELS: The offstage antics. Kevin is a dancer and watching him dance backstage as Fred Mertz is hysterical. Kevin is also very witty and the clever things that fly out of his mouth crack me up.
JP: I saw on Twitter when you began this current National Tour that you were reading the Vivian Vance biography, "The Other Side of Ethel Mertz". When I read it, I was most surprised to learn that she was indeed classically trained in theatre. What little bit of trivia did you learn that you hadn't previously known?
JOANNA DANIELS: I was surprised to find that Vivian Vance usually played the vixen, onstage and off! It's funny to think of Ethel Mertz in that light, but that's a testament to just how versatile and capable Vance was. I'm willing to bet she was completely invested and believable in every part she played.
JP: OK, here's a trivia question for you...without Googling it, what was Ethel Mertz' middle name?
JOANNA DANIELS: "Ethel Mae Potter... We never forgot her". I think she had several other middle names throughout the run, but without googling them, that's all I've got!
JP: That's right. another of Ethel's middle names was Roberta...which by no coincidence is also Vivian Vance's real middle name. In I Love Lucy, whenever given the chance, Ethel was also more than willing to get into the show. Can you tell me a little about your first time on stage?
JOANNA DANIELS: I was the Tender Sweet Young Thing in "Free to be You and Me" with the Atlanta Workshop Players. It was such a fantastic experience with a very creative children's theatre company. The director, Lynn Ellis Stallings, is really the reason I'm an actor today. She knew how to reinforce the strengths and talents of young folks by creating a safe environment for us to be big and free. I suppose then, it's fitting that the play was" Free to Be You and Me"...never really thought about that before!
JP: My friends will attest to the fact that I constantly quote I Love Lucy dialogue, in particular, quite a few phrases from Ethel Mertz including "And now comes the piece de resistance....that means the best part", a line Ethel utters just before Lucy takes to the stage during one of their many talent shows. Another favorite Ethel phrase of mine is "No thanks. I've had sufficient", something Ethel said in a later episode while attending a lunch with Lucy and her new best friend Betty Ramsey. It's the perfect comeback when you're fed up. So.....any Ethel-isms you get to say during the show that to you are essential Ethel Mertz?
JOANNA DANIELS: I say that line in the show! "And now comes the piece de resistance, that means the best part of the evening..."Also, the ever frustrated "Oh, Lucy..." and the same with "Oh, Fred..."seems Ethel was always frustrated with someone! I find myself mimicking Vance in my daily life with the way she says "oooh....". I find it just creeps in to my own conversations. I also say "what a treasure trove" in the show, which in itself, is not a terribly funny line, but the way Vivian says it, with the emphasis on the A in treAsure, cracks me up.
JP: Lucille Ball was always a stickler for details and wanted to be sure that the audience really felt like they were watching two married couples living their daily lives. Lucille Ball hired costumer Elios Jenssen to create the costumes for the show, including the iconic polka-dot dress so often associated with I Love Lucy. For your show, you guys have award-winning Costume Designer Shon LeBlanc giving his own unique spin to the I Love Lucy look. Do you have a favorite costume, either yours or someone else's that's seen in this production?
JOANNA DANIELS: In the second act, I wear high -waisted cropped jeans and a short sleeved silk blouse. To me, that is the costume of mine that feels the most like Ethel. I always remember her "dressing down " in those types of high-waisted pants. I also like a blue flowered dress I wear in the second act to dress up for Mr. Parker. It's fitted with three quarter length sleeves, below the knee tailored skirt, and I feel like I remember seeing Ethel in dresses like that. The rest of my costumes are cotton house dresses, and honestly, they don't feel very Ethel to me, I think of her in very tailored dresses, plain but made out of fabrics that draped nicely, with a Peter Pan collar and an air of sophistication.
JP: Whenever Vivian Vance would sing on I Love Lucy, she often exhibited a somewhat operatic voice. How difficult is it to mimic her intonation while speaking and singing?
JOANNA DANIELS: Well... we are actors, not imitators, and these 4 are inimitable anyway, but as actors we do have a responsibility with this to be recognizable as these people to the audiences who have known and loved them for years., So, we worked with our director, Rick Sparks on the vocal rhythms of the show. The timing. I found that to be the key to this whole piece. Once we were able to recreate the rhythm, the rest of it seemed to fall into place. I love the way Vivian speaks and sings.. It's a lot of fun to tackle, and I find it creeps in to my everyday speech. She's midwestern, and I'm southern. and i find a lot of similarities between the two. In the episodes we do in the show, Ethel and Fred sing one of their Vaudeville numbers, and Ethel does so in the style of a flapper. So, I don't really get a chance to use Ethel's operatic voice. Would welcome the opportunity to do so! Perhaps in The Operetta, or Ethel's Homecoming??
