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Reg Livermore
Reg Livermore discusses his role in 'The Producers'.
Andrew Ford: My first guest on today's show is Reg Livermore, who is a legend really in Australian musical theatre, and rightly so. He's presently starring in Mel Brooks' 'The Producers'. Now if you haven't been paying attention for the last few years, you may not know that that wonderful film of the 1960s with Zero Mostel and Gene Wilder has been turned into a musical. The film was by Mel Brooks and the musical is by Mel Brooks, and indeed the music is by Mel Brooks, and it has been storming the world and it arrived in Australia last year. It ran for eight months in Melbourne, it's just done seven weeks in Brisbane now it's in Sydney at the Lyric Theatre at Darling Harbour. And Reg Livermore is one of the stars of the show.
If you don't know the story of 'The Producers', I can tell you it pretty quickly, I think. Max Bialystock is a Broadway producer who's hit bad times, and his accountant is Leopold Bloom. And Leopold convinces Max that he could actually make more money from a flop, which he's very good at, than from a success. All he has to do is raise an enormous amount of money from his investors, and if the show flops on Broadway, then he doesn't actually have to pay the investors anything, so he gets to keep all of the money that he's raised. So Max and Leo decide to put on a sure-fire flop, and the flop is 'A gay romp with Adolf and Eva in the Berchtesgaden'. It's called 'Springtime for Hitler', and as you could almost predict, of course it's not the flop they hope it's going to be, it's a raging success.
In a moment, as I said, we'll talk to Reg Livermore about 'The Producers' and much else, but let's listen to a song from the Broadway production, the original cast recording of 'The Producers' with Matthew Broderick as Leo, and Nathan Lane as Max Bialystock, and this is just after they've discovered that they have a huge hit on their hands, 'Where Did We Go Right?'
Andrew Ford: 'Where Did We Go Right?' from Mel Brooks' 'The Producers'. And we just heard Nathan Lane and Matthew Broderick performing it there from the Broadway cast, but if you go along to the Lyric Theatre in Sydney at the moment, you can hear my first guest on today's Music Show singing that song, Reg Livermore. Thank you very much for coming in, Reg.
Reg Livermore: A pleasure Andrew, thank you.
Andrew Ford: I assume you saw these guys do the show, did you?
Reg Livermore: No, I didn't. I saw a pirated video taken illegally from the stalls in the St James Theatre Broadway when the man sitting in front of, well me, who had huge shoulders, so I was only able to see half the stage, and therefore half the show. I did see Jason Alexander and Martin Short when Tom Burlinson and I went to Los Angeles to audition. Also I'd seen the film, with Zero Mostel back in the '60s, so when it came to working on the role myself, I was bit confused.
Andrew Ford: You had a lot to forget.
Reg Livermore: I had a lot to forget, because where could I possibly fit into this?
Andrew Ford: Well Zero Mostel must be the hardest thing to forget.
Reg Livermore: Yes, but he's the one - I went back to the film in the end because I was haunted by Nathan Lane and I'd seen Jason Alexander, and I didn't see myself there, and I thought Well if I go back to the original, that will be the great springboard. Of course I'm not Zero Mostel but I thought that the integrity of the piece was there, and I could start from there. And I'm glad I did actually, because it is above all, more than just a musical, it's certainly a play, too.
Andrew Ford: Well originally the film is not a musical is it, it's a film about putting on a musical.
Reg Livermore: That's right, yes, with one, perhaps one or two songs in there. But Mel Brooks has transformed the piece completely by making it into a big Broadway pizazz-y musical.
Andrew Ford: As a matter of interest, when you said going back to the film was the right thing to do, what did you get from it?
Reg Livermore: Well I think I got the dramatic intent of it really, from an actor's point of view, which is what I wanted to do, because everything will spring from that, because the show has such a great script. Unlike a lot of the musicals that we've been fed in the last 15 or so years, which are just sing-throughs, with barely a word spoken, this has got a significant book as they say, and it's very, very good. And therefore the character has to have some basis in truth, I think, and very difficult actually to pull it all together because of where Mel Brooks takes this character.
Andrew Ford: Yes, that's right. And of course in the film, I mean Zero Mostel does so much of the acting with his eyes and his eyebrows, doesn't he?
Reg Livermore: Oh yes, well they're wonderful in close-up. I've got to think about people in X-Row.
Andrew Ford: Well exactly, so there's a huge difference.
Reg Livermore: There is, there is, yes. But I daresay my performance is large.
Andrew Ford: Not as large as Zero Mostel.
Reg Livermore: No, no, it's true, well certainly not as large around the girth, or not far off it.
Andrew Ford: He had such a lugubrious face didn't he? Second only to Alistair Sim.
Reg Livermore: Yes, yes.
Andrew Ford: Just about every line of the movie is actually in the stage musical. There's a sort of change of plot of course in the second half, so when you say that it's a dramatic piece as well as a song-and-dance piece, it certainly is.