JP: In 2010, you starred in the LA production of "Becky's New Car", for which you received a Best Actress nod from the LA Drama Critic Circle. Since playing Ethel Mertz in I Love Lucy LIVE, you've received rave reviews. What's more gratifying...critical acclaim, peer recognition of audience adoration?
JOANNA DANIELS: C. All of the above. As actors, there is sometimes a culture of pretending that we are not concerned with outside opinions of our work, but how selfish this profession would be if that were so!
It matters what people think of our work, otherwise, we'd be putting on plays in our own backyards.
The critics opinions matter, they are the bullhorn on the mountaintop, the professional eye for the general public to use as a guide for where to spend their theatre dollars. If the critics are raving about what we do, it's a shortcut to building our audience.
That being said, there is nothing like the visual and audible appreciation that comes from an audience during the show, and at the curtain call. It's measurable feedback, affirming that the actors have done their job of telling the story, and it feels good. I'm a bit of a people pleaser, so for me, knowing that the audience is happy and satisfied with what they've experienced completes the experience for me!
And how wonderful to have the respect of people you hold in high esteem. When someone I look up to takes the time to tell me things they like about my performance, I get goose-bumpy. Peer recognition in any field is important, and in this case, it oftentimes leads to the next job.
JP: The current tour features two of I Love Lucy's most beloved 'episodes' being recreated LIVE onstage. If you could pick another favorite Ethel-cetric episode to take on the road, what would it be?
JOANNA DANIELS: The Operetta and Ethel's Homecoming are two that I mentioned earlier. The Operetta is simply one of my all time favorites, and I would love the chance to sing "Lily of the Valley" in that classic Ethel operatic style! Ethel's homecoming is just all about Ethel, so that's why I like that one. Chances are slim that this one would ever get picked since the show is not called I Love Ethel. Oh well.
With that, my interviews with Bill, Sirena, Kevin and Joanna came to and end. Thankfully, the fun's not over yet for fans of 'I Love Lucy Live on Stage'. As mentioned above, the show finishes it's Nashville stop with five remaining shows at TPAC this weekend. There's an 8 p.m. show Friday, January 31 and matinee and evening performances Saturday and Sunday, February 1 & 2. To purchase tickets, CLICK HERE. Not in Nashville but hoping to see the show in a city near you? CLICK HERE for upcoming dates. Still not sure you'll love this latest incarnation of I Love Lucy? CLICK HERE to check out my review of the show. Can't get enough I Love Lucy? CLICK HERE to peruse my list of 100 facts about America's favorite redhead. Up next for TPAC is a fresh take on a more modern classic, Ghost: The Musical. CLICK HERE to for dates and tickets.
If you've enjoyed this latest installment of my recurring celebrity interview RAPID FIRE 20 Q, be sure and click the 'Subscribe' tab located at the beginning of this article near my byline to sign up for FREE to receive email notifications when I've posted the latest Nashville Entertainment News. Also click any of the links below to read my latest National Columns.
CLICK HERE for my National Turner Classic Movies Column
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CLICK HERE for my National Pretty Little Liars Column
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New England South, your alternates have arrived!! These two skaters placed 15th & 16th on the final list of all-star voting. They are two awesome ladies that do not get the recognition their skills demand.
Bad Person – Boston Derby Dames
We're going to see a lot of Boston on this all-star list, and Bad Person is unsurprising to see among the ranks. She may not be the first Bostonian to come to your mind, but she made big impressions this season. She has worked herself into a regular rotation of Boston Massacre because of her solid hits and strong positioning. When she is taken out of position, she is quickly and effectively back in her wall. She doesn't take easy jammer bait and she trusts her team mates. Watch #55 on the track with Boston: you may not have noticed her before, but you will from now on.
Krazy Legz Nikki – CT Rollergirls
The ladies of CT Rollergirls kind of amaze me with their power. Particularly Krazy Legz Nikki. As a blocker she has the strength and stability to stop jammers at full speed. As a jammer, she is able to bust through walls with krazy bursts of power. Nikki redefines what it means to be a jammer – she is the new school, "Sure. Stop skating. That's cool. I'll just go right through you." Kind of jammer; once she opens a hole for herself her feet move quick enough to take her through and away from the scrum. So she's coming around for more points – and you're still trying to figure out what just happened.
Thank you Hispanic Attack, Jeffery Kerekes & Chris Randall for the photography in this article!
Want to get updates on ALL the all-star articles as they're published? Hit the SUBSCRIBE button at the top of the page.


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Says Ken Molay, "I can't commend ON24 highly enough for tracking, analyzing, summarizing, and sharing this information for free." » Read full story
ON24 Releases 2014 Webinar Benchmarks
Improving Communication for Your Business Through Technology
Technology like webcasting that leverages popular media such as social channels and video will help your organization to more effectively communicate and market. » Read full story
The Evolution of C-Suite Communications
Initiatives that are designed cooperatively by both the IT and marketing teams will be more creative and profitable. » Read full story
The Evolution of C-Suite Communications
Communication and collaboration among C-suite executives will become even more important to business success this year as the walls between certain roles begin to come down. CMOs are experiencing the most significant impact as technology forces them to closely align with IT executives. International Data Corporation (IDC) predicts that, "the CMO and the CIO will begin [...]
Webinar trend builds momentum among local communications pros
According to ON24 market research, "webinar burnout" won't happen any time soon -- webinar-based training is one of the fastest growing corporate learning tools.
The key to a successful, long-term marketing strategy: Owning vs. Renting
Buying a house involves a lot of money up front but can potentially lead to bigger gains. Free from property management restrictions, you can make the place yours and customize it to your specific aesthetic. It's not all that different in marketing – own more of your marketing content and you will derive greater ROI in [...]
Local, Mobile, Social: The Key to a Productive Workforce
More than 30% of employees are planning to leave their organizations within the next two years, according to a study by Bersin by Deloitte. That's one third of your workforce. We've seen this before. In a recession, there are fewer opportunities to change jobs, and the perceived security of a job that someone has held for [...]
Pedalling to Monte Carlo
Co-sponsored by ON24, the fundraising event will take the cyling team, including ON24's own Tim Weathers, from London to Monte Carlo.
Beyond the Fear Factor
Virtual communication is changing how businesses reach prospects, customers, employees and partners. But with change comes fear. The fear of the unknown. The fear of failure. The fear that virtual events and webcasting are too good to be true. Leading studies have shown that the fear of the unknown is the biggest obstacle to change. Virtual [...]
London to Monte Carlo – by Bike
It is enough to strike fear into any cyclist, and certainly nothing like the daily London commute by bike (except perhaps a little safer), but the 1223km London to Monte Carlo Cycle Challenge is more than half the distance of the original Tour de France and still well over a third of today's typical distance. The [...]


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Use this tag if your question is about recording calls. Please note that there are separate tags if your issue instead is with 'voice-recording' (a la dictaphone), 'audio-recording' (not call-related), or 'auto-answer' (answering machine).
Call Recording here is, as the name suggests, meant for recording your calls -- that is, with a phone call in progress, record what you and/or the other side says. Good examples of matching questions include:
- Is there a way to easily record a phone conversation in-progress?
- Call Recorder not using microphone to record the other side
- Can I record a Skype call (audio and voice) using a Samsung Galaxy S3?
Related tags
- auto-answer: if your question rather targets an "answering machine"
- audio-recording: for recording music and the like, e.g. from an external source via some cable
- voice-recording: if you rather look for a "dictaphone" or the like


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Actor John Abraham, who will be next seen in 'Rocky Hansome', has released a new poster of his upcoming action drama film. In the poster, John is seen all bruised with blood trickling down his face. He is seen standing in a heavy downpour and aiming a revolver. There is one striking thing
Amitabh Bachchan wants to Work With Rekha Again!!!-TV9
Bollywood superstar Amitabh Bachchan is open to working with actor Rekha.TV9 repoter asked Amitabh bachchan "can you do work with Rekha again???".Bachchan,who was addressing a press conference at the launch of his film Department said, "If anyone comes up with a good script. I will do the film with rekha." ."If there is a good story...and like it...then why not work together?" he said.
Nathalia Kaur
The makers of 'Jism 2' are thinking of the third and fourth installment of the blockbuster movie and they are considering Natalia Kaur to the female lead in 'Jism 3'. Ram Gopal Varma launched the Brazilian model-turned-actress in Bollywood with item number 'Dan Dan' in his film 'Department'.
Latest Bollywood News
- Pic: Asha Bhosle, Aishwarya Rai bump into each other in NYC
- Shah Rukh Khan not playing warrior or guide in any film as yet
- Parineeti Chopra lends her voice for Steven Spielberg's 'The BGF'
- Before wedding, Vivek Dahiya reveals first date with Divyanka
- Salman Khan should say sorry for rape remark, Rishi Kapoor


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Henrico prepares for heavy traffic during NASCAR races Sept. 7-8
The Henrico County Department of Public Works will temporarily alter traffic patterns on roads around Richmond International Raceway (RIR) to accommodate fans attending the Virginia 529 College Savings 250 and Federated Auto Parts 400 NASCAR races on Friday, Sept. 7 and Saturday, Sept. 8.
Motorists are advised to expect heavy traffic and delays in the area on both days, especially from 8 a.m. to 7:30 p.m., before the races, and from 10:15 p.m. to 2:30 a.m., afterward.