Reg Livermore: Oh yes, it is. I mean I'm sure they were hard-pressed to decide which lines to leave out, and in fact they had to. Certain things, if you go back to the film, you hear things like when Max is talking to Leo about what he used to be, how he used to wear $500 suits and 'look at me now, I'm wearing a cardboard belt', and you think, Why can't they have that line in? But they did have it in, actually, and they were in and out, in and out, because they just couldn't get the audience to react to it. I suppose it's not very funny. But Mel Brooks told me, he said 'When we were about to open in Melbourne a year ago', he said, 'I don't want you standing up there hanging out for laughs', he said, 'some of it's not very funny'. I thought, Oh, well it's our job to make it funny, of course.
Andrew Ford: You mentioned a moment ago you had to audition for this. That's not the sort of thing that Reg Livermore does very often is it?
Reg Livermore: No, not since 1969 when I wanted, and was as desperate to get into 'Hair', that's when I last auditioned, because my career took off after that and I had no need to. But you know, when you're dealing with these reproductions of Broadway musicals and the American creative teams are the ones who are going to stage it in this country, and they know little or nothing about you, and I presume they didn't know much about me, then if you want the prize you have to go down the hard road. So I had to audition, swallow my pride, and get up there and make an idiot of myself. But fortunately I got the role.
Andrew Ford: Yes, what was that like? You went to Los Angeles, you said.
Reg Livermore: Yes, Tom and I were both chosen out of quite a few hopefuls for both of those roles. We did auditions on videotapes in Sydney to begin with, and then they were all sent to America and they were vetted, and then we were the two who were chosen of the people interested in playing Max and Leo. So it was very nervewracking, and obviously we arrived in Los Angeles and with probably a minimal expense account at our disposal, we could only stay a couple of days so we were fairly jet-lagged I'd say, and we assembled in a hot sort of dance studio on West Hollywood one afternoon, and there was Mel Brooks, Susan Strohman, the Director of Choreography, there was Patrick Brady, who was the original Music Supervisor on the Broadway production. There were real-live American and New York producers, choreographers, all sorts of people. So you know, it was very thorough, very thorough this audition.
Andrew Ford: When you slot into a well-oiled machine like this international production of 'The Producers', I've often wondered this about the other productions that start in Broadway or the West End, and then kind of tour the world, is there a lot of scope for you, or do you have a director saying, 'No, no, no, we do it this way?'
Reg Livermore: Initially, that's what happens. There is no scope. They have limited time to reproduce this production, and talking about it is not on the agenda, you just have to get down and do it. A lot of us found that quite intimidating and discomfiting, I have to say. But we were told, 'You will in time make this your own'. Now I didn't know whether that was a threat or a dare, but in fact we have now, a year later, I mean this is very much the Australian production now. I mean we do everything we have to do, you know choreographically it's very tight, and nothing is sloppy about that. We do exactly as the other people did, in any other production of the world.
Andrew Ford: It's very choreographed.
Reg Livermore: Very tight, and so that means that any one of us could be slotted to any production of this in America, in London.
Andrew Ford: Like clones.
Reg Livermore: Well it is like being cloned, but you know, I think we all feel, especially after Melbourne and Brisbane, that coming into Sydney we were finally freed, and this is us. This is us, guys, this is your Australian performers. So that's it.
Andrew Ford: So it's like having a pair of particularly recalcitrant shoes that you've finally broken in.
Reg Livermore: Exactly. You see, when they do these productions initially, they have months and months and months to set them up, to rehearse them, to get things right. And a lot of the stuff in the script would be stuff that Nathan Lane and Matthew Broderick had personally introduced. And so we're doing that, you know, and you think, Well what about the stuff that we want to do? But anyway, as you say, a pair of shoes that you wear in and suddenly they're fabulous. That's how I feel at the moment.
Andrew Ford: When you sing, I mean how much of it is singing and how much of it is acting? Because in a musical, it's not like an opera, is it?
Reg Livermore: No, no, no. I would call myself a singing actor. If you asked me to sing I would just run away and go and hide in another room.
Andrew Ford: Oh well, I won't do that.
Reg Livermore: No, no, don't. But because it is dramatically based, and it's that old thing about you only sing when you can't say it any more, it's much easier. But that's what a musical is about. But nonetheless, the music at times is quite demanding, I have to say.
Andrew Ford: But you've been singing, I mean you started out as an actor, but you've been singing a long time now, haven't you?
Reg Livermore: Well I have, and I'm much better now than I was 30 years ago, 40 years ago. I mean, I was terrible. But I just loved the idea of it, and I wanted to do it, so I did it. And fortunately, audiences in those days were a little more tolerant than they are today I'd say, so now I feel, I'm never certain about my voice. I worry about it every day, and clearing my throat and thinking have I got the oomph to get it out, because these are big numbers that I do. But singing is something the music theatre's really where I always wanted to be, I think. Because if I ever did a straight play, and I did quite a lot of them, legitimate stuff, I always missed the music. So I prefer that sort of world where you just burst into song for almost no reason at all.
Andrew Ford: I'm not the only person I think who was a bit surprised to discover that here is this musical with this very important drag act in it, and it's not you.
Reg Livermore: No, no, no, no, I knew that that was not the role for me. I couldn't sustain that, I couldn't. Tony Sheldon can, I mean he's wonderful, absolutely wonderful.
Andrew Ford: He's fabulous.
Reg Livermore: But I suppose apart from not wanting to, I have been there, many times, and I've no need to do that now, and I don't really want to die on stage in a frock.
Andrew Ford: No. Can we talk about Betty?
Reg Livermore: Yes, you can, that's 30 years ago by the way.
Andrew Ford: Really? No.
Reg Livermore: Yes, 30 years ago, 30 years ago in April it started. I can't believe it.
Andrew Ford: It started then.
Reg Livermore: It started, yes. At the Balmain Bijou.
Andrew Ford: Does she still get up and strut her stuff?
Reg Livermore: No. No, of course not. I mean the fact that Betty has become sort of synonymous with me is I find extraordinary, because the character of Betty Blokk Buster opened the very first show, the very first of my one-man shows, Betty Blokk Buster Follies, and she was not seen again at all on stage until the last item in 'Son of Betty' you know, four big shows later, and five years later. And yet it's always Betty, it's Betty, it's Betty, but I introduced all those other characters who were I thought, as interesting, but probably not quite so confronting.
Andrew Ford: Yes but it's the way of the world, isn't it?
Reg Livermore: Yes, it is.
Andrew Ford: You get associated with a character that particularly catches the public's imagination.
Reg Livermore: I'm not sorry, because I think her name represents something quite significant for a lot of people who were there at the time, and for whom the shows were some sort of revelation, and eye-opener and liberator really I think.
Andrew Ford: Yes. Do you know where she came from?
Reg Livermore: I know where she came from, she came from a photograph. When we were preparing Betty Blokk Buster, I was just writing things, you know, little monologues and picking songs, and trying to put this show together like a, rather like a Phillip Street Revue I think, in my own mind, that was where I started back in the late '50s, you know when I was sort of in dressing rooms understudying people like Gordon Chater and Barry Humphreys et al. And so it was just going to be a review. I didn't know that by the time we'd assembled all of these things, that it was going to be quite the sort of European German French sort of cabaret spectacular that it turned out to be. But in preparing for the show, we had to have some photographs for publicity, and none of the characters had been settled or anything really. And so one day I went along to a costume hire department in Melbourne, and I just gathered a lot of clothes to put on for photographs, and one set of costumes, there was like an apron and a little sort of white sort of corset laced top, and a mob cap. And I thought, I'd always like to do one of those Marilyn Monroe shots, you know, where you stand there with the apron on and the bare bum, and you just look over your shoulder with a feather duster and kick your back leg up. And so we did that, and it was Eric Dare who saw this photograph, he was the producer of Betty Blokk Buster, and he said, 'Who's this one?' I said, 'I have no idea'. I said, 'I hope you don't think I'm wasting your money, but it was just a bit of fun.' He said, 'Can't she be in it?' I said, 'Well I suppose she can.' And so she became Betty Blokk Buster. I don't know where the name comes - I suppose Blockbuster, production, big, and Betty sort of rhyming Bs, and alliteration and all that sort of stuff. But it was a happy accident.
Andrew Ford: So you're in a blockbuster now, and I mean the difference of course is enormous between what you're doing now and the one man shows that you did.
Reg Livermore: Yes, but you know, in this show are elements of what was in my shows, you know, the vaudeville, the burlesque, the upfront sort of comic performer, this sort of stand up and wallop sort of performance. All of these things I've always leaned to, because they had an impression on me when I was a child.
Andrew Ford: Yes, I read, I believe your father died very recently.
Reg Livermore: Yes, he did, yes.
Andrew Ford: And that you credit him and his side of the family with this talent.
Reg Livermore: Well I do, because he and his brother and five sisters were just home entertainers, you know, they'd all get up and sing, and some of them would even dance a bit, and a couple of his sisters sang on the radio once, and so around the house in Bankstown, where they lived, and where I'd visit with my father and mother at weekends sometimes, and sometimes stay with them, while I was about 5 or 6 years of age, or maybe even less, there was all this sort of happiness in the air. People singing up and enjoying themselves, and people were clapping them, and it just seemed to be like such a lovely thing to do. And I wanted to take part as soon as they allowed me, which was immediately, if nothing else probably quite precocious, and so it became the most natural thing for me to do.
Andrew Ford: And this is just something that happened in the lounge room.
Reg Livermore: Yes, oh yes, that's right, yes.