The following traffic patterns will be in effect Saturday, Sept. 8 during peak hours:
While the traffic modifications are in effect, median crossovers on Laburnum Avenue will be closed from North Avenue to Mechanicsville Turnpike, except at Pilots Lane and Austin Avenue. Only right turns will be permitted to and from Laburnum Avenue. Police will be at these intersections before and after the race to assist motorists turning onto or crossing Laburnum Avenue.
On-street parking on major routes to RIR will be prohibited each day. Parking will be available for $6 on Saturday, Sept. 8 at the Richmond Coliseum parking deck, 501 N. Seventh St. in downtown Richmond. Free shuttle bus service to and from RIR will begin at 1 p.m.
Parking also will be available for $10 per car and $25 per recreational vehicle at The Showplace, 3000 Mechanicsville Tnpk. in Henrico, beginning at 11 a.m. Free shuttle bus service to and from RIR will begin at noon.
The Henrico Division of Police recommends the following routes for traffic approaching the raceway:
County plans Fourth of July event
Henrico County Recreation and Parks will present "Red, White, and Lights" at Meadow Farm Museum/Crump Park July 4.
Henrico County has hosted a Fourth of July celebration annually since 1981, but this year's event will offer a later start time and expanded hours and be highlighted by new entertainment.
The free event will begin at 4:30 p.m. and will feature the Richmond Symphony, a laser-light show, patriotic performances, and family activities. > Read more.
Tuckahoe YMCA to host Refugee Community Resource Fair
The Tuckahoe Family YMCA and ReEstablish Richmond will host the third-annual Refugee Community Resource Fair Saturday, June 18, from 10 a.m. to noon at the YMCA, 9211 Patterson Avenue in Henrico. The event is designed to provide refugees in the region information about jobs, local businesses, housing, health care, education and more.
As part of its strategic plan, the YMCA of Greater Richmond works to identify, address and eliminate economic, geographic and cultural barriers. > Read more.
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Regular preachers need to be more like starters than bench players.
The bench player is a specialist. A southpaw might take the mound to pitch to one player. A sharp shooter enters the game to knock down threes to spark a comeback.
But the starters need to do everything well. These are the triple-threat basketball players, athletes who can shoot, pass, or drive to the basket. These are the five-tool baseball players, guys who can hit for average, hit for power, throw, field, and run fast around the bases.
The triple threat, five-tool preacher is characterized by variety in his sermons. He varies his structure, tone, and delivery of the sermon, so that his church never hears the same message twice.
Must you add variety to your sermons?
Why can't you just preach three points and a poem on a weekly basis if that's what you're good at? Fair question, but here are some reasons why you shouldn't:
· You won't reach diverse people if you don't vary your sermons. Your church will be filled with people who resemble you, crippling outreach to various personality types and ethnic groups. If you preach only Paul, you will have only analytical thinkers. How will you reach creatives?
· Also, you won't preach the whole counsel of God. The content of the Bible varies broadly in genre and tone. If you can't preach all of it, you will neglect many books of the Bible.
· Finally, you will bore your church! God's world and God's word both demonstrate that he has created us for variety. When you become predictable your people lose interest.
How to add variety to your sermons
Although five-tool baseball players are a rare commodity, there is no reason why you can't develop a broader skill set behind the pulpit. All it takes is intentionality, and a bit of practice. Here are three simple ways to change things up.
1. Let 2 Timothy 3:16 guide you toward sermon variety
This verse provides a formula for adding variety to your sermons. What Scripture is useful for—teaching, rebuke, correction, and training in righteousness—suggests at least four types of sermons: theological, confrontational, encouraging, and practical. That's a nice monthly variety. However, most pastors are drawn primarily to one, given their personality.
There are two ways to make sure you don't overdo the type you are most drawn toward.
· First, take your cues from the passage to determine if it naturally fits in one of the four categories of 2 Timothy 3:16. For example, if it is a confrontational passage (think Gal. 1:6-10), don't preach it all warm and fuzzy. Rebuke! Or if it is a passage that pleads (think Gal. 4:8-20), don't extinguish that passion with unnecessary word studies. Plead!
· Second, when a passage fits a couple of the categories of the 2 Timothy verse, take your cue from the past month of your preaching. Have you preached a couple heavy, didactic sermons lately because you are in the first half of Ephesians? Figure out a way to make the next passage a bit more practical.
The 2 Timothy 3:16 is not a perfect model. The usefulness of Scripture, after all, is not limited to the four benefits Paul lists, and every sermon should contain a bit of all four characteristics. That said, it's still a helpful guide to get started on sermon variety.


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AN EXERCISE group for people who have health problems has been awarded £10,000 to buy new gym equipment.
The Barnsley Long Term Exercise Heart Support Group, based at Carlton Pavilion, received the money from the Big Lottery and has bought exercise bikes, a cross trainer and two recumbent bikes.