Andrew Ford: The big step then from the lounge room to the stage, isn't it?
Reg Livermore: Oh well then you know, a few years later, not so many years later, when I was about 12 through to 16 or 17, I was hiring halls at Christmastime and during the school holidays, to put on our pantomimes, and using all the local kids in the cast. And so I was moving towards the big stage. I mean I had it in my sights, let me tell you. I knew what I wanted to do, I was lucky. Look, I thank the family for introducing me to entertainment, or the idea of entertainment, I thank all the things that happened along the way, but I knew that that's what I wanted to do, and that's where I wanted to be. On stage. And as a star on stage, I have to add that.
Andrew Ford: Reg Livermore, thank you very much indeed for being my guest on The Music Show, and I hope you continue to enjoy 'The Producers' and I hope that the shoes feel ever more comfortable.
Reg Livermore: They've got wings on them now, thank you, Andrew.
'Is That All there Is?' - from Betty Blokk Buster
- Presenter
- Andrew Ford
- Producer
- Penny Lomax / Maureen Cooney


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Audience: College Students By: Dee Benson
- Shannon Beasley
- 1 years ago
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1 Audience: College Students By: Dee Benson
2 Topics Define Sports Management and Sport Nature of the Sports Industry Career Planning Professional Preparation Future Challenges and Opportunities
3 What are Sports? o Sport is all forms of physical activity which, through casual or organized participation, to maintain or improve physical fitness and provide entertainment to participants. o Usually governed by sets of rules, and may be competitive. o Examples: Football, Basketball, Baseball/ Softball, Soccer (Wikipedia)
4 Sport is any activity, experience, or business enterprise focused on fitness, recreation, athletics, or leisure. sport does not have be competitive, nor does it always require specialized equipment or rules; in fact, sport includes activities such as working out, running, and dancing. (Parks & Quartermain)
5 What is Sports Management? The field of education and vocation concerning the business aspect of sport. Many college and universities offer bachelors and masters degrees in sports management ( NOT ROWAN) Examples of Sports Managers include: Front office in Professional sports, College sports managers, Sports marketing, Event marketing, Facility management, Sports economics, Sports Finance, & Sports Information (Wikipedia)
6 Sport Management is any combination of skills related to planning, organizing, directing, controlling, budgeting, leading and evaluating within the context of an organization or department whose primary product or service is related to sport and/or physical activity. (Parks & Quartermain)
7 Job Responsibilities Job responsibilities vary with the type of organization, area of the sport industry, and level of management. All involve business aspects of sport, and normally include hour work weeks, including night and weekend hours of employment. Job duties may involve working with corporations in special event promotions and sponsorships. It may also include accounting, ticketing, and financial operations of a sporting event or program. Additional responsibilities might include developing a risk management plan for dealing with current legal issues in sport. The sport manager may be involved in facility and event management, sport broadcasting and media relations., or the sales of sporting goods and licensed sport products.
8 Salary Ranges The career field of sport management is extremely competitive. The majority of jobs will require a practicum for hands on experience in the industry. Beginning salary ranges in educational institutions may range from $18,000 to $25,000. Minor league professional sport starting positions will usually pay in the low 20 s. Sporting goods jobs are often composed of basic salary plus commissions. The opportunity to advance within the profession is usually present, with the 1994 Team Marketing Report stating the following average salaries: vice-president of marketing at the major league level earning $114,444; director of marketing - major league level: $76,785; general manager, minor league: $62,500; and assistant general manager, minor league: $35,166.
10 A view of Sports Industry by Setting Sports Setting Examples of Organizations Professional Sport NFL, NBA, MLB,NHL Amateur Sport AS(Amateur Sport) University Athletics NCAA Recreation Rucker Park, Somerdale Park, Venice Beach
11 A view of Sports Industry by setting Continued Sports Setting Examples of Organizations Corporations Gatorade, Pepsi Sporting Goods Nike, Adidas, Puma, Reebok Sports Media ESPN, CSN, NBA TV Sports law/agent Jerry McGuire
12 A view of Sports Industry by Setting continued Sport Setting Government (Federal and Provincial/Territorial) Private Clubs Social/Charitable Organizations Sport Marketing/Consulting Firms Examples of Organizations Sport Canada, Ontario Ministry of Tourism and Culture Granite, Toronto Cricket Club, Osler Ski Club Heart and Stroke, Kids Help Phone, YMCA International Management Group, GEM Group
15 Aspects of Sports Management Sports Marketing Sports Enterprise Financing Sports Industry Career Plans Sports as a Social Institution Sports are a distinctive social activity that is often the basis of an individual s social identity.
16 Professional Preparation Sports Management jobs are available in the USA Get experience in the field before you finish school. Be professional( Ex: attitude, image, language)
17 Career Planning Values- are the beliefs, attitudes, qualities, traits and concepts that have a special meaning to a person Interest- the activities in which a person engages or finds very enjoyable Skills- ability or personal quality needed to perform a task entirely
18 Entering Sports Management Field
19 Health and Fitness Industry Growth in Family Growth in personal training Growth in Gym Settings Growth in Health stores
20 Trends in the Field Continued Facility Management Growth in domes and arenas Growth in Parks Growth in Golf Course Sporting Good Growth in diversity of products Growth in Demographics Growth in event management
21 When you keep trying different roads in your field of study it just leads to more experience and knowledge within your field!
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subset: commoncrawl


text: On Wed, 2007-11-07 at 14:19 +0000, James Fidell wrote: > So, I have my NFS cluster all set up, with NFS services and shared > storage all managed over a "private" network. > > My intention is to join several more nodes to the cluster using the > same storage, but providing services other than NFS. Is it possible > at the same time to provide services on a "public" network and have > floating public IP addresses which are also migrated across the > failover domain when the cluster fences a node? > > Is it just a case of creating a second IP address service in the > failover domain? Will the resource manager just "do the right thing" > and bind the floating address to the correct network interface? Yes, it binds IPs to NICs based on netmask + network. So... eth0 address/mask = 10.1.1.1/24 eth1 address/mask = 192.168.1.1/16 * All VIPs in the network 10.1.1.0/24 would get bound to eth0 * All VIPs in the network 192.168.0.0/16 would get bound to eth1 It doesn't matter what the cluster's using for its internal communications. -- Lon


text:
Downloads of v 2.2.2
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provided by Sonatype
Obfuscar is a basic obfuscator for .NET assemblies. It uses massive overloading to rename metadata in .NET assemblies (including the names of methods, properties, events, fields, types and namespaces) to a minimal set, distinguishable in most cases only by signature.
To install Obfuscar, run the following command in the Package Manager Console
Install-Package Obfuscar
-Version 2.2.2
Release Notes
Version 2.2.2
* Updated Mono.Cecil.
* Fixed GitHub#85 Initial patch for .NET Core assembly obfuscation.
Version 2.2.1
* Fixed GitHub#83 Some resources files are not renamed.
Version 2.2.0
* Fixed GitHub#71 Added RenameFields option.
* Fixed GitHub#72 Added SkipEnums option.
* Fixed GitHub#73 MissingMethodException in some generic method case.
* Fixed GitHub#74 Graph class might enter an infinite loop.
Version 2.1.0
* Fixed GitHub#60 Type forwarding in System.Runtime is not properly supported.
* Fixed GitHub#61 String hiding should skip resource manager creation methods.
Version 2.0.4
* Fixed CodePlex#30 HideStrings setting does not work as documented.
* Fixed CodePlex#31 SkipStringHinding does not work.
* Fixed CodePlex#32 ForceStringHiding and related are added.
Version 2.0.3
* Fixed GitHub#58 "protected internal" property/method is not treated as public API.
* Fixed GitHub#59 Special enumerator leads to InvalidOperationException in TypeKey class.
Version 2.0.2
* Fixed GitHub#47 F# compiler can now be obfuscated.
* Fixed GitHub#55 The default value for the ObfuscatorAttribute is different.
* Fixed GitHub#56 SuppressIldasm setting is spelled as SupressIldasm in config.
* Fixed CodePlex#7 Avoid creating invalid overriding methods during obfuscation.
* Fixed CodePlex#9 Added command line options (help and version). Multiple project files can also be processed now.
Version 2.0.1
* Fixed CodePlex#12 BAML reader error.
* Fixed CodePlex#13 Nested classes are obfuscated wrongly.
* Fixed CodePlex#17 PCL library wrongly refers to .NET 4 mscorlib.
* Fixed CodePlex#20 Environment variable support.
* Fixed CodePlex#24 MarkedOnly option does not always work.
Version 2.0.0
The changes since last commit on Google Code include,
* Merged all patches from RemObjects' fork.
** Unicode chars can be used as obfuscated names.
** Better dependency resolution.
** Various other small fixes.
* Merged patches from @AngryAnt (Emil Johansen)'s fork
** Korean chars can be used as obfuscated names.
** New tags are introduced (I could not yet verify every one, as there is no corresponding unit test cases).
* Add an option to automatic exclude of public types and members so that public API is kept.
* Add an option to automatic include all non-public types and members so that private API is obfuscated.
* Add Force* rules to supplement Skip* rules.
* Various bug fixes.
(C) 2007-2016 Ryan Williams and other contributors.
This package has no dependencies.