Secretary Terry Murten said the group had been raising money and the new equipment was proving very popular.
The group has been running for about three years and members are able to exercise to help rehabilitation from injury, surgery or illness, and socialise at the same time.
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Artist: Dom Pachino
Album: Power Rulez
Genre: Hip Hop/Rap
[Intro: "King of New YOrk" samples]
Okay, from here on, nothing goes down unless I'm involved
No blackjack, no dope deals, no nothing
A nickel bag gets sold in the park, I want in
You think you're gonna live long enough
To spend that money, you fucking hump
[Dom Pachino:]
Pumping rocks on the block like all day
Niggas playing ball, shooting round of Spalding
Plans of being king off codeine, morphine
Cocaine, a wrong for dope fiends, life of a hood kid
Ain't bright, unless there's more green
More weed, means more steam, yea they touch in school
That drugs ain't cool, but it's survival
Don't hold me, accountable, reliable
For those who get killed in the process of this nonsense
Cause it was by choice, like when Eve seen the apple and bit it
He seen the crack pipe and hit it
Right after he lit it, he said that's the shitted
I'm not proud of myself nor the government
They put this shit here, so the poor man discovered it
A weak mine's fell in love with it
That's when the undercovers hit
They want us all in jail, atleast minorities
Black and latinos, that's living in poverty
And in the urban areas, we the majority
And students study us in schools like Harvard, g
I'm king of New York, the soniority
Slugs whisper, twist your vital arteries
Making music since I was 9, cause it's a part of me
Multi million dollar deals, sorta like the lottery
Like the lottery, like the lottery
I'm bout to it
[Chorus x2: Dom Pachino]
K for the Killa in me, I for Intelligent
N for Napalm, and the God bout to settle this
Staten Island delegate, what you buying, I'm selling it
Step out of line, the nine split your melon quick
[Dom Pachino:]
I put the new tax bracket, mills in the vault stacking
Drugs to rapping, quit acting like it can't happen
I bare witness, to the sickest individuals
Accumilate riches, and rep Staten, bitches
This ain't a fairy tale, if so, I know it very well
The seven dwarfs be my cartell selling that snow white, all night
On park benches, in broad daylight
Until midnight, til it's all gone
That's when I collect, I have a meet with the Don
At the round table, delegating, location Napalm label
Tune in, your boy is on cable
Often flossing, I was abandoned like abortions
You'd rather see me in a coffin, cause of extortion
Then I'm a rider, like the Four Horsemen, just in a Porsche, man
See me, approach me, extreme caution, and scream king
[Chorus x2]
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Lyricapsule: Jefferson Airplane Drop 'White Rabbit'; June 24, 1967
Tom DeLonge's Been Alien-Crazy Long Before Quitting Blink to Study Them
Notes from Mr. Sandman: Offwhyte
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The Palau Sports Fishing Association (PSFA) has just announced plans for the 24th Sports Fishing Tournament featuring the Etpison Cup, which will take place May 10-11, 2014 in Palau, Micronesia.
Prizes range from $100.00 to $30,000.00 in a total of five categories of fish, including Billfish, Tuna, Wahoo, Barracuda/Spanish Macerel and Mahi.
Registration and qualifications can be found at www.palausportsfishing.com/index.html.
(Note: Registration for the Annual Fishing Derby includes a one-year membership with PSFA)
The Palau Sports Fishing Association is a non-profit, membership based organization that was incorporated in 1991. PSFA is the first sports fishing organization in Palau with the goal to carry out sports fishing competition among anglers every year and entertain sports fishing enthusiasts. PSFA's mission is to promote sports fishing for the benefit of local fishermen, protect fisheries resources and as another diversity of the tourism industry in the Republic of Palau.
Details on the Prizes, Categories and Qualifications
Grand Prize
for Billfish
501 lbs. and over 2nd Grand Prize
for Billfish
401 to 500 lbs. 3rd Grand Prize
for Billfish
301 to 400 lbs. Baby Grand Prize*
for Billfish
201 to 300 lbs.
*An additional $100 is required to participate
Saturday & Sunday, May 10-11, 2014 - 5:00am to 5:00pm
1st 2nd 3rd 4th 5th
1. Billfish $2,000 $1,500 $1,000
2. Tuna
(Yellowfin, Dogtooth, Bluefin) $1,000 $700 $500 $400 $300
3. Wahoo $1,000 $700 $500 $300 $200
4. Barracuda/Spanish Mackerel $1,000 $700 $500 $200 $100
5. Mahi $1,000 $700 $500 $200 $100
Sunday, May 11, 2014 - 5:00am to 5:00pm.