Version History
|Last updated
|Obfuscar 2.2.6 (latest stable)
|Saturday, June 17, 2017
|Obfuscar 2.2.5
|Wednesday, May 10, 2017
|Obfuscar 2.2.4
|Friday, March 31, 2017
|Obfuscar 2.2.3
|Saturday, December 10, 2016
|Obfuscar 2.2.2 (this version)
|Thursday, September 22, 2016
|Obfuscar 2.2.1
|Saturday, July 16, 2016
|Obfuscar 2.2.0
|Saturday, April 30, 2016
|Obfuscar 2.1.1
|Wednesday, March 2, 2016
|Obfuscar 2.0.3
|Saturday, February 6, 2016
|Obfuscar 2.0.2
|Sunday, January 24, 2016
|Obfuscar 2.0.1
|Tuesday, April 14, 2015
|Obfuscar 2.0.0
|Saturday, March 1, 2014


text:
Last year, City of DeKalb got caught violating the Illinois Open Meetings Act (OMA) in approving a settlement agreement with the U.S. Department of Justice.
There were actually two violations, but the one we are concerned with here is DeKalb city council's failure to take its final vote on the matter in a public session of city council.
Because it looks they've done it again. Read the rest of this entry


text: By Pete Najarian, co-founder of OptionMonsterNEW YORK -- Call buyers stubbornly returned to EMC ( EMC) Wednesday, even though the cloud-computing stock has lagged the rest of the market. Option traders looked for upside in the June contracts, snapping up almost 16,000 of the 24 calls, with the largest block priced for 25 cents, according to OptionMonster's tracking systems. The volume was almost triple the strike's open interest before the session began, indicating fresh activity. Those calls lock in the price where the stock can be bought no matter how far it might rise. They can provide some nice leveraged gains from even a small pop in the share price over the next month. EMC fought back from earlier losses after the calls hit and closed the session up 0.09% to $23.02, but it is still down about 10% in the last two months. Management also appears at the JP Morgan Technology, Media and Telecom conference Thursday, so those buyers are apparently hoping for some positive comments. Overall EMC calls totaled 25,000 versus just 5,000 puts, a reflection of the day's bullish sentiment. Najarian has no positions in EMC.


text:
Welcome to the Crochet With Us & American Crochet Group Mystery Blanket CAL Rounds 1-6!
Before you start please read this Introduction Post. You will find a ton of helpful information in the Introduction Post including yarn, hook size, finished project sizes and links to all sections of the CAL. After each section is published online the link will be added to the Introduction Post, on a post by post basis.
Resources and Things You Can Do To Get Ready
- Add this CAL to your Ravelry Queue and join the Crochet With Us Ravelry Group
- Get your supplies ready for our first post
- Share your progress on Instagram using #CWUACMYSTERYCAL2015
- Join the Crochet With Us Group and the American Crochet Group on Facebook for assistance with the CAL – both groups are lovely and filled with helpful caring Crocheters who are willing to help assist each other.
Yarn and Hook Used
This blanket is extremely easy to modify. Jen and I have worked out the sizing and amount of squares you will need to get started.
The yarn that Jen and I selected for the blanket is Lion Brand Heartland and using a 5.0 mm (H) Crochet Hook.
The blanket we made measures 30×36 Inches. If you would like to make your blanket in a different size here are the measurements.
Yarn Color Used in This Post:
Sequoia, Redwood, Shenandoah, & Joshua Tree
Click on the image for Rounds 1-6
We hope you'll join the fun!
Don't forget to Subscribe to my Newsletter HERE!
Let me know if you need any help learning how to crochet!
Be sure to share this site with your friends and fellow Crafters.
Happy Hookin!
XO, Mistie


text:
Pay Dirt
by Rita Mae Brown
Category: Fiction / MysteryPost ads:
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249 pages; ISBN: 0553572369
Several of Rita Mae Brown's fans, spell ready in flash to recognise her at the Oxford Bookstore in Atlanta during her Riding Shotgun tour, noticed aloud the striking nothingness of the best-selling author's spouse and collaborator, the subtle authoress Sneaky Pie Brown, whose expansion from a small beingness in a Virginia SPCA structure to esteem as crime novel author was much meteorological. I posed the request for information to Ms. Brown upon assemblage her, and her respond was relayed in carefully-chosen voice communication.
It seems Sneaky Pie, who, reported to Rita Mae, is like wildfire touristed in Germany, was quondam a staple at narrative signings and lectures until one day during a Christmas occurrence when the spritely individual cat proceeded to tittle one bookstore's trip decorations. Hardly the comme il faut behaviour for a problem critic (one rarely sees Sue Grafton knocking down Christmas trees and hand-to-hand struggle elves on the way to her signing table), Sneaky Pie now girdle haunt with Brown's different cat Pewter, amongst other animals attractive address at the Brown cattle farm.Post ads:
Pack of 25 Num. 2 6x9 Yellow Bubble Mailers Shiny Shippers / Powerwarehouse replacement HP LaserJet 1200n / Grey Snake Skin Satchel Lady Purse Shoulder Bag for10.1" / Black Cross Shoulder Notebook Bag Lady Purse for 10 inch / Acer Aspire One AO751h-1893 11.6-Inch Travel Laptop / Petals Grey Weekender Bag / Acer Aspire AS1410-8804 11.6-Inch Executive Netbook / NCAA Georgia Tech Yellow Jackets 16'' x 16'' Dinette Chair / Yellow Lady Purse Shoulder Bag for 10.1" Coby Kyros / Smart Brights Canary Envelope - 250/Box / Black and Purple Cross Shoulder Notebook Bag Lady Purse / NYLON MASON TWINE - 18X1090' WHITE 1LB TWISTED - 6 PACK / Moon Power 2009 Small Engagement Calendar / Black Leather Electronics Holder / O GENERIC INK O - Inkjet - Compatible - 12 - Business / BAZIC Pen Style Fluorescent Highlighters w/ Cushion Grip / Notice:ADD YOUR WORDING HERE Laminated Vinyl Sign, 14" x
Whatever her behaviour out-of-doors of the literary circle, Sneaky Pie, next to whichever support from her human spouse in crime, manages to assemble a suitable riddle new-fangled string. Pay Dirt, Or, Adventures at Ash Lawn, the ordinal in the Mrs. Murphy crime novel set and the up-to-the-minute to be released in large-scale bazaar paperback, keeps animate a strong, fascinating heroic tale of humanity and national animals sentient and method unneurotic to lick crimes that have inexplicably been plaguing the little town of Crozet close Charlottesville, Virginia since the Browns' prototypal combined effort, Wish You Were Here, in 1990.
For those new to the "tails" (sorry, couldn't escape) of Mrs. Murphy and Company, a passing textbook : Mary Minor "Harry" Hairsteen serves as Crozet's postmaster at the town's singular post organization (where chitchat is often sorted faster than the letters) and is mother to Mrs. Murphy, a notably incisive and astute human cat (Coincidence on the author's element or fruitful license? You opt). Also in this nuclear menage is Tee Tucker, a corgi who is Watson to Murphy's Sherlock-she has a muzzle for clues but is sometimes mislaid in need the prudent cat's message. Throw in a cast of flaming characters of human and felid persuasion-including the chubby, interminably hungry cat Pewter (Coincidence?), the realistic adult female Miranda Hogendobber, and intellectual social married woman Mim Sanburne-then add whichever murder, mayhem, and intrigue, and you have a account to challenger any Murder, She Wrote broadcast.
In Pay Dirt, the object this clip is an unknown, whiskered Hell's Angel who comes resounding into Ash Lawn, the ex burrow of President James Monroe, probing for his girlfriend, Malibu. Obviously, the roughly inhibited society of Crozet know, he is from out of town, dispiritedly squandered for location is cypher in Crozet who goes by the pet name "Malibu" (though the municipality is glorious next to a floaty light-haired named "Boom Boom," but she's not in this journal) and probable impure with a number of liberal of regimented entity. Hence, they pay him no mind-until he turns up asleep.
Soon the former lackluster remit office tittle-tattle (which as of belated central around a fervid esteem trilateral involving a united financial organisation executive, his wife, and his ex, and a on edge would-be polygonal shape involving Harry, her ex-husband, and her fine-looking neighboring) experiences new injections of interest, and humanity and pets question among their individual groups as to the personal identity of the victim, the personality of his murderer, and whether or not this sin is coupled to rumors of a machine infective agent that is alarming to industrial action Crozet's guard. Not one to be left out on the action, Mrs. Murphy enlists the sustain of her dog companion to smell out the slaughterer beforehand the assassin finds them, or Harry.
Fans of Lillian Jackson Braun's The Cat Who mystery series-where cats are central in delivery mysteries to light, as good as any enigma soul will discovery this payment of the Browns' sequence an diverting yet worthwhile publication. Rita Mae Brown's preference for creating ablaze and appealing characters is not idle here-witty talking and full action generate for a easy setting that draws readers into the tied up town of Crozet, Virginia and keeps them approximation until the end.
This is a fresh ordination laced with well-behaved humour and well-structured storylines, and Pay Dirt is a grand ps to the form.


text:
The Tottenham attacker has been linked with a move away from north London, and the 27-year-old defender believes he would be a huge success in the Spanish capital.
The Liga outfit is one of many clubs thought to be chasing Bale's signature following a season that saw the Welshman score 21 Premier League goals and win a host of awards.
Having missed out on Champions League football, speculation has been rife that Bale could leave White Hart Lane in the summer window, and the Spanish defender has praised the 23-year-old's free scoring season.
"Gareth Bale is a Real Madrid-quality signing," the Spaniard was quoted as saying by The Sun. "He has had an exceptional season. He can punish any team in the world and has the footballing qualities we look for in Madrid.
"I am sure Madrid will not be the only team that want to sign him — but he is the right mold for us."
Tottenham remains confident of keeping the club's most prized asset, however, and the club hopes to sign Bale to a new contract in the coming weeks.