1st 2nd 3rd
Bottom Fishing Derby $700 $500 $300
About Palau: Located in the westernmost corner of Micronesia, Palau is an archipelago of more than 586 islands with about 20,000 inhabitants and was the world's first official Shark Sanctuary, setting the pace for many other destinations to follow suit. Consistently ranked as one of the world's best dive destinations, Palau is the ultimate paradise for the adventurous traveler, boasting some of the most spectacular water features and beaches as well as the world famous, swim friendly Jellyfish Lake and Rock Islands, which was recently inscribed onto United Nations Educational, Scientific and Cultural Organization (UNESCO) World Heritage List. With 1,450 species of fish and 500 species of coral, some have called Palau the "8th Natural Wonder of the World", while others have identified Palau as "One of the Seven Underwater Wonders of the World." For more information about Palau, please visit www.visit-palau.com.


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C. S. Lewis speaks of something which, in German, is called Sehnsucht. He translates that as the inconsolable longing. It is a wish, says Wikipdeia, for we know not what. But we know not what, don't we? And it hurts very deeply, doesn't it?
We want what we cannot on this earth have. We want to be free and brave and bold and happy. We want peace and love; we want there to be no hunger or strife in the world. We want to be our friends and families always, doing only the good things, the things which will make us truly happy. Simply, we want all the things not fully available in this world.
Lewis takes that a step farther. He argues, quite sensibly, one should think, that we would not have such a feeling if it were not possible that such a feeling could not somehow, someday, be assuagued. We live and love today, in this world, under these circumstances; but it is all so incomplete. Yet we hope there is more. But more than hope; in our hearts, we know it is there.
That is why we so often feel sad. We have that knowledge that things ought to be better. We know that there has to be a somewhere where things are as they should be. We sense it; we feel it; we are, by a very taut cord, attached to it. It is there. It has Being.
And we are detached from it as long as we live on this world. Therein lies the pain, the yearning; the inconsolable longing. We know that it is possible, indeed, we know that it is likely (if we know anything at all) and true. We know that things are not as they should be. We know that someday it will all be put to right.
If we wish it yet only because we need that sense of the ideal in order to make it day to day this world, and nothing more, then our actions are vain. Only if things will be as they should be in the end will any of our hopes and dreams and fancies of this world have meaning. Pretending is merely a child's game, a fool's errand. Only if we trust that that something better, that more perfect reality, exists, will our labors and sentiments be of value.
The inconsolable longing. It hurts. Hopefully you have and hurt as well.


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Are you trying to find something to do for date night?
If you live in the Arlington/Dallas area and you are trying to figure out what artists are coming to a city near you here is a list of upcoming concerts that just might peak your interest.
George Strait - Saturday June 7th
Lionel Richie and Cee Lo Green - Friday July 11th
Chicago - Sunday August 31st
Los Lonely Boys - Friday July 18th
Michael Franks - Friday August 15th
John Mellencamp - Friday June 20th and Saturday 21st
K C & the Sunshine Band - Sunday June 29th
Eli Young Band - Thursday July 3rd
New Edition - Friday July 11th
Erykah Badu - Saturday July 12th
Steely Dan - Friday July 18th
ZZ Top and Beck - Saturday September 13th
Depending on the type of music you enjoy will determine what artist you and your significant other will want to see. If you have different tastes in music why not compromise. The two of you can go and see an artist you want to see one weekend and the artist your significant other wants to see on another weekend. This way everyone is happy.
You don't want to miss out so hurry and get your tickets today.


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Artist: System
Album: Dont Disturb This Groove
Genre: Ska
Dont Disturb This Groove
Don't Disturb This Groove
By The System
Pay attention are you listening
You're my favorite girl
Excuse me for the moment
I'm in another world
(On a mountain) by a fountain
Flowers blooming everywhere
With venus and cupid, the picture's very clear
Hang the sign upon the door, say
Don't disturb this groove
Just a way to say that
I'm so into you and the feelings so real
So don't disturb this groove
Erotic whispers for the listener
Let the music fill the air
Excuse me for a moment
I'm at a loss for words
By election sheer perfection
And as if these eyes would care
Your heart is in the right place
So don't you go and change
Baby over and over the passion starts again
You're my lollipops and everything
And a little taste of sin
Causing fire and desire
In this mortal soul to live
Till the angels fall from heaven
And the day the earth stands still
Hang a sign upon the door
Say don't disturb this groove
Just a way to say that
I'm so into you and the feeling's so real
So don't disturb this groove
Just a way to tell you that
I'm so into you
Close your eyes and let the music put you in the groove
Lock the door and turn the phone off, it's time for me and you
Hang the sign upon the door, say don't disturb this groove
Lyrics powered by www.musiXmatch.com
I LOVE this song! Total classic!!
don't ya know...love it..
My Mantra for life!
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text:
Major Sean Cross is a pilot with the Hurricane Hunters, the world famous Air Force unit that flies directly into hurricanes.
He plays a direct role in early hurricane detection and preparation for the United States and other countries around the world. While he does have inside knowledge of impending dangers, that still doesn't prevent him, his family, and his personal property from being damaged by the storms. Something that was learned the hard way during 2005′s infamous Hurricane Katrina.
This is his story.
Video provided by SSgt Brad Sisson
Broadcast Journalist – Defense Media Activity
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Disclaimer: The appearance of hyperlinks does not constitute endorsement by the Department of Defense of this website or the information, products or services contained therein. For other than authorized activities such as military exchanges and Morale, Welfare and Recreation sites, the Department of Defense does not exercise any editorial control over the information you may find at these locations. Such links are provided consistent with the stated purpose of this DoD website.


text:
College Hockey:With new life, Alabama-Huntsville ready to start scheduling for next season
When the news broke Tuesday night that the Alabama-Huntsville administration was going to do an about-face and work toward keeping the Chargers' Division I program afloat after this season, supporters, players and coaches alike were ecstatic.
The university announced earlier this season that it would discontinue the sport at the D-I level starting next year.
And while there is nothing in concrete writing that says the team will definitely be D-I next year, UAH coach Chris Luongo said it's just a matter of time.
"I've been given the go-ahead to start scheduling teams for next season," Luongo said Wednesday afternoon. "There is still work to do, but getting that news last night was exciting and certainly something we'd been hoping to hear."
Alabama-Huntsville junior captain Curtis deBruyn was in agreement with his coach.
"Because the news is so recent, we still have not heard of all the details that have developed and have not been informed of any of the particulars," said deBruyn. "This announcement is incredibly important for the UAH community. Having Division I hockey here at UAH is something that really sets us apart from other institutions in the area and has helped the school create something special.
"Obviously, the guys on the team are all relieved and excited as most were worried about the uncertainty of their futures. We are very happy to have received the news and are all looking forward as to see what transpires."
Said freshman forward Tyler Kotlarz: "The announcement is great news that the players are very happy to hear. Hockey is a big part of the UAH community. You can tell that by all the support we have and all the people working and fighting for the team to stay."
Several players on the current roster had reportedly already made plans for next year at other schools, choosing not to stay at UAH and use any scholarships they may have received.
"I think we're in an unprecedented position where we were working with the players to find teams for next season and now this decision changes that," said Luongo. "I think the large majority of our players will stay. This is a great place to play and a great school."
Luongo was an assistant coach with Wayne State when that school announced it was folding in September 2007. When UAH initially pulled the plug, it was déjà vu of sorts for Luongo.
"There are few comparisons," said Luongo. "The support UAH has here is unlike what Wayne State had, so that wasn't the same, but getting the news that we were going away was very similar. Your immediate focus turns to the players."
Geof Morris, a UAH alum and longtime program supporter who operates saveuahhockey.com, was more than elated at the school's announcement.
"I'm glad that the university was willing to reconsider its decision to end the program and I'm even happier that they've decided to reverse it," said Morris. "Hockey is unique to UAH among southern universities and UAH should use distinctions to draw interest to the school. Hockey is key to the UAH experience and it's wonderful to see that it will continue past this season.
"I was, am, and always will be proud to be a Charger, but this decision makes it a whole lot easier to have pride in my alma mater."
So what's the proverbial next step for Alabama-Huntsville?
"Details still need to be worked out with the administration, but there has already been some good conversation," Luongo said. "Like I had said, I'm already starting our schedule for next season. I think beating Nebraska-Omaha over the weekend [in Nashville] had no bearing on [Tuesday's] announcement, but just shows what kind of team we have and what a win like that can do to raise awareness to our program."
The Chargers travel to Minnesota State this weekend, and Luongo expects some added jump to his squad.
"This whole season, we've never been a team to just go through the motions," said Luongo. "Whether or not the players were playing for a spot on this team or another, they have always worked hard and played that way each time we step on the ice.
"I would expect that the fact the program is sticking around might give the players a little added jolt. I know they're excited."
The following is a self-policing forum for discussing views on this story. Comments that are derogatory, make personal attacks, are abusive, or contain profanity or racism will be removed at our discretion. USCHO.com is not responsible for comments posted by users. Please report any inappropriate or offensive comments by clicking the "Flag" link next to that comment in order to alert the moderator.
Please also keep "woofing," taunting, and otherwise unsportsmanlike behavior to a minimum. Your posts will more than likely be deleted, and worse yet, you reflect badly on yourself, your favorite team and your conference.


text:
Plants24 Aug 2011 11:02 am
Helianthemum "Wisley Primrose"
The only Helianthemum that has sold for us is "Mesa Wine" and yet here we are trying again with a yellow Sunrose. Give it a shot, you'll like it. These are easy low growing wide spreading shrubby flowerful perennials. Pretty yellow flowers. Nice grey leaves. What's not to like? Get with the program!