text:
In a world inhabited by animals that talk, anything could happen!
Playable Characters
- Jackson the Jackrabbit
Jackson is a jackrabbit who wants to explore the Animal World. When he is told to be the chosen one, Jackson experienced his dream.
- Felicia the Bat
Felicia is the Queen's messenger, when the Queen gets kidnapped, she had to travel with the chosen one.
- Ethan the Hedgehog
Ethan is Jackson's cousin, and he followed Felicia and eventually found himself fighting the prince of evil!
- Nathan the Wild Boar
Nathan is Jackson's best friend, when he finds that Jackson left, Nathan and some of Jackson's other friends go look for him.
- Ashton the Capuchin Monkey
Ashton is another of Jacksons friends. He, Nathan and 2 others went to travel to the Apple Palace to help him on his fight.
- Kyle the Zebra
An incredibly brave horse, when Nathan asked if he could come with him and Ashton and someone else to the Apple Palace, Kyle couldn't have said no!
- Darren the Beaver
Darren is the complete opposite of Kyle! When Nathan asked him to come, he was against of the idea but went anyway.


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Darling Husbands' Cake
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When you purchase a digital subscription to Cake Central Magazine, you will get an instant and automatic download of the most recent issue.
This is a recipe my darling husband loves and I make it each year for him at Christmas as a special treat.
1 Preheat oven to 350 degrees F (175 degrees C). Grease and flour a 9 inch square pan. Sift together flour, salt, baking powder, baking soda, cinnamon, allspice and nutmeg. Set aside.
2 Cream butter until it is soft and creamy. Add sugar and continue beating until light and fluffy. Add egg and beat well.
3 Add flour mixture and tomato soup. mix gently until blended, but don't overmix. Fold in nuts and raisins.
4 Spread batter into a 9 inch square pan. Bake at 350 degrees F (175 degrees C) for 55 to 60 minutes, or until toothpick inserted into cake comes out clean.


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Home > Product Categories > Pro-Video > Tripods & Camera Support > Tripods & Fluid Heads > Z101
Item #: CAR-Z101 MFG #: Z101
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The Laser tripod system, comprised of the Laser fluid head and the A/B lightweight tripod, is designed for the new generation of DV and lightweight ENG video cameras. Provides fast dynamic counterbalance of camera loads up to 22 lbs.
The Laser fluid head features a 4 flexible-element spring counterbalance system with a sliding camera plate allowing the camera to be perfectly balanced, which can be disengaged while shooting with ultra-light equipment by simply flipping a lever. In addition a an award-winning, patented fluid damping system, ensures consistent drag levels and smooth camera movements throughout the range of both pan and tilt modes.
The included A/B single-stage tripod, made of aluminum alloy with mid-level spreader and flat pivoting rubber feet provides for outstanding lightness and stability allowing the system to be easily carried and rapidly deployed into action.
Continuously Adjustable Counterbalance System.Features an infinitely variable counterbalance with easily readable numeric reference providing excellent performances at any tilt angle from -90° to +90° degrees. Outstanding compensation performances are obtained throughout the tilt range, with a patented and extremely compact counterbalance mechanism based on the combined compression of 4 flexible elements, which are controlled by an ergonomic knob.
Pan and Tilt Control.Offers a patented fluid damping system ensuring consistent drag levels and smooth camera movements throughout the range and allows continuous adjustments in both pan and tilt modes.
Item Includes
Add Accessories for your Z101:
VariZoom VZ-D100 Heavy Duty Dolly for TC100A & TC100C Tripods
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VZ-PG-F Remote Zoom Control for Fujinon 8-pin Video Lenses
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contributed all ages
Food Network's Sunny Anderson Comes to Schnucks Des Peres
This event occurred on –
Schnucks Des Peres
The cookbook costs $22.50 plus tax
In her debut cookbook, Sunny's Kitchen: Easy Food for Real Life,Food Network Star Sunny Anderson, paints a picture of true comfort food through her life of travel and exploring new flavors.
The host of Cooking for Real and Home Made in America with Sunny Anderson will be stopping by Schnucks Des Peres to meet fans and to sign copies of her new book.
Capturing her effervescent girl-next-door personality, Sunny's Kitchen presents 125 easy recipes for American classics made Sunny's way – with bold, beautiful flavors.
Past dates
- Occurred Friday, September 20th, 2013 @ 2:00 pm – 4:00 pm
Paul Simon


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Tired of being consumed by mosquitoes? Looking for some way to keep them from having dinner at your expense? Rather not cover your skin with oily mosquito repellent? If you answered "yes" to these questions, then Williams J. Broad has a suggestion for you. In his recent New York Times article, "A Low-Tech Mosquito Deterrent," [Read More…]
Not a Fan of Mosquitoes? Then Get a Fan!
July 23, 2013 by Leave a Comment