Maybe I could entice you with Zone 7 hardiness?
You can also bookmark this on del.icio.us or check the cosmos
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One Response
Jenn Says:
August 24th, 2011 at 11:42 am
Looks like a fabulous ground cover.


text:
Brian let me pick where we ate lunch on my birthday. I chose Bite Me BBQ just down the street from work. It was a nice change of pace from our usual brown bag lunches.
The nice thing about Bite Me is that they give you enough food that two people can share, which is exactly what Brian and I did. Neither of us wanted to over-eat (something that I tend to do) and it also saved us money. We'd been eating out a lot lately so it was nice to be able to eat lunch inexpensively.
Anyway, I'm enjoying eating out now because Brian has already said that he is putting me on diet post-surgery. He sent me a couple of links to post-thyroidectomy weightless tips and such. It's comforting to know that Brian won't let me get fat after my thyroid surgery. LOL.
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One Response to "Birthday BBQ Meal at Bite Me"
Birthday Festivities Continued : A Well-Documented Life wrote on
November 7th, 2012 at 6:20 pm
[…] dinner on Saturday night to celebrate my birthday. We celebrated multiple times this year (Chapada, Bite Me, Carrabba's). Not so much by choice, but just how things worked out because that's when […]


text:
Schiphol Pass
Safety & security
Everyone who asks permission to enter (Non-) Security Restricted Areas and/or Secured Premises by A.A.S. is subject to controls and tests.Read more
For staff
Those who will work in the (Non-)Security Restricted Areas and Secured Premises by A.A.S. must have a Schiphol Pass with the appropriate authorisation.Read more
For businesses
Companies that wish to apply for Schiphol Passes for their employees must first register.Read more
Applying for a Schiphol Vehicle Pass
You need a Schiphol Vehicle Pass when you want to enter the airside area at Schiphol.Read more
Suggestions & complaintsDo you have any suggestions or complaints regarding the Schiphol Pass, including the application procedure? Let us know. Read more
Schiphol Pass discount
Your Schiphol Pass entitles you to attractive discounts at Schiphol Plaza and elsewhere at Amsterdam Airport Schiphol.Read more
Need to find a quick answer to a question about passes? See if your question has already been answered here.read more >


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Everyone Has "That Friend" Who's Yours?
As a college student, I enjoy my fair share of going out with my friends on the weekends and enjoying myself. We have a buddy of ours that is always gets into some type of mess when he comes hang out with us.
Whether it's starting drama with some random group of people that we aren't even associated with or just getting too wild and crazy and we end up having to take care of him.
We honestly don't mind him, but I know a lot of people have a problem with people like this.
What are some of your stories about "that guy/girl" that you hang out with?
No names please, just a jane or john doe would work!


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Utility apps are the apps that should enhance the value of your smartphone by economizing the things you need to do on a daily basis. Things like the clock, calendar, alarm, and email applications are the basic example of what a utility app brings to the mobile experience. They speed up the day-to-day happenings of your mobile and aid you in going about your business.
Appcatch was launched in June of 2012 and initially served as free app market for users of the DIY app builder appsbar.com before expanding to include all app developers who wish to see their apps in the world-wide distribution channel. Appcatch has a wide array of categories for their free apps including utility apps.
What makes appcatch.com utility apps different is that all of these apps are free and all should be considered for download if they appeal to a specific need. A lot of them give you a really good idea of what your handset is capable of. Others are slow-burners but will prove themselves hugely useful at some point.
Apps like Cybasafe serve as backup solution for all your Android and iPhone content. With this particular utility app you can back up your contacts, photos, and notes. How often has your phone crashed and you've lost all of your contacts. Cybasafe prevents that from happening. The app also handles email, backs up music files, and logs calendar appointments.
Other apps in the category may be less utilitarian but fun nonetheless. The Is It Wednesday app answers a lot of questions about Hump Day including whether it is Wednesday or not. All major events occurring on Wednesday are covered with the app. It is referred to as the perfect app for anyone who loves Wednesday (if such a fan forum exists). Fans of mid week can expect updates as we are constantly searching for more Wednesday events and info.
If you are looking to enhance the power of your smartphone, load it with a handful of utility apps from appcatch.com and see how it enhances your daily mobile experience. Join appcatch.com now and start downloading your favorite apps or uploading the apps you've developed and immediately share them with your social networks. Do you have an app idea but not sure how to get it from the idea stage to completion? Use the free app builder at appsbar.com and upon completion your app will automatically be included in the dynamic new appcatch marketplace.
The group behind Appcatch was feted earlier this year, winning the New Tech Company of the Year title at the annual American Business Awards. The team was honored alongside other award winners like Apple and PayPal